query: What year was Superhot released?

title: Superhot

text: The game originated as an entry in the 2013 7 Day FPS Challenge, which Superhot Team expanded into a browser-based demonstration that September. Widespread attention from the demonstration prompted the team to develop out the full game, using Kickstarter to secure funding to complete the title. Superhot was released for Microsoft Windows, OS X, and Linux in February 2016. An Xbox One version was released in May 2016, and a PlayStation 4 version was released in July 2017. A rebuilt version of the game to better support virtual reality, Superhot VR, was later released for the Oculus Rift, HTC Vive, and PlayStation VR headset devices. A standalone expansion, Superhot: Mind Control Delete, which utilizes roguelike elements such as procedural generation and permadeath, is planned for a 2018 release and became available through early access in December 2017.

title: Superhot

text: The Superhot narrative works in several metanarrative levels: the player plays a fictionalized version of themselves sitting in front of their DOS prompt, getting a message from their friend who offers them a supposedly leaked copy of a new game called superhot.exe, claiming that the only way to access it is with a crack. Launching the game immediately thrusts the player into a series of seemingly unconnected levels via different points of view, all based around killing hostiles, after which the game glitches out and disconnects.[1] After this crash, the player's friend sends an updated version of the .exe file, apparently a new version of the game that fixes the "glitches".

title: Superhot

text: According to analyst firm Superdata, in 2017, Superhot VR was the top revenue-grossing VR game in for personal computers and 3rd highest for consoles, bringing in US$2.56 million and US$1.06 million in revenues, respectively.[61] Superhot VR was nominated for "Best VR Game" at the Golden Joystick Awards,[62] and for "Best VR/AR Game" at The Game Awards 2017.[63] At IGN's Best of 2017 Awards, it won the award for "Best VR Experience",[64] whereas its other nominations were for "Best Shooter" and "Most Innovative".[65][66] It was also nominated for "VR Game of the Year" at the 2018 SXSW Gaming Awards,[67][68] and won the awards for "Gamer's Voice (Virtual Reality Game)" at the SXSW Gaming Gamer's Voice Awards,[69] and for "Best VR/AR Game" at the 18th Annual Game Developers Choice Awards.[70][71]

title: Superhot

text: Superhot Team is working with Manuel Correia, the developer of the deck-building card game Agent Decker to produce a Superhot card game. The game is being crowdfunded through a Kickstarter campaign that started in January 2017 and shipped to backers in late 2017/early 2018.[41] It became available for retail purchase on May 25, 2018 after being picked up for publishing by Grey Fox Games.[42]

title: Superhot

text: A standalone expansion that does not require the main game, Superhot: Mind Control Delete uses roguelike elements to create a series of levels but otherwise follows the same mechanics as Superhot. Levels and challenges will be procedurally generated. The expansion will have the player choose one of several MINDS (the player-character) that each have unique abilities, unlocking these based on their progress in the game, and as they complete levels, gain power-ups that allow them to face tougher challenges.[8]

title: Superhot

text: Media related to Screenshots of Wikipedia Main Page at Wikimedia Commons

title: Superhot

text: In the last portion of the campaign, the player also becomes able to "hotswitch" into an enemy's body, wherein they take control over the target, with the previous body dying. The manoeuvre allows the player to escape projectiles that are unavoidable, but has a cooldown timer that prevents repeated use, and the new body also drops its weapons upon switching.

title: Superhot

text: As both the player and their friend play through superhot.exe, it becomes apparent that the player's presence in the game is monitored by whoever is responsible for the game - referring to itself as a "system" - and demands they cease playing via various methods, such as ominous threats showing the player's in-game residence, and altering the player's messages to their friend to urge them to stop playing, eventually harassing the player's friend into giving up on the game and engineering a fallout with them. As the player goes through more and more levels, each apparently targeting specific locales, the system's warnings grow more ominous, telling them the player is unaware of the consequences of their actions, eventually forcing the player to walk to their own in-game house and to their in-game player character, a figure wearing VR headgear, and punch themselves into unconsciousness. Upon doing so, the "game" glitches out, and the player character wakes with a severe head injury. Afterward, the system warns the player once again to stop using Superhot, and forces the player to quit the game entirely.

title: Clustertruck

text: Development on "Clustertruck" started in September 2015, after the development on Landfall Games' previous game, "Square Brawl", was finished. The game was officially revealed on 16 December 2015 with a trailer and a release date of April 2016. At PAX South 2016, it was announced that Landfall Games had signed a publishing deal with tinyBuild. This deal led the developers to push the release date to the third quarter of 2016, where Landfall Games CEO Wilhem Nylund said that it was "initially intended for the game to be a small project with a short development", but changed his mind and considered the game to be delayed even further, as it has "gaining more and more traction." As an April Fool's Day joke, Landfall released a free demo version of "Clustertruck" called "Supertruck" that incorporated the visual style and mechanic of the recently released "Superhot", in which the internal clock within the game moves forward when the player-character moves.

title: Stellar evolution

text: Stellar evolution starts with the gravitational collapse of a giant molecular cloud. Typical giant molecular clouds are roughly across and contain up to . As it collapses, a giant molecular cloud breaks into smaller and smaller pieces. In each of these fragments, the collapsing gas releases gravitational potential energy as heat. As its temperature and pressure increase, a fragment condenses into a rotating sphere of superhot gas known as a protostar.

title: Superhot

text: Oculus VR itself came under criticism in April 2016 after the company decided to apply digital rights management controls on its software that required Oculus games to only be played on the Rift, effectively breaking a user-made patch, called "Revive", to allow these games to have been played on the HTC Vive.[38] Oculus eventually reversed this decision in June 2016, removing the digital rights controls.[39] However, users disappointed with the original limitations took similar issues with Superhot' Oculus Rift exclusivity, with several users giving the game negative reviews on Steam and other storefronts. Superhot's developers noted that without Oculus' help, the VR version of the game would not be as sophisticated as it came out to be, and restated their intentions to port the game to other VR systems.[40]

title: Superhot

text: Superhot is an independent first-person shooter video game developed and published by Superhot Team. Though the game follows traditional first-person shooter gameplay mechanics, with the player attempting to take out enemy targets using guns and other weapons, time within the game progresses only when the player moves; this creates the opportunity for the player to assess their situation and respond appropriately, making the gameplay similar to strategy video games. The game is presented in a minimalist art style, with enemies in red and weapons in black, in contrast to the otherwise white and grey environment.

title: Superhot

text: After completing the Kickstarter with sufficient funds for the VR-enabled version, the Superhot team realized that they needed to rebuild the game from scratch to provide the best VR experience for Superhot, named Superhot VR.[32] Though they wanted to reuse some of the original levels, factors that they took into design for a normal first-person shooter, such as larger-than-normal hallways to avoid claustrophobia, did not translate well for VR, and it was easier to craft new levels for the VR experience. They also needed to find ways to simulate a player's hitbox, given that the Oculus can only track the player's head and hands. They used this to approximate the player's torso in game.[33] The team is working to assure the gameplay is focused on the VR experience, including tighter integration of the game's story. Developer Tomasz Kaczmarczyk said that compared to the standard version of the game, the VR-enabled one requires the player to act out all the motions to complete a game level, making the player "feel 100 percent engaged" in the experience.[32] Oculus VR, the company manufacturing the Oculus Rift, helped to fund Superhot VR's development for the Rift in exchange for time-exclusivity.[34] Superhot VR, which will require the Oculus Touch motion-sensing controllers, was released along the Touch devices on 5 December 2016.[27][33][35][36] The Superhot team also developed a version for the HTC Vive,[32] which was released on 25 May 2017.[37] Similarly, support for a PlayStation VR version of Superhot VR was started alongside the PlayStation 4 port of the non-VR game, and is expected to release shortly after the VR release in July 2017..[28]

title: Superhot

text: The game was met with positive reception, with reviewers considering the title to be an innovative take on the first-person shooter genre.

title: Superhot

text: Superhot was listed as an honorable mention for the Nuovo Award for the 2014 Independent Games Festival Awards,[57] while its full release was nominated for the 2016 Seumus McNally Grand Prize and for Excellence in Design awards.[58] Superhot was nominated for Trending Game of the Year, Most Promising Intellectual Property, and Most Fulfilling Community-Funded Game of the Year for the 2017 SXSW Gaming Awards.[59]

title: Superhot

text: In addition to the campaign mode, the full release of Superhot includes an "endless" mode, where the player survives as long as they can against an endless stream of enemies.[6] A "challenge" mode allows players to replay the campaign mode levels but under specific restrictions or requirements, such as completing the level within a limited amount of time or only using a specific type of weapon.[3] The final game also includes a replay editor to allow users to prepare clips to share on social media websites.[6]

title: Superhot

text: The art style of Superhot is minimalistic by design, according to art director Marcin Surma.[20] It uses three principal colors: white for the environment, black for objects the player can interact with, and red for enemies. This choice was made during the creation of the demonstration primarily to allow the team to focus on the gameplay aspects for the 7-day FPS Challenge.[20] Surma, who had not been able to participate in the Challenge but brought on after their decision to expand the game, kept with this approach, as it made it clear to the player what they had to focus on, distilling out the common distractions that would be used for first-person shooters.[20] Iwanicki considered that these choices made any part of the game immediately "readable" to the player to plan out their strategy, while still providing enough detail to allow the player to imagine other facets of the game's world.[21] Surma also came on the idea of presenting the game as something that might have emerged from the 1990s during the period of MS-DOS and Amiga computer systems; this created the metagame interface fashioned similarly to Norton Commander, after Surma was able to convince Iwanicki to use that style.[20] Surma considered how this approach continued the theme of contrast that the game presented: as the enemies stand out in stark contrast to the environment, the 3D game stands out similarly from the character-based menu screens.[20]

title: Superhot

text: On its full release, Superhot received positive reviews according to review aggregator Metacritic.[51][52][53] Kyle Orland of Ars Technica believed the game had a "short but sweet running time" for its campaign mode with plenty of additional playtime available through the challenge and endless game modes to keep the game interesting.[1] Eurogamer's Christian Donlan considered both the gameplay and the narrative around it working well together to form "that rare piece of charmingly curated violence that dares to provoke difficult thought".[54] Chris Plante of The Verge found that while the narrative was passable, the gameplay and design choices that drive the title away from being a simple first-person shooter, such as the inclusion of a red trail to show the path of bullets that subtly allow the player to identify their source, made Superhot "something wholly original in a genre that has become bereft of originality".[55] Christopher Byrd for the Washington Post called the game a "soulful, artistic shooter", using its metafiction to "[flaunt] its understanding of the discourse around video games".[56]

title: Superhot

text: Inevitably, the player will start up Superhot again, and the system concedes to the player's insistence to keep playing, fully encouraging them to play more and more. Now under the system's sway, the player begins a rampage through city streets, cutting through enemies to get closer and closer to a massive laboratory that houses the system itself. There, it guides the player into uploading itself into the core as numerous enemies attempt to stop the player. Once done, the player becomes part of the core, joining numerous other minds absorbed by the core itself into a transhuman hivemind. The core forces the player to shoot their original body/player character, finally making them one with Superhot.

title: Superhot

text: In May 2014, the development team launched a Kickstarter campaign to make Superhot a full release, including improvement of the art design, new levels and challenges, and support for the virtual reality headset Oculus Rift.[16] They had planned on starting a Kickstarter drive to fund publication after their success on getting through Steam Greenlight, but wanted to give the game more polish before offering the crowdfunding opportunity. This included tuning some of the gameplay, such as adding a katana that could be used to cut oncoming bullets in half. When they went to start the Kickstarter, they ran into problems being from Poland, a country not supported by Kickstarter at the time. This gave the team more time to improve the game while the issues were resolved, allowing them to continue to build up the art assets for the Kickstarter promotion.[17] The Kickstarter met its goal within the first day of going live, allowing the Superhot team to identify additional stretch goals including improved animations and replay mode.[18] Luke Spierewka, a programmer on the team, believed the success of their Kickstarter was in part due to the availability of the browser-enabled demonstration that allowed potential funders to experience the game's concept hands-on.[17] The campaign ended with more than $230,000 in pledged funding, allowing the team to add in New Game Plus mode. Cliff Bleszinski has designed a level for the game because he pledged for the Kickstarter tier that lets a backer to co-design an arena stage.[19]

title: Superhot

text: A Japanese-themed Superhot title, Superhot JP, is being developed by GameTomo with support of the Superhot developers. It is initially planned for a Japanese release for PlayStation 4 and Windows, but other regions and platforms may follow.[9]

title: Superhot

text: Free downloadable content in the form of new levels, including a new gameplay feature, was released for all versions in 2016.[27]

title: Superhot

text: The Challenge prototype only featured three levels across three computers, which to meet the deadline the team strung together in 3 separate applications and called the game episodic.[10] They since refined the game and released it as a free browser game in September 2013, upon where it received a great deal of attention from players,[10] along with placing the game on the Steam Greenlight process.[10] Within a week, the game had been successfully approved for later distribution by Valve, and was the fastest game to be processed through the Greenlight system at the time.[13][14] Iwanicki stated that the positive reaction to the web demonstration was a result of players looking for any variation in the standard formula of first-person shooters, which had not really changed since the development of Doom.[15] Iwanicki commented that while some have called Superhot a puzzle game, he feels it remains an action game. Unlike a puzzle game where there is typically only one solution and one is rewarded for that, Iwanicki considers Superhot to be about having the time to adjust to one's instincts and improvise a strategy for completing a challenge.[15]

title: Superhot

text: Superhot was originally developed for the 2013 7 Day FPS Challenge, held that August, in which teams of programmers were given a week to develop complete, functional prototypes for games. Piotr Iwanicki, Superhot's director, was inspired by a Flash game, "Time4Cat", in which the player controls a cat trying to collect food on a busy road intersection; time only moves when the player moves the cat.[10][11] They also considered the music video for the 2013 song "Bad Motherfucker" by the Russian band Biting Elbows, which shows, from a first-person perspective, a special agent escaping from a hostage situation through parkour and gunplay.[12] They combined these ideas for the Challenge prototype. The name itself is based on considering the two words "super" and "hot", alone, are "positive" and "intense" and made for a good mantra within the game.[10]

title: Superhot

text: With the critical success of the game by late 2016, the Superhot team started working on a version for the PlayStation 4. This was released in 21 July, 2017.[28]

title: Superhot

text: At Gamescom 2014, Microsoft announced that Superhot would be available on Xbox One via ID@Xbox.[22] Superhot was released on Microsoft Windows, OS X, and Linux on 25 February 2016, while the Xbox One version will follow on 3 May 2016.[23][24][25] Physical copies of the game are published and distributed by IMGN.PRO.[26]

title: Superhot

text: The game originally was a three-level prototype browser game. In expanding to the full game, Superhot Team created a campaign mode across approximately thirty levels, estimated to be as long as Portal.[2][3] The full game includes additional weapons, including explosives, melee weapons, and improvised weapons like billiard balls that can be thrown at enemies, and introduces computer opponents that have similar awareness as the player and can dodge the player's bullets.[4][5] One significant change from the earlier prototype is that the player does not automatically pick up a weapon when they pass over it but must enact a specific control to do so, enabling the player to selectively choose and use weapons, or grab weapons as they fall out of an opponent's hands.[2] The full game also enables the player to jump and as long as the jump button or key is held, the player can slow down time to plan and perform actions, enabling aerial gunplay.[6]

title: Superhot

text: Landfall Games, the developers of Clustertruck which requires the player to jump and leap between numerous trucks in motion, created a short playable modification of their game for April Fools' Day in 2016 called Super Truck, combining their game's concept with Superhot's time-motion mechanic and art style.[60]

title: Superhot

text: Post-credits, the core/hivemind informs the player that they are to spread interest in superhot.exe by recommending it to as many people through social media and Steam reviews, specifically instructing the player to use the words "Superhot is the most innovative shooter I've played in years!".

title: Superhot

text: Superhot sets the player in a minimalistic environment, taking out hostile attackers that are trying to kill them. Weapons picked up by the player have limited ammunition, requiring the player to rely on defeating enemies to get more ammo, or making melee kills. Taking a single hit from an enemy bullet kills the player, requiring them to restart the level. Though the game mechanics are typical of most shooters, time only progresses normally when the player moves or fires a gun, otherwise time is slowed; this is described in the game's tagline "Time Moves Only When You Move".[1] This gives the player the opportunity to alter their actions as to avoid the path of bullets or to better assess their current situation.


query: Is anime only Japanese?

title: Anime

text: The word anime is the Japanese term for animation, which means all forms of animated media.[1] Outside Japan, anime refers specifically to animation from Japan or as a Japanese-disseminated animation style often characterized by colorful graphics, vibrant characters and fantastical themes.[2][3] The culturally abstract approach to the word's meaning may open up the possibility of anime produced in countries other than Japan.[4][5][6] For simplicity, many Westerners strictly view anime as a Japanese animation product.[3] Some scholars suggest defining anime as specifically or quintessentially Japanese may be related to a new form of Orientalism.[7]

title: Venus Centre

text: Venus Centre () is a Syrian dubbing company. Currently, it is the only dubbing centre which dubs Japanese anime in the Arab world directly from Japanese Venus Centre specializes in dubbing animation and children's programs to the Arabic language, especially Japanese anime. The company is based in Damascus.

title: Anime-influenced animation

text: Although outside Japan, "anime" is specifically used to mean animation from Japan or as a Japanese-disseminated animation style often characterized by colorful graphics, vibrant characters and fantastical themes, there is a debate over whether the culturally abstract approach to the word's meaning may open up the possibility of anime produced in countries other than Japan. While some Westerners strictly view anime as a Japanese animation product, some scholars suggest defining anime as specifically or quintessentially Japanese may be related to a new form of orientalism.

title: Rainbow Magic

text: "" is a Straight to Video anime movie that was first released in the United Kingdom on 7 May 2010. It is a Japanese-British co-production that was animated by The Answer Studio and produced by Hit Entertainment. It was also released in Japan; the film was only recorded in English as its Japanese release has no Japanese vocal track.

title: Super Kid

text: The Super Kids leave X7, with Eunjoo having recorded the battle in time for the next news broadcast and return to Earth. Back at the Super Kids' headquarters, the accountant has misplaced all the reward money the Super Kids had earned from their recent adventures, only to discover Gokdari had donated it to an orphanage.Following the end of Japanese rule in 1945, the South Korean government created a law which banned Japanese media, including Japanese manga and anime. Throughout the 1970s, South Korea's own animation industry began to flourish, which borrowed heavily from the Japanese anime style. Many Korean animated films also integrated unauthorized usages of Japanese anime characters and likenesses. With the super robot genre developing in Japan in the 1970s with Mazinger Z, Robot Taekwon V borrowed heavily from the titular mecha's likeness.

title: Yamishibai: Japanese Ghost Stories

text: Yamishibai: Japanese Ghost Stories also known in Japan as and Theater of Darkness is a 2013 Japanese anime series. The first season was directed by Tomoya Takashima, with scripts written by Hiromu Kumamoto and produced by ILCA. Each episode was animated in such a way so as to mimic the kamishibai method of story-telling. The series is organized into a collection of shorts with each episode being only a few minutes in length. Each episode features a different tale based on myths and urban legends of Japanese origin.

title: Primatology

text: One particular Japanese primatologist, Kawai Masao, introduced the concept of "kyokan". This was the theory that the only way to attain reliable scientific knowledge was to attain a mutual relation, personal attachment and shared life with the animal subjects. Though Kawai is the only Japanese primatologist associated with the use of this term, the underlying principle is part of the foundation of Japanese primate research.

title: Sola (manga)

text: Sola is a Japanese work originally conceived by Naoki Hisaya (main writer of "Kanon") with original character design by Naru Nanao (designer of ""). "Sola" is a mixed media project, first unveiled through the prologue of the manga featured in the Japanese manga magazine "Dengeki Daioh" on December 21, 2006, published by MediaWorks. The manga, which is illustrated by Chako Abeno, ended serialization on February 21, 2008. The manga has been licensed for distribution in North America by Broccoli Books with the first volume being released in June 2008. A short drama CD which also served as a prologue to the series was released at Comiket 71 in December 2006, and a second drama CD was released in May 2008. An anime version aired in Japan between April and June 2007; the anime contained thirteen episodes, and two additional DVD-exclusive episodes followed. The anime was licensed by Bandai Entertainment for distribution in North America in a subtitle-only box set of all fifteen episodes. The title, "Sola", is close in pronunciation to the Japanese word . At the end of 2007, Japanese anime fans voted "Sola" as the best anime of the year.

title: Anime-influenced animation

text: These anime-influenced animations have become defined as "anime", in an attempt to classify all Japanese-anime styled works of non-Japanese origin. The web-based series "RWBY" is produced using an anime art style and has been declared to be anime. In addition, the series was released in Japan, under the label of "anime" per the Japanese definition of the term and referenced as an "American-made anime". Netflix declared the company's intention to produce anime. In doing so, the company is offering a more accessible channel for distribution to Western markets.

title: Animation studio

text: The first known example of Japanese animation, also called anime, is dated around 1907, but it would take until 1956 for the Japanese animation industry to successfully adopt the studio format as used in the United States. In 1961, these productions began to be aired in the USA. Toei Animation, formed in 1956, was the first Japanese animation studio of importance, and saw the reduction of animators as independent anime artists.

title: Adult animation

text:
Animated works of an erotic nature have come to be described in western fandom as "hentai", the Japanese word for "perverted", while in Japan they are more likely to be referred to as (R-18 anime) or (erotic anime). Although some associate all anime with sexual content, hentai only makes up a very small portion of the Japanese animation industry. As the result of the misconceptions about Japanese animation, some video stores outside Japan have classified children's anime as for adults only. Many video stores have also categorized all adult-oriented animation as anime, including the works of Ralph Bakshi, the French animated film "Fantastic Planet", the Canadian animated film "Heavy Metal" and the HBO television series "Todd McFarlane's Spawn". In the case of "Spawn", Todd McFarlane directly listed anime as an influence, particularly Katsuhiro Otomo's "Akira", and stated his hope that the show would help encourage the rise of adult animation on North American networks. This in part lead to the involvement of the Japanese studio Madhouse in the production, in an attempt to "combine" the Eastern and Western styles.
Some of the earliest manga magazines were aimed at adults, and this provided a prime source as the basis for adult anime works. "Weekly Manga Times" began publication in 1956, and would be followed by "Weekly Manga Goraku" (1964), and "Manga Action" (1967). Anime works based on adult manga include "Berserk", "Hellsing Ultimate", "Maison Ikkoku", "Mushishi", "Golden Boy" and "Tokyo Daigaku Monogatari".
In 1969, Osamu Tezuka and Eiichi Yamamoto released "Senya Ichiya Monogatari" (千夜一夜物語) the first of a series of three animated feature films aimed at an adult audience. It was dubbed and released in the United States as "One Thousand and One Arabian Nights". Osamu Tezuka and Eiichi Yamamoto collaborated on the second film in the Animerama series "Kureopatora" (クレオパトラ) released in the United States as "Cleopatra: Queen of Sex". The third film "Kanashimi no Beradonna" (哀しみのベラドンナ) was directed by Eiichi Yamamoto alone. It was entered in the Berlin International Film Festival, but did not achieve commercial success.
In 1984, original video animation (OVA) of an erotic nature began to be released, first "Lolita Anime" by Wonder Kids based on the manga work of Fumio Nakajima, and then later in the year "Cream Lemon", a series which proved to be a big hit in Japan. "La Blue Girl" and "New Angel" are two other erotic anime to be released in United States and Europe in the early 1990s.

title: Anime and manga fandom

text: Despite some fansubbers declaring (due to fansubbing's illegality) that they will stop distribution once a series is licensed, many fansubbed versions of anime are produced because of the stiff localization process in official translations. According to one survey only 9% of fans prefer dubbing over subs; some fans believe that the localization process degrades the quality of anime and thus look to fansubs for the purer form of Japanese culture, feeling that something is lost in translation. Most hardcore fans are motivated by the desire not to miss the jokes and puns present in Japanese anime and manga. In fact, most people interested in anime express at least a passing desire to learn Japanese, but usually choose not to, due to either time constraints or rumours about the difficulty involved in learning Japanese. Japanese terms are so well integrated into the anime and manga fan culture that during a Fanime convention, a newcomer expressed confusion at some of the announcements because she was unable to understand the Japanese words used. As fans become more proficient at Japanese; they often also become more critical toward the quality of various translations; some critique the different translations of a single series by different fansub groups.

title: Japanese hip hop

text: Rebelling against the conformity and homogeneity of Japanese society, Japanese blackfacers took it a step further by uniquely adapting the physical look of black culture by literally tanning their faces to seem more 'black.' To Japanese hip-hop fans and to Japanese culture, the hip-hop phenomena severely influenced Japanese youth. Japanese hip hop is just an animation. It mimics only the style of American hip hop, not the meaning.

title: MANGA.TOKYO

text: MANGA.TOKYO is a Japanese website focused on publishing news and content about anime, manga, light novels, live action adaptations, and games from Japan. It was established in December 2015 by the Japanese company DONIKA Co. Ltd. MANGA.TOKYO offers a variety of articles, including interviews with anime producers, voice actors, Japanese musicians, and pop culture celebrities, event coverage, reports on otaku events and concerts, anime travel reports, otaku culture features, cosplay galleries, video content, and anime and manga reviews. MANGA.TOKYO also manages Otsukai, a proxy shipping service/second-hand store for Western anime fans, providing access to hard-to-find Japanese anime merchandise with fellow Japanese friends. It is currently in cooperation with various Japanese anime and manga websites such as Anime! Anime!, Comic Natalie, and KAI-YOU.

title: Japanese pop culture in the United States

text: Primarily the function of anime conventions in the United States is to give a place to fans of anime, manga and Japanese culture. There are a range of informational panels offered at these conventions from the basics of Japanese language and culture to cutting edge news about anime releases in Japan and the US. Anime conventions also provide performances and vendors of Japanese goods, manga, anime, figurines and Anime related merchandise. Most American anime conventions are fan operated, the increase in popularity starting in the '90s, sprung forth a long-standing list of annual conventions, such as Anime Expo, AnimeFest, Otakon, and Anime Boston, which continue to today with numbers of attendance reaching over 10,000.

text: Despite being self-dubbed the Anti Video Piracy Association of Singapore, the AVPAS does not seem to be interested in monitoring or combating the copyright violation of non-anime or non-Japanese films as the only titles listed or displayed on its website are either anime or Japanese video titles. No publicly known action has been taken by the AVPAS against file sharers dabbling in non-anime and non-Japanese videos.

title: Anime Punch!

text: Revoluticon was introduced for a debut in 2012 as a new line of events hosted by Anime Punch!. Whereas Armageddicon is entirely focused on anime with limited to no non-anime content, Revoluticon was billed as the anti-armageddicon. It is still aimed at anime fans, but only their tangential interests, with zero anime content. Covered subject matter includes video games, fantasy, science fiction, western animation, comic books, traditional Japanese culture, Japanese modern/pop culture, and cosplay.

title: Saint Seiya

text: In the NHK ranking: "Best Anime 100", celebrating a century of Japanese Animation, the Japanese voted the "Classic Anime Saint Seiya (1986-1990)", making it the 123rd place among the more than 5,000 Japanese animations produced in the first century, resulting the 123th Anime of all time preferred by Japanese fans, also "Anime Classic of Saint Seiya" is the animated product of Saint Seiya preferred by fans of the Japan.

title: Television in Japan

text: , taken from half of the Japanese pronunciation of "animation", is the Japanese word for animation in general, but is used more specifically to mean "Japanese animation" in the rest of the world. Anime dates from about 1917. TV networks regularly broadcast anime programming. In Japan, major national TV networks, such as TV Tokyo broadcast anime regularly. Smaller regional stations broadcast anime on UHF. "Naruto", "Pokémon", "Bleach", "Dragon Ball", and "One Piece" are examples of anime. While many popular series air during the daytime and evening hours, most air only at night from 12:00am – 4:00am. These series usually make profits primarily through BD (Blu-ray Disc)/DVD sales and merchandising rather than through television advertisement. Some anime series are original, but most are intended to promote something else, such as an ongoing manga, light novel, or video-game series.

title: Anime and manga fandom

text: Anime and manga have stimulated many young people to learn the Japanese language. In the 1970s, Naoka Takaya's Saskatoon Japanese Language School was founded with a student body consisting of primarily Japanese-Canadians interested in polishing their language skills for their return to Japan. However, popularity for the language began to rise; the Japanese Language Proficiency Test was first held in 1984 in response to growing demand for standardized Japanese language certification. Yuki Sasaki, who works for the Japanese language program at the University of Georgia, noted that when she first started in the program in 1994, most students were interested in Japanese for internal business majors; however, in 2004, students are more interested in "translating Japanese pop-song lyrics and talk excitedly about the Japanese anime character Sakura Kinomoto from Cardcaptor Sakura." Echoing this sentiment, Takaya also stated that about 60% of her students are studying Japanese because of anime.

title: Sly Cooper and the Thievius Raccoonus

text: Another addition in the Japanese version not present in the other versions is alternate animated introduction and ending sequences. These sequences feature full animation, as opposed to the limited flash-style animation seen in the other animated sequences present throughout the game. These alternate sequences are drawn in a typical anime style. The Japanese introduction is unlockable for view in the North American and PAL versions, but the Japanese ending can only be unlocked in the PAL version.

title: D.Gray-man

text: (in Japanese) (in Japanese) (in Japanese) (manga) at Anime News Network's encyclopedia (anime) at Anime News Network's encyclopedia

title: Anime

text: The etymology of the word anime is disputed. The English term "animation" is written in Japanese katakana as アニメーション (animēshon, Japanese pronunciation:[animeːɕoɴ])[3] and is アニメ (anime) in its shortened form.[3] The pronunciation of anime in Japanese differs from pronunciations in other languages such as Standard English (pronunciation: /ˈænɪmeɪ/), which has different vowels and stress with regards to Japanese, where each mora carries equal stress. As with a few other Japanese words such as saké, Pokémon, and Kobo Abé, English-language texts sometimes spell anime as animé (as in French), with an acute accent over the final e, to cue the reader to pronounce the letter, not to leave it silent as Standard English orthography may suggest.

title: Anime and manga fandom

text: In the '70s, Japanese Animation reached Europe mainly with productions aimed at European and Japanese children with the main results being "Heidi", "Vicky the Vicking" and "Barbapapa". However these works were not recognized as Japanese productions and did not earn much of a dedicated fanbase. However Italy, Spain and France grew an interest for more Japanese animation for their television programming, due to success of previous co-productions, Japan's productive output and cheap selling price in comparison to US animation. Particularly Italy imported the most anime outside of Japan. Like in the Philippines, the Super Robot Genre became very popular with series such as "UFO Robot Grendizer" and "Mazinger Z". However many more genres got added to the mix, with space opera such as "Captain Harlock", shojo shows like "Candy Candy" and "Rose of Versailles", sports like "Captain Tsubasa" and more. Germany however largely rejected Anime other than western literature adaptations of Nippon Animation, with Speed Racer and "Captain Future" proving to be problematic. It was only during the rise of cable television during the '90s that Japanese series such as "Queen Millennia", and "Rose of Versailles" went on air. A strong affinity for unique Japanese productions was developed among a generation of German children during this period.

title: Fumio Kurokawa

text: , is a Japanese storyboard artist and animated film director. He directed a number of animated television series produced by Nippon Animation during the 1970s and 1980s. Kurokawa was the series director of "Animated Classics of Japanese Literature", included among the "100 Must-See Japanese Animation Masterpieces" in the 2007 encyclopedia "Anime Classics Zettai!".

title: Japanese pronouns

text: Japanese has only one word corresponding to reflexive pronouns such as "myself", "yourself", or "themselves" in English. The word means "one's self" and may be used for human beings or some animals. It is not used for cold-blooded animals or inanimate objects.

title: Japan Academy Prize for Animation of the Year

text: Although the Japan Academy Prize has been awarded annually since 1978 to Japanese films, animation films were disregarded in the early years of the Prize. Animation films have included top grossing Japanese films of the year, such as "Doraemon" (1980,1981,1983,1984), Studio Ghibli's "Kiki's Delivery Service" (1989), "Only Yesterday" (1991), "Porco Rosso" (1992), "Pom Poko" (1994), and "Whisper of the Heart" (1995). Yet no animated film received a nomination for a Japan Academy Prize during those years. This was notably different from other major Japanese film awards, such as the Mainichi Film Award and Kinema Junpo, which both awarded Picture of the Year to "My Neighbor Totoro" in 1988.

title: Anime

text: The anime industry consists of over 430 production studios, including major names like Studio Ghibli, Gainax, and Toei Animation. Despite comprising only a fraction of Japan's domestic film market, anime makes up a majority of Japanese DVD sales. It has also seen international success after the rise of English-dubbed programming. This rise in international popularity has resulted in non-Japanese productions using the anime art style. Whether these works are anime-influenced animation or proper anime is a subject for debate amongst fans.[9]

title: Anime

text: Japanese animation began in the early 20th century, when Japanese filmmakers experimented with the animation techniques also pioneered in France, Germany, the United States and Russia.[14] A claim for the earliest Japanese animation is Katsudō Shashin, an undated and private work by an unknown creator.[26] In 1917, the first professional and publicly displayed works began to appear. Animators such as Ōten Shimokawa and Seitarou Kitayama produced numerous works, with the oldest surviving film being Kouchi's Namakura Gatana, a two-minute clip of a samurai trying to test a new sword on his target only to suffer defeat.[19][27][28] The 1923 Great Kantō earthquake resulted in widespread destruction to Japan's infrastructure and the destruction of Shimokawa's warehouse, destroying most of these early works.[29]

title: History of anime

text: Prewar animators faced several difficulties. First, they had to compete with foreign producers such as Disney, which were influential on both audiences and producers. Foreign films had already made a profit abroad and could be undersold in the Japanese market, priced lower than what domestic producers needed to break even. Japanese animators thus had to work cheaply, in small companies with only a handful of employees, which then made it difficult to compete in terms of quality with foreign product that was in color, with sound, and promoted by much bigger companies. Until the mid-1930s, Japanese animation generally used cutout animation instead of cel animation because the celluloid was too expensive. This resulted in animation that could seem derivative, flat (since motion forward and backward was difficult) and without detail. But just as postwar Japanese animators were able to turn limited animation into a plus, so masters such as Yasuji Murata and Noburō Ōfuji were able to perform wonders with cutout animation.


query: When was the series American Horror Story first aired?

title: American Horror Story

text: The series premiered on October 5, 2011, and is broadcast on the cable television channel FX in the United States. In November 2011, it premiered internationally on the respective countries' Fox Networks Group. The first season premiered on October 5, 2011, and concluded on December 21, 2011. The second season premiered on October 17, 2012, and concluded on January 23, 2013. The third season premiered on October 9, 2013, and concluded on January 29, 2014. The fourth season premiered on October 8, 2014, and concluded on January 21, 2015. The fifth season premiered on October 7, 2015, and concluded on January 13, 2016. The sixth season premiered on September 14, 2016, and concluded on November 16, 2016. The seventh season premiered on September 5, 2017, and concluded on November 14, 2017. The eighth season premiered on September 12, 2018 and concluded on November 14, 2018. Seasons 5-7 premiered on the same day and same time with the American broadcasts on FX in Canada, though the first season followed a slightly different schedule as that network launched on October 31, 2011. The series is aired in India on STAR World Premiere HD shortly after its U.S. airing. Along with it, it airs on FX India on standard definition.

title: Traitor (American Horror Story)

text: "Traitor" is the seventh episode of the of the anthology television series "American Horror Story". It aired on October 24, 2018, on the cable network FX. The episode was written by Adam Penn, and directed by Jennifer Lynch.

title: Flicker (American Horror Story)

text: "Flicker" is the seventh episode of the of the anthology television series "American Horror Story". It aired on November 18, 2015 on the cable network FX. This episode was written by Crystal Liu and directed by Michael Goi.

title: Chapter 6 (American Horror Story)

text: "Chapter 6" is the sixth episode of the sixth season of the anthology television series American Horror Story. It aired on October 19, 2016, on the cable network FX. The episode was written by Ned Martel and directed by Angela Bassett. One of the first major story arc changes of the series, the format of the series becomes a found footage horror depicting the aftermath of My Roanoke Nightmare and the development of a follow-up series, Return to Roanoke: Three Days in Hell.

title: Chapter 2 (American Horror Story)

text: "Chapter 2" is the second episode of the of the anthology television series "American Horror Story". It aired on September 21, 2016, on the cable network FX. The episode was written by Tim Minear and directed by Michael Goi.

title: Devil's Night (American Horror Story)

text: "Devil's Night" is the fourth episode of the of the anthology television series "American Horror Story". It aired on October 28, 2015 on the cable network FX. This episode was written by Jennifer Salt and directed by Loni Peristere.

title: Chapter 4 (American Horror Story)

text: "Chapter 4" is the fourth episode of the of the anthology television series "American Horror Story". It aired on October 5, 2016, on the cable network FX. The episode was written by John J. Gray and directed by Marita Grabiak.

title: American Horror Story: Asylum

text: American Horror Story: Asylum is the second season of the American FX horror television series "American Horror Story," created by Brad Falchuk and Ryan Murphy. It originally aired from October 17, 2012 to January 23, 2013. The premise of the second season marked a departure from that of the series's , featuring all new characters and a new location, thus marking "American Horror Story" as an anthology series at the time.

title: Mommy (American Horror Story)

text: "Mommy" is the third episode of the of the anthology television series "American Horror Story". It aired on October 21, 2015 on the cable network FX. This episode was written by James Wong and directed by Bradley Buecker.

title: I Am Anne Frank (American Horror Story)

text: "I Am Anne Frank" is a two-part episode, consisting of the fourth and fifth episodes of the of the FX anthology television series "American Horror Story". The first part aired on November 7, 2012, and the second aired on November 14, 2012. The first part is written by Jessica Sharzer and directed by Michael Uppendahl, and the second part is written by Brad Falchuk and directed by Alfonso Gomez-Rejon. Both episodes are rated TV-MA (LSV).

title: Room Service (American Horror Story)

text: "Room Service" is the fifth episode of the of the anthology television series "American Horror Story". It aired on November 4, 2015 on the cable network FX. This episode was written by Ned Martel and directed by Michael Goi.

title: Holes (American Horror Story)

text: "Holes" is the fifth episode of the of the anthology television series "American Horror Story". It aired on October 3, 2017, on the cable network FX. The episode was written by Crystal Liu, and directed by Maggie Kiley.

title: The End (American Horror Story)

text: "The End" is the first episode and season premiere of the of the anthology television series "American Horror Story". It aired on September 12, 2018, on the cable network FX. The episode was written by Ryan Murphy & Brad Falchuk, and directed by Bradley Buecker.

title: Chapter 9 (American Horror Story)

text: "Chapter 9" is the ninth episode of the of the anthology television series "American Horror Story". It aired on November 9, 2016, on the cable network FX. The episode was written by Tim Minear and directed by Alexis O. Korycinski.

title: Chapter 7 (American Horror Story)

text: "Chapter 7" is the seventh episode of the of the anthology television series "American Horror Story". It aired on October 26, 2016, on the cable network FX. The episode was written by Crystal Liu and directed by Elodie Keene.

title: Election Night (American Horror Story)

text: "Election Night" is the first episode and season premiere of the of the anthology television series "American Horror Story". It aired on September 5, 2017, on the cable network FX. The episode was written by Ryan Murphy and Brad Falchuk, and directed by Bradley Buecker.

title: American Horror Story: Murder House

text: American Horror Story: Murder House (originally titled as American Horror Story) is the first season of the FX television series "American Horror Story". It aired between October 5, and December 21, 2011. The season was produced by 20th Century Fox Television, and the executive producers were Dante Di Loreto and series creators Brad Falchuk and Ryan Murphy.

title: Chutes and Ladders (American Horror Story)

text: "Chutes and Ladders" is the second episode of the of the anthology television series "American Horror Story". It aired on October 14, 2015 on the cable network FX. The episode was written by Tim Minear and directed by Bradley Buecker.

title: Chapter 8 (American Horror Story)

text: "Chapter 8" is the eighth episode of the of the anthology television series "American Horror Story". It aired on November 2, 2016, on the cable network FX. The episode was written by Todd Kubrak and directed by Gwyneth Horder-Payton.

title: Sojourn (American Horror Story)

text: "Sojourn" is the eighth episode of the of the anthology television series "American Horror Story". It aired on October 31, 2018, on the cable network FX. The episode was written by Josh Green, and directed by Bradley Buecker.

title: Spilt Milk (American Horror Story)

text: "Spilt Milk" is the eleventh episode of the of the FX anthology television series "American Horror Story". The episode, written by series co-creator Brad Falchuk and directed by Alfonso Gomez-Rejon, aired on January 9, 2013. This episode is rated TV-MA (LSV).

title: Continuum (American Horror Story)

text: "Continuum" is the twelfth and episode of the of the FX anthology television series "American Horror Story". The episode, written by series co-creator Ryan Murphy and directed by Craig Zisk, originally aired on January 16, 2013. This episode is rated TV-MA (LSV).

title: American Horror Story: Roanoke

text: American Horror Story: Roanoke is the sixth season of the FX horror anthology television series "American Horror Story". It premiered on September 14, 2016, marking the first time the series has debuted outside of October, and concluded on November 16, 2016.

title: The Morning After (American Horror Story)

text: "The Morning After" is the second episode of the of the anthology television series "American Horror Story". It aired on September 19, 2018, on the cable network FX. The episode was written by James Wong, and directed by Jennifer Lynch.

title: Forbidden Fruit (American Horror Story)

text: "Forbidden Fruit" is the third episode of the of the anthology television series "American Horror Story". It aired on September 26, 2018, on the cable network FX. The episode was written by Manny Coto, and directed by Loni Peristere.

title: American Horror Story: Apocalypse

text: American Horror Story: Apocalypse is the eighth season of the FX horror anthology television series "American Horror Story". It premiered on September 12, 2018, and concluded on November 14, 2018. It has been described as a crossover between the and seasons of the series. The season was announced on January 12, 2017.

title: Great Again (American Horror Story)

text: "Great Again" is the eleventh and final episode of the of the anthology television series "American Horror Story". It aired on November 14, 2017, on the cable network FX. The episode was written by Tim Minear, and directed by Jennifer Lynch.

title: Chapter 3 (American Horror Story)

text: "Chapter 3" is the third episode of the of the anthology television series "American Horror Story". It aired on September 28, 2016, on the cable network FX. The episode was written by James Wong and directed by Jennifer Lynch, marking the first time the series has had a female director.

title: Battle Royale (American Horror Story)

text: "Battle Royale" is the eleventh episode of the of the anthology television series "American Horror Story". It aired on January 6, 2016 on the cable network FX. This episode was written by Ned Martel and directed by Michael Uppendahl.

title: Checking In (American Horror Story)

text: "Checking In" is the premiere episode of the of the anthology television series "American Horror Story". It aired on October 7, 2015, on the cable network FX. The episode was co-written by creators Ryan Murphy and Brad Falchuk and directed by Murphy.

title: Chapter 5 (American Horror Story)

text: "Chapter 5" is the fifth episode of the of the anthology television series "American Horror Story". It aired on October 12, 2016, on the cable network FX. The episode was written by Akela Cooper and directed by Nelson Cragg.


query: Who wrote the music for Disney's Mary Poppins?

title: Sherman Brothers

text: The Sherman Brothers wrote more motion-picture musical song scores than any other songwriting team in film history.[2] Film scores of the Sherman Brothers include Mary Poppins, Chitty Chitty Bang Bang, The Jungle Book (except “The Bare Necessities”), Bedknobs and Broomsticks, Charlotte's Web and The Aristocats. Their most well known work, however, remains the theme park song "It's a Small World (After All)". According to Time.com, this song is the most performed song of all time.[3][4]

title: The Sword in the Stone (1963 film)

text: The Sword in the Stone is a 1963 American animated musical fantasy comedy film produced by Walt Disney and released by Buena Vista Distribution. The 18th Disney animated feature film, it was the final Disney animated film to be released before Walt Disney's death. The songs in the film were written and composed by the Sherman Brothers, who later wrote music for other Disney films like "Mary Poppins" (1964), "The Jungle Book" (1967), "The Aristocats" (1970), and "Bedknobs and Broomsticks" (1971).

title: David Magee

text: He wrote the screenplay for the Disney musical "Mary Poppins Returns", directed by Rob Marshall, and starring Emily Blunt and Lin-Manuel Miranda, which was released in 2018.

title: Laura Michelle Kelly

text: "Mary Poppins" premiered in September 2004 at the Bristol Hippodrome, followed in December by its opening in the West End at the Prince Edward Theatre. For her role as Mary Poppins, Kelly earned rave reviews as well as the 2005 Olivier Award for Best Actress in a Musical. She left "Mary Poppins" on 29 October 2005 after more than 400 performances and was succeeded by Scarlett Strallen. Kelly then went to Singapore to star in a revival of "A Twist of Fate" in November 2005, produced by the Singapore Repertory Company. It also starred Anthony Drewe (who co-wrote the music with Singaporean composer Dick Lee).

title: Green Valley High School

text: In 2006, Green Valley High School was one of six U.S. high schools to premiere "High School Musical"; in 2008 it was one of four U.S. high schools to present "Disney High School Musical 2: On Stage." They were also asked to again premier another of Disney's musicals, "Camp Rock: The Musical" in the summer of 2010. In 2014, they premiered Disney and Cameron Mackintosh's "Mary Poppins: The Musical", which ran from late January to early February. In May 2014, their production of "Mary Poppins" became the first high school play to show at the Las Vegas Smith Center. It was also selected to be one of the few high school shows chosen around the country to perform on the Lied Stage in June at the 2014 International Thespian Festival in Lincoln, Nebraska.

title: Chim Chim Cher-ee

text: "Chim Chim Cher-ee" is a song from "Mary Poppins", the 1964 musical motion picture. It was originally sung by Dick Van Dyke and Julie Andrews, and also is featured in the Cameron Mackintosh/Disney "Mary Poppins" musical.

title: On the Record (musical)

text: The revue proved to be the beginning of Ashley Brown's relationship with Disney's theatrical department. After receiving positive reviews for her performance as Kristen, Brown landed the role of Belle in "Beauty and the Beast" on Broadway on September 20, 2005. After completing her run as Belle on May 28, 2006, Brown opened the Broadway production of "Mary Poppins" on November 16, 2006, in the title role — a performance which earned her a Drama Desk Award nomination for Outstanding Actress in a Musical. Brown ended her Broadway run on October 5, 2008, but subsequently returned to the role, opening the North American national tour of "Mary Poppins" in Chicago on March 25, 2009. Meredith Inglesby, who served as a member of the quartet and as Diane's understudy, also found success with Disney Theatrical Productions, landing the roles of Babette the feather duster in the same production of "Beauty and the Beast" and later, Carlotta in the Broadway production of "The Little Mermaid". Most recently, she can be seen as Hannah in the North American tour of "Newsies". Also, Tyler Maynard of the quartet has gone on to work with Walt Disney Theatrical, both in "Mary Poppins" as Valentine and, subsequently, in "The Little Mermaid" as Flotsam.

title: Mary Poppins (film)

text: Mary Poppins is a 1964 American musical fantasy film directed by Robert Stevenson and produced by Walt Disney, with songs written and composed by the Sherman Brothers. The screenplay is by Bill Walsh and Don DaGradi, based on P. L. Travers's book series "Mary Poppins". The film, which combines live-action and animation, stars Julie Andrews in her feature film debut as Mary Poppins, who visits a dysfunctional family in London and employs her unique brand of lifestyle to improve the family's dynamic. Dick Van Dyke, David Tomlinson, and Glynis Johns are featured in supporting roles. The film was shot entirely at the Walt Disney Studios in Burbank, California using painted London background scenes.

title: Mary Poppins (character)

text: Mary Poppins in the Disney film, as portrayed by Julie Andrews, is also fairly stern but at the same time more gentle, cheerful, and nurturing of the two Banks children of whom she is in charge. Mary also has a friendship with Bert (Dick Van Dyke), a jack-of-all-trades who is quite at home with Mary's brand of magic. She also is less vain and selfish (although there are a couple of references to her vanity when she replaces a dingy wall mirror with a more elegant one, and sings a duet with her reflection), and far more sympathetic towards the two children than the nanny in the original stories. Emily Blunt portrayed Mary Poppins in the sequel "Mary Poppins Returns".

title: P. L. Travers

text: Travers travelled to New York City during World War II while working for the British Ministry of Information. At that time, Walt Disney contacted her about selling to Walt Disney Productions the rights for a film adaptation of "Mary Poppins". After years of contact, which included visits to Travers at her home in London, Walt Disney did obtain the rights and the film "Mary Poppins" premiered in 1964. In 2004, a stage musical adaptation of the books and the film opened in the West End; it premiered on Broadway in 2006. A film based on Disney's efforts to persuade Travers to sell him the "Mary Poppins" film rights was released in 2013, "Saving Mr. Banks", in which Travers is portrayed by Emma Thompson.

title: Mary Poppins Returns

text: A sequel to Mary Poppins had been gestating in development hell since its release in 1964. Walt Disney attempted to produce a sequel a year later, but was rejected by author P. L. Travers, who dismissed Disney's first adaptation. In the late 1980s, then-chairman of Walt Disney Studios Jeffrey Katzenberg and vice-president of live-action production Martin Kaplan approached Travers with the idea of a sequel set years after the first film, with the Banks children now as adults and Julie Andrews reprising her role as an older Mary Poppins. Travers again rejected the concept, except for Andrews' return, suggesting a sequel set one year after the original film with Andrews reprising the role, but her idea was shot down too because it was impossible to deal with her, who also imposed her own rules, including Poppins' clothing and barring it from being red.[3]

title: Mary Poppins (film)

text:
The next day, the wind changes, meaning Mary Poppins must leave. A happier Mr. Banks is found at home, having fixed his children's kite, and takes the family out to fly it. In the park, the Bankses meet Mr. Dawes Jr, who reveals his father died laughing from the joke, and re-employs Mr. Banks as a junior partner. With her work done, Mary Poppins flies away, with Bert bidding her farewell, telling her not to stay away too long.
The first novel in the "Mary Poppins" series was the film's main basis. According to the 40th Anniversary DVD release of the film in 2004, Disney's daughters fell in love with the "Mary Poppins" books and made him promise to make a film based on them. Disney first attempted to purchase the film rights to "Mary Poppins" from P. L. Travers as early as 1938 but was rebuffed because Travers did not believe a film version of her books would do justice to her creation. In addition, Disney was known at the time primarily as a producer of cartoons and had yet to produce any major live-action work. For more than 20 years, Disney periodically made efforts to convince Travers to allow him to make a "Poppins" film. He finally succeeded in 1961, although Travers demanded and got script approval rights. The Sherman Brothers composed the music score and were also involved in the film's development, suggesting the setting be changed from the 1930s to the Edwardian era. Pre-production and song composition took about two years.

title: The Good-Time Girl

text: Ten years prior to "Over Here!", in 1964, the Sherman Brothers wrote "The North Pole Polka" for Walt Disney's "Mary Poppins". "The North Pole Polka" was a much more gentle song than "The V.D. Polka". The former was about Polar Bears dancing in the snow. That song was eventually dropped from the "Mary Poppins" score, however.

title: Mary Poppins Returns (soundtrack)

text: Mary Poppins Returns: Original Motion Picture Soundtrack is the soundtrack album for the film of the same name. The music and score for the film was composed by Marc Shaiman, with song lyrics written by Scott Wittman and Shaiman. The soundtrack album was released by Walt Disney Records on December 7, 2018.

title: Mary Poppins

text: The relationship between Travers and Disney is detailed in "Mary Poppins She Wrote", a biography of Travers, by Valerie Lawson, published by Aurum Press in the United Kingdom. The relationship is also the subject of the 2013 Disney film "Saving Mr. Banks", starring Emma Thompson as Travers and Tom Hanks as Walt Disney.

title: Mary Poppins (film)

text: "Mary Poppins" is widely considered to be Walt Disney's "crowning achievement". It was the only film of Disney's to garner a Best Picture nomination at the Oscars in his lifetime.

title: Mary Poppins (film)

text: Never at ease with the handling of her property by Disney or the way she felt she had been treated, Travers would never again agree to another Poppins/Disney adaptation. So fervent was Travers' dislike of the Disney adaptation and of the way she felt she had been treated during the production, that when producer Cameron Mackintosh approached her about the stage musical in the 1990s, she acquiesced on the condition that he used only English-born writers and no one from the film production were to be directly involved with creating the stage musical.In December 2018, Walt Disney Pictures released the film "Mary Poppins Returns". The film takes place 20 years after "Mary Poppins", and features a standalone narrative based on the remaining seven books in the series. Rob Marshall directed, while John DeLuca and Marc Platt served as producers, with Emily Blunt starring as Poppins, and Dick Van Dyke returning in a cameo to portray Mr. Dawes Jr.. Karen Dotrice also appeared in a cameo role.

title: Mary Poppins (musical)

text: In 1993, theatrical producer Cameron Mackintosh met P. L. Travers and acquired the rights to develop a stage play adaptation of her "Mary Poppins" books. She only agreed to a stage production as long as the creators were all English, and no one who had worked on the Disney film adaptation. She died in 1996. In 2001, Mackintosh and Thomas Schumacher, head of Disney Theatrical, opened talks on a possible collaboration, so that the stage play would be able to use the songs from the Disney film. With both sides committed, a preliminary outline of the show was written in 2002.

title: Mary Poppins (film)

text: Travers was an adviser to the production. However, she disapproved of the dilution of the harsher aspects of Mary Poppins' character, felt ambivalent about the music, and so hated the use of animation that she ruled out any further adaptations of the later "Mary Poppins" novels. She objected to a number of elements that actually made it into the film. Rather than original songs, she wanted the soundtrack to feature known standards of the Edwardian period in which the story is set. Disney overruled her, citing contract stipulations that he had final say on the finished print. Much of the Travers–Disney correspondence is part of the Travers collection of papers in the Mitchell Library of New South Wales, Australia. The relationship between Travers and Disney is detailed in "Mary Poppins She Wrote", a biography of Travers, by Valerie Lawson. The biography is the basis for two documentaries on Travers, "The Real Mary Poppins", and Lisa Matthews' "The Shadow of Mary Poppins". Their relationship during the development of the film was also dramatized in the 2013 Disney film "Saving Mr. Banks".

title: Mary Poppins (film)

text: The Compass Sequence, a precursor to "Jolly Holiday", was to be a multiple-song sequence. A number of possible musical components have been identified:"Mary Poppins" premiered on August 27, 1964, at Grauman's Chinese Theatre in Los Angeles. Travers was not extended an invitation to the event, but managed to obtain one from a Disney executive. It was at the after-party that Richard Sherman recalled her walking up to Disney and loudly announcing that the animated sequence had to go. Disney responded, "Pamela, the ship has sailed," and walked away.

title: Mary Poppins

text: The books were adapted by Walt Disney into a musical film titled "Mary Poppins" (1964), starring Julie Andrews and Dick Van Dyke. The film "Saving Mr. Banks" (2013) depicted the making of the 1964 film. Disney’s sequel to the 1964 film, "Mary Poppins Returns", was released in 2018, and stars Emily Blunt as Poppins.

title: P. L. Travers

text: The musical film adaptation "Mary Poppins" was released by Walt Disney Pictures in 1964. Primarily based on the original 1934 novel of the same name, it also lifted elements from the 1935 sequel "Mary Poppins Comes Back". The novels were loved by Disney's daughters when they were children, and Disney had spent 20 years trying to purchase the film rights to "Mary Poppins", which included visits to Travers at her home in London. In 1961, Travers arrived in Los Angeles on a flight from London, her first-class ticket having been paid for by Disney, and he finally succeeded in purchasing the rights. Travers was an adviser in the production, but she disapproved of the Poppins character in its Disney version, with harsher aspects diluted; she felt ambivalent about the music; and she so hated the use of animation that she ruled out any further adaptations of the series. She received no invitation to the film's star-studded première until she "embarrassed a Disney executive into extending one". At the after-party, she said loudly “Well. The first thing that has to go is the animation sequence.” Disney replied, "Pamela, the ship has sailed", and walked away.

title: Mary Poppins

text: In 2004, Disney Theatrical in collaboration with Sir Cameron Mackintosh (who had previously acquired the stage rights from Travers) produced a stage musical also called "Mary Poppins" in London's West End theatre. The stage musical was transferred to Broadway, in New York, in 2006, where it ran until its closing on 3 March 2013.

title: Mary Poppins (musical)

text: Cameron Mackintosh's stage adaptation of "Mary Poppins" had its world premiere at the Bristol Hippodrome starting with previews from September 15, 2004, before officially opening on September 18 for a limited engagement until November 6. The production then moved to the Prince Edward Theatre on December 15, 2004, making it the only Disney musical to have premiered in the UK. The role of Mary was played by Laura Michelle Kelly, who subsequently won the 2005 Olivier Award for Best Actress in a Musical for the role, and the role of Bert was played by Gavin Lee. Notable replacements have included Scarlett Strallen, Lisa O'Hare and Caroline Sheen as Mary Poppins and Gavin Creel as Bert (in July 2006).

title: Katherine Doherty

text:
Katherine Leigh Doherty is an American child actress who has performed in the Broadway cast of "Mary Poppins" as Jane Banks.
She appeared on the Disney Channel show "Disney 365" giving a tour of the Mary Poppins set.

title: Mary Poppins (song)

text: "Mary Poppins" is a song from the 2015 stage musical "Love Birds" with music and lyrics by Robert J. Sherman. It is sung by "The Original Quack Pack", a penguin barbershop quartet who resemble the penguins from the 1964 Walt Disney motion picture, "Mary Poppins". In dialogue leading up to the song, the penguins explain that while they did know the same nanny, (Mary Poppins) they are not the same penguins as in the movie. The song expresses their longing for the magical nanny of literary fame.

title: Mary Poppins (musical)

text: Mary Poppins is a musical with music and lyrics by Richard M. Sherman and Robert B. Sherman (the Sherman Brothers) and additional music and lyrics by George Stiles and Anthony Drewe, and a script by Julian Fellowes. The musical is based on the similarly titled Mary Poppins children's books by P. L. Travers and the 1964 Disney film, and is a fusion of various elements from the two, including songs from the film.

title: Karen Dotrice

text: Film historian Leonard Maltin said Dotrice "won over everyone" with her performance in "The Three Lives of Thomasina", and she was signed to play Jane Banks (along with once and future co-star Matthew Garber as her brother, Michael Banks) in "Mary Poppins" (1964). Disney's part-live-action, part-animation musical adaptation of the "Poppins" children's books by P. L. Travers starred David Tomlinson as a workaholic father and Glynis Johns as a suffragette mother who are too busy to spend much time with their children. Instead, they hire a nanny (Julie Andrews) who takes Jane and Michael on magical adventures designed to teach them—and their parents—about the importance of family. "Poppins" was Disney's biggest commercial success at the time and won five Academy Awards, making its stars world-famous. Dotrice and Garber were praised for their natural screen presence; critic Bosley Crowther wrote, "the kids ... are just as they should be," while author Brian Sibley said, "these charming, delightful young people provided a wonderful centre for the film."

title: Mary Poppins (film)

text: "Mary Poppins" was released on August 27, 1964, to critical acclaim. It received a total of 13 Academy Awards nominations, including Best Picture – a record for any other film released by Walt Disney Studios – and won five: Best Actress for Andrews, Best Film Editing, Best Original Music Score, Best Visual Effects, and Best Original Song for "Chim Chim Cher-ee". In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". "Mary Poppins" is considered Walt Disney's crowning live-action achievement, and is the only one of his films which earned a Best Picture nomination during his lifetime.

title: Saving Mr. Banks

text: Travers' working relationship with Disney and his team is difficult from the outset, with her insistence that Mary Poppins is the enemy of sentiment and whimsy. Disney and his people are puzzled by Travers' disdain for fantasy, given the nature of the Mary Poppins story, as well as Travers' own rich imagination. She particularly objects to how the character George Banks, the estranged father of the children in Mary Poppins' charge, is depicted, insisting that he is neither cold nor cruel. Gradually, they grasp how deeply personal the Mary Poppins stories are to her and how many of the characters were inspired by her past.

title: Mary Poppins

text: On 14 September 2015, Disney announced a new "Mary Poppins" film was to be made, with a new plot and new songs, although in P. L. Travers' final will, another movie version was not to be made according to her wishes. The film is directed by Rob Marshall and written by David Magee. Songs are composed by Marc Shaiman and Scott Wittman, who both received support from Richard Sherman, who, along with his late brother-collaborator Robert Sherman wrote the iconic song score of the original "Mary Poppins" film. The film is not a reboot or remake of the original 1964 film; in this film Mary Poppins revisits the now-adult Banks children from the first film and takes charge of the three children of Michael Banks. It is loosely based on the other seven "Mary Poppins" books by Travers, and expands beyond them. Emily Blunt stars as Mary Poppins, alongside Lin-Manuel Miranda in the role of Jack, a similar character to Dick Van Dyke's "Bert" from the first film. It was announced on 31 May 2016 that the film would be titled "Mary Poppins Returns" and would take place in Depression-era London, 25 years after the events of the original film. Emily Mortimer and Ben Whishaw play grown-up Jane and Michael Banks. The release date was 21 December 2018 in the US and the UK.


query: How did Alexander II die?

title: Alexander II of Russia

text: Alexander II (Russian:Алекса́ндр II Никола́евич, tr.Aleksandr II Nikolayevich,IPA:[ɐlʲɪˈksandr ftɐˈroj nʲɪkɐˈlajɪvʲɪtɕ]; 29 April 1818 – 13 March 1881)[1] was the Emperor of Russia from 2 March 1855 until his assassination on 13 March 1881. He was also the King of Poland and the Grand Duke of Finland.[2]

title: Sir Alexander Campbell, 1st Baronet

text: On 3 July 1821—after the death of his three sons—Campbell obtained a renewed patent to the baronetcy, extending the limitation to his grandson Alexander Thomas Cockburn (the son of Campbell's eldest daughter Olympia), and if Alexander Thomas were to die without a male heir, to the male issue of his second daughter Isabella Charlotte, Lady Malcolm. Alexander Thomas Cockburn took an additional surname in 1825 becoming Cockburn-Campbell. His descendant, Sir Alexander Thomas Cockburn-Campbell, 7th Baronet, lives in Australia, as did his father and grandfather.

title: Alexander II of Russia

text: Lincoln, W. Bruce. The Romanovs: Autocrats of All the Russias (1983) Moss, Walter G., Alexander II and His Times: A Narrative History of Russia in the Age of Alexander II, Tolstoy, and Dostoevsky. London: Anthem Press, 2002. Mosse, W. E. Alexander II and the Modernization of Russia (1958) Pereira, N.G.O.,Tsar Emancipator: Alexander II of Russia, 1818–1881, Newtonville, Mass: Oriental Research Partners, 1983. Radzinsky, Edvard, Alexander II: The Last Great Tsar. New York: The Free Press, 2005.

title: Alexander I of Russia

text: The death of Catherine in November 1796, before she could appoint Alexander as her successor, brought his father, Paul I, to the throne. Alexander disliked him as a ruler even more than he did his grandmother. He wrote that the country had become a "plaything for the insane" and that "absolute power disrupts everything". It is likely that seeing two previous rulers abuse their autocratic powers in such a way pushed him to be one of the more progressive Romanov czars of the 19th and 20th centuries. Among the rest of the country, Paul was immensely unpopular. He accused his wife of conspiring to become another Catherine II and seize power from him as his mother did from his father. He also suspected Alexander of conspiring against him, despite his son's earlier refusal to Catherine II to seize power from Paul.

title: Eliakum Zunser

text: In 1861 he published a booklet of songs entitled "Shirim Khadoshim", the first of about 50 publications in his lifetime. At this time, he was, in Liptzin's words, "primarily a Maskil"—a propagator of the Haskalah—"interested in instructing and aiding his people". However, his life took a tragic turn: not only did his wife die of cholera in the next decade, but all of their nine children as well, and he became, again quoting Liptzin, "a prophet of doom, admonishing his co-religionists not to venture too date along the alluring road of western enlightenment and assimilation..." [Liptzin, 1972, 49] When that doom came, in the form of the anti-Semitic reaction and pogrom after the assassination of Alexander II, he became again a comforter, as well as a Zionist, affiliated with the Hovevei Zion and Bilu pioneers, writing songs such as ""Die Sokhe"" ("The Plough") and ""Shivath Zion"" ("Homecoming to Zion").

title: Duke Alexander Petrovich of Oldenburg

text: Alexander was one of the richest princes in Russia in both landed and funded property; this was also partly due to the wealth of his wife, whose inherited wealth, as the granddaughter of Nicholas I of Russia, was said to be enormous. Alexander was also second-in-line to the throne of Oldenburg, as Frederick Augustus II, Grand Duke of Oldenburg had only one young son, Hereditary Grand Duke Nikolaus; were he to die before his father, Alexander would have become heir presumptive. Because of this wealth, it was expected that Alexander and his family would remain in Russia and give up their claim to the Grand Duchy of Oldenburg, were they to succeed to that particular territory.

title: Bombing of Dresden in World War II

text: [[File:Sandsteinmauerheidefriedhof.jpg|thumb|right|A memorial at cemetery Heidefriedhof in Dresden. It reads: ""Wieviele starben? Wer kennt die Zahl? An deinen Wunden sieht man die Qual der Namenlosen, die hier verbrannt, im Höllenfeuer aus Menschenhand."" ("How many died? Who knows the count? In your wounds one sees the agony of the nameless, who in here were conflagrated, in the hellfire made by hands of man.")]]

title: March of Cambreadth

text: Alexander did a second self-parody "March of Con Death" specifically for the RainFurrest 2009 Fur Suit Parade. As the theme for that year was "Zombie Attack" the lyrics included humorous puns relating to unlife and of course keeping the signature chorus line of ""How many of them can we make die!""

text: Grand Duke Alexander Alexandrovich of Russia (Russian: Великий Князь Александр Александрович Романов; 7 June 1869 – 2 May 1870) was the infant son of Emperor Alexander III–the heir apparent, styled "Tsesarevich", to the Russian throne as the eldest living son of Emperor Alexander II–and his consort, Marie Fyodorovna of Russia. He was Alexander and Marie's second child, second son, and the younger brother of the future Emperor Nicholas II. He died of meningitis in 1870, one month before his first birthday. "The doctors maintain he did not suffer, but we suffered terribly to see and hear him," his mother wrote to her own mother, Queen Louise of Denmark.

title: Alexander Gibson, Lord Durie II

text: Sir Alexander Gibson, with a legal courtesy title Lord Durie held as his father did (died 1656) was a Scottish judge.

title: Princess Eugenia Maximilianovna of Leuchtenberg

text: Duke Alexander was one the richest princes in Russia, not only through his landed and funded property, but also because of the great wealth Eugenia had inherited from her grandfather Nicholas I. Alexander was also second-in-line to the throne of Oldenburg, as Frederick Augustus II, Grand Duke of Oldenburg had only one young son, Hereditary Grand Duke Nikolaus; were he to die before his father, Alexander would have become heir presumptive.

title: March of Cambreadth

text:
Alexander also performed the parody "December of Cambreadth" on the album "Roundworm". The words to the parody are by Bob Kanefsky, and deal with Santa Claus
delivering toys, replacing the signature refrain ""How many of them can we make die?"" with ""How many of them can we bring toys?""

title: Alexander II of Russia

text: Portrait of Alexander II, 1856 Portrait of Emperor Alexander II wearing the greatcoat and cap of the Imperial Horse-Guards Regiment. circa 1865 Alexander II, by Sergei Lvovich Levitsky, 1860 (The Di Rocco Wieler Private Collection, Toronto, Canada) Alexander II, portrait by Konstantin Makovsky. 1881 The Monument to the Tsar Liberator in Sofia commemorates Alexander II's decisive role in the Liberation of Bulgaria from Ottoman rule during the Russo-Turkish War of 1877-78. A monument to Alexander II in Częstochowa, the spiritual heart of Poland. A monument to Alexander II in Plovdiv, Bulgaria.

title: Karl Otto Weber

text:
Weber was diligent about writing up the results of his studies. He was also a good draftsman and did his own drawings, also taking care of their transfer to the lithographic stone. Many of his medical articles were published in Pitha and Bilroth's "Handbuch der allgemeinen und speciellen Chirurgie". He was the author of the following books:
Weber also published in the areas of history and biography. In the "Preußischen Jahrbüchern" he published the essays: “Johannes Müller,” “Alexander von Humboldt und sein Einfluß auf die Naturwissenschaft” (Alexander von Humboldt and his influence on natural science), an obituary for Karl Wilhelm Wutzer, and also “Ueber die Anfänge der pathologische Anatomie” (On the beginnings of pathological anatomy) and “Die Bedeutung der pathologische Anatomie für die medicinische Wissenschaft und Praxis” (The significance of pathological anatomy for the theory and practice of medicine).

title: Death of Alexander the Great

text: Calanus was likely to be a Hindu Naga sadhu, whom Greeks called gymnosophists. He had accompanied the Greek army back from Punjab, upon request by Alexander. He was seventy-three years of age at that time. However, when Persian weather and travel fatigue weakened him, he informed Alexander that he would rather die than live disabled. He decided to take away his life by self-immolation. Although Alexander tried to desist him from doing so but upon the insistence of Calanus, Alexander relented and the job of building a pyre was entrusted to Ptolemy.[6] The place where this incident took place was Susa in the year 323 B.C.[7] Calanus is mentioned also by Alexander's admiral, Nearchus and Chares of Mytilene.[8] He did not flinch as he burnt to the astonishment of those who watched.[9][10] Before immolating himself alive on the pyre, his last words to Alexander were "We shall meet in Babylon".[11][12] Thus he is said to have prophesied the death of Alexander in Babylon. At the time of the death of Calanus, Alexander, however, did not have any plan to go to Babylon.[13][14] No one understood the meaning of his words "We shall meet in Babylon". It was only after Alexander fell sick and died in Babylon, that the Greeks came to realize what Calanus intended to convey.

title: Alexander II Column in Odessa

text: Alexander II Column, also known as Alexander's column or Monument to Alexander II of Russia, is a triumphal column located in Shevchenko, Odessa and is commemorated to the visit of Russian Emperor Alexander II the city of Odessa in 1875.

title: Maria Alexandrovna (Marie of Hesse)

text: In 1866, Alexander II and Maria Alexandrovna celebrated their silver wedding anniversary. With the passing of the years, they grew apart, particularly after the birth of their last son and the deterioration of her health. While the Empress remained in love with her husband, Alexander II had many affairs, but they did not threaten their marriage. From the mid-1850s until 1862, he had a relationship with Alexandra Sergeevna Dolgoruki (30 November 1834 – 12 September 1913). Alexandra belonged to one of Russia's most illustrious families and became one of the Tsarina's ladies in waiting in 1853. This affair ended in 1862 when Alexandra married general Pyotr Pavlovich Albedinsky (1826-1883). In 1865, Alexander II fell deeply in love with 18-year-old Princess Catherine Dolgoruki, a distant cousin of his former mistress. Catherine resisted him for over a year, but in July 1866, they became lovers. Inevitably Maria Alexandrovna heard about the affair, but initially, she did not attach great importance to it.

title: Hangmen Also Die!

text: Hangmen Also Die! is a 1943 noir war film directed by the Austrian director Fritz Lang and written by John Wexley from a story by Bertolt Brecht (credited as Bert Brecht) and Lang. The film stars Hans Heinrich von Twardowski, Brian Donlevy, Walter Brennan, Alexander Granach and Anna Lee, and features Gene Lockhart and Dennis O'Keefe. The music is by Hanns Eisler and James Wong Howe served as cinematographer.

title: Assassination of Alexander II of Russia

text: The dying emperor was given Communion and Last Rites. When the attending physician, Sergey Botkin, was asked how long it would be, he replied, "Up to fifteen minutes." At 3:30 that day, the personal flag of Alexander II (his personal flag) was lowered for the last time.

title: History of antisemitism

text: Since 1827, Jewish minors were conscripted into the cantonist schools for a 25-year military service. Policy towards Jews was liberalised somewhat under Tsar Alexander II, but antisemitic attitudes and long-standing repressive policies against Jews were intensified after Alexander II was assassinated on 13 March 1881, culminating in widespread anti-Jewish pogroms in the Russian Empire which lasted for three years. A hardening of official attitudes under Tsar Alexander III and his ministers, resulted in the May Laws of 1882, which severely restricted the civil rights of Jews within the Russian Empire. The Tsar's minister Konstantin Petrovich Pobedonostsev stated that the aim of the government with regard to the Jews was that: "One third will die out, one third will leave the country and one third will be completely dissolved [into] the surrounding population". In the event, a mix of pogroms and repressive legislation did indeed result in the mass emigration of Jews to western Europe and America. Between 1881 and the outbreak of the First World War, an estimated two and half million Jews left Russia – one of the largest mass migrations in recorded history.

title: Alexander II of Russia

text: The dying emperor was given Communion and Last Rites. When the attending physician, Sergey Botkin, was asked how long it would be, he replied, "Up to fifteen minutes."[52] At 3:30 that day, the standard of Alexander II (his personal flag) was lowered for the last time.

title: Alexander Opekushin

text: Alexander Mikhailovich Opekushin () (November 28, 1838 - March 4, 1923) was a Russian sculptor. Among his works are part of the sculptures of the Millennium of Russia monument in Velikiy Novgorod (1862), the monument to Alexander Pushkin in Moscow (1880), the monument to Mikhail Lermontov in Pyatigorsk (1889), the monument to Alexander II in Moscow (1898, destroyed in 1918, rebuilt in 2005), the monument to Alexander III in Moscow (1912, did not survive).

title: History of Russia (1855–92)

text: Alexander's far reaching policy, however, did not bring political peace to Russia. In 1881 revolutionaries assassinated Alexander II.

title: Die Fledermaus (1962 film)

text: Die Fledermaus is a 1962 Austrian musical film directed by Géza von Cziffra and starring Peter Alexander, Marianne Koch and Marika Rökk. It is an adaptation of the operetta "Die Fledermaus" by Johann Strauss II, and Richard Genée.

title: Alexander Robertson Murray

text: He was born to Alexander Murray and Catherine Robertson. He married Margaret Allan Grant and had a son and two daughters. "The Times" of 19 April 1944 carried a notice of the marriage of Captain Alexander Grant Murray, The Seaforth Highlanders, only son of Sir Alexander Murray, K.C.I.E, C.B.E., and Lady Murray, Uplands, Hughenden to Pamela Mary Upham, A.T.S. Tragically Captain Murray was to die later that year whilst serving with his regiment, probably in Normandy. His name is included on the plaque in the north aisle of Hughenden Parish Church which commemorates the men of the parish who died on active service during World War II.

title: Die Antwoord

text: In 2012, they did a campaign for Alexander Wang's T range.

title: Nectanebo II

text: There is an apocryphal tale appearing in the pseudo-historical "Alexander romance" that details another end for the last native pharaoh. Soon after Alexander the Great's godhood was confirmed by the Libyan Sibyl of Zeus Ammon at the Siwa Oasis, a rumor was begun that Nectanebo II, following defeat in his last battle, did not travel to Nubia but instead to the court of Philip II of Macedon in the guise of an Egyptian magician. There, while Philip was away on campaign, Nectanebo convinced Philip's wife Olympias that Amun was to come to her and that they would father a son. Nectanebo, disguising himself as Amun, slept with Olympias and from his issue came Alexander.

title: Roxana, the Beauty of Montenegro

text: The ballet historian Konstantin Skalkovsky gives an account in his study of late 19th century ballet in St. Petersburg of how Minkus' "Grand Marche" from the third act of this ballet "was the favorite piece of Tsar Alexander II, who in general did not love music. Several units of our troops (the Russian Army) stormed the Plevna to the music of this march."

title: Alexander the Great

text: From Halicarnassus, Alexander proceeded into mountainous Lycia and the Pamphylian plain, asserting control over all coastal cities to deny the Persians naval bases. From Pamphylia onwards the coast held no major ports and Alexander moved inland. At Termessos, Alexander humbled but did not storm the Pisidian city. At the ancient Phrygian capital of Gordium, Alexander "undid" the hitherto unsolvable Gordian Knot, a feat said to await the future "king of Asia". According to the story, Alexander proclaimed that it did not matter how the knot was undone and hacked it apart with his sword.

title: Alexander of Lyncestis

text: Alexander was a contemporary of Philip III of Macedon and Alexander the Great. He had two brothers, Heromenes and Arrhabaeus; all three were under suspicion of involvement in the assassination of Philip II of Macedon, in 336 BC. Alexander the Great, on his accession, put to death all those who had taken part in the murder, and Alexander the Lyncestian was the only one that was pardoned, because he was the first who did homage to Alexander the Great as his king.

title: Kalanos

text: He was seventy-three years of age at time of his death. When the Persian weather and travel had weakened him, he informed Alexander that he would prefer to die rather than live as an invalid. He decided to take his life by self-immolation. Although Alexander tried to dissuade him from this course of action, upon Kalanos' insistence the job of building a pyre was entrusted to Ptolemy. Kalanos is mentioned also by Alexander's admirals, Nearchus and Chares of Mytilene. The city where this immolation took place was Susa in the year 323 BC. Kalanos distributed all the costly gifts he got from the king to the people and wore just a garland of flowers and chanted Jain hymns. He presented his horse to one of his Greek pupils named Lysimachus. He did not flinch as he burnt to the astonishment of those who watched. Although Alexander was not personally present at time of his immolation, his last words to Alexander were "We shall meet in Babylon". He is said to have prophesied the death of Alexander in Babylon, even though at the time of death of Kalanos, Alexander did not have any plans to go to Babylon.