title: When Love Takes Over

text: The recording and mixing of "When Love Takes Over" took place in summer and autumn of 2008. After Rowland heard the instrumental of "When Love Takes Over"—a piano loop-based melody with throbbing percussion—she asked Guetta if she could take the demo and several other tracks to work on. She wrote the lyrics and recorded the vocals in London, within a day. She was aided by Australian songwriters and producers Miriam and Olivia Nervo (Nervo). However the song remained unfinished until Guetta rediscovered the track while compiling his "One Love" album. After getting selected for the album, "When Love Takes Over" was given to Frédéric Riesterer who, aside from producing the song with Guetta, was tasked the final audio mixing of the song. However Riesterer decided to give the track to French mixing engineer Veronica Ferraro, who would later go on to say that "Reisterer was supposed to mix it, but he wanted me to do it and see how it turned out. The first time I heard the track I immediately knew it would be a huge hit." The track was mixed in September 2008, at Ferraro's Super Sonic Scale studio near Paris, the day after her birthday.


title: When Love Takes Over

text: Before working on the song's individual elements, Ferraro converted the recording sessions from a generic digital audio workstation system to her programme of choice, Pro Tools. Following this, she decided that she would focus primarily on Rowland's vocals.


title: When Love Takes Over

text: Ferraro told "Sound on Sound" that she did add a bass drum sample, as she felt that the kick was missing something. "Rather than equalise it, I added a little bit of my sample to make the BD track sound bigger". However she did alter the two piano elements of the song, using the Flex Studio Tool to widen the sound of the piano element without the delay. Additionally, Ferraro used a number of French plug-in software to amplify many of the track's instruments, including the violin, strings and guitar samples. She then moved on to Rowland's vocals, which "were extensively processed", including equalization and de-essing. Then upon completion of her work on the song, Ferraro sent "When Love Takes Over" to her husband, Bruno Gruel, and his Elektra Mastering Suite which is located in the same building as the Super Sonic Scale Studio. Gruel received the song in a standard Pro Tools format, 24-bit/44.1 kHz. He used several pieces of software to realign all of the elements of the song, particularly the bass drums and low synths.


title: When Love Takes Over

text: "When Love Takes Over" is a synth-pop and "uplifting floor-filler" produced by Guetta and his associate Frédéric Riesterer. Jason Lipshutz from "Billboard" magazine described it as a "pop number built around a lush piano loop and throbbing percussion" with trance elements. According to the sheet music published at Musicnotes.com by Sony/ATV Music Publishing, the song was written in the key of F mixolydian with a time signature of common time and a tempo of 130 beats per minute. The final recording and mixing took place at Gum Prod Studios in Paris. Some elements of the song were compared to the riff and piano opener in the song "Clocks" by Coldplay.


title: When Love Takes Over

text: After gaining Guetta's approval to write vocals for the song, Rowland took the instrumental version to London, where she wrote the bulk of the lyrics with Nervo (twins Miriam and Olivia Nervo) before sending the song back to Guetta, who added his own contributions with Frédéric Riesterer. Rowland uses a vocal range of F to D. Guetta said that "Kelly['s vocals] had this Whitney Houston vibe and nailed it." Critics agreed, noting that often her vocals were "powerful" and "grand". Others called them "a diva masterclass" and "emotionally charged". Fraser McAlpine from BBC Online compared Rowland's vocals to those by Madonna in "Ray of Light", for their "hands-in-the-air pop song" qualities.


title: When Love Takes Over

text: The song received critical acclaim from music critics for both Guetta's catchy production and Rowland's strong vocals. It was called the strongest and most commercial single choice from Guetta's album, "One Love". Critics noted that the song's opening piano riff was similar to that from Coldplay's hit single "Clocks" (2002). David Jefferes of Allmusic gave the song a thumbs up saying, calling "When Love Takes Over" one of the strongest songs from "One Love" and praising the "[addition of] the powerful voice of Kelly Rowland for one grand, uplifting floor-filler." Simon Vozick-Levinson of "Entertainment Weekly" agreed calling the song the "most memorable from the album" and recalling "Clocks" by Coldplay to make "a showstopper starring Kelly Rowland." Michael Hibbard of MusicOMH was impressed with both the production and vocal work on "When Love Takes Over". He pointed out the rarity in the amount of promotion given to the song, referring to "When Love Takes Over" being given "its own poster on the Tube." He also described the song as a "euphoric masterpiece" backed by "at least eight remixes " and the accompany vocals from "Destiny's Child songbird Kelly Rowland on hand for a diva masterclass." Also agreeing with these comments was Fraser McAlpine from BBC Online who awarded the song four out of five stars. "The genius ingredients include a thinly reworked go at the piano riff to 'Clocks' by Coldplay and handclaps ... And the fairy dust is...well...it's your standard dance-pop production, actually." However he noted that the production was "tastefully done to make sure that the good bits are not spoilt". Other elements of the song such as the "bed of synthistrings, a skippy beat, a breakdown, some riffing glassy electronics and a dramatic, cinematic bottom end drone" were praised. McAlpine also praised Rowland's appearance on the track, commenting who she sounded "entirely unlike herself, so that even SHE is all buffed up and shiny." He described the marriage of Rowland's vocals and Guetta's production by stating that "[Rowland's] got a spiralling, sky-scraping melody to sing too."


title: When Love Takes Over

text: Erin Martin of "PopMatters" said that "When Love Takes Over" had euphoric properties. Martin said the song was "a classic, triumphant dance number, and Rowland's powerhouse vocals ensure that this song has anthemic potential for years to come. This song just feels good to listen to". She also noted that the song was central to the concept and "love-spreading message [that] Guetta delivers on the album as a whole." David Balls of Digital Spy agreed with the song's anthem credentials. "[It] is further evidence that Rowland may no longer be resigned to living in Beyoncé [Knowles'] shadow. Fusing classic dance beats with a heady, emotionally charged vocal, it's a world away from the mid-tempo R&B numbers with which she started her solo career. In fact, this packs a punch from the very first listen, meaning it could well become one of the summer anthems of 2009." However, Mikael Wood of the "Los Angeles Times" was less impressed than the other critics, simply noting the song as "a cheesy synthpop makeover of Coldplay's 'Clocks'." Wood did however state that it was among Guetta's best work and was an example of when the DJ is "most commercial".


title: When Love Takes Over

text: The song was nominated for the Best Dance Recording award at the 52nd Grammy Awards ceremony. It lost out to "Poker Face" by Lady Gaga. The song's Electro Extended Remix was successful at the ceremony, winning Guetta his first Grammy Award for the Best Remixed Recording, Non-Classical. In 2013, "Billboard" named "When Love Takes Over" their number one dance-pop collaboration of all time.


title: When Love Takes Over

text: In Guetta's native France, "When Love Takes Over" debuted on the French Digital Chart at number 14 on 25 April 2009 before subsequently peaking at number three on 18 July 2009. On the French Singles Chart, it debuted and peaked at number two. In August 2009, Guetta had two simultaneous top 10 singles on the chart, the other being "Sexy Bitch" featuring Akon. Following is strong run on the charts the Syndicat National de l'Édition Phonographique (SNEP) awarded the single a Gold certification for selling 150,000+ copies. In Rowland's native country of the United States the single was successful, topping both the Hot Dance Airplay and Hot Dance Club Songs charts, as well as reaching number 76 on the "Billboard" Hot 100. This became Guetta's highest Hot 100 chart position at the time. It was Rowland's highest Hot 100 Chart entry since her feature of Trina's 2005 single, "Here We Go". "When Love Takes Over" ranked at number one on the Best of 2009 Dance Club Songs chart and number thirty-three on the End of Decade (2000–2009) Dance Club Songs Chart. "When Loves Takes Over" is one of the most successful songs on the top of the Türkiye Top 20 chart where it received airplay for 10 consecutive weeks.


title: When Love Takes Over

text: "When Love Takes Over" also achieved success in Europe, topping charts in Belgium (Wallonia), Czech Republic, Hungary, Ireland, Italy, Slovakia, Switzerland and the United Kingdom. It also reached the top 10 in most other regions apart from Brasil Canada and the United States. By the end of 2009 it reached the top 30 on most year-end charts, most notably reaching number two in Switzlerand, number five in Belgium (Wallonia), and six on the European Hot 100. It was certified Platinum in nine countries.


title: When Love Takes Over

text: In the United Kingdom, Guetta and Rowland's original version debuted at number seven on the UK Singles Chart, having sold 25,000 copies. The following week Guetta's version peaked at number one, beating his previous best chart peak of number three with 2007's "Love Don't Let Me Go (Walking Away)". It gave Rowland her second number one single in Britain, the first being "Dilemma" alongside Nelly in October 2002. "When Love Takes Over" was awarded a double Platinum certification by the British Phonographic Industry in September 2022 for sales and stream of over 1,200,000 units. On The Official Charts Company's official countdown of the Top 100 British Downloads of all time, "When Love Takes Over" ranks at number 58, marking Rowland's only entry on the chart. However it is Guetta's second entry on the chart, behind "Sexy Bitch" (with Akon) which charted at number 27. In total, the single has sold over 5.5 million copies worldwide.


title: When Love Takes Over

text: The music video was filmed on 19 May 2009 at Venice Beach, Los Angeles, directed by Jonas Åkerlund. Guetta revealed that the video's story and concept were designed to mimic the story behind the song's creation. He said, "you see Kelly doing her thing and then me on the other side doing mine. Eventually we come together just like how we recorded the song. It's all about sharing the love from this record and making a big party". These reflections and more behind the scenes footage were revealed in the video clip "Making of When Love Takes Over" which was uploaded to Guetta's official YouTube channel on 1 June 2009. The music video itself premiered on 8 June 2009 on Guetta's YouTube channel. The video premiered after the European and United States digital release but just before the single's UK digital release on 10 June 2009.


title: When Love Takes Over

text: The video focuses on Rowland walking through the streets of Venice Beach while Guetta gathers his DJ equipment and pushes it towards the beach. Through the video a number of street performers join the gathering crowd, including a motocross bicycler, a skateboarder, and a BBoy Cloud. The last scene, sees Rowland and Guetta unite on the beach for a late night party which sees the duo performing together. Capital FM described the video as "lots of shots of people having fun in the sun". Melinda Newman from Hitfix praised Rowland's role in the clip saying that Some criticism did follow the video. Capital FM radio station felt that Guetta's appearance in the clip was slightly disappointing. "Guetta looks a bit like a binman pushing his gear round the streets in some of the earlier shots in the video". Newman said that the video's director, Jonas Åkerlund, had removed something from the song. "The video could have built on the great beat that builds within the song and the feeling of abandon that falling in love can bring you, but, instead, we get a telegenic couple making out who seem to drop in from nowhere."


title: When Love Takes Over

text: Guetta premiered the completed version of "When Love Takes Over" on 23 March 2009 at the Ultra Music Festival. Promotion of the single began in the UK with an acoustic performance of the single at the BBC Radio 1 Live Lounge on 10 May 2009 and then again on UK daytime show, "This Morning", on 18 June 2009. They also appeared at the Miss Universe 2009 contest in the Bahamas, where the duo performed the song live for the "Evening Gown" competition. Another major part of the promotion included appearances at the Loop Live 2009 music festival in Sofia, Bulgaria and Rowland's appeared at the TAO Night Club in Las Vegas, where she hosted celebrations for "When Love Takes Over" reaching number one around the world. The duo returned to the UK to perform at Orange Rockcorps at London's Royal Albert Hall in September 2009, before performing at the 2009 MTV Latin America Music Video Awards on 15 October 2010. It was used by US TV channel, Bravo, during an internal advertising campaign.


title: When Love Takes Over

text: British dance music artist Airi L released a bootleg version of the song 9 May 2009, several days before the Guetta and Rowland version was due to be released. EMI Music called Airi L's version "inferior" and decided to combat her cover by releasing Guetta's version on 11 June 2009 in the UK, earlier than originally planned. The cover debuted and peaked at number 22, selling 12,000 copies whilst Guetta and Rowland's version debuted at number seven with 25,000 copies. According to Yahoo! Music's James Masterton, Rowland's version would have debuted at a higher place had it not been for the "bootleg cover". He said the single had to be rush released "when not one but two spoiler (and indeed near-identical) cover versions started to race up the iTunes rankings and threatened to have a negatively impact on the 'official' version." The following week Guetta and Rowland's version would debut at number one.


title: When Love Takes Over

text: British singer-songwriter, Pixie Lott, covered the song for the re-issue of her debut album, "Turn It Up". Then in the second week of October 2010, the song was covered twice by contestants on "The X Factor". Matt Cardle performed his version on the opening show of the seventh series of the UK version, while Hayley Teal sang a version on the second series of the Australian version. Following Cardle's performance, "When Love Takes Over" jumped twelve places on UK Dance Chart, to number seventeen.


title: When Love Takes Over

text: Rowland told MTV that "working with David is amazing. We have a great relationship, it's so effortless. He's such a talented individual. But most importantly he's such a down to earth, nice guy and I really enjoy working with him. We have good musical chemistry together." Guetta told "Billboard" that "the track with Kelly has made him experiment with a more American urban influence. Musically, it's pure pop with a lot of detail." Additionally British singer Cheryl Cole (of Girls Aloud) credited "When Love Takes Over" for inspiring her taste and preference in dance music, which in turn influenced her second solo single "3 Words" (featuring will.i.am).


title: When Love Takes Over

text: The track was also featured on the fictional radio station "Vladivostok FM" and fictional nightclub "Bahama Mamas" on the soundtrack of the video game "". but it was removed due of Expiring license song on 10th Anniversary of Grand Theft Auto IV in April 2018.


title: When Love Takes Over

text: Later in 2010 when recording her third album, "Here I Am" (2011), Rowland credited both Guetta and the song for inspiring her to pursue a new sound. Rowland relates: "I spent about a year of my life in Europe really listening to a whole bunch of Europeans DJs and hearing dance music a lot on the radio and really loving it. 'When Love Takes Over' it was my first introduction to dance music [and] it was a whole other monster. It's really a culture and I love it." In 2010, following the success of "When Love Takes Over" and the duo's musical chemistry, Guetta was asked to work on Rowland's third studio album. He co-produced a couple of the songs including the album's first single, "Commander".


title: When Love Takes Over

text: Later in 2013, Kerri Mason and Zel McCarthy compiled a list of the top-ten dance-pop collaborations of all time for "Billboard" magazine. In their article, the critics named "When Love Takes Over" at the top of the list, saying that the song "repositioned Kelly Rowland as a solo vocalist with chops on her own." The duo also commented that subsequent collaborations between Guetta and Rowland were not as good as "When Love Takes Over", also adding that Rowland's vocal was firmly part of "dance music history" and were an indication of the growing electronic dance music (EDM) trend emerging in America at the time.


title: When Love Takes Over

text: In a 2020 feature titled "Should Have Been Bigger" on the website "Idolator", Mike Wass was reflecting on the underperformance of Rowland's follow up dance song "Commander" and noted that "When Love Take Over" firmly established Rowland as the "newly crowned Queen of Clubs in 2010".


title: Jorts (cat)

text: Jorts is an orange tabby cat that initially rose to fame in December 2021 for a viral Reddit thread discussing workplace attempts to train him that included him being smeared with margarine. A Twitter account personifying Jorts (and his fellow workplace cat Jean) as a supporter of organized labor has since received recognition.


title: Jorts (cat)

text: Jorts and Jean are two cats that live in an office space. Jorts cannot perform certain daily tasks such as opening doors, whereas Jean is described as a comparatively smart cat who helps Jorts.


title: Jorts (cat)

text: To prevent Jorts from being trapped behind doors, staff in the office space purchased a doorstop. Another staff member, who is given the alias "Pam," objected to this. Pam then compiled a list of training tasks for Jorts in the office, which was met with disagreement by other staff, who said that Jorts would not learn due to his low intellect. When a member of the office staff asserted that "you can't expect Jean's tortoiseshell smarts from orange cat Jorts," Pam stated that this was "perpetuating ethnic stereotypes by saying orange cats are dumb." Pam reportedly requested racial sensitivity training before agreeing to return to work. "Jorts", "Jean", and "Pam" were stated to be pseudonyms to preserve the anonymity of the workforce. Later, Jorts' Twitter account confirmed that Jorts and Jean were the cats' real names.


title: Jorts (cat)

text: The events led to the involvement of human resources management at the workplace. Discussions with human resources led to the discovery that Pam had been applying margarine to Jorts in an attempt to motivate him to groom himself more effectively. These events were anonymously posted in December 2021 to "Am I the Asshole" on Reddit, resulting in extensive public awareness about them.


title: Jorts (cat)

text: The popularity of the Reddit thread discussing these office events led to the creation of a Twitter account that shares updates about the activities of Jorts (and Jean). As of March 2022 the Twitter account had 170,000 followers.


title: Jorts (cat)

text: The Twitter account regularly posts pro-trade union messages, winning praise from cartoonist Tom Tomorrow, Senator Elizabeth Warren, and labor movement figures, including Liz Shuler, Lorena Gonzalez Fletcher, and the United Farm Workers. Jorts' labor advocacy has been compared to Scabby the Rat, the giant inflatable rodents that have been used to draw public attention to strikes for decades. Other messages from the Twitter account promote public investment in education and public health. In addition, the account advocates for inclusive technology and policies, such as the alt attribute used to display text in lieu of an image for screen reader software, and protection of transgender people.


title: Jorts (cat)

text: Public requests to create Jorts merchandise were rejected by the Twitter account. Instead, the account has encouraged followers to adopt cats from pet shelters, donate to a strike fund, or customize existing clothing with the phrase "I LIKE JORTS THE CAT".


title: Jorts (cat)

text: The Twitter account criticized California Governor Gavin Newsom for not signing AB2183, United Farm Workers-supported legislation that would allow agricultural workers, generally migrant workers, to choose their voting method in labor elections to choose to be represented by a union and to elect union leaders.


title: Jorts (cat)

text: In January 2022, critique of Jorts' intelligence and speculative statements by office staff linking his apparent poor life skills to the color of his coat, prompted rejection of the hypothesis that coat colors were causally linked to cat intelligence.


title: Jorts (cat)

text: A mod of the video game "Stardew Valley" was made featuring Jorts and fellow office cat Jean as non-player characters. In the game both cats attempt to get workers to unionize.


title: Hero City of Ukraine

text: Hero City of Ukraine () is a Ukrainian honorary title awarded for outstanding heroism during the 2022 Russian invasion of Ukraine. It was awarded to ten cities in March 2022, in addition to four already-named Hero Cities of the Soviet Union. This symbolic distinction for a city corresponds to the distinction of Hero of Ukraine awarded to individuals.


title: Hero City of Ukraine

text: During the Soviet era, twelve cities were awarded the title of Hero City, an honour awarded to cities whose residents showed outstanding resolve and courage in the Great Patriotic War. The honorary title is related to the Hero of the Soviet Union award, the highest distinction available in the Soviet Union. Four of these cities are located in what was the Ukrainian Soviet Socialist Republic, with the title awarded to the cities of Odessa, Sevastopol, Kyiv and Kerch. The status of these cities was inherited by the successor state of Ukraine. While all four of these cities lie within Ukraine's internationally recognised borders, the cities of Sevastopol and Kerch are de facto territories of the Republic of Crimea and the Federal City of Sevastopol, both of which are controlled by the Russian Federation following the Russian annexation of Crimea in 2014.


title: Hero City of Ukraine

text: The usage of the term "hero city" is dated to articles in "Pravda" as early as 1942. The first official usage of the title is dated to May 1, 1945, when Joseph Stalin issued his Supreme Commander Order No. 20 commanding to fire salutes in the "hero cities Leningrad, Stalingrad, Sevastopol, and Odessa." On June 22, 1961 (the 20th anniversary of the beginning of the Great Patriotic War) the term "Hero City" was applied to Kyiv in a "ukases" that awarded Kyiv the Order of Lenin and introduced the Medal "For the Defence of Kyiv".


title: Hero City of Ukraine

text: The award of Hero City of the Soviet Union was officially introduced on May 8, 1965, by the "ukase" of the Presidium of the Supreme Soviet of USSR, on the occasion of the 20th anniversary of the victory in the Great Patriotic War. In 1988 the issuance of the award was officially discontinued.


title: Hero City of Ukraine

text: The modern title of Hero City of Ukraine was introduced on March 6, 2022, by decree No. 111 of 2022 by President Volodymyr Zelenskyy following the 2022 Russian invasion of Ukraine. The award is related to the modern Ukrainian title of the Hero of Ukraine. In a public broadcast, Zelenskyy stated:


title: Hero City of Ukraine

text: In addition to renewing the status of Kyiv, Odesa, Sevastopol and Kerch, decree 111 also awarded the title to the cities of Chernihiv, Hostomel, Kharkiv, Kherson, Mariupol and Volnovakha.


title: Hero City of Ukraine

text: On March 25, 2022, Zelenskyy gave the title of Hero City to another 4 cities by decree No. 164/2022, namely: Bucha, Irpin, Okhtyrka and Mykolaiv.


title: Hero City of Ukraine

text: The Siege of Chernihiv was launched on February 24, 2022, by Russian Forces. According to the British Ministry of Defence, Russian forces had failed to capture the city and instead opted to bypass the city through an alternative route to Kyiv. Ukrainian officials reported that the Russian forces were heading towards the nearby towns of Sedniv and Semenivka. Ukrainian military forces reportedly captured significant numbers of Russian equipment and documents. The siege was relieved on March 31.


title: Hero City of Ukraine

text: The Battle of Antonov Airport began on February 24, 2022, during the 2022 Russian invasion of Ukraine. While initial assaults from Russian Airborne VDV units were repulsed by Ukrainian Forces, the airport eventually fell on February 25 following a second wave of forces. However, despite Russian control of the airport, Ukrainian forces continue to engage Russian units.


title: Hero City of Ukraine

text: The Antonov An-225 Mriya, the world's largest airplane, was at the airport at the time of the opening phase of the battle. It was initially confirmed to be intact by an Antonov pilot, despite the fighting. However, on February 27, Ukrainian officials reported that the Mriya had been destroyed by a Russian airstrike. On March 4, Russian state-owned television channel Channel One Russia aired footage showing that the Mriya had been destroyed. By April 2, the Russian army retreated and Hostomel was retaken by Ukrainian troops.


title: Hero City of Ukraine

text: The Battle of Kharkiv began on February 24 as part of Russia's Eastern Ukraine offensive. Kharkiv, located just 32 kilometres (20 mi) south of the Russia–Ukraine border and a predominately Russian-speaking city, is the second largest city in Ukraine and was considered a major target for the Russian offensive from the start. The stiff Ukrainian resistance, through, meant that the Russian advance to that city would later end in failure, and the battle ended on May 14 with all Russian forces withdrawn away from the city and towards the Russian border. The battle has been described by a Ukrainian presidential advisor as the "Stalingrad of the 21st century."


title: Hero City of Ukraine

text: The Battle of Kherson began on February 24, 2022, with Russian Ground units as well as Airborne Forces launching an attack from the Crimean Peninsula, crossing the Dnieper River and capturing the city itself on March 2, 2022. Kherson was the first major Ukrainian city captured by Russian forces in the 2022 Russian invasion of Ukraine. By 11 November, Russian forces withdrew from the city and Ukrainian troops hoisted the Ukrainian flag in the city. Paolo Gentiloni, EU Commissioner for the Economy, said commenting on a video on the liberation celebrations: "Kherson, the only capital occupied by the Russian invasion, has been liberated. So peace is closer."


title: Hero City of Ukraine

text: The Siege of Mariupol was a military action in Ukraine during the 2022 Russian invasion of Ukraine, when forces from Russia and the separatist Donetsk People's Republic engaged Ukrainian forces in the city of Mariupol. The battle, which was part of the Russian Eastern Ukraine offensive, started on February 24, 2022, and concluded on May 20, 2022, when Russia announced the remaining Ukrainian forces in Mariupol surrendered after they were ordered to cease fighting.


title: Hero City of Ukraine

text: The Battle of Volnovakha was initiated on February 25, 2022, by Russian and DPR forces as part of the Eastern Ukraine offensive of the 2022 invasion of Ukraine. The battle resulted in the capture of the city on March 12, 2022, by DPR forces. The governor of Donetsk Oblast, Pavlo Kyrylenko stated that the city had been largely destroyed. The Associated Press independently confirmed that the town had been captured by pro-Russian separatists and much of it had been destroyed in the fighting.


title: Hero City of Ukraine

text: The Battle of Irpin began on February 27, 2022, with Russian Ground units entering the city. They captured half of the city by March 14. The town was retaken by the UGF on March 28 after a month-long battle.


title: Hero City of Ukraine

text: The Battle of Bucha began on February 27, 2022, with Russian Ground Forces units entering the city. The town was retaken by Ukrainian forces on March 31 also after another month-long battle. Following that evidences of mass graves dug in the town soon revealed the fact that during the battle, there were Russian Ground Forces-involved war crimes against the town's population and personnel of the Armed Forces, known as the Bucha massacre, perpetrated by personnel of RGF units stationed there. The revelations of the murders of the town's residents during the Russian occupation of the town by RGF servicemen before its liberation by the Armed Forces of Ukraine shocked the international community.


title: Hero City of Ukraine

text: The Battle of Okhtyrka began on February 24, 2022, with Russian Ground units trying to enter the city. By 26 March, Russian forces withdrew from the city, but bombardments continue.


title: Hero City of Ukraine

text: The Battle of Mykolaiv began on February 26, 2022, with Russian Ground units trying to enter the city. On 8 April, Russian forces were repulsed from the city, but bombardments continue.


title: Let's Go Brandon (song)

text: "Let's Go Brandon" is a protest song released as a single by American rapper Loza Alexander. It criticizes Joe Biden, president of the United States, and the mainstream media. Its title, which is repeated in the chorus, is based on "Let's Go Brandon", a political slogan and meme that became popular as a minced oath for "Fuck Joe Biden". It debuted at number 45 on the US "Billboard" Hot 100 chart for the week ending October 30, 2021. It has since entered the top 40 of the Hot 100 chart, peaking at number 38.


title: Let's Go Brandon (song)

text: In the music video, Alexander is seen wearing a red "Make Music Great Again" hat in reference to the "Make America Great Again" campaign slogan Donald Trump used in his 2016 and 2020 presidential campaigns. The song heavily samples the spoken dialogue "Let's go, Brandon" by reporter Kelli Stavast as well as the "Fuck Joe Biden" chants, taken from a televised interview of driver Brandon Brown at the NASCAR Xfinity Series race Sparks 300 on October 2, 2021.


title: Helix pomatia

text: Helix pomatia, common names the Roman snail, Burgundy snail, or escargot, is a species of large, edible, air-breathing land snail, a pulmonate gastropod terrestrial mollusc in the family Helicidae. It is one of Europe's biggest species of land snail.


title: Helix pomatia

text: The shell is creamy white to light brownish, often with indistinct brown colour bands. The shell has five to six whorls. The aperture is large. The apertural margin is white and slightly reflected in adult snails. The umbilicus is narrow and partly covered by the reflected columellar margin.


title: Helix pomatia

text: In southeastern Europe, "H. pomatia" lives in forests, open habitats, gardens, and vineyards, especially along rivers, confined to calcareous substrate. In Central Europe, it occurs in open forests and shrubland on calcareous substrate. It prefers high humidity and lower temperatures, and needs loose soil for burrowing to hibernate and lay its eggs. It lives up to 2100 m above sea level in the Alps, but usually below 2000 m. In the south of England, it is restricted to undisturbed grassy or bushy wastelands, usually not in gardens; it has a low reproduction rate and low powers of dispersal.


title: Helix pomatia

text: Eggs are laid in June and July, in clutches of 40–65 eggs. The size of the egg is 5.5–6.5 mm or 8.6 × 7.2 mm. Juveniles hatch after three to four weeks, and may consume their siblings under unfavourable climate conditions. Maturity is reached after two to five years. The life span is up to 20 years, but snails die faster often because of drying in summer and freezing in winter. Ten-year-old individuals are probably not uncommon in natural populations. The maximum lifespan is 35 years.


title: Helix pomatia

text: During estivation or hibernation, "H. pomatia" is one of the few species that is capable of creating a calcareous epiphragm to seal the opening of its shell.


title: Helix pomatia

text: This species is listed in IUCN Red List, and in European Red List of Non-marine Molluscs as of least concern. "H. pomatia" is threatened by continuous habitat destructions and drainage, usually less threatened by commercial collections. Many unsuccessful attempts have been made to establish the species in various parts of England, Scotland, and Ireland; it only survived in natural habitats in southern England, and is threatened by intensive farming and habitat destruction. It is of lower concern in Switzerland and Austria, but many regions restrict commercial collecting.


title: Helix pomatia

text: The intestinal juice of "H. pomatia" contains large amounts of aryl, steroid, and glucosinolate sulfatase activities. These sulfatases have a broad specificity, so are commonly used as a hydrolyzing agent in analytical procedures such as chromatography to prepare the sample for analysis.


title: Helix pomatia

text: Nowadays, these snails are especially popular in French cuisine. In the English language, it is called by the French name "escargot" when used in cooking ("escargot" simply means snail).


title: Helix pomatia

text: Although this species is highly prized as a food, it is difficult to cultivate and rarely farmed commercially.


title: Siddhartha Jadhav

text: Siddhartha Ramchandra Jadhav (born 23 October 1981) is an Indian actor, entertainer and comedian from Sewri, Maharashtra. He has acted in television, Marathi and Hindi films. He has acted in several Bollywood movies like "Golmaal" and "Golmaal Returns" but he asserts that his first love is Marathi film, TV and stage. Jadhav also acted in a Bengali movie named Ami Subhash Bolchi having Mithun chakraborty as the lead. Referred to in the media as the "Comedy King of Marathi Cinema".


title: Siddhartha Jadhav

text: He made his acting debut from DD Sahyadri's Ek Shunya Baburao. Then he was also seen in supporting roles in Hasa Chakatfu, Ghadlay Bighadlay, Apan Yanna Pahilat Ka?, etc. In 2004, he made his film debut from Kedar Shinde's Aga Bai Arrecha!. Then he received offer of movie. He made his bollywood debut in 2006 in Rohit Shetty's movie as Sattu Supari. In the same year, he did a play named Lochya Zala Re. Later he has done many notable films including Bakula Namdeo Ghotale, Saade Maade Teen, De Dhakka, Me Shivajiraje Bhosale Boltoy, many more. He won the Best Actor in a Supporting Role award in Maharashtra Rajyapal Chitrapat Purasakar in 2008 for the movie De Dhakka. He also made his debut in Bengali movie Ami Shubhash Bolchi. He was a contestant on Sony TV's Comedy Circus Ka Naya Daur, Kahani Comedy Circus Ki, Comedy Circus Ke Ajoobe. He also appeared in Johnny Aala Re, Baa Bahoo Aur Baby, Sarabhai vs Sarabhai and Comedy Nights Bachao. He also was a contestant of Nach Baliye 8 with his wife. He also judge many reality shows including Maharashtracha Dancing Superstar, Dance Maharashtra Dance. In 2016, he did a play named Gela Udat. He also part of Simmba as Ganesh Tawde. In 2021, he was seen in Radhe as Ranjeet Mawani.


title: Pepsi Blue

text: Pepsi Blue is a berry-flavored soft drink produced by PepsiCo. It was marketed as a "Berry Cola Fusion", and was sold from 2002 to 2004 in the United States and Canada. It remains available in international markets since discontinuation in the United States. It was reintroduced in the United States and Canada for a limited time beginning in May 2021.


title: Pepsi Blue

text: Pepsi Blue was launched in mid-2002 and discontinued in Canada and the United States in 2004, although it remains available in the Philippines. Its flavor is the result of taste-testing more than 100 flavors across 9 months. It was designed to attract teenage consumers with its bright blue color and unique flavor. The flavor was described by Pepsi only as "berry" and described by customers as similar to blueberries or raspberries, or similar to cotton candy with a berry-like aftertaste and much more sugary and syrupy than regular cola. It was tinted using Blue 1, a highly controversial coloring agent banned in numerous countries at the time. The move to make a brightly colored version of the flagship Pepsi brand was spurred by 2001's introduction of Mountain Dew Code Red, which had bumped PepsiCo's Mountain Dew division sales up 6%, and another source noted that "Pepsi Blue attempted to imitate the lurid hues of Gatorade".


title: Pepsi Blue

text: Although heavily promoted by PepsiCo, including advertisements by pop singer Britney Spears and the bands Sev and Papa Roach, as well as in the movies "The Italian Job" and "", it is widely seen as a commercial flop as sales remained low. Even with the failure of Pepsi Blue, PepsiCo still managed to post double-digit growth.


title: Pepsi Blue

text: Pepsi Blue was promoted after New York Mets games during mid 2002, where the color blue was one of the symbolic colors of the team. Other promotions included handing out free bottles from a Pepsi Blue-themed VW New Beetle at popular shopping centers around the country. Jolt Cola makes a similar beverage called Jolt Blue CX2; a blue raspberry soda in a battery-shaped metal can with a flavor often described as like that of cotton candy. Pepsi Blue was also endorsed by Adam Vinatieri, the then New England Patriots kicker, who helped the Patriots win the Super Bowl in 2002.


title: Pepsi Blue

text: In Manila, Philippines, Pepsi Blue was sold for a limited time in late 2002 to commemorate the championship of the Ateneo Blue Eagles in the UAAP. In 2011, Pepsi released Pepsi Blue in Metro Manila, Philippines as "Pepsi Pinas". After the "Pepsi Pinas" was successful, it became a permanent product and renamed as Pepsi Blue. It is rare in bottles and cans but common at 7-Eleven fountains there. In India, Pepsi Blue was launched during the 2003 Cricket World Cup supporting the India national cricket team, which has blue jerseys.


title: Winsor McCay

text: Zenas Winsor McCay ( – July 26, 1934) was an American cartoonist and animator. He is best known for the comic strip "Little Nemo" (1905–14; 1924–26) and the animated film "Gertie the Dinosaur" (1914). For contractual reasons, he worked under the pen name Silas on the comic strip "Dream of the Rarebit Fiend".


title: Winsor McCay

text: From a young age, McCay was a quick, prolific, and technically dextrous artist. He started his professional career making posters and performing for dime museums, and in 1898 began illustrating newspapers and magazines. In 1903 he joined the "New York Herald", where he created popular comic strips such as "Little Sammy Sneeze" and "Dream of the Rarebit Fiend". In 1905 his signature strip "Little Nemo in Slumberland" debuted—a fantasy strip in an Art Nouveau style about a young boy and his adventurous dreams. The strip demonstrated McCay's strong graphic sense and mastery of color and linear perspective. McCay experimented with the formal elements of the comic strip page, arranging and sizing panels to increase impact and enhance the narrative. McCay also produced numerous detailed editorial cartoons and was a popular performer of chalk talks on the vaudeville circuit.


title: Winsor McCay

text: McCay was an early animation pioneer; between 1911 and 1921 he self-financed and animated ten films, some of which survive only as fragments. The first three served in his vaudeville act; "Gertie the Dinosaur" was an interactive routine in which McCay appeared to give orders to a trained dinosaur. McCay and his assistants worked for twenty-two months on his most ambitious film, "The Sinking of the Lusitania" (1918), a patriotic recreation of the German torpedoing in 1915 of the "RMS Lusitania". "Lusitania" did not enjoy as much commercial success as the earlier films, and McCay's later movies attracted little attention. His animation, vaudeville, and comic strip work was gradually curtailed as newspaper magnate William Randolph Hearst, his employer since 1911, expected McCay to devote his energies to editorial illustrations.


title: Winsor McCay

text: In his drawing, McCay made bold, prodigious use of linear perspective, particularly in detailed architecture and cityscapes. He textured his editorial cartoons with copious fine hatching, and made color a central element in "Little Nemo". His comic strip work has influenced generations of cartoonists and illustrators. The technical level of McCay's animation—its naturalism, smoothness, and scale—was unmatched until the work of Fleischer Studios in the late 1920s, followed by Walt Disney's feature films in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that were to become standard.


title: Winsor McCay

text: McCay's paternal grandparents, farmers Donald and Christiana , immigrated from Scotland to Upper Canada in the mid-1830s. McCay's father, Robert (1840 – March 21, 1915) was born in Woodstock, Upper Canada, the third of six children. McCay's maternal grandparents, Peter and Mary Murray, were also Scottish immigrants, and settled as farmers in East Zorra in Upper Canada. Their daughter Janet was the third of nine children.


title: Winsor McCay

text: Robert was a member of King Solomon's No. 43 Masonic Lodge in Woodstock. In 1862, Robert first traveled to the U.S. Robert and the twenty-five-year-old Janet married on January 8, 1866, at Woodstock's Methodist Episcopal Church. The couple moved across the Canada–US border later in the year and settled in Spring Lake, Michigan, on the eastern coast of Lake Michigan. Robert was employed by American entrepreneur Zenas G. Winsor (1814–1890), with whom he had made contact in Canada.


title: Winsor McCay

text: Records of McCay's birth are not extant. He stated in an interview in 1910 that he was born in 1869, and this is the year listed on his grave marker. in life, he told friends he was born September 26, 1871, in Spring Lake, and they published this information in a magazine. Michigan census records from 1870 and 1880 list a Zenas W. , who was born in Canada in 1867, and others have speculated 1866 or 1868 based on evidence on how the censuses were carried out. No Canadian birth record has been found, and a fire in Spring Lake in May 1893 could have destroyed any American birth record he may have had. His obituary in the "New York Herald Tribune" stated, "not even Mr. McCay knew his exact age".


title: Winsor McCay

text: The McCays had two more children: Arthur in 1868, and Mae in 1876. Both were born in Michigan. Robert worked as a teamster under Winsor, and by May 1870 had saved enough money to buy a parcel of land. From 1879 to 1881, he worked as a retail grocer. In 1885 he moved the family to Stanton, Michigan, and expanded his land holdings; he was successful in real estate with his brother Hugh, who moved from in 1887.


title: Winsor McCay

text: By 1905, Robert was also a notary public. He had settled in Edmore, Michigan, and by this point had changed the spelling of his surname from "McKay" to "McCay". His son related this story about the change:


title: Winsor McCay

text: McCay came to be known by his middle name, Winsor. His drawing skills emerged early. According to a story told within the family, McCay made his first drawing in the aftermath of one of the many fires that hit Spring Lake: he picked up a nail and etched the scene of the fire in the frost of a windowpane. Drawing became obsessive for him; he drew anything he saw, and the level of detail and accuracy in his drawing was noted at a young age. He was able to draw accurately from memory even things he had never before drawn—what McCay called "memory sketching". His father thought little of his son's artistic talents, though, and had him sent to Cleary Business College in Ypsilanti, Michigan. McCay rarely attended classes. He bragged about how he would catch the train to Detroit to show off his drawing skills at the Wonderland and Eden Musee dime museum. He drew portraits there for 25 apiece, of which he kept half.


title: Winsor McCay

text: McCay thrived on the attention he received, and his talents soon drew wider attention. John Goodison, a geography and drawing professor at Michigan State Normal School, offered to teach art to McCay privately, and McCay eagerly accepted. The lessons were practical and focused on using observation to learn to draw in geometrical perspective. Goodison, a former glass stainer, influenced McCay's use of color. McCay learned how to draw quickly using drills on a blackboard, and gained an appreciation for master artists of the past.


title: Winsor McCay

text: McCay spent two years in Chicago after making his way there sometime in 1889 with his friend Mort Touvers. He traded art techniques there with painter Jules Guérin, whom he met at a boarding house in which he lodged, and did artwork for posters and pamphlets at the National Printing and Engraving Company.


title: Winsor McCay

text: In 1891, McCay moved to Cincinnati, where he did more dime museum work while living in a boarding house near his workplace. He spent nine years making posters and other advertisements for the Kohl & Middleton Dime Museum, and later Heck and Avery's Family Theater (1896), Avery's New Dime Museum (1898), and Will S. Heck's Wonder World and Theater (1899) on Vine Street. At the museum in 1896, a demonstration of Thomas Edison's Vitascope was given, which was likely McCay's first exposure to the young medium of film. He also did work during this time for Ph. Morton's printing and lithography company. McCay's ability to draw quickly with great accuracy drew crowds when he painted advertisements in public.


title: Winsor McCay

text: His first year at Kohl & Middleton, McCay was smitten when Maude Leonore Dufour walked into the dime museum with her sister while he was painting. He rushed to his studio to change into a custom-tailored suit, returned, and introduced himself to the fourteen-year-old Maude. Soon they eloped in Covington, Kentucky.


title: Winsor McCay

text: McCay began working on the side for the "Cincinnati Commercial Tribune", where he learned to draw with a dip pen under the tutelage of "Commercial Tribune" art room manager Joseph Alexander. In 1898, he accepted a full-time position there. His many illustrations for the paper displayed his bold use of perspective and mastery of hatchwork. Soon after, he began freelancing for the humor magazine "Life" as well.


title: Winsor McCay

text: In 1900, McCay accepted a position with a higher salary at "The Cincinnati Enquirer". There, he produced a prolific number of drawings, did some reporting, and became head of the art department. In his drawings, he began using line thickness to indicate depth, and used thick lines to surround his characters in an Art Nouveau-inspired style that became a trademark of his work.


title: Winsor McCay

text: From January until November 1903, McCay drew an ongoing proto-comic strip for the "Enquirer" based on poems written by George Randolph Chester called "A Tale of the Jungle Imps by Felix Fiddle". Before the last two installments appeared in print, McCay had moved to New York City to work for James Gordon Bennett, Jr.'s "New York Herald", at first doing illustrations and editorial cartoons. He worked alongside comic strip pioneer Richard F. Outcault, who was doing the "Buster Brown" strip at the "Herald". A rivalry built up between the two cartoonists which resulted in Outcault leaving the "Herald" to return to his previous employer, William Randolph Hearst at "The New York Journal".


title: Winsor McCay

text: McCay's first continuing comic strip, "Mr. Goodenough", debuted in the "New York Evening Telegram" on January 21, 1904. The formula for the strip was that a sedentary millionaire would seek ways to become more active, with embarrassing results. "Sister's Little Sister's Beau", McCay's first strip with a child protagonist, lasted one installment that April, and his first color strip, "Phurious Phinish of Phoolish Philipe's Phunny Phrolics", appeared in the "Herald"s Sunday supplement that May.


title: Winsor McCay

text: McCay's first popular comic strip was "Little Sammy Sneeze". The strip starred a young boy whose sneeze would build panel by panel until it was released, with explosively disastrous results, for which he was usually punished or chased away by those affected. The strip debuted in July 1904 and ran until December 1906.


title: Winsor McCay

text: McCay's longest-running strip, "Dream of the Rarebit Fiend", first appeared in "The Evening Telegram" in September 1904. The strip was aimed at an adult audience, and had no recurring characters. The characters that appeared in the strip would have fantastic, sometimes terrifying dreams, only to wake up in the last panel, cursing the Welsh rarebit they had eaten the night before, which they blamed for bringing on the dream. "Rarebit Fiend" was so popular that a book collection appeared in 1905 from publisher Frederick A. Stokes. It was adapted to film by Edwin S. Porter, and plans were made for a "comic opera or musical extravaganza" for stage that failed to materialize. McCay signed the "Rarebit Fiend" strips with the pen name "Silas", as his contract required that he not use his real name for "Evening Telegram" work.


title: Winsor McCay

text: The McCays had been living in Manhattan, close to the "Herald" offices; before 1905 they moved to Sheepshead Bay in Brooklyn, New York, a seaside resort on Long Island. It was an hour commute from the "Herald" offices, but they believed it to be a better place to raise children. They lived at a number of addresses before settling into a three-story house at 1901 Voorhies Avenue, where McCay resided for the rest of his life. As his reputation grew, his employers allowed him to work from his home studio more often.


title: Winsor McCay

text: While still turning out illustrations and editorial cartoons daily, McCay began three more continuing strips in 1905. In January, he began "The Story of Hungry Henrietta", in which the child protagonist visibly ages week by week, and eats compulsively in lieu of the love she craves from her parents. "A Pilgrim's Progress by Mister Bunion" was another "Silas" strip for "The Evening Telegram", which ran from June 1905 until May 1909. Mr. Bunion spent each strip unsuccessfully scheming to rid himself of his suitcase, labeled "Dull Care".


title: Winsor McCay

text: McCay got "an idea from the "Rarebit Fiend" to please the little folk", and in October 1905 the full-page Sunday strip "Little Nemo in Slumberland" debuted in the "Herald". Considered McCay's masterpiece, its child protagonist had fabulous dreams, interrupted each week with his awakening in the final panel. Nemo's appearance was based on McCay's son Robert. McCay experimented with formal aspects of the comics page: he made inventive use of timing and pacing, the size and shape of panels, perspective, and architectural and other details. The "Herald" was considered to have the highest quality color printing of any newspaper at the time; its printing staff used the Ben Day process for color, and McCay annotated the "Nemo" pages with precise color schemes for the printers.


title: Winsor McCay

text: Impresario F. F. Proctor approached McCay in April 1906 to perform chalk talks for the vaudeville circuit. For $500 per week he was to draw twenty-five sketches in fifteen minutes before live audiences, as a pit band played a piece called "Dream of the Rarebit Fiend". In his "The Seven Ages of Man" routine, he drew two faces and progressively aged them. His first performance was on June 11, 1906, in a show that also featured entertainer W. C. Fields. It was a success, and McCay toured with the show throughout 1907, while managing to complete his comic strip and illustration work on time, often working in hotel rooms or backstage.


title: Winsor McCay

text: As early as 1905, several abortive attempts were made to produce a stage version of "Little Nemo". In mid-1907, Marcus Klaw and A. L. Erlanger announced they would put on an extravagant "Little Nemo" show for an unprecedented $100,000, with a score by Victor Herbert and lyrics by Harry B. Smith. It starred midget Gabriel Weigel as Nemo, Joseph Cawthorn as Dr. Pill, and Billy B. Van as Flip. Reviews were positive; it played to sold-out houses in New York and toured for two seasons. McCay brought his vaudeville act to each city where "Little Nemo" played. When the Keith circuit refused McCay to perform in Boston without a new act, McCay switched to the William Morris circuit, with a $100-a-week raise. In several cities, McCay brought his son, who as publicity sat on a small throne dressed as Nemo.


title: Winsor McCay

text: As part of an improvised story, Cawthorn introduced a mythical creature he called a "Whiffenpoof". The word caught on with the public, and became the name of a and a singing group. Despite the show's success, it failed to make back its investment due to its enormous expenses and came to an end in December 1910.


title: Winsor McCay

text: McCay displayed his social awareness in the last strip he created for the "Herald", "Poor Jake". Its title character was a silent laborer who worked thanklessly for a Colonel and Mrs. Stall, who exploit him. The strip ran from 1909 until spring 1911.


title: Winsor McCay

text: McCay was approached in early 1910 to bring his vaudeville show to Europe. McCay requested the "Herald"s permission, but the plans never materialized. His show stayed within the Eastern United States until he ceased performing in 1917. Biographer John Canemaker assumed McCay's request to tour Europe was turned down, and that the refusal added to McCay's growing frustration with the "Herald". A distrust of big business became pronounced in McCay's work around this time, including a story arc in "Little Nemo" in which the characters visit a Mars oppressed by a greedy business magnate.


title: Winsor McCay

text: McCay said he was most proud of his animation work. He completed ten animated films between 1911 and 1921, and three more were planned.


title: Winsor McCay

text: Inspired by the flip books his son brought home, McCay "came to see the possibility of making moving pictures" of his cartoons. He claimed to be "the first man in the world to make animated cartoons", though he was preceded by others such as James Stuart Blackton and Émile Cohl. McCay made four thousand drawings on rice paper for his first animated short, which starred his "Little Nemo" characters. They were shot at Vitagraph Studios under Blackton's supervision. Live-action sequences were added to the beginning and end of the film, in which McCay bets his newspaper colleagues that in one month he can make four thousand drawings that move. Among those featured in these sequences were cartoonist George McManus and actor John Bunny. "Little Nemo" debuted in movie theatres on April 8, 1911, and four days later McCay began using it as part of his vaudeville act. Its good reception motivated him to hand-color each of the frames of the originally black-and-white animation.


title: Winsor McCay

text: McCay had become frustrated with the "Herald", partly over money issues and partly because he perceived a lack of freedom. He accepted a higher-paying offer in spring 1911 from Hearst at the "New York American" and took "Little Nemo"s characters with him. The "Herald" held the strip's copyright, but McCay won a lawsuit that allowed him to continue using the characters, which he did under the title "In the Land of Wonderful Dreams". The "Herald" was unsuccessful in finding another cartoonist to continue the original strip.


title: Winsor McCay

text: McCay began work that May on his next animated film, "How a Mosquito Operates", based on a "Rarebit Fiend" episode from June 5, 1909, in which a man in bed tries in vain to defend himself from a giant mosquito, which drinks itself so full that it explodes. The animation is naturalistic—rather than expanding like a balloon, with each sip of blood the mosquito's abdomen swells according to its body structure. The film was completed in January 1912, and McCay toured with it that spring and summer.


title: Winsor McCay

text: "Gertie the Dinosaur" debuted in February 1914 as part of McCay's vaudeville act. McCay introduced Gertie as "the only dinosaur in captivity", and commanded the animated beast with a whip. Gertie seemed to obey McCay, bowing to the audience, and eating a tree and a boulder, though she had a will of her own and sometimes rebelled. When McCay admonished her, she cried. McCay consoled her by throwing her an apple—in reality pocketing the cardboard prop apple as a cartoon one simultaneously appeared on screen. In the finale, McCay walked offstage, reappeared in animated form in the film, and had Gertie carry him away. Producer William Fox's Box Office Attractions obtained distribution rights to a modified version of "Gertie" that could be played in regular movie theaters. This version was prefaced with a live-action sequence and replaced the interactive portions with intertitles.


title: Winsor McCay

text: "Gertie" was McCay's first piece of animation with detailed backgrounds. McCay drew the foreground characters, while art student neighbor John A. Fitzsimmons traced the backgrounds. McCay pioneered the "McCay Split System" of inbetweening, in which major poses or positions were drawn first, and the intervening frames drawn after. This relieved tedium and improved the timing of the film's actions. McCay refused to patent his system, and was sued in 1914 by animator John Randolph Bray, who took advantage of McCay's lapse by patenting many of McCay's techniques, including the use of registration marks, tracing paper, the Mutoscope action viewer, and the cycling of drawings to create repetitive action. The lawsuit was unsuccessful, and there is evidence that McCay may have countersued—he thereafter received royalty payments from Bray for licensing the techniques.


title: Winsor McCay

text: Hearst was disappointed with the quality of McCay's newspaper work. Infuriated that he couldn't reach McCay during a vaudeville performance, Hearst pulled from his papers advertising for the theatre where McCay performed. Editor Arthur Brisbane told him that he was "a serious artist, not a comic cartoonist", and that he was to give up his comic strip work to focus on editorial illustrations. Hearst pressured McCay's agents to reduce the number of his vaudeville appearances, and he was induced to sign a contract with Hearst that limited his vaudeville appearances to greater New York, with occasional exceptions. In February 1917, Hearst had McCay give up entirely on vaudeville and all other paid work outside the Hearst empire, though he was occasionally granted permission for particular shows. Hearst increased McCay's salary to cover the loss of income.


title: Winsor McCay

text: McCay was expected to report daily to the "American" building, where he shared a ninth-floor office with humorist Arthur "Bugs" Baer and sports cartoonist Joe McGurk. There, he illustrated editorials by Arthur Brisbane, who often sent back McCay's drawings with instructions for changes. The quality of his drawings varied depending on his interest in the subject of the assignment, whether or not he agreed with the sentiments portrayed, and on events in his personal life. For example, in March 1914 he was subjected to a blackmail plot by a Mrs. Lambkin, who was seeking a divorce from her husband. Lambkin alleged that McCay's wife Maude was seeing her husband. With McCay's level of fame, such a story would likely be in the papers, and Mrs. Lambkin and her husband told McCay that she would keep it secret for $1,000. McCay did not believe the allegations, and gave testimony at the Lambkins' divorce trial. The blackmail failed, and the divorce was not granted.


title: Winsor McCay

text: Hearst animation studio International Film Service began in December 1915, and brought Hearst cartoonists to the screen. McCay was initially listed as one of them, but the studio never produced anything either by his hands or featuring his creations. McCay derived satisfaction from doing the work himself. Begun in 1916, "The Sinking of the Lusitania" was his follow-up to "Gertie". The film was not a fantasy but a detailed, realistic recreation of the 1915 German torpedoing of the RMS "Lusitania". The event counted 128 Americans among its 1,198 dead, and was a factor leading to the American entry into World War I.


title: Winsor McCay

text: McCay's daughter Marion married military man Raymond T. Moniz, eighteen years her senior, on October 13, 1917. She gave birth to McCay's first grandchild, Ray Winsor Moniz, on July 16, 1918. Moniz and McCay's son Robert were called up for service when the U.S. entered World War I.


title: Winsor McCay

text: McCay's self-financed "Lusitania" took nearly two years to complete. With the assistance of John Fitzsimmons and Cincinnati cartoonist William Apthorp "Ap" Adams, McCay spent his off hours drawing the film on sheets of cellulose acetate (or "cels") with white and black India ink at McCay's home. It was the first film McCay made using cels, a technology animator Earl Hurd had patented in 1914; it saved work by allowing dynamic drawings to be made on one or more layers, which could be laid over a static background layer, relieving animators of the tedium of retracing static images onto drawing after drawing. McCay had the cels photographed at the Vitagraph studios. The film was naturalistically animated, and made use of dramatic camera angles that would have been impossible in a live-action film.


title: Winsor McCay

text: Jewel Productions released the film on July 20, 1918. Advertising touted it as "the picture that will "never" have a competitor"; the film itself called McCay "the originator and inventor of Animated Cartoons" and drew attention to the fact that it took 25,000 drawings to complete. "The Sinking of the Lusitania" did not greatly return on McCay's investment—after a few years' run in theaters, it netted $80,000.


title: Winsor McCay

text: McCay continued to produce animated films using cels. By 1921, he had completed six, though three were likely never shown commercially to audiences and have survived only in fragments: "The Centaurs", "Flip's Circus", and "Gertie on Tour". In 1921, he released three films based on "Dream of the Rarebit Fiend": "Bug Vaudeville", in which insects and other creepy-crawlies perform on stage; "The Pet", in which a creature with a bottomless appetite grows enormously and terrorizes the city in a way reminiscent of "King Kong"; and "The Flying House", in which a man attaches wings to his house to flee from debt. McCay's son Robert is credited with the animation on this last film, but Canemaker notes it is highly unlikely that a first-time animator could have produced such an accomplished piece of animation.


title: Winsor McCay

text: After 1921, McCay was made to give up on animation when Hearst learned he devoted more of his time to animation than to his newspaper illustrations. Unexecuted ideas McCay had for animation projects included a collaboration with "Jungle Imps" author George Randolph Chester, a musical film called "The Barnyard Band", and a film about the Americans' role in World War I.


title: Winsor McCay

text: McCay's son Robert married Theresa "Tedda" Munchausen on April 9, 1921. McCay bought them a nearby house as a wedding gift. The couple gave McCay two more grandchildren: Janet (named after McCay's mother) in 1922, and Robert in 1928. Robert suffered shell shock during World War I, and following the war had difficulty drawing. McCay tried to boost his son's confidence by finding him cartooning work, and some of the elder McCay's editorial cartoons were signed "Robert Winsor McCay, Jr." Robert also briefly revived the "Dreams of the Rarebit Fiend" strip as "Rabid Reveries" in 1924.


title: Winsor McCay

text: In 1922, McCay resumed doing vaudeville shows for the Keith circuit. He had a cameo in a newspaper office scene in the boxing film "The Great White Way" in early 1924.


title: Winsor McCay

text: McCay left Hearst upon the expiration of his contract in May 1924, bitter over not having received a promised $5,000 bonus. He returned to the "Herald Tribune", and brought back "Little Nemo" beginning that August. The new strip displayed the virtuoso technique of the old, but the panels were laid out in an unvarying grid. Nemo took a more passive role in the stories, and there was no continuity. The strip came to an end in December 1926, as it was not popular with readers. Hearst executives had been trying to convince McCay to return to the "American", and succeeded in 1927. While McCay was gone, his place had been filled by Mel Cummin, who was let go after McCay's return. Due to the lack of the 1920s Nemo's success, the "Herald Tribune" signed over all copyrights to the strip to McCay for one dollar.


title: Winsor McCay

text: In 1927, McCay attended a dinner in his honor in New York. After a considerable amount of drinking, McCay was introduced by animator Max Fleischer. McCay gave the gathered group of animators some technical advice, but when he felt the audience was not giving him attention, he berated his audience, saying, "Animation is an art. That is how I conceived it. But as I see, what you fellows have done with it, is making it into a trade. Not an art, but a trade. "Bad Luck!"" That September he appeared on the radio at WNAC, and on November 2 he was interviewed by Frank Craven for "The Evening Journal"s "Woman's Hour". During both appearances he complained about the state of contemporary animation.


title: Winsor McCay

text: An executive of the American Tobacco Company approached McCay in 1929 to do an advertising campaign for a financial "sum in excess of his annual salary". Brisbane refused, noting that McCay's contract didn't allow outside work. When the executive stormed into Brisbane's office threatening to pull American Tobacco's advertising dollars from the "American", Brisbane provided a written release for the work.


title: Winsor McCay

text: In 1932, McCay found himself in what he recalled as "the wildest ride" in his life when Hearst's son "Young Bill" drove him at to the scene of the kidnapping of the Lindbergh baby. They arrived there two hours after the crime was first reported to police, and were able to interview the gathered police before the grounds were closed off to the public. McCay sketched the scene, the staff, and the ladders the kidnappers used, which he was allowed to see up close.


title: Winsor McCay

text: McCay enjoyed robust health most of his life. On July 26, 1934, he complained to his wife of a severe head-ache. To his horror, he found his right arm—his drawing arm—was paralyzed. He lost consciousness and was pronounced dead later that afternoon, with his wife, children, and son-in-law by his side. He had died of a cerebral embolism, and was buried at the Cemetery of the Evergreens in Brooklyn in a family plot. He had a Masonic funeral in his home, attended by his newspaper colleagues, Hearst and his son, and the Society of Illustrators, among others.


title: Winsor McCay

text: Brisbane hired back Mel Cummin to replace McCay. Due to his lavish life-style, McCay left a smaller fortune than those around him had expected. By the early 1940s, Maude had used up her inheritance and sold the house on Voorhies Avenue. When she died of a heart attack on March 2, 1949, she was living with her daughter and son-in-law. Son Robert was also careless with his inheritance, and less successful in art than his father. He worked for a short time at the Hearst papers, and tried unsuccessfully to get a job at the Disney studios, before finding a career as illustrator for Training Aids/Special Services at Fort Ord.


title: Winsor McCay

text: Self-conscious and introverted in private, McCay was nevertheless a charismatic showman and self-promoter, and maintained several lifelong friendships. McCay was a light but frequent drinker; he drank for camaraderie rather than for a love of drinking. To his wife's chagrin, McCay was a smoker of cigars and cigarettes. He was self-taught at the piano, and was an avid reader of poetry, plays and novels; he admired W. B. Yeats, knew the works of Percy Bysshe Shelley and John Keats, and could quote the Bible and Shakespeare.


title: Winsor McCay

text: McCay stood barely five feet () tall, and felt dominated by his wife, who was nearly as tall as he was. McCay married Maude Leonore Dufour, the youngest of three daughters of French-Canadian carriage painter John Dufour. About a decade separated the couple's ages: Maude was 14 when they married. Biographer Canemaker speculates this may explain the lack of certainty behind McCay's birthdate, even by McCay himself, as he may have claimed to be younger than he was to justify marrying a teenaged girl. Maude was also age-conscious: she preferred her grandchildren to call her "Nan" instead of "Grandma" and dyed her hair as she got older. The McCays took on the traditional roles of a married couple of the time, in that Winsor was the breadwinner and Maude the homemaker. Neither spouse got along well with the other's mother.


title: Winsor McCay

text: The couple had two children: Robert Winsor, born June 21, 1896; and Marion Elizabeth, born August 22, 1897. McCay was said to be easy-going with the children, and left discipline to their stern mother. Marion felt domineered by her mother and perceived that her brother was her mother's favorite; she was closer to her father and often appeared in public with him. Robert looked up to his father and became an artist himself. He was proud to have served as the model for Little Nemo.


title: Winsor McCay

text: The McCays lived lavishly. McCay disliked driving, so kept a chauffeur who also served as bodyguard, as the editorial cartoons McCay drew for Hearst sometimes attracted threatening letters. Maude made daily trips by limousine to shop in upscale downtown Brooklyn with other well-to-do wives. Maude often complained to her husband, but he refused to discuss matters with her.


title: Winsor McCay

text: McCay's politics are unclear, and it is disputed whether he sympathized with the views displayed in his editorial cartoons. He was agnostic and believed in reincarnation. He was a Freemason, whose ranks he may have joined as early as when he was living in Chicago. His father had also been a Freemason, and was buried in 1915 with full Masonic rites, with funerals arranged by his Masonic lodges in both Woodstock, Ontario, and Edmore, Michigan. His mother often visited him in Brooklyn, and attended "Little Nemo"s Philadelphia premiere. She died in Edmore, Michigan, in 1927.


title: Winsor McCay

text: McCay's brother Arthur was placed in a mental hospital in Traverse City, Michigan on March 7, 1898, where he stayed until his death from bronchopneumonia and arteriosclerosis on June 15, 1946. He never received family visits. McCay never let his children know about his brother, nor did they know about the existence of his sister Mae, who died in 1910.


title: Winsor McCay

text: In 1937, McCay's son Robert attempted to carry on his father's legacy by reviving "Little Nemo". Comic book packager Harry "A" Chesler's syndicate announced a Sunday and daily "Nemo" strip, credited to "Winsor McCay Jr." Robert also drew a comic book version for Chesler called "Nemo in Adventureland" starring grown-up versions of Nemo and the Princess. Neither project lasted long. In 1947, Robert and fabric salesman Irving Mendelsohn organized the McCay Feature Syndicate, Inc. to revive the original "Nemo" strip from McCay's original art, modified to fit the size of modern newspaper pages. This revival also did not last.


title: Winsor McCay

text: McCay's original artwork has been poorly preserved. McCay insisted on having his originals returned to him, and a large collection that survived him was destroyed in a fire in the late 1930s. His wife was unsure how to handle the surviving pieces, so his son took on the responsibility and moved the collection to his own house. The family sold off some of the artwork when they were in need of cash. Responsibility for it passed to Mendelsohn, then later to daughter Marion. By the early twenty-first century, most of McCay's surviving artwork remained in family hands.


title: Winsor McCay

text: McCay destroyed many of his original cans of film to create more storage space. Of what film he kept, much has not survived, as it was photographed on 35mm nitrate film, which decomposes and is highly flammable. Mendelsohn's son and a friend, both young animators, discovered the film in Mendelsohn's possession in 1947 and rescued what they could. In some cases, such as "The Centaurs", only fragments could be saved. A negative and incomplete positive was discovered of "Performing Animals", a film of animals playing instruments that may have been intended for McCay's vaudeville act; it was deemed unsalvageable and destroyed.


title: Winsor McCay

text: In 1966, cartoonist Woody Gelman discovered the original artwork for many "Little Nemo" strips at a cartoon studio where McCay's son Robert had worked. Many of the recovered originals were displayed at the Metropolitan Museum of Art under the direction of curator A. Hyatt Mayor. In 1973, Gelman published a collection of "Little Nemo" strips in Italy. His collection of McCay originals is preserved at the Billy Ireland Cartoon Library & Museum at Ohio State University.


title: Winsor McCay

text: McCay's work, grounded solidly in his understanding of realistic perspective, presaged the techniques featured in Walt Disney's feature films. Disney paid tribute to McCay in 1955 on an episode of "Disneyland". The episode, "The Story of Animated Drawing", gave a history of animation, and dramatized McCay's vaudeville act with "Gertie". Robert was invited to the Disney studios as a consultant on the episode, where Disney told him, "Bob, all this should be your father's".


title: Winsor McCay

text: Animator and McCay biographer John Canemaker produced a film in 1974 called "Remembering Winsor McCay", narrated by McCay's animation assistant John Fitzsimmons. Canemaker helped coordinate the first retrospective of McCay's films at the third International Animation Film Festival in 1975 in New York, which led to a film show at the Whitney Museum of American Art in winter 1975–76. Canemaker also wrote a biography in 1987 called "Winsor McCay: His Life and Art". In 2005, a revised and expanded version of the biography was released, which comics scholar Jeet Heer called "far and away the most scholarly and intelligent biography ever written about an American cartoonist". Animation scholar Paul Wells stated, "McCay's influence on the history of animation cannot be understated". Film critic Richard Eder lamented that as an animation pioneer McCay was not able to reach the potential suggested by his work. Eder compared McCay to the Italian primitives of the early Renaissance, highly skilled "in the limited techniques they could command". Heer wrote that McCay's strength was in his visuals, but that his writing and characters were weak.


title: Winsor McCay

text: Italian filmmaker Federico Fellini read "Little Nemo" in the children's magazine "Il corriere dei piccoli", and the strip was a "powerful influence" on the filmmaker, according to Fellini biographer Peter Bondanella. Comics historian R. C. Harvey has called McCay "the first original genius of the comic strip medium" and in animation. Harvey said that McCay's contemporaries lacked the skill to continue with his innovations, so that they were left for future generations to rediscover and build upon.


title: Winsor McCay

text: McCay's work has inspired cartoonists from Carl Barks to Art Spiegelman. Robert Crumb called McCay a "genius" and one of his favorite cartoonists. Art Spiegelman's 1974 "Real Dream" strip was partially inspired by "Rarebit Fiend", and his "In the Shadow of No Towers" in 2004 appropriated some of McCay's imagery, and included a page of "Little Nemo" in its appendix. Maurice Sendak's children's book "In the Night Kitchen" (1970) was an homage to McCay's work, as was Rick Veitch' comic book series "Roarin' Rick's Rarebit Fiends" (1994–96). Kim Deitch and Simon Deitch's graphic novel "The Boulevard of Broken Dreams" revolved around a character named Winsor Newton, based on an aged McCay. Cartoonist Berke Breathed lamented that the conditions of newspaper cartooning had devolved to such a degree since McCay's time that, had he worked later in the century, he would not have been allotted space sufficient for his expansive full-page fantasies.


title: Winsor McCay

text: As Sigmund Freud's "The Interpretation of Dreams" first appeared in print in 1899, McCay's major dream strips work have invited speculation of a Freudian influence. "A French Nurse's Dream", a comic strip by the Hungarian artist Nándor Honti that appeared in Freud's book edition in 1914, strongly resembles the work of McCay in its theme, pacing, Art Nouveau style, and closing panel of the dreamer awakening in bed. However, the English translation of Freud's book was not published until 1913.


title: Winsor McCay

text: The Winsor McCay Award was established in 1972 to recognize individuals for lifetime or career contributions in animation, and is presented as part of the Annie Awards. The Hammer Museum in Los Angeles devoted a room to McCay's work as part of the "Masters of American Comics" exhibit in 2005. German publisher Taschen published a complete, boxed, full-size edition of "Little Nemo" in two volumes in 2014 entitled "The Complete Little Nemo".


title: Winsor McCay

text: Virtually from the beginning, McCay innovated with the forms of his chosen media. He varied the size and shape of comic strip panels for dramatic effect, as in the second instalment of "Little Nemo" (October 22, 1905), where the panels grow to adapt to a growing forest of mushrooms. Few of McCay's contemporaries were so bold with their page layouts. Near-contemporary George Herriman with "Krazy Kat" was the most notable example, but it was not until a generation later that cartoonists such as Frank King with "Gasoline Alley", Hal Foster with "Prince Valiant", and Roy Crane with "Captain Easy" attempted such daring designs on their Sunday pages.


title: Winsor McCay

text: McCay's detailed hatching mastery of perspective enhanced the illusions in his drawings, particularly in "Little Nemo". Fantastic grotesqueries such as what McCay witnessed during his time at the Wonderland and Eden Musee appeared often in McCay's work. McCay was noted for the speed and accuracy with which he could draw; crowds of people would gather around to watch him paint billboards.


title: Winsor McCay

text: McCay had a taste for the ornate. The architecture he drew was inspired by that of carnivals, the 1893 World's Columbian Exposition in Chicago and the detailed illustrations in British illustrated newspapers "The Illustrated London News" and "The Graphic". The of Paris published a series of illustrated books called "Images Enphantines", whose pages bear a striking resemblance to McCay's early "Little Nemo" strips, both in their graphic sense and their imaginative layouts.


title: Winsor McCay

text: To Canemaker, McCay had an "absolute precision of line" akin to those of Northern Renaissance artist Albrecht Dürer and 19th-century French illustrator Gustave Doré. McCay drew with Higgins black drawing ink, Gillott pens, art gum, a T-square and angle, and an assortment of Venus lead pencils. In his early magazine cartoons McCay often painted in gouache.


title: Winsor McCay

text: McCay used metafictional techniques such as self-referentiality in his work. This was most frequent in "Dream of the Rarebit Fiend", where McCay sometimes put himself in the strip, or had characters address the reader. Sometimes characters become aware of the strip itself—a jealous lover tears the very strip apart in which he appears; another character fastens panel borders to his strip when he realizes the artist has forgotten them; and in a "Sammy Sneeze" episode Sammy's sneeze destroys the panel borders.


title: Winsor McCay

text: In contrast to the high level of skill in the artwork, the dialogue in McCay's speech balloons is crude, sometimes approaching illegibility, and "disfigur[ing] his otherwise flawless work", according to critic R. C. Harvey. This is further highlighted by the level of effort and skill apparent in the title lettering. McCay seemed to show little regard for the dialogue balloons, their content, and their placement in the visual composition. They tended to contain repetitive monologues expressing the increasing distress of the speakers, and showed that McCay's gift was in the visual and not the verbal.


title: Winsor McCay

text: In his comics and animation McCay used stock ethnic stereotypes common in his era. A conscious attempt to offend is not apparent. He depicted blacks as savages, or wishing they could be white. Most prominent were a pair of characters in "Little Nemo": the ill-tempered Irishman Flip and the rarely speaking grass-skirted African Little Imp. In the animated "Little Nemo", the Anglo-Saxon Nemo is shown drawn in a dignified Art Nouveau style, and controls by magic the more grotesquely caricatured Flip and Imp. Women were few in McCay's work, and were depicted as superficial, jealous, and argumentative; the Princess in "Little Nemo" never partook in the camaraderie the males shared.


title: Manado

text: Manado () is the capital city of the Indonesian province of North Sulawesi. It is the second largest city in Sulawesi after Makassar, with the 2020 Census giving a population of 451,916 distributed over a land area of 162.53 km. The Manado metropolitan area has a population of 1.2 million as of 2018. The city is located adjacent to the Bay of Manado, and is surrounded by a mountainous area.


title: Manado

text: Manado is among Indonesia's top-five tourism priorities. The city is served by Sam Ratulangi International Airport, which has direct international flights to the Philippines, Singapore, and China, as well as many domestic destinations. Bunaken National Park is one of the city's most famous tourist attractions. The city is also known for its Christian-majority population, and holds the country's biggest Christmas celebration annually. It is also recognised as one of the most tolerant and peaceful cities in Indonesia.


title: Manado

text: The name Manado is derived from the Sangir language word "manaro", meaning 'on the far coast' or 'in the distance', and originally referred to the further of two islands which can be seen from the mainland. When the settlement on this island was relocated to the mainland, the name Manado was brought with it, after which the island itself became referred to as Manado Tua (Old Manado). The name for Manado in the Sangir language is Manaro.


title: Manado

text: The first mention of Manado comes from a world map by French cartographer Nicolas Desliens, which shows the island of Manarow (today's Manado Tua). Before Europeans arrived in North Sulawesi, the area was under the rule of the Sultan of Ternate, who exacted tribute and introduced Islam to its inhabitants. The Portuguese made the Sultan their vassal, ruling over the Minahasa people, and establishing a factory in Wenang.


title: Manado

text: Meanwhile, the Spanish had already set themselves up in the Philippines and Minahasa was used to plant coffee that came from South America because of its rich soil. Manado was further developed by Spain as a centre of commerce for the Chinese traders who traded the coffee in China. With the help of native allies, the Spanish took over the Portuguese fortress in Amurang in the 1550s, and Spanish settlers also established a fort at Manado so that eventually Spain controlled all of the Minahasa. It was in Manado where one of the first Indo-Eurasian (Mestizo) communities in the archipelago developed during the 16th century. The first King of Manado (1630) named Muntu Untu was in fact the son of a Spanish Mestizo.


title: Manado

text: Spain renounced its possessions in Minahasa by means of a treaty with the Portuguese in return for a payment of 350,000 ducats. Minahasan natives made an alliance treaty with the Dutch, and expelled the last of the Portuguese from Manado a few years later.


title: Manado

text: The Dutch East India Company or Verenigde Oost Indische Compagnie (VOC) built a fortress in Manado named Fort Amsterdam in 1658. As with regions in eastern Indonesia, Manado has undergone Christianisation by Dutch missionaries, including Riedel and John Gottlieb Schwarz. The Dutch missionaries built the first Christian church in Manado called Oude Kerk (Old church), which still stands, and is now called Gereja Sentrum. HMS "Dover" captured Manado in June 1810. The Javanese prince Diponegoro was exiled to Manado by the Dutch government in 1830 for leading a war of rebellion against the Dutch. In 1859, the English biologist Alfred Wallace visited Manado and praised the town for its beauty.


title: Manado

text: In 1919, the Apostolic Prefecture of Celebes was established in the city. In 1961, it was promoted to the Diocese of Manado.


title: Manado

text: The Japanese captured Manado in the Battle of Manado in January 1942. The city was heavily damaged by Allied bombing during World War II.


title: Manado

text: In 1958, the headquarters of the rebel movement Permesta was moved to Manado. When Permesta confronted the central government with demands for political, economic and regional reform, Jakarta responded by bombing the city in February 1958, and then invading in June 1958.


title: Manado

text: In 1962, the People's Representative Council declared Manado as the official capital city of North Sulawesi Province.


title: Manado

text: Manado has a tropical rainforest climate ("Af") according to the Köppen climate classification, as there is no real dry season. The wettest month is January, with an average rainfall of , while the driest is September with an average rainfall of . The abundance of rain seems to be influenced by the monsoon. As its location is near the equator, the temperature seems constant throughout the year. The hottest month is August with an average temperature of , while the coolest months are January and February with an average temperature of . Unlike other cities in Indonesia, the temperature seems to be cooler.


title: Manado

text: The city is divided into eleven districts ("kecamatan"). These are tabulated below with their areas and populations at the 2010 Census and 2020 Census. The new districts of Bunaken Kepulauan (Bunaken Islands) and Paal Dua were established in 2012. The table also includes the location of the district administrative centres.


title: Manado

text: Notes: (a) the 2010 population of Paal Dua District is included in the figure for Tikala District, from which it was cut out in 2013. (b) the 2010 population of Bunaken Kepulauan District is included in the figure for Bunaken District, from which it was cut out in 2013.


title: Manado

text: Currently, the majority of Manado city residents are from the Minahasa ethnic group, because Manado is located in Minahasan lands. The indigenous people of Manado are from the Tombulu people. The Tombulu language is spoken widely in several urban villages within Manado, for example: Wenang (Wenang / Mahawenang - kolintang), Tumumpa (down), Mahakeret (yelling), Tikala Ares (Walak Ares Tombulu, where the word 'ares' means punishable), Ranotana (ground water), Winangun (built), Wawonasa (wawoinasa - sharpened above), Pinaesaan (unity place), Pakowa (Tree of Treasure), Teling (fur / bamboo to make equipment), Titiwungen (excavated), Tuminting (from the word Ting-Ting: a bell, the inserted syllable -um- changing the noun to a verb, so Tuminting: ringing bell), Pondol (Edge), Wanea (from the word Wanua: meaning the country), etc. While the Malalayang area has residents mainly from the Bantik people, other indigenous groups in Manado today are from the Sangir, Gorontalo, Mongondow, Babontehu, Talaud, Tionudese, Siau, and Borgo peoples. There are also Arabian peranakan communities, mainly in the "Kampung Arab" area which is near Pasar '45 and has become a destination for religious tourism. Other ethnicities represented include Javanese, Chinese, Batak, Makassar, and Moluccans. A small Jewish community also exists.


title: Manado

text: Manado Malay is the main language spoken in Manado. It is a Malay-based creole. Some of the loan words in the Minahasan vernacular are derived from Dutch, Portuguese, and other foreign languages.


title: Manado

text: Protestant Christianity is the major religion in Manado, constituting around 63 percent of all residents, Islam comes second forming about 31 percent, Catholicism comes in third forming around 5 percent, and the rest follow Buddhism, Hinduism, and Confucianism, each coming in at less than 1 percent each, according to the 2020 national census. In addition, about 20 Indonesian Jews live in Manado. The people of Manado identify as tolerant, harmonious, open and dynamic. Therefore, the city of Manado has a relatively conducive social environment, and is known as one safest cities in Indonesia. When Indonesia was vulnerable to political upheaval around 1999, and there were riots in other Indonesian cities, Manado was little affected. This is shown through the slogan of the people of Manado: "Torang samua basudara", which means "We are all family". And also through the words of Dr. Sam Ratulangi: "Sitou, Timou, Tumou, Tou", which roughly translates to 'Man lives to educate others'.


title: Manado

text: Sam Ratulangi International Airport of Manado is one of the main ports of entry to Indonesia. In 2005, no fewer than 15,000 international passengers entered Indonesia via the city's airport, its connected to several Indonesian cities such as Jakarta, Surabaya, Makassar, and others. Other public transportation in Manado are:


title: Manado

text: Manado–Bitung Toll Road connects the city with Bitung. Terminal Malalayang, or Malalayang Bus Terminal serves as the main gateway for long-distance buses in Manado.


title: Manado

text: Manado is home to some of the biggest and most influential churches in the province, with many of them located along the iconic Sam Ratulangi Street.


title: Manado

text: Food typical of Manado include "Tinutuan", which consists of various kinds of vegetables. Tinutuan is not mush, as so far people have said it as Manado porridge. In addition to Tinutuan, there is "Cakalang Fufu", a smoked skipjack (Katsuwonus pelamis), "roa fish" (exocoetidae or torani) Parexocoetus brachypterus, "Kawok" which is food based from meat of the forest rodent white rat Maxomys hellwandii; "Paniki", bat meat-based dishes; such as (Pteropus pumilus) and "Rinte Wuuk" (abbreviated to RW) which is a local name of dog meat, Swine pig (a pig is cooked by rotating on the embers), usually served at parties, and "Babi Putar" (made from pork mixed with Manado spices, rolled and burned in bamboo).


title: Manado

text: There is also a typical drink from the area of Manado and its surroundings are "saguer" which is a kind of wine or palm wine derived from enau / aren tree ("Arenga pinnata"), which is then fermented. Saguer is a "Cap Tikus" (spirits with an average of 40% alcohol content). The exact amount of alcohol depends on the technique of distillation, which varies in different villages in Minahasa).


title: Manado

text: Woku is a type of "bumbu" (spice mixture) found in Manado cuisine of North Sulawesi, Indonesia. It has rich aroma and spicy taste. Woku consist of ground spices paste; red ginger, turmeric, candlenut, and red chili pepper, mixed with chopped shallot, scallion, tomato, lemon or citrus leaf, and turmeric leaf, lemon basil leaf, and bruised lemongrass. Rub main ingredients (chicken or fish) with salt and lime juices, and marinate for 30 minutes. All spices are cooked in coconut oil until the aroma came up and mixed together with the main ingredients, water, and a pinch of salt, well until all cooked well.


title: Manado

text: Other typical food of Manado city which is also quite famous is "Nasi Kuning" which taste and its presentation is different from yellow rice in other area because it is spiked with abon of cakalang rica fish and presented in a parcel using sugar palm leaves. In addition, there are also grilled fish roasted head. "Dabu-dabu" is a very popular typical Manado sauce, made from a mixture of red chillies, cayenne pepper, sliced red onion, and freshly diced tomatoes, and finally given a mixture of soy sauce.


title: Manado

text: The local language spoken in Manado and the surrounding area is a creole of the Malay language called Manado Malay. It exhibits significant influence of Portuguese, Spanish and Dutch, for example:


title: Manado

text: While there is not much known about the origin of ideogramatical Minahasa writing system, currently the orthography used for indigenous Minahasan languages closely matches that used for Indonesian.


title: Dais

text: A dais or daïs ( or , American English also but sometimes considered nonstandard) is a raised platform at the front of a room or hall, usually for one or more speakers or honored guests.


title: Dais

text: Historically, the dais was a part of the floor at the end of a medieval hall, raised a step above the rest of the room. On this, the master of the household or assembly (e.g. the lord of the manor) dined with his senior associates and friends at the high table, while the other guests occupied the lower area of the room. In medieval halls, there was generally a deeply recessed bay window at one or both ends of the dais, which provided retirement or greater privacy than the open hall. The dais area often had its own doorway for admission from the master's chambers, whereas most of the guests entered through a doorway leading into the main area of the hall.


title: Dais

text: At military parades, the dais is the raised, sometimes covered, platform from where the troops are reviewed, addresses are made, and salutes are taken. It can also have stairs and a throne.


title: Dais

text: In life drawing rooms of art schools, the platform where the model poses for the students is sometimes referred to as the dais.


title: Dais

text: The first written record of the word "dais" in English is from the thirteenth century. It stopped being used in English around 1600 but was revived by antiquarians in the early 19th century with the disyllabic pronunciation. It comes from the Anglo-French "deis", meaning "table" or "platform", which comes from Medieval Latin "discus", meaning "table", earlier "disc" or "dish".


title: Lindsay Pearce

text: Lindsay Heather Pearce (born April 30, 1991) is an American actress and singer best known for her work in musical theatre. She made her Broadway debut as Elphaba in "Wicked" in February 2020 and later made her national tour debut as Janis Sarkisian in "Mean Girls" in May 2022. Other regional theatre credits include Wendla in "Spring Awakening", Ivy in "", and Whatsername in "American Idiot".


title: Lindsay Pearce

text: She is also known for being one of the runners-up on "The Glee Project", which gave her a guest starring role on the third season of the TV show "Glee" in 2011.


title: Lindsay Pearce

text: Pearce was born April 30, 1991 in Modesto, California and was adopted by Carol and Gregory Pearce. She was adopted into a very athletic family; all three of her brothers played sports and one, Heath Pearce, went on to be a professional soccer player.


title: Lindsay Pearce

text: At a young age, Pearce moved with her family to Portland, Oregon so her father could attend Multnomah University. While at a soccer tournament there, Pearce was discovered singing by a music teacher who taught at a local university, who then recommended to her parents that they do something about her talent. Upon moving back to Modesto, Pearce got involved in the children's community theatre division of Townsend Opera Players and continued doing community theatre. She became a regular in shows with Opera Modesto, Denair Gaslight Theater, Sonora’s Stage 3 Theatre, and Turlock Youth Performing Arts. Her first regional credit was at 17 playing Belle in Tri-Valley Repertory Theatre's production of "Beauty and the Beast" in the summer of 2008. She was also in productions of "Peter Pan" and "Cinderella" with Tri-Valley Repertory Theatre in 2009 and 2010, respectively.


title: Lindsay Pearce

text: Pearce attended Modesto Christian High School until her sophomore year, when she decided to leave and apply to other programs because it did not have an arts program. She then attended Valley Charter High School to complete her high school education while simultaneously taking full time college classes at Modesto Junior College, where she studied classical voice, Shakespeare, movement for the stage and English literature and was also able to participate in college theatre.


title: Lindsay Pearce

text: Pearce intended to attend a four-year university for musical theatre and applied to several, including Elon University, when she was 19 but was not accepted. Her plan was to do another semester at Modesto Junior College and then reapply. In 2010, she participated in the inaugural Valley's Got Talent (now called Valley Talent Project), a talent competition in Modesto, California, which she won after singing "Gimme Gimme" from "Thoroughly Modern Millie." Robert Ulrich, the casting director for both "Glee" and "The Glee Project", was a judge for the competition and later encouraged her to audition for "The Glee Project".


title: Lindsay Pearce

text: In early 2011, Pearce auditioned for "The Glee Project", a singing/acting reality show where the winner would receive a seven-episode arc on the third season of "Glee". She reached the show's finale, but did not win the competition; however, the producers gave her and the other runner-up, Alex Newell, each a two-episode arc on "Glee".