Lata Mangeshkar

Lata Mangeshkar (Marathi: लता मंगेशकर; born September 28, 1929) is a singer from India. She is one of the best-known and most respected playback singers in India. Mangeshkar's career started in 1942 and has spanned over six and a half decades. She has recorded songs for over a thousand Bollywood movies and has sung songs in over thirty-six regional Indian languages and foreign languages, but primarily in Hindi. She is the elder sister of Asha Bhosle and brother Hridayanath Mangeshkar and sisters Usha Mangeshkar and Meena Mangeshkar. She is the second vocalist ever to have received the Bharat Ratna, India's highest civilian honour.[3]
Mangeshkar was featured in the Guinness Book of World Records from 1974 to 1991 for having made the most recordings in the world. The claim was that she had recorded no less than 25,000 solo, duet, and chorus-backed songs in 20 Indian languages between 1948 to 1974 (30,000 songs between 1948 and 1987, according to the 1987 edition). Over the years, while several sources have supported this claim, others have raised concerns over its veracity, claiming that this number was highly exaggerated and that Mangeshkar's younger sister, Asha Bhosle, had more song recordings than she had.

Early life
Lata Mangeshkar was born in Sikh Mohalla,[4] Indore, in the Central India Agency (now part of Madhya Pradesh). Her father, Pandit Deenanath Mangeshkar who belonged to a Kalavant family from Goa, was a classical singer and theater actor. Her mother Shudhhamati, who was from Thalner, Maharashtra, was Deenanath's second wife. The family's last name used to be Hardikar; Deenanath changed it to Mangeshkar in order to identify his family with his native town, Mangeshi in Goa. Lata was named "Hema" at her birth. Her parents later renamed her Lata after a female character, Latika, in one of her father's plays, BhaawBandhan.[5] Lata is the eldest child of her parents. Asha, Hridayanath, Usha, and Meena are her siblings in sequence.
Mangeshkar took her first music lessons from her father. At the age of five, she started to work as an actress in her father's musical plays (sangeet naatak in Marathi). On the first day in the school, she started teaching songs to other children. When the teacher stopped her, she was so angry that she stopped going to the school.[5] Other sources cite that she left school because they would not allow her to bring Asha with her, as she would often bring her younger sister with her.
[edit] Early movie career in the 1940s
In 1942, when Mangeshkar was 13, her father died of heart disease. Master Vinayak (Vinayak Damodar Karnataki), the owner of Navyug Chitrapat movie company and a close friend of the Mangeshkar family, took care of them. He helped Lata get started in a career as a singer and actress.
Mangeshkar sang the song “Naachu Yaa Gade, Khelu Saari Mani Haus Bhaari,” which was composed by Sadashivrao Nevrekar for Vasant Joglekar's Marathi-language movie Kiti Hasaal (1942), but the song was dropped from the final cut. Vinayak gave her a small role in Navyug Chitrapat's Marathi movie Pahili Mangalaa-gaur (1942), in which she sang “Natali Chaitraachi Navalaai,” which was composed by Dada Chandekar.[5] Her first Hindi song was Mata Ek Sapoot Ki Duniya Badal De Tu for the Marathi film, Gajaabhaau (1943). Mangeshkar moved to Mumbai in 1945 when Master Vinayak's company moved its headquarters there. She started taking lessons in Hindustani classical music from Ustad Amanat Ali Khan Bhendibazaarwale. She sang “Paa Lagoon Kar Jori” for Vasant Joglekar's Hindi-language movie Aap Ki Seva Mein (1946),[5] which was composed by Datta Davjekar. Mangeshkar and her sister Asha played minor roles Vinayak's first Hindi-language movie, Badi Maa (1945). In that movie, Lata also sang a bhajan , “Maata Tere Charnon Mein.” She was introduced to music director Vasant Desai during the recording of Vinayak's second Hindi-language movie, Subhadra (1946).
Following the partition of India in 1947, Ustad Amanat Ali Khan Bhendibazaarwale migrated to newly formed Pakistan, so Mangeshkar started to learn classical music under Amanat Khan Devaswale. Pandit Tulsidas Sharma, a pupil of Ustad Bade Ghulam Ali Khan, also trained her.
After Vinayak's death in 1948, music director Ghulam Haider mentored her as a singer. Haider introduced Mangeshkar to producer Sashadhar Mukherjee, who was working then on the movie Shaheed (1948), but Mukherjee dismissed Mangeshkar's voice as "too thin."[5] An annoyed Haider responded that in the coming years the producers and the directors would "fall at Lata's feet" and "beg her" to sing in their movies. Haider gave Lata her first major break with the song “Dil Mera Toda,” from the movie Majboor (1948).[5]
Initially, Mangeshkar is said to have imitated Noor Jehan, but later she developed her own style of singing.[5] Lyrics of songs in Hindi movies are primarily composed by Urdu poets and contain a higher proportion of Urdu words, including the dialogue. Actor Dilip Kumar once made a mildly disapproving remark about Mangeshkar's Maharashtrian accent while singing Hindi/Urdu songs; so for a period of time, Lata took lessons in Urdu from an Urdu teacher named Shafi.[6]
“Aayega Aanewaala,” a song in the movie Mahal (1949) was composed by music director Khemchand Prakash and lip-synced on screen by actress Madhubala.
The 1950s

Mangeshkar as a young woman
In the 1950s, Mangeshkar sang songs composed by various music directors of the period, including Anil Biswas (in films such as Tarana and Heer), Shankar-Jaikishan, Naushad, S. D. Burman, C. Ramchandra, Hemant Kumar, Salil Chowdhury, Khayyam, Ravi, Sajjad Hussain, Roshan, Kalyanji-Anandji, Vasant Desai, Sudhir Phadke, Hansraj Behl, Madan Mohan, and Usha Khanna.
Mangeshkar sang many raga-based songs for Naushad in movies such as Baiju Bawra (1952), Mughal-E-Azam (1960), and Kohinoor (1960). Ae Chorre Ki Jaat Badi Bewafa, a duet with G. M. Durrani, was her first song for composer, Naushad. The duo, Shankar-Jaikishan, chose Mangeshkar for Aag, Aah (1953), Shree 420 (1955), and Chori Chori (1956). Before 1957, composer Sachin Dev (S. D.) Burman chose Mangeshkar as the leading female singer for his musical scores in Sazaa (1951), House No. 44 (1955), and Devdas (1955). However a rift developed between Lata and Burman in 1957, and Lata did not sing Burman's compositions again until 1962.
Mangeshkar won a Filmfare Best Female Playback Award for Salil Chowdhury's composition “Aaja Re Pardesi,” from Madhumati (1958).
In the early fifties, Lata Mangeshkar's association with C. Ramchandra produced songs in movies such as Anarkali, Albela, Asha, Pehli Jhhalak, Shin Shinkai Bublaa Boo, Azad and Amardeep. For Madan Mohan, she performed for films like Adalat, Railway Platform, Dekh Kabira Roya and Chacha Zindabad.
1960s
In 1960, Mangeshkar's song Pyar Kiya To Darna Kya from Mughal-E-Azam (1960) was composed by Naushad and picturized on Madhubala. The Hawaiian-themed number Ajeeb Dastaan Hai Yeh from Dil Apna Aur Preet Parai (1960) was composed by Shankar-Jaikishan and picturized on Meena Kumari.
In 1961, Mangeshkar recorded two bhajans, Allah Tero Naam and Prabhu Tero Naam, for Burman's assistant, Jaidev. In 1962, she was awarded her second Filmfare Award for the song Kahin Deep Jale Kahin Dil from Bees Saal Baad, composed by Hemant Kumar.
On June 27, 1963, against the backdrop of the Sino-Indian War, Mangeshkar sang the patriotic song Ae Mere Watan Ke Logon (literally, "Oh, the People of My Country") in the presence of Jawaharlal Nehru, then the Prime Minister of India. The song, composed by C. Ramchandra and written by Pradeep, is said to have brought the Prime Minister to tears.[5][7]
In 1963, Mangeshkar returned to collaboration with S. D. Burman. She also sang for R. D. Burman's very first film Chhote Nawaab and later for his films such as Bhoot Bangla (1965), Pati Patni (1966), Baharon ke Sapne (1967) and Abhilasha (1969). She also recorded several popular songs for S. D. Burman, including Aaj Phir Jeene Ki Tamanna Hai, Gata Rahe Mera Dil (duet with Kishore Kumar) and Piya Tose from Guide (1965), and Hothon Pe Aisi Baat from Jewel Thief (1967).
During the 1960s, Lata Mangeshkar continued her association with Madan Mohan which included the songs Aap Ki Nazron Ne Samjha from Anpadh (1962), Lag Ja Gale and Naina Barse Rim Jhim from Woh Kaun Thi? (1964), Woh Chup Rahen To from Jahan Ara (1964), and Tu Jahan Jahan Chalega from Mera Saaya (1966).
The 1960s also witnessed the beginning of Mangeshkar's association with Laxmikant-Pyarelal, the music directors for whom she sang the most songs in her career.
She also sang several playback songs for Marathi films, composed by Marathi music directors including Hridaynath Mangeshkar, Vasant Prabhu, Srinivas Khale, Sudhir Phadke and herself (under the name Anandghan). During the 1960s and 1970s, she also sang several Bengali songs, composed by music directors like Salil Chowdhury and Hemant Kumar.
Lata Mangeshkar has recorded duets with Mukesh, Manna Dey, Mohammed Rafi, and Kishore Kumar. From the 1960s, she was not on good terms with Mohammed Rafi over the issue of royalty payments to singers. Mangeshkar wanted Rafi to back her in demanding a half-share from the five percent song royalty that the film's producer conceded to select composers.[8] But Rafi took a diametrically opposite view, and believed that a playback singer's claim on the filmmaker ended with the payment of the agreed fee for the song. During the recording of the song Tasveer Teri Dil Mein (Maya, 1961), Mangeshkar lost her cool with Rafi in a certain passage of the song. Rafi felt belittled, as the music director Salil Chowdhury chose to back Mangeshkar . The situation worsened as Lata Mangeshkar declared that she would no longer sing with Rafi. Rafi stated that he was only as keen to sing with Mangeshkar as she was with him. Later, at the insistence of S.D.Burman, the two decided to make up and sing duets, but on a personal level, they were not on good terms.
1970s
In 1972, Meena Kumari's last film, Pakeezah was released. It featured popular songs including Chalte Chalte and Inhi Logon Ne sung by Lata Mangeshkar, and composed by Ghulam Mohammed. She recorded many popular songs for S. D. Burman's last films, including Rangeela Re from Prem Pujari (1970), Khilte Hain Gul Yahaan from Sharmeelee (1971), and Piya Bina from Abhimaan (1973).
Lata Mangeshkar's most notable songs in 1970s were composed by Laxmikant-Pyarelal (Laxmi-Pyare) and Rahul Dev Burman[citation needed]. She recorded several songs composed by Laxmi-Pyare in 1960s and 1970s, many of them written by the lyricst Anand Bakshi. She also recorded many hit songs with Rahul Dev Burman in the films Amar Prem (1972), Caravan (1971), Kati Patang(1971), and Aandhi (1975). The two are noted for their songs with the lyricists Majrooh Sultanpuri, Anand Bakshi and Gulzar.
In 1973, she won the National Film Award for Best Female Playback Singer for the song Beeti Na Bitai from the film Parichay, composed by R. D. Burman, and written by Gulzar. In 1975, she again won the same award, this time for the song Roothe Roothe Piya from the film Kora Kagaz, composed by Kalyanji-Anandji.
From 1970s onwards, Lata Mangeshkar has also staged many concerts in India and abroad, including several charity concerts. Her first concert overseas was at the Royal Albert Hall, London, in 1974. She also released an album of Mirabai's bhajans, Chala Vaahi Des, composed by her brother Hridayanath Mangeshkar. Some of the bhajans in the album include Saanware Rang Raachi and Ud Jaa Re Kaaga. In the early 70s, she released other non-film albums, such as her collection of Ghalib ghazals, an album of Marathi folk songs (koli-geete), an album of Ganesh aartis (all composed by her brother Hridaynath) and an album of abhangs of Sant Tukaram composed by Shrinivas Khale.
In late 1970s and early 1980s, she worked with the children of composers she had earlier worked with. Some of these composers included Rahul Dev Burman (son of Sachin Dev Burman), Rajesh Roshan (son of Roshan), Anu Malik (son of Sardar Malik), and Anand-Milind (sons of Chitragupt).
1980s onwards
1980s onwards, Lata Mangeshkar worked with music directors including Shiv-Hari, Ram Laxman, and A. R. Rahman. She also recorded some non-film songs, including ghazals with Jagjit Singh. In 1981, she recorded her first duet with S P Balasubrahmanyam for the film Ek Duje Ke Liye.
In 1990, Mangeshkar launched her own production house for Hindi movies which produced Lekin. She won her third National Film Award for Best Female Playback Singer for her song Yaara Sili Sili from the film. During the 1990s, she recorded with music directors including Jatin-Lalit and Nadeem-Shravan. She has sung for Rajshri Productions also, including Maine Pyar Kiya (1989) & Hum Aapke Hain Kaun (1994).
Mangeshkar has sung for almost all the Yash Chopra films, and films from his production house Yash Raj Films, including Chandni (1989), Lamhe (1991), Darr (1993), Yeh Dillagi (1994), Dilwale Dulhaniya Le Jayenge (1995), Dil To Pagal Hai (1997) and later on Mohabbatein (2000), "Mujhse Dosti Karoge"" (2002) and Veer Zaara (2004).
A. R. Rahman recorded a few songs with Mangeshkar during this period, including "Jiya Jale" (Dil Se, featuring Preity Zinta), "Khamoshiyan Gungunane Lagin" (One Two Ka Four), "Ek Tu Hi Bharosa" (Pukar), "Pyaara Sa Gaon" (Zubeidaa),"Lukka chuppi" (Rang de Basanti) and "O Paalanhaare" (Lagaan).
In 1999, Lata Eau De Parfum, a perfume brand named after her, was launched.
In 1999, she was nominated as a member of Rajya Sabha.[11] However, she did not attend the Rajya Sabha sessions regularly, inviting criticism from several members of the House, including the Deputy Chairperson Najma Heptullah, Pranab Mukherjee and Shabana Azmi. She stated the reason for her absence as ill-health; it was also reported that she had not taken a salary, allowance or a house in Delhi for being a Member of Parliament.
In 2001, Lata Mangeshkar was awarded Bharat Ratna, India's highest civilian honor. In the same year, she established the Master Deenanath Mangeshkar Hospital in Pune, managed by the Lata Mangeshkar Medical Foundation (founded by the Mangeshkar family in October 1989). In 2005, she designed a jewellery collection called Swaranjali, which was crafted by Adora, an Indian diamond export company. Five pieces from the collection raised £105,000 at a Christie's auction, and a part of the money was donated for the 2005 Pakistan earthquake relief.[15] Also in 2001, she recorded her first Hindi song with the composer Ilaiyaraaja, for the film Lajja (2001); she had earlier recorded Tamil and Telugu songs composed by Ilaiyaraaja.
In 2000s, Lata Mangeshkar, along with other residents of the Peddar Road area in Mumbai, opposed the construction of a flyover in the area. She believed that construction of the flyover would increase air and noise pollution in the area, and threatened to quit the city if the flyover was built. In 2006, it was reported that she and her sister Asha Bhosle had purchased apartments in Parel and were planning to move out of Peddar Road.
Lata Mangeshkar's song Wada Na Tod is in the film Eternal Sunshine of the Spotless Mind (2004) and on the film's soundtrack.
On June 21, 2007, she released an album Saadgi, featuring eight ghazal-like songs written by Javed Akhtar and composed by Mayuresh Pai.

Sports car

A sports car is a small, usually two seat automobile designed for high speed driving and maneuverability.
Sports cars have been either spartan or luxurious, but good handling and high performance is requisite.
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.

Early history
1934 Aston Martin Ulster
The sports car traces its roots to early 20th century touring cars. These raced in early rallys, such as the Herkomer Cup, Prinz Heinrich Fahrt, and Monte Carlo.[3]
The first true sports cars (though the term would not be coined until after World War One) were the 3 litre made in 1910 Vauxhall 20 hp (15 kW) and 27/80PS Austro-Daimler (designed by Ferdinand Porsche).
These would shortly be joined by the French DFP (which became sporters after tuning by H.M. and W. O. Bentley) and the Rolls-Royce Silver Ghost. In the U.S. (where the type was variously called roadster, speedster, runabout, or raceabout, there was Apperson, Kissel, Marion, Midland, National, Overland, Stoddard-Dayton, and Thomas among small models (which today would be called sports cars), while Chadwick, Mercer, Stutz, and Simplex were among large ones (which might today be called sports sedans or grand tourers).[3]
In 1921, Ballot premiered its 2LS, with a remarkable 75 hp (56 kW) DOHC two liter, designed by Ernest Henry (formerly of Peugeot's Grand Prix program), capable of 150 km/h (90 mph); at most, one hundred were built in four years. This was followed by the SOHC 2LT and 2LTS. The same year, Benz built a supercharged 28/95PS four for the Coppa Florio; Max Sailer won.[3]
Simson in 1924 offered a Paul Henze-designed 60 hp (45 kW) DOHC 2 liter four, the Simson Supra Type S, in a long-wheelbase 120 km/h (60 mph) tourer and 115 km/h (71 mph) twin-carburettor sporter; only thirty were sold, against around three hundred of the SOHC model and 750 of the pushrod-six Type R. Duerkopp's Zoller-blown two liter in 1924, as well.[3]
There was a clear cleavage by 1925. As four-seaters were more profitable, two-seaters increasingly turned over to specialst manufacturers, led by Alvis, Aston-Martin, and Frazer-Nash, with shoestring budgets, fanatic followers, and limited sales (today exemplified by Aston and Morgan): between 1921 and 1939, 350 Astons were built; 323 Frazer-Nashes in the period 1924-39.
By the end of the 1920s, AC produced a 2 liter six, the 3.5 liter Nazzaro had a three-valve OHC (only until 1922), while French makers Amilcar, Bignan, Hispano-Suiza, and Samson had the typical small four-cylinder sporters and Delage, Hotchkiss, and Chenard-Walcker the large tourers. Benz introduced the powerful SS and SSK, and Alfa Romeo, the Vittorio Jano-designed 6C.
Two companies would offer the first really reliable sports cars: Austin with the Seven and Morris Garages (MG) with the Midget. The Seven would quickly be "rodded" by numerous companies (as the Type 1 would be a generation later), including Bassett and Dingle (Hammersmith, London); in 1928, a Cozette blower was fitted to the Seven Super Sports, while Cecil Kimber fitted an 847 cc Minor engine, and sold more Midgets in the first year than MG's entire previous production.

1974 Chevrolet Corvette Stingray, a front-engine, rear drive (RWD) sports car

Porsche Boxster, a rear mid-engine, rear-wheel (RMR) drive sports car

Alpine A110, a rear-engine, rear-wheel (RR) drive sports car

1990s Lotus Elan M100, a front-engine, front wheel (FF) drive sports car

An important sports feature on the Skelta G-Force is that it is made of carbon fiber, making it ultra-light.
The drive train and engine layout significantly influences the handling characteristics of an automobile, and is crucially important in the design of a sports car.
The front-engine, rear-wheel drive layout (FR) is common to sports cars of any era and has survived longer in sports cars than in mainstream automobiles. Examples include the Caterham 7, Mazda MX-5, and the Chevrolet Corvette. More specifically, many such sports cars have a FMR layout, with the centre of mass of the engine between the front axle and the firewall.
In search of improved handling and weight distribution, other layouts are sometimes used. The RMR layout is commonly found only in sports cars—the motor is centre-mounted in the chassis (closer to and behind the driver), and powers only the rear wheels. Some high-performance sports car manufacturers, such as Ferrari and Lamborghini prefer this layout.
Porsche is one of the few remaining manufacturers using the rear-engine, rear-wheel drive layout (RR). The motor's distributed weight across the wheels, in a Porsche 911, provides excellent traction, but the significant mass behind the rear wheels makes it more prone to oversteer in some situations. Porsche has continuously refined the design and in recent years added electronic driving aids (i.e. computerised traction-stability control) to counteract these inherent design shortcomings.
Some sport cars have used the front-engine, front-wheel drive layout (FF), e.g. Fiat Barchetta, Saab Sonett and Berkeley cars. This layout is advantageous for small, light, lower power sports cars, as it avoids the extra weight, increased transmission power loss, and packaging problems of a long driveshaft and longitudinal engine of FR vehicles. Yet, its conservative handling effect, particularly understeer, and the fact that many drivers believe rear wheel drive is a more desirable layout for a sports car make this layout atypical to high-performance sports cars. The FF layout, however, is common in sport compacts and hot hatches, and cars in general (excepting sports cars).
Before the 1980s few sports cars used four-wheel drive, which had traditionally added a lot of weight. Although not a sports car, the Audi Quattro proved its worth in rallying. With its improvement in traction, particularly in adverse weather conditions, four-wheel drive is no longer uncommon in high-powered sports cars, e.g. Porsche, Lamborghini, and the Bugatti Veyron.
Seating
Some sports cars have small back seats that are really only suitable for luggage or small children. Such a configuration is often referred to as a 2+2 (two full seats + two "occasional" seats). The more typical seating arrangement is two-seats.
Over the years, some manufacturers of sports cars have sought to increase the practicality of their vehicles by increasing the seating room. One method is to place the driver's seat in the center of the car, which allows two full-sized passenger seats on each side and slightly behind the driver. The arrangement was originally considered for the Lamborghini Miura, but abandoned as impractical because of the difficulty for the driver to enter/exit the vehicle. McLaren used the design in their F1.
Another British manufacturer, TVR, took a different approach in their Cerbera model. The interior was designed in such a way that the dashboard on the passenger side swept toward the front of the car, which allowed the passenger to sit farther forward than the driver. This gave the rear seat passenger extra room and made the arrangement suitable for three adult passengers and one child seated behind the driver. The arrangement has been referred to by the company as a 3+1.[citation needed] Some Matra sports cars even had three seats squeezed next to each other.
Sports car versus sporting models
A car may be a sporting automobile without being a sports car. Performance modifications of regular, production cars, such as sport compacts, sports sedans, muscle cars, hot hatches and the like, generally are not considered sports cars, yet share traits common to sports cars. They are sometimes called "sports cars" for marketing purposes for increased advertising and promotional purposes. Performance cars of all configurations are grouped as Sports and Grand tourer cars or, occasionally, as performance cars.

ZOO

The predecessor of the zoological garden is the menagerie, which has a long history from the ancient world to modern times. The oldest known zoological collection was revealed during excavations at Hierakonpolis, Egypt in 2009, of a ca. 3500 B.C. menagerie. The exotic animals included hippos, hartebeest, elephants, baboons and wildcats.[8] In the 2nd century BCE, the Chinese Empress Tanki had a "house of deer" built, and King Wen of Zhou kept a 1,500-acre (6.1 km2) zoo called Ling-Yu, or the Garden of Intelligence. Other well-known collectors of animals included King Solomon of the Kingdom of Israel and Judah, Kings Semirami and Ashurbanipal of Assyria, and King Nebuchadrezzar of Babylonia.[2] By the 4th century BCE, zoos existed in most of the Greek city states; Alexander the Great is known to have sent animals that he found on his military expeditions back to Greece. The Roman emperors kept private collections of animals for study or for use in the arena,[2] the latter faring notoriously poorly. The 19th-century historian W.E.H. Lecky wrote of the Roman games, first held in 366 BCE:
At one time, a bear and a bull, chained together, rolled in fierce combat across the sand ... Four hundred bears were killed in a single day under Caligula ... Under Nero, four hundred tigers fought with bulls and elephants. In a single day, at the dedication of the Colosseum by Titus, five thousand animals perished. Under Trajan ... lions, tigers, elephants, rhinoceroses, hippopotami, giraffes, bulls, stags, even crocodiles and serpents were employed to give novelty to the spectacle ..

Medieval England
Henry I of England kept a collection of animals at his palace in Woodstock, which reportedly included lions, leopards, and camels. The most prominent collection in medieval England was in the Tower of London, created as early as 1204 by King John I. Henry III received a wedding gift in 1235 of three leopards from Frederick II, Holy Roman Emperor, and in 1264, the animals were moved to the Bulwark, renamed the Lion Tower, near the main western entrance of the Tower. It was opened to the public during the reign of Elizabeth I in the 16th century. During the 18th century, the price of admission was three half-pence, or the supply of a cat or dog for feeding to the lions. The animals were moved to the London Zoo when it opened.
Modern era
Further information: List of zoos

The Versailles menagerie during the reign of Louis XIV in the 17th century
The oldest existing zoo, the Vienna Zoo in Austria, evolved from the Imperial Menagerie at the Schönbrunn Palace in Vienna, an aristocratic menagerie founded in 1752 by the Habsburg monarchy, which was opened to the public in 1765. In 1775, a zoo was founded in Madrid, and in 1795, the zoo inside the Jardin des Plantes in Paris was founded by Jacques-Henri Bernardin, with animals from the royal menagerie at Versailles, primarily for scientific research and education. The Kazan Zoo, the first zoo in Russia was founded in 1806 by the Professor of Kazan State University Karl Fuchs. The Zoological Society of London, founded in 1826 by Stamford Raffles, adopted the idea of the Paris zoo when they established the London Zoo in Regent's Park in 1828, which opened to paying visitors in 1847. The first zoological garden in Australia was Melbourne Zoo in 1860. In the same year, Central Park Zoo, the first public zoo in the United States, opened in New York, although in 1859, the Philadelphia Zoological Society had made an effort to establish a zoo, but delayed opening it until 1874 because of the American Civil War.

London Zoo, 1835.
In 1907, the German entrepreneur Carl Hagenbeck founded the Tierpark Hagenbeck in Stellingen, now a quarter of Hamburg. It is known for being the first zoo to use open enclosures surrounded by moats, rather than barred cages, to better approximate animals' natural environments.
When ecology emerged as a matter of public interest in the 1970s, a few zoos began to consider making conservation their central role, with Gerald Durrell of the Jersey Zoo, George Rabb of Brookfield Zoo, and William Conway of the Bronx Zoo (Wildlife Conservation Society) leading the discussion. From then on, zoo professionals became increasingly aware of the need to engage themselves in conservation programs, and the American Zoo Association soon said that conservation was its highest priority. Because they wanted to stress conservation issues, many large zoos stopped the practice of having animals perform tricks for visitors. The Detroit Zoo, for example, stopped its elephant show in 1969, and its chimpanzee show in 1983, acknowledging that the trainers had probably abused the animals to get them to perform.[14]
[edit] Human exhibits

Ota Benga, a human exhibit in New York, 1906
Further information: Human zoos, Scientific racism, and Social Darwinism
Human beings were sometimes displayed in cages along with non-human animals, supposedly to illustrate the differences between people of European and non-European origin. In September 1906, William Hornaday, director of the Bronx Zoo in New York—with the agreement of Madison Grant, head of the New York Zoological Society—had Ota Benga, a Congolese pygmy, displayed in a cage with the chimpanzees, then with an orangutan named Dohong, and a parrot. The exhibit was intended as an example of the "missing link" between the orangutan and white man. It triggered protests from the city's clergymen, but the public reportedly flocked to see it

Human beings were also displayed in cages during the 1931 Paris Colonial Exposition, and as late as 1958 in a "Congolese village" display at Expo '58 in Brussels.

Tom and Jerry

Tom and Jerry is an American animated series of theatrical shorts, television shows and specials, feature film, home films created by William Hanna and Joseph Barbera for Metro-Goldwyn-Mayer that centered on a never-ending rivalry between a cat (Tom) and a mouse (Jerry) whose chases and battles often involved comic violence. Hanna and Barbera ultimately wrote and directed one hundred and fourteen Tom and Jerry cartoons at the MGM cartoon studio in Hollywood, California between 1940 and 1957, when the animation unit was closed. The original series is notable for having won the Academy Award for Animated Short Film seven times, tying it with Walt Disney's Silly Symphonies as the theatrical animated series with the most Oscars. Tom and Jerry has a worldwide audience that consists of children, teenagers and adults, and has also been recognized as one of the most famous and longest-lived rivalries in American cinema. In 2000, TIME named the series one of the greatest television shows of all time.

Beginning in 1960, in addition to the original 114 H-B cartoons, MGM had new shorts produced by Rembrandt Films, led by Gene Deitch in Eastern Europe. Production of Tom and Jerry shorts returned to Hollywood under Chuck Jones's Sib-Tower 12 Productions in 1963; this series lasted until 1967, making it a total of 161 shorts. The cat and mouse stars later resurfaced in television cartoons produced by Hanna-Barbera and Filmation Studios during the 1970s, 1980s, and 1990s; a feature film, Tom and Jerry: The Movie, in 1992 (released domestically in 1993); and in 2000, their first made-for TV short, Tom and Jerry: The Mansion Cat for Cartoon Network. The most recent Tom and Jerry theatrical short, The Karate Guard, was written and co-directed by Barbera and debuted in Los Angeles cinemas on September 27, 2005.

Today, Time Warner (via its Turner Entertainment division) owns the rights to Tom and Jerry (with Warner Bros. handling distribution). Since the merger, Turner has produced the series, Tom and Jerry Tales for The CW's Saturday morning "The CW4Kids" lineup, as well as the recent Tom and Jerry short, The Karate Guard, in 2005 and a string of Tom and Jerry direct-to-video films - all in collaboration with Warner Bros. Animation. In February 2010, the cartoon celebrated its 70th anniversary and a DVD collection of 30 shorts, Tom and Jerry Deluxe Anniversary Collection, was released in late June 2010 to celebrate the animated duo's seventh decade. It then had a rerun on Cartoon Network.

Plot and format

The popular series features comedic fights between an iconic set of enemies, a house cat and mouse. The plots of each short usually center on Tom's numerous attempts to capture Jerry and the mayhem and destruction that ensues. Since Tom rarely attempts to eat Jerry and because the pair actually seem to get along in some cartoon shorts, it is sometimes unclear why Tom chases Jerry so much. Some reasons given may include normal feline/murine enmity, duty according to his owner, Jerry's attempt at ruining a task that Tom is entrusted with, Jerry eating Tom's master's food which Tom has been entrusted with safeguarding, revenge, Jerry saving other potential prey (such as ducks, canaries, or goldfish) from being eaten by Tom, competition with another cat, and Jerry ruining Tom's attempts to seduce feline femme fatales, which Jerry does either out of disgust, jealousy, or just to be mean. Despite the sometimes heavy amount of fantasy violence, most Tom and Jerry episodes now carry a TV-G rating, although it was originally rated TV-Y. Tom rarely succeeds in catching Jerry, mainly because of Jerry's cleverness, cunning abilities, and luck. Interestingly enough, many of the title cards show Tom and Jerry smiling at each other which seems to depict a love-hate relationship rather than the extreme annoyance each displays towards the other in each cartoon. There are also several instances within the cartoons where they display genuine friendship (e.g., Springtime for Thomas) and concern for each other's well-being (such as in "Jerry and the Lion", where Jerry in one instance tricks Tom into thinking that he has shot Jerry, and Tom comes running with the first aid kit).

The short episodes are infamous for some of the most comically gory gags ever devised in theatrical animation, such as Jerry slicing Tom in half, shutting his head in a window or a door, Tom using everything from axes, firearms, explosives, traps and poison to try to murder Jerry, Jerry stuffing Tom's tail in a waffle iron and a mangle, kicking him into a refrigerator, plugging his tail into an electric socket, pounding him with a mace, club or mallet, causing a tree or an electric pole to drive him into the ground, sticking matches into his feet and lighting them, tying him to a firework and setting it off, and so on.^[1] Despite all its popularity, Tom and Jerry has often been criticized as excessively violent.^{[2]:42[3]:134} Despite the frequent violence, there is no blood or gore in any scenes of the original cartoons, and neither of the pair are ever (seriously) injured. In a very rare instance, when Tom gets sliced into pieces in the opening credits of Tom and Jerry: The Movie, blood is clearly visible, and Heavenly Puss deals with Tom dying after being crushed by a piano, although later it is revealed to be a dream. A recurring gag involves Jerry hitting Tom when he's preoccupied, with Tom initially oblivious to the pain and only feeling the effects moments later, and vice versa; and another involves Jerry stopping Tom in mid-chase (as if calling for a time-out), before he does something, usually putting the hurt on Tom.

The cartoon is also noteworthy for its reliance on stereotypes, such as the blackening of characters following explosions and the use of heavy and enlarged shadows (e.g., Dr. Jekyll and Mr. Mouse). Resemblance to everyday objects and occurrences is arguably the main appeal of visual humor in the series. The characters themselves regularly transform into ridiculous but strongly associative shapes, most of the time involuntarily, in masked but gruesome ways.

Music plays a very important part in the shorts, emphasizing the action, filling in for traditional sound effects, and lending emotion to the scenes. Musical director Scott Bradley created complex scores that combined elements of jazz, classical, and pop music; Bradley often reprised contemporary pop songs, as well as songs from MGM films, including The Wizard of Oz and Meet Me In St. Louis. Generally, there is little dialogue as Tom and Jerry almost never speak, however minor characters are not similarly limited. For example, the character Mammy Two Shoes has lines in every episode in which she appears except The Little Orphan. Most of the dialogue from Tom and Jerry are the high-pitched laughs and gasping screams, which may be provided by a horn or other musical instrument.

Before 1954, all Tom and Jerry cartoons were produced in the standard Academy ratio and format; from late 1954 to 1955, some of the output was dually produced in both Academy format and the widescreen CinemaScope process. From 1956 until the close of the MGM cartoon studio a year later, all Tom and Jerry cartoons were produced in CinemaScope, some even had their soundtracks recorded in Perspecta directional audio. The 1960s Gene Deitch and Chuck Jones shorts were all produced in Academy format, but with compositions that made them compatible to be matted to Academy widescreen format as well. All of the Hanna and Barbera cartoons were produced in three-strip Technicolor; the 1960s entries were done in Metrocolor.

Characters

: List of Tom and Jerry characters

Tom Cat and Jerry Mouse

Thomas "Tom" Cat

Tom (called "Jasper" in his debut appearance) is a blue and white domestic shorthair cat. He is the main protagonist of the story, who usually lives a pampered life, although they usually live in several lifestyles, while Jerry is a small brown house mouse who always lives in close proximity to him and is the deuteragonist of the story. "Tom" is a generic name for a male cat (The Warner Bros. cartoon character Sylvester was originally named Thomas). Tom was originally in the very first short, Puss Gets the Boot, and Jerry was seen in the short also, although it was not billed as a Tom and Jerry cartoon. Jerry possesses surprising strength for his size, lifting items such as anvils with relative ease and withstanding considerable impacts with them. Despite the typical cat-eats-mouse scenario, it is surprisingly quite rare for Tom to actually try and consume Jerry. Despite being very energetic and determined, Tom is no match for Jerry's brains and wits. By the final "fade-out" of each cartoon, Jerry usually emerges triumphant, while Tom is shown as the loser. However, other results may be reached; on rare occasions, Tom triumphs, usually when Jerry becomes the aggressor or when he crosses some sort of line (the best example of which occurs in The Million Dollar Cat where, after finding out that Tom's newly acquired wealth will be taken away if he harms any animal, including a mouse, he torments Tom until Tom finally loses his temper and attacks him). Sometimes, usually ironically, they both lose, usually when Jerry's last trap potentially backfires on him after it affects Tom (An example is in Chuck Jones' Filet Meow short where Jerry orders a shark to scare Tom away from eating a goldfish. Afterwards, the shark scares Jerry away as well) or when Jerry overlooks something at the end of the course. Sometimes, they both end up being friends (only for something to happen so that Tom will chase Jerry again). Both characters display sadistic tendencies, in that they are equally likely to take pleasure in tormenting each other. However, depending on the cartoon, whenever one character appears to be in mortal danger (in a dangerous situation or by a third party), the other will develop a conscience and save him. Sometimes, they bond over a mutual sentiment towards an unpleasant experience and their attacking each other is more play than serious attacks. Multiple shorts show the two getting along with minimal difficulty, and they are more than capable of working together when the situation calls for it, usually against a third party who manages to torture and humiliate them both.

Tom changes his love interest many times. The first love interest is Toots who appears in Puss n' Toots, and calls him "Tommy" in The Mouse Comes to Dinner. He is also interested in a cat called Toots in The Zoot Cat although she has a different appearance to the original Toots. The most frequent love interest of Tom's is Toodles Galore, who never has any dialogue in Tom and Jerry cartoons.

Despite five shorts ending with a depiction of Tom's apparent death, his demise is never permanent; he even reads about his own death in a flashback in Jerry's Diary. He appears to die in explosions in Mouse Trouble (after which he is seen in heaven) and in Yankee Doodle Mouse, while in The Two Mouseketeers he is guillotined offscreen.

Jerry Mouse.

Although many supporting and minor characters speak, Tom and Jerry rarely do so themselves. Tom, most famously, sings while wooing female cats; for example, Tom sings Louis Jordan's "Is You Is Or Is You Ain't My Baby" in the 1946 short Solid Serenade. In a couple of shorts, Tom, when romancing a female cat, woos her in a French-accented voice similar to that of screen actor Charles Boyer. At the end of The Million Dollar Cat after beginning to antagonize Jerry he says "Gee, I'm throwin' away a million dollars... BUT I'M HAPPY!" In The Mouse Comes to Dinner Tom speaks to his girlfriend while inadvertently sitting on a stove: "Gee, what's cookin'?" (The girl replies "You are, stupid.") Another instance of speech comes in Solid Serenade and The Framed Cat, where Tom directs Spike through a few dog tricks in a dog-trainer manner. In Mouse Trouble, Tom says "Don't you believe it," after being beaten up by Jerry. Co-director William Hanna provided most of the squeaks, gasps, and other vocal effects for the pair, including the most famous sound effects from the series, Tom's leather-lunged scream (created by recording Hanna's scream and eliminating the beginning and ending of the recording, leaving only the strongest part of the scream on the soundtrack) and Jerry's nervous gulp. The only other reasonably common vocalization is made by Tom when some external reference claims a certain scenario or eventuality to be impossible, which inevitably, ironically happens to thwart Tom's plans - at which point, a bedraggled and battered Tom appears and says in a haunting, echoing voice "Don't you believe it!", a reference to some famous World War II propaganda shorts of the 1940s. In the 1946 short Trap Happy, Tom hires a mouse exterminator who, after several failed attempts to dispatch Jerry, changes profession to Cat exterminator by crossing out the "Mouse" on his title and writing "Cat", resulting in Tom spelling out the word out loud before reluctantly pointing at himself. One short, 1956's Blue Cat Blues, is narrated by Jerry in voiceover (voiced by Paul Frees) as they try to win back their ladyfriends. Both Tom and Jerry speak more than once in the 1943 short The Lonesome Mouse. Tom and Jerry: The Movie is the first (and so far only) installment of the series where the famous cat-and-mouse duo regularly speak.

Valentine's Day

Saint Valentine's Day, commonly shortened to Valentine's Day, is an annual commemoration held on February 14 celebrating love and affection between intimate companions.The day is named after one or more early Christian martyrs named Valentine and was established by Pope Gelasius I in 500 AD. It was deleted from the Roman calendar of saints in 1969 by Pope Paul VI, but its religious observance is still permitted. It is traditionally a day on which lovers express their love for each other by presenting flowers, offering confectionery, and sending greeting cards (known as "valentines"). The day first became associated with romantic love in the circle of Geoffrey Chaucer in the High Middle Ages, when the tradition of courtly love flourished.

Modern Valentine's Day symbols include the heart-shaped outline, doves, and the figure of the winged Cupid. Since the 19th century, handwritten valentines have largely given way to mass-produced greeting cards.

Saint Valentine

Historical facts

Numerous early Christian martyrs were named Valentine. The Valentines honored on February 14 are Valentine of Rome (Valentinus presb. m. Romae) and Valentine of Terni (Valentinus ep. Interamnensis m. Romae). Valentine of Rome was a priest in Rome who was martyred about AD 269 and was buried on the Via Flaminia. His relics are at the Church of Saint Praxed in Rome, and at Whitefriar Street Carmelite Church in Dublin, Ireland.

Valentine of Terni became bishop of Interamna (modern Terni) about AD 197 and is said to have been martyred during the persecution under Emperor Aurelian. He is also buried on the Via Flaminia, but in a different location than Valentine of Rome. His relics are at the Basilica of Saint Valentine in Terni (Basilica di San Valentino).

The Catholic Encyclopedia also speaks of a third saint named Valentine who was mentioned in early martyrologies under date of February 14. He was martyred in Africa with a number of companions, but nothing more is known about him.^[11]

No romantic elements are present in the original early medieval biographies of either of these martyrs. By the time a Saint Valentine became linked to romance in the 14th century, distinctions between Valentine of Rome and Valentine of Terni were utterly lost.^[12]

In the 1969 revision of the Roman Catholic Calendar of Saints, the feastday of Saint Valentine on February 14 was removed from the General Roman Calendar and relegated to particular (local or even national) calendars for the following reason: "Though the memorial of Saint Valentine is ancient, it is left to particular calendars, since, apart from his name, nothing is known of Saint Valentine except that he was buried on the Via Flaminia on February 14." The feast day is still celebrated in Balzan (Malta) where relics of the saint are claimed to be found, and also throughout the world by Traditionalist Catholics who follow the older, pre-Second Vatican Council calendar.

Romantic legends

The Early Medieval acta of either Saint Valentine were expounded briefly in Legenda Aurea.According to that version, St Valentine was persecuted as a Christian and interrogated by Roman Emperor Claudius II in person. Claudius was impressed by Valentine and had a discussion with him, attempting to get him to convert to Roman paganism in order to save his life. Valentine refused and tried to convert Claudius to Christianity instead. Because of this, he was executed. Before his execution, he is reported to have performed a miracle by healing the blind daughter of his jailer.

Since Legenda Aurea still provided no connections whatsoever with sentimental love, appropriate lore has been embroidered in modern times to portray Valentine as a priest who refused an unattested law attributed to Roman Emperor Claudius II, allegedly ordering that young men remain single. The Emperor supposedly did this to grow his army, believing that married men did not make for good soldiers. The priest Valentine, however, secretly performed marriage ceremonies for young men. When Claudius found out about this, he had Valentine arrested and thrown in jail.

There is an additional modern embellishment to The Golden Legend, provided by American Greetings to History.com, and widely repeated despite having no historical basis whatsoever. On the evening before Valentine was to be executed, he would have written the first "valentine" card himself, addressed to a young girl variously identified as his beloved, as the jailer's daughter whom he had befriended and healed, or both. It was a note that read "From your Valentine."

Attested traditions

Lupercalia

Main article: Lupercalia

Though popular modern sources link unspecified Greco-Roman February holidays alleged to be devoted to fertility and love to St. Valentine's Day, Professor Jack Oruch of the University of Kansas argued that prior to Chaucer, no links between the Saints named Valentinus and romantic love existed.^[17] Earlier links as described above were focused on sacrifice rather than romantic love. In the ancient Athenian calendar the period between mid-January and mid-February was the month of Gamelion, dedicated to the sacred marriage of Zeus and Hera.

In Ancient Rome, Lupercalia, observed February 13 through 15, was an archaic rite connected to fertility. Lupercalia was a festival local to the city of Rome. The more general Festival of Juno Februa, meaning "Juno the purifier "or "the chaste Juno," was celebrated on February 13–14. Pope Gelasius I (492–496) abolished Lupercalia.

Geoffrey Chaucer by Thomas Occleve (1412)

Chaucer's love birds

The first recorded association of Valentine's Day with romantic love is in Parlement of Foules (1382) by Geoffrey Chaucer Chaucer wrote:

For this was on seynt Volantynys day
Whan euery bryd comyth there to chese his make.

["For this was Saint Valentine's Day, when every bird cometh there to choose his mate."]

This poem was written to honor the first anniversary of the engagement of King Richard II of England to Anne of Bohemia. A treaty providing for a marriage was signed on May 2, 1381.(When they were married eight months later, they were each only 15 years old).

Readers have uncritically assumed that Chaucer was referring to February 14 as Valentine's Day; however, mid-February is an unlikely time for birds to be mating in England. Henry Ansgar Kelly has pointed out that in the liturgical calendar, May 2 is the saints' day for Valentine of Genoa. This St. Valentine was an early bishop of Genoa who died around AD 307.

Chaucer's Parliament of Foules is set in a fictional context of an old tradition, but in fact there was no such tradition before Chaucer. The speculative explanation of sentimental customs, posing as historical fact, had their origins among 18th-century antiquaries, notably Alban Butler, the author of Butler's Lives of Saints, and have been perpetuated even by respectable modern scholars. Most notably, "the idea that Valentine's Day customs perpetuated those of the Roman Lupercalia has been accepted uncritically and repeated, in various forms, up to the present"^[23]

Medieval period and the English Renaissance

Using the language of the law courts for the rituals of courtly love, a "High Court of Love" was established in Paris on Valentine's Day in 1400. The court dealt with love contracts, betrayals, and violence against women. Judges were selected by women on the basis of a poetry reading. The earliest surviving valentine is a 15th-century rondeau written by Charles, Duke of Orleans to his wife, which commences.

Je suis desja d'amour tanné
Ma tres doulce Valentinée...

—Charles d'Orléans, Rondeau VI, lines 1–2

At the time, the duke was being held in the Tower of London following his capture at the Battle of Agincourt, 1415.

Valentine's Day is mentioned ruefully by Ophelia in Hamlet (1600–1601):

To-morrow is Saint Valentine's day,
All in the morning betime,
And I a maid at your window,
To be your Valentine.
Then up he rose, and donn'd his clothes,
And dupp'd the chamber-door;
Let in the maid, that out a maid
Never departed more.

—William Shakespeare, Hamlet, Act IV, Scene 5

John Donne used the legend of the marriage of the birds as the starting point for his Epithalamion celebrating the marriage of Elizabeth, daughter of James I of England, and Frederick V, Elector Palatine on Valentine's Day:

Hayle Bishop Valentine whose day this is
All the Ayre is thy Diocese
And all the chirping Queristers
And other birds ar thy parishioners
Thou marryest every yeare
The Lyrick Lark, and the graue whispering Doue,
The Sparrow that neglects his life for loue,
The houshold bird with the redd stomacher
Thou makst the Blackbird speede as soone,
As doth the Goldfinch, or the Halcyon
The Husband Cock lookes out and soone is spedd
And meets his wife, which brings her feather-bed.
This day more cheerfully than ever shine
This day which might inflame thy selfe old Valentine.

—John Donne, Epithalamion Vpon Frederick Count Palatine and the Lady Elizabeth marryed on St. Valentines day

The verse Roses are red echoes conventions traceable as far back as Edmund Spenser's epic The Faerie Queene (1590):

She bath'd with roses red, and violets blew,
And all the sweetest flowres, that in the forrest grew.

The modern cliché Valentine's Day poem can be found in the collection of English nursery rhymes Gammer Gurton's Garland (1784):

The rose is red, the violet's blue
The honey's sweet, and so are you
Thou are my love and I am thine
I drew thee to my Valentine
The lot was cast and then I drew
And Fortune said it shou'd be you.

Valentine's Day postcard, circa 1910

Modern times

In 1797, a British publisher issued The Young Man’s Valentine Writer, which contained scores of suggested sentimental verses for the young lover unable to compose his own. Printers had already begun producing a limited number of cards with verses and sketches, called “mechanical valentines,” and a reduction in postal rates in the next century ushered in the less personal but easier practice of mailing Valentines. That, in turn, made it possible for the first time to exchange cards anonymously, which is taken as the reason for the sudden appearance of racy verse in an era otherwise prudishly Victorian.^[30]

Paper Valentines became so popular in England in the early 19th century that they were assembled in factories. Fancy Valentines were made with real lace and ribbons, with paper lace introduced in the mid-19th century.^[31] In the UK, just under half the population spend money on their Valentines and around 1.3 billion pounds is spent yearly on cards, flowers, chocolates and other gifts, with an estimated 25 million cards being sent.^[32] The reinvention of Saint Valentine's Day in the 1840s has been traced by Leigh Eric Schmidt.^[33] As a writer in Graham's American Monthly observed in 1849, "Saint Valentine's Day... is becoming, nay it has become, a national holyday."^[34] In the United States, the first mass-produced valentines of embossed paper lace were produced and sold shortly after 1847 by Esther Howland (1828–1904) of Worcester, Massachusetts.^[35][36]

Child dressed in Valentine's Day-themed clothing.

Her father operated a large book and stationery store, but Howland took her inspiration from an English Valentine she had received from a business associate of her father. Intrigued with the idea of making similar Valentines, Howland began her business by importing paper lace and floral decorations from England. The English practice of sending Valentine's cards was established enough to feature as a plot device in Elizabeth Gaskell's Mr. Harrison's Confessions (1851): "I burst in with my explanations: '"The valentine I know nothing about." '"It is in your handwriting," said he coldly. Since 2001, the Greeting Card Association has been giving an annual "Esther Howland Award for a Greeting Card Visionary."

Since the 19th century, handwritten notes have largely given way to mass-produced greeting cards. The mid-19th century Valentine's Day trade was a harbinger of further commercialized holidays in the United States to follow.

In the second half of the 20th century, the practice of exchanging cards was extended to all manner of gifts in the United States. Such gifts typically include roses and chocolates packed in a red satin, heart-shaped box. In the 1980s, the diamond industry began to promote Valentine's Day as an occasion for giving jewelry. The day has come to be associated with a generic platonic greeting of "Happy Valentine's Day." As a joke, Valentine's Day is also referred to as "Singles Awareness Day". In some North American elementary schools, children decorate classrooms, exchange cards, and eat sweets. The greeting cards of these students sometimes mention what they appreciate about each other.

The U.S. Greeting Card Association estimates that approximately 190 million valentines are sent each year in the US. Half of those valentines are given to family members other than husband or wife, usually to children. When you include the valentine-exchange cards made in school activities the figure goes up to 1 billion, and teachers become the people receiving the most valentines.

The rise of Internet popularity at the turn of the millennium is creating new traditions. Millions of people use, every year, digital means of creating and sending Valentine's Day greeting messages such as e-cards, love coupons or printable greeting cards. About 15 million e-valentines will have been sent in 2010.

There are some families, however, who choose to find other means of honoring Saint Valentine on Valentine's Day. Many of these traditions involve bonfires, for fire is said to represent passion.

Rules for miss universe

HOW OLD ARE THE COMPETITIONS?
The Miss Universe and Miss USA competitions began as concurrent events in 1952 in Long Beach, California. Miss Teen USA made its debut in 1983 in Lakeland, Florida.

ARE THESE COMPETITIONS SEPARATE FROM THE MISS AMERICA PAGEANT?
Yes. In 1952, Catalina Swimsuits, formerly a Miss America sponsor, founded Miss Universe and Miss USA in Long Beach, California as product promotion. Although some women compete in both Miss USA and Miss America, the two systems are completely separate. Miss USA goes on to represent her country at the Miss Universe competition.

ARE THE PAGEANTS HELD IN A DIFFERENT PLACE EACH YEAR?
Now they are. When they were initiated, the Miss Universe and Miss USA competitions were held in Long Beach, California. Eight years later in 1960, the two competitions moved to Miami Beach, Florida, where they remained until 1971. Since 1972, they have been separate live television specials that are telecast from different locations around the country and the globe.

HOW ARE THE SITES CHOSEN?
The Miss Universe Organization works throughout the year with private enterprise, State and City government officials and, in the case of the Miss Universe competition, with foreign governments to establish the Host Site for each production. The city or country offering the optimal venue and support to the organization is chosen.

HOW MANY WOMEN COMPETE?
In the case of Miss Universe, between 75 and 85 countries send a candidate to compete. For Miss USA and Miss Teen USA, 51 contestants participate in the competition.

ARE THERE AGE REQUIREMENTS?
Yes. Miss Universe and Miss USA contestants must be at least 18 years of age and under 27 years of age by February 1st in the year they compete in the national competition. Miss Teen USA candidates must be at least 14 and under 19 years of age by February 1st in the year they compete in the national competition.

CAN A DELEGATE COMPETE MORE THAN ONCE?
Contestants may compete more than once in the preliminary (state) competition but may only compete in Miss Universe and Miss USA once. Miss Teen USA may compete in Miss USA but only after her reign has ended and after she has reclaimed her state title.

ARE CONTESTANTS REQUIRED TO HAVE A COACH?
No. While some feel more prepared when they work with an experienced person who can give them tips on competition, many women have won titles without any outside training. Candidates also turn to their state and national directors for assistance as the directors are experienced in providing effective counsel about the competition. Generally, state and national directors provide contestants with the confidence and experience needed to compete.

CAN CONTESTANTS BE MARRIED?
No. contestants may not be married or pregnant. They must not have ever been married, not had a marriage annulled nor given birth to a child. The titleholders are also required to remain single throughout their reign.

HOW DO CONTESTANTS GET TO THE NATIONAL COMPETITION?
For Miss USA and Miss Teen USA some cities and all states have preliminary competitions, which are produced by local and state directors. The winner of the city competition goes on to compete in the state event for her home city; state winners go on to the national competition. However, a delegate may enter a state competition without having won a city title. Miss Universe contestants must win their respective competitions to compete in the contest. In the case of the United States, Miss USA goes on to represent the United States at the Miss Universe pageant.

WHEN ARE THE COMPETITIONS HELD?
Miss USA is always the first event of the year and is generally held in February or March. Miss Universe follows in the Spring, with Miss Teen USA held at the end of Summer.

WHO TELEVISES THE COMPETITIONS?
NBC Universal broadcasts the Miss USA and Miss Universe competitions live during prime time in the United States. NBC Universal distributes the shows to international markets (approximately 170 countries). The three events are packaged together for international distribution.

WHO PRODUCES THE LIVE TELEVISED EVENTS?
The MISS UNIVERSE®, MISS USA® and MISS TEEN USA® specials are produced by the Miss Universe Organization, a Donald J. Trump and NBC Universal joint venture.