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{"datasets_id": 1865, "wiki_id": "Q2994716", "sp": 6, "sc": 1228, "ep": 10, "ec": 302} | 1,865 | Q2994716 | 6 | 1,228 | 10 | 302 | Fire alarm notification appliance | Coding & Audibility | Temporal Pattern) and produces an interrupted four count (three half second pulses, followed by a one and one half second pause, repeated for a minimum of 180 seconds). CO (carbon monoxide) detectors are specified to use a similar pattern using four pulses of tone (often referred to as T4). Audibility From NFPA 72, 2002 Edition:
“7.4.2.1* To ensure that audible public mode signals are clearly heard, unless otherwise permitted by 7.4.2.2 through 7.4.2.5, they shall have a sound level at least 15 dB (Decibel) above the average ambient sound level or 5 dB above the maximum sound level having a |
{"datasets_id": 1865, "wiki_id": "Q2994716", "sp": 10, "sc": 302, "ep": 14, "ec": 476} | 1,865 | Q2994716 | 10 | 302 | 14 | 476 | Fire alarm notification appliance | Audibility & Visual signals | duration of at least 60 seconds, whichever is greater, measured 1.5 m (5 ft) above the floor in the occupiable area, using the A-weighted scale (dBA).” Visual signals In 1970, Space Age Electronics introduced the first visual notification appliance, the AV32 light plate (which was installed over an existing horn) and V33 remote light. Meanwhile, in 1976, Wheelock introduced the first horn/strobe notification appliances with its 700x series. The majority of visual signals throughout the 1970s and 1980s were white or red incandescent lights. In the 1980s, most new installations began to include visual signals, and more strobes started to |
{"datasets_id": 1865, "wiki_id": "Q2994716", "sp": 14, "sc": 476, "ep": 14, "ec": 1154} | 1,865 | Q2994716 | 14 | 476 | 14 | 1,154 | Fire alarm notification appliance | Visual signals | appear. In the United States, the 1990 Americans with Disabilities Act (ADA) triggered changes in evacuation signaling methods to include the hearing impaired. Audible notification appliances would now have to include strobe lights with higher brightness intensity to alert the hearing impaired. This made incandescent lights inadequate for the purposes of the ADA.
Many existing installations that did not include visual signals were retrofitted with strobe plates. These retrofit plates would allow for the easy installation of a strobe without replacing the audible signal. Later, ADA codes also required that strobes be at least 15 candelas and have a flash rate of |
{"datasets_id": 1865, "wiki_id": "Q2994716", "sp": 14, "sc": 1154, "ep": 18, "ec": 265} | 1,865 | Q2994716 | 14 | 1,154 | 18 | 265 | Fire alarm notification appliance | Visual signals & Voice evacuation | at least 60 flashes per minute (one flash per second).
Companies such as Wheelock and Simplex discontinued their translucent strobes, and replaced them with new, clear, high-intensity strobes. Today, strobe synchronization is often used to synchronize all strobes in a uniform flash pattern. This is to prevent individuals with photosensitive epilepsy from potentially experiencing seizures due to unsynchronized strobes. Voice evacuation Voice evacuation systems (also called Voice Alarm Systems) have become popular in most countries. Voice evacuation alarms typically are not as loud as horns or bells (although generally standards require the same minimum sound pressure levels), and usually sound an |
{"datasets_id": 1865, "wiki_id": "Q2994716", "sp": 18, "sc": 265, "ep": 18, "ec": 915} | 1,865 | Q2994716 | 18 | 265 | 18 | 915 | Fire alarm notification appliance | Voice evacuation | alarm tone (typically a slow whoop, code-3, or chime tone, although this depends on the country and particular application) and a voice message warning that an emergency has been reported and to evacuate the building (often also directing occupants to not use elevators). Voice evacuation systems can also be used by personnel to give specific live information and/or instructions over the alarm system using a built-in microphone, which provides a distinct advantage over horns or bells. The system can be stand alone (i.e. using dedicated loudspeakers, which can also feature integrated strobe lights), or the system can accommodate public address |
{"datasets_id": 1865, "wiki_id": "Q2994716", "sp": 18, "sc": 915, "ep": 22, "ec": 544} | 1,865 | Q2994716 | 18 | 915 | 22 | 544 | Fire alarm notification appliance | Voice evacuation & Voice evacuation in Europe | system functionality. In 1973, the Autocall fire alarm company manufactured the first voice evacuation system. Voice evacuation in Europe In Europe, voice evacuation systems are normally a mandatory requirement for rail and air transport terminals, high-rise buildings, schools, hospitals, and other large facilities. Voice systems for emergency use date back at least as far as the second world war. Following the lead of companies like Avalon, Tannoy and Millbank Electronics etc., in the 1980s many other companies such as ASL, Application Solutions (Safety and Security) Ltd began producing voice-evacuation systems. In the 1990s, voice evacuation started to become the standard |
{"datasets_id": 1865, "wiki_id": "Q2994716", "sp": 22, "sc": 544, "ep": 26, "ec": 202} | 1,865 | Q2994716 | 22 | 544 | 26 | 202 | Fire alarm notification appliance | Voice evacuation in Europe & Effectiveness | for large facilities, and is still growing in popularity. The use, design, operation and installation of Voice evacuation systems is governed in Europe by CENELEC European Committee for Electrotechnical Standardization EN 60849 and in the UK by the British Standard BS 5839-Part 8, a system code of practice. This is joined by the European harmonised equipment standards family EN 54, and ISO 7240-16:2007. Effectiveness Initial research into the effectiveness of the various alerting methods is sparse. From 2005 to 2007, research sponsored by the NFPA focused on understanding the cause of a higher number of deaths seen |
{"datasets_id": 1865, "wiki_id": "Q2994716", "sp": 26, "sc": 202, "ep": 30, "ec": 144} | 1,865 | Q2994716 | 26 | 202 | 30 | 144 | Fire alarm notification appliance | Effectiveness & Effectiveness of low frequency (520 Hz) sound | in high-risk groups such as the elderly, those with hearing loss, and those who are intoxicated.
Research findings suggest that a low frequency (520 Hz) square wave output is significantly more effective at waking high-risk individuals.
More recent research suggests that strobe lights are not effective at waking sleeping adults with hearing loss and suggest that a different alarm tone is much more effective. Individuals in the hearing loss community are seeking changes to improved awakening methods. Effectiveness of low frequency (520 Hz) sound Further NFPA research demonstrated the heightened waking effectiveness of low frequency square wave auditory signals that use 520 Hz, especially |
{"datasets_id": 1865, "wiki_id": "Q2994716", "sp": 30, "sc": 144, "ep": 30, "ec": 763} | 1,865 | Q2994716 | 30 | 144 | 30 | 763 | Fire alarm notification appliance | Effectiveness of low frequency (520 Hz) sound | when used to wake people with mild to moderately severe hearing loss. Two separate studies were conducted – one for the hard-of-hearing and one for the alcohol-impaired – in order to compare the waking effectiveness of 520 Hz low frequency square wave devices and 3100 Hz pure tone T-3 sound devices.
Under the testing conditions, a 520 Hz square wave T-3 sound woke up 92% of hard-of-hearing participants, making it the most effective. The 3100 Hz pure tone T-3 sound woke up 56% of participants.
A summary of the studies shows that the 520 Hz square wave signal has at least 4 to 12 times more waking |
{"datasets_id": 1865, "wiki_id": "Q2994716", "sp": 30, "sc": 763, "ep": 30, "ec": 810} | 1,865 | Q2994716 | 30 | 763 | 30 | 810 | Fire alarm notification appliance | Effectiveness of low frequency (520 Hz) sound | effectiveness than the current 3100 Hz signal. |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 2, "sc": 0, "ep": 6, "ec": 578} | 1,866 | Q11622 | 2 | 0 | 6 | 578 | Firefly (TV series) | Backstory | Firefly (TV series) Backstory The series takes place in the year 2517, on a variety of planets and moons. The TV series does not reveal whether these celestial bodies are within one star system, only saying that Serenity's mode of propulsion is a "gravity-drive". Re-runs start with Book providing the following backstory:
After the Earth was used up, we found a new solar system and hundreds of new Earths were terraformed and colonized. The central planets formed the Alliance, and decided all the planets had to join under their rule. There was some disagreement on that point. After the war, many |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 6, "sc": 578, "ep": 6, "ec": 1171} | 1,866 | Q11622 | 6 | 578 | 6 | 1,171 | Firefly (TV series) | Backstory | of the Independents who had fought and lost drifted to the edges of the system, far from Alliance control. Out here, people struggle to get by with the most basic technologies. A ship would bring you work. A gun would help you keep it. A captain’s goal was simple: Find a crew. Find a job, Keep flying.
The film Serenity makes clear that the planets and moons are in a large system and production documents related to the film indicate that there is no faster-than-light travel in this universe. The characters occasionally refer to "Earth-that-was" and the film establishes that long |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 6, "sc": 1171, "ep": 6, "ec": 1792} | 1,866 | Q11622 | 6 | 1,171 | 6 | 1,792 | Firefly (TV series) | Backstory | before the events in the series, a large population had emigrated from Earth to a new star system in generation ships: "Earth-that-was could no longer sustain our numbers, we were so many". The emigrants established themselves in this new star system, with "dozens of planets and hundreds of moons" and many of these were terraformed, a process that was only the first step in making a planet habitable. The outlying settlements often did not receive any further support in the construction of their civilizations. This resulted in many of the border planets and moons having forbidding, dry environments, well-suited to |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 6, "sc": 1792, "ep": 10, "ec": 616} | 1,866 | Q11622 | 6 | 1,792 | 10 | 616 | Firefly (TV series) | Backstory & Synopsis | the Western genre. Synopsis The show takes its name from the "Firefly-class" spaceship Serenity that the central characters call home. It resembles a firefly in general arrangement and the tail section, analogous to a bioluminescent insectoid abdomen, lights up during acceleration. The ship was named after the Battle of Serenity Valley, where Sergeant Malcolm Reynolds and Corporal Zoe Alleyne were among the few survivors on the losing side. It is revealed in "Bushwhacked" that the Battle of Serenity Valley is widely considered to have sealed the fate of the Independents.
The Alliance is shown to govern the star system through an |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 10, "sc": 616, "ep": 10, "ec": 1289} | 1,866 | Q11622 | 10 | 616 | 10 | 1,289 | Firefly (TV series) | Synopsis | organization of "core" planets, following its success in forcibly unifying all the colonies under one government. DVD commentary suggests that the Alliance is composed of two primary "core" systems, one predominantly Western, the other pan-Asian, justifying the mixed linguistic and visual themes of the series. The central planets are firmly under Alliance control but the outlying planets and moons resemble the American Old West, under little governmental authority. Settlers and refugees on the outlying worlds have relative freedom from the central government but lack the amenities of the high-tech civilization that exists on the inner worlds. The outlying areas of |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 10, "sc": 1289, "ep": 10, "ec": 1912} | 1,866 | Q11622 | 10 | 1,289 | 10 | 1,912 | Firefly (TV series) | Synopsis | space ("the black") are inhabited by the Reavers, a cannibalistic group of nomadic humans.
The captain of Serenity is Malcolm "Mal" Reynolds (Nathan Fillion) and the episode "Serenity" establishes that the captain and his first mate Zoe Washburne, née Alleyne (Gina Torres) are veteran "Browncoats" of the Unification War, a failed attempt by the outlying worlds to resist the Alliance. A later episode, "Out of Gas", reveals that Mal bought the spaceship Serenity to live beyond Alliance control. Much of the crew's work consists of cargo runs or smuggling. A main story is that of River Tam (Summer Glau) and her |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 10, "sc": 1912, "ep": 10, "ec": 2514} | 1,866 | Q11622 | 10 | 1,912 | 10 | 2,514 | Firefly (TV series) | Synopsis | brother Simon (Sean Maher). River is a child prodigy, whose brain was subjected to experiments by Alliance scientists at a secret government institution; she displays symptoms of schizophrenia and often hears voices. It is later revealed that she is a "reader", one who possesses telepathic abilities. Simon gave up a career as an eminent trauma surgeon in an Alliance hospital to rescue her and they are fugitives. In the original pilot, "Serenity", Simon joins the crew as a paying passenger with River smuggled on board as cargo. As Whedon states in an episode DVD commentary, every show he does is |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 10, "sc": 2514, "ep": 14, "ec": 409} | 1,866 | Q11622 | 10 | 2,514 | 14 | 409 | Firefly (TV series) | Synopsis & Signature show elements | about creating family. By the last episode, "Objects in Space", the fractured character of River has finally become whole, partly because the others decided to accept her into their "family" on the ship. Signature show elements The show blends elements from the space opera and Western genres, depicting humanity's future in a manner different from most contemporary science fiction programs in that there are no large space battles. Firefly takes place in a multi-social future, primarily a fusion of Western and East Asian societies, where there is gross class inequality. As a result of the Sino-American Alliance, Mandarin Chinese is |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 14, "sc": 409, "ep": 14, "ec": 1007} | 1,866 | Q11622 | 14 | 409 | 14 | 1,007 | Firefly (TV series) | Signature show elements | a common second language; it is used in advertisements and characters in the show frequently curse in Chinese. According to the DVD commentary on the episode "Serenity", this was explained as the result of China and the United States being the two superpowers that expanded into space.
The show features slang not used in contemporary culture, such as adaptations of modern words, or new words. "Shiny" is frequently used in a manner similar to the real world slang "cool" and "gorram" is used as a mild swear word. Written and spoken Chinese as well as Old West dialect are also employed. |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 14, "sc": 1007, "ep": 14, "ec": 1626} | 1,866 | Q11622 | 14 | 1,007 | 14 | 1,626 | Firefly (TV series) | Signature show elements | As one reviewer noted: "The dialogue tended to be a bizarre purée of wisecracks, old-timey Western-paperback patois, and snatches of Chinese".
Tim Minear and Joss Whedon pointed out two scenes that, they believed, articulated the mood of the show exceptionally clearly. One scene is in the original pilot "Serenity", when Mal is eating with chopsticks and a Western tin cup is by his plate; the other is in "The Train Job" pilot, when Mal is thrown out of a holographic bar window. The DVD set's "making-of" documentary explains the distinctive frontispiece of the series (wherein Serenity soars over a herd of |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 14, "sc": 1626, "ep": 18, "ec": 20} | 1,866 | Q11622 | 14 | 1,626 | 18 | 20 | Firefly (TV series) | Signature show elements & Origin | horses) as Whedon's attempt to capture "everything you need to understand about the series in five seconds".
One of the struggles that Whedon had with Fox was the tone of the show, especially with the main character Malcolm Reynolds. Fox pressured Whedon to make Mal more "jolly", as they feared he was too dark in the original pilot, epitomized by the moment he suggests he might "space" Simon and River, throwing them out of the airlock. Fox was not happy that the show involved the "nobodies" who "get squished by policy" instead of the actual policy makers. Origin Whedon developed the |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 18, "sc": 20, "ep": 18, "ec": 606} | 1,866 | Q11622 | 18 | 20 | 18 | 606 | Firefly (TV series) | Origin | concept for the show after reading The Killer Angels by Michael Shaara chronicling the Battle of Gettysburg during the American Civil War. He wanted to follow people who had fought on the losing side of a war, their experiences afterwards as pioneers and immigrants on the outskirts of civilization, much like the post-American Civil War era of Reconstruction and the American Old West. He intended the show to be "a Stagecoach kind of drama with a lot of people trying to figure out their lives in a bleak pioneer environment". Whedon wanted to develop a show about the tactile nature |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 18, "sc": 606, "ep": 22, "ec": 17} | 1,866 | Q11622 | 18 | 606 | 22 | 17 | Firefly (TV series) | Origin & Format | of life, a show where existence was more physical and more difficult. Whedon also read a book about Jewish partisan fighters in World War II. Whedon wanted to create something for television that was more character-driven and gritty than most modern science fiction. Television science fiction, he felt, had become too pristine and rarefied. Whedon wanted to give the show a name that indicated movement and power and felt that "Firefly" had both. This powerful word's relatively insignificant meaning, Whedon felt, added to its allure. He eventually created a ship in the image of a firefly. Format During filming of |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 22, "sc": 17, "ep": 22, "ec": 578} | 1,866 | Q11622 | 22 | 17 | 22 | 578 | Firefly (TV series) | Format | the pilot episode, Whedon was still arguing with Fox that the show should be displayed in widescreen format. Whedon filmed scenes with actors on the edge of both sides so that they could only be shown in widescreen. This led to a few scenes on the DVD (and later Blu-ray) where objects or setups that were not visible in the original 4:3 broadcasts were displayed—such as the scene in the pilot where Wash mimes controlling the ship with a non-existent yoke. The pilot was rejected by the Fox executives, who felt that it lacked action and that the captain was |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 22, "sc": 578, "ep": 22, "ec": 1141} | 1,866 | Q11622 | 22 | 578 | 22 | 1,141 | Firefly (TV series) | Format | too "dour". They also disliked a scene in which the crew backed down to a crime boss, since the scene implied the crew was "being nothing". Fox told Whedon on a Friday afternoon that he had to submit a new pilot script on Monday morning or the show would not be picked up. Whedon and Tim Minear closeted themselves for the weekend to write what became the new pilot, "The Train Job". At the direction of Fox, they added "larger than life" characters such as the henchman "Crow" and the "hands of blue" men, who also introduced an X-Files-type ending.
For |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 22, "sc": 1141, "ep": 22, "ec": 1756} | 1,866 | Q11622 | 22 | 1,141 | 22 | 1,756 | Firefly (TV series) | Format | the new pilot, Fox made it clear that they would not air the episodes in widescreen. Whedon and company felt they had to "serve two masters" by filming widescreen for eventual DVD release but keeping objects in frame so it could still work when aired in pan and scan full frame. To obtain an immersive and immediate feel, the episodes were filmed in a documentary style with hand-held cameras, giving them the look of "found footage", with deliberately mis-framed and out-of-focus subjects. As Whedon related: "...don't be arch, don't be sweeping—be found, be rough and tumble and docu[mentary] and you-are-there". |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 22, "sc": 1756, "ep": 22, "ec": 2399} | 1,866 | Q11622 | 22 | 1,756 | 22 | 2,399 | Firefly (TV series) | Format | Computer-generated scenes mimicked the motion of a hand-held camera; the style was not used when shooting scenes that involved the central government, the Alliance. Tracking and steady cameras were used to show the sterility of this aspect of the Firefly universe. Another style employed was lens flares harking back to 1970s television. This style was so desired that the director of photography, David Boyd, sent back the cutting-edge lenses which reduced lens flare in exchange for cheaper ones. Unlike other science fiction shows which add sound to space scenes for dramatic effect, Firefly portrays space as silent, because sounds cannot |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 22, "sc": 2399, "ep": 26, "ec": 522} | 1,866 | Q11622 | 22 | 2,399 | 26 | 522 | Firefly (TV series) | Format & Set design | be transmitted in the vacuum of space. Set design Production designer Carey Meyer built the ship Serenity in two parts (one for each level) as a complete set with ceilings and practical lighting installed as part of the set that the cameras could use along with moveable parts. The two-part set also allowed the second unit to shoot in one section while the actors and first unit worked undisturbed in the other. As Whedon recalled: "...you could pull it away or move something huge, so that you could get in and around everything. That meant the environment worked for us |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 26, "sc": 522, "ep": 26, "ec": 1079} | 1,866 | Q11622 | 26 | 522 | 26 | 1,079 | Firefly (TV series) | Set design | and there weren't a lot of adjustments that needed to be made". There were other benefits to this set design. One was that it allowed the viewers to feel they were really in a ship. For Whedon, the design of the ship was crucial in defining the known space for the viewer and that there were not "fourteen hundred decks and a holodeck and an all-you-can-eat buffet in the back". He wanted to convey that it was utilitarian and that it was "beat-up but lived-in and ultimately, it was home". Each room represented a feeling or character, usually conveyed by |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 26, "sc": 1079, "ep": 26, "ec": 1624} | 1,866 | Q11622 | 26 | 1,079 | 26 | 1,624 | Firefly (TV series) | Set design | the paint color. He explains that as you move from the back of the ship in the engine room, toward the front of the ship to the bridge, the colors and mood progress from extremely warm to cooler. Besides evoking a mood associated with the character who spends the most time in each area, the color scheme also alludes to the heat generated in the tail of the ship. Whedon was also keen on using vertical space; having the crew quarters accessible by ladder was important. Another benefit of the set design was that it also allowed the actors to |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 26, "sc": 1624, "ep": 26, "ec": 2287} | 1,866 | Q11622 | 26 | 1,624 | 26 | 2,287 | Firefly (TV series) | Set design | stay in the moment and interact, without having to stop after each shot and set up for the next. This helped contribute to the documentary style Whedon strove for.
The set had several influences, including the sliding doors and tiny cubicles reminiscent of Japanese hotels. Artist Larry Dixon has noted that the cargo bay walls are "reminiscent of interlaced, overlapping Asian designs, cleverly reminding us of the American-Chinese Alliance setting while artistically forming a patterned plane for background scale reference". Dixon has also remarked on how the set design contributed to the storytelling through the use of color, depth and composition, |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 26, "sc": 2287, "ep": 26, "ec": 2847} | 1,866 | Q11622 | 26 | 2,287 | 26 | 2,847 | Firefly (TV series) | Set design | lighting, as well as its use of diagonals and patterned shadows.
Their small budget was another reason to use the ship for much of the storytelling. When the characters did go off the ship, the worlds all had Earth atmosphere and coloring because they could not afford to design alien worlds. "I didn't want to go to Yucca Flats every other episode and transform it into Bizarro World by making the sky orange", recalled Whedon. As Meyer recalled: "I think in the end the feel was that we wound up using a lot of places or exteriors that just felt too |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 26, "sc": 2847, "ep": 30, "ec": 414} | 1,866 | Q11622 | 26 | 2,847 | 30 | 414 | Firefly (TV series) | Set design & Casting | Western and we didn't necessarily want to go that way; but at some point, it just became the lesser of two evils—what could we actually create in three days?" Casting In casting his nine-member crew, Whedon looked first at the actors and considered their chemistry with others. Cast member Sean Maher recalls, "So then he just sort of put us all together, and I think it was very quick, like right out of the gate, we all instantly bonded". All nine cast members were chosen before filming began; while making the original pilot "Serenity", Whedon decided that Rebecca Gayheart was |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 30, "sc": 414, "ep": 30, "ec": 998} | 1,866 | Q11622 | 30 | 414 | 30 | 998 | Firefly (TV series) | Casting | unsuitable for the role of [[Inara Serra], and shot her scenes in singles so that it would be easier to replace her. Morena Baccarin auditioned for the role and two days later was on the set in her first television show. "Joss brought me down from the testing room like a proud dad, holding my hand and introducing me," Baccarin recalled.
Whedon approached Nathan Fillion to play the lead role of Malcolm Reynolds; after Whedon explained the premise and showed him the treatment for the pilot, Fillion was eager for the role. Fillion was called back several times to read for |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 30, "sc": 998, "ep": 30, "ec": 1544} | 1,866 | Q11622 | 30 | 998 | 30 | 1,544 | Firefly (TV series) | Casting | the part before he was cast. He noted that "it was really thrilling. It was my first lead, and I was pretty nervous, but I really wanted that part, and I wanted to tell those stories." Fillion later said he was "heartbroken" when he learned the series had been cancelled. Fillion has called his time on Firefly the best acting job he ever had, and compares every job he has had to it.
Alan Tudyk applied through a casting office and several months later was called in for an audition, where he met with Whedon. He was called back to test |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 30, "sc": 1544, "ep": 30, "ec": 2143} | 1,866 | Q11622 | 30 | 1,544 | 30 | 2,143 | Firefly (TV series) | Casting | with two candidates for the role of Zoe (Wash's wife) and was told that it was down to him and one other candidate. The Zoes he tested with were not selected (Gina Torres eventually received the role), and Tudyk was sent home but received a call informing him he had the part anyway. His audition tape is included in the special features of the DVD release.
Gina Torres, a veteran of several science fiction/fantasy works (Cleopatra 2525, The Matrix Reloaded, Alias, Hercules: The Legendary Journeys), was at first uninterested in doing another science fiction show but "was won over by the |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 30, "sc": 2143, "ep": 30, "ec": 2790} | 1,866 | Q11622 | 30 | 2,143 | 30 | 2,790 | Firefly (TV series) | Casting | quality of the source material". As she recalled, "you had these challenged characters inhabiting a challenging world, and that makes for great storytelling. And no aliens!"
For Adam Baldwin, who grew up watching westerns, the role of Jayne Cobb was particularly resonant.
Canadian actress Jewel Staite videotaped her audition from Vancouver and was asked to come to Los Angeles to meet Whedon, at which point she was cast for the role of Kaylee Frye, the ship's engineer.
Sean Maher recalls reading for the part and liking the character of Simon Tam, but that it was Whedon's personality and vision that "sealed the deal" |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 30, "sc": 2790, "ep": 34, "ec": 67} | 1,866 | Q11622 | 30 | 2,790 | 34 | 67 | Firefly (TV series) | Casting & Production staff | for him. For the role of Simon's sister, River Tam, Whedon called in Summer Glau for an audition and test the same day. Glau had first worked for Whedon in the Angel episode "Waiting in the Wings". Two weeks later, Whedon called her to tell her she had the part.
Veteran television actor Ron Glass has said that until Firefly, he had not experienced or sought a science-fiction or western role, but he fell in love with the pilot script and the character of Shepherd Book. Production staff Tim Minear was selected by Whedon to be the show runner, who serves |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 34, "sc": 67, "ep": 34, "ec": 637} | 1,866 | Q11622 | 34 | 67 | 34 | 637 | Firefly (TV series) | Production staff | as the head writer and production leader. According to Whedon "[Minear] understood the show as well as any human being, and just brought so much to it that I think of it as though he were always a part of it". Many of the other production staff were selected from people Whedon had worked with in the past, with the exception of the director of photography David Boyd, who was the "big find" and who was "full of joy and energy".
The writers were selected after interviews and script samplings. Among the writers were José Molina, Ben Edlund, Cheryl Cain, Brett |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 34, "sc": 637, "ep": 34, "ec": 1235} | 1,866 | Q11622 | 34 | 637 | 34 | 1,235 | Firefly (TV series) | Production staff | Matthews, Drew Z. Greenberg and Jane Espenson. Espenson wrote an essay on the writing process with Mutant Enemy Productions. A meeting is held and an idea is floated, generally by Whedon, and the writers brainstorm to develop the central theme of the episode and the character development. Next, the writers (except the one working on the previous week's episode) meet in the anteroom to Whedon's office to begin 'breaking' the story into acts and scenes. For the team, one of the key components to devising acts is deciding where to break for commercial and ensuring the viewer returns. "Finding |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 34, "sc": 1235, "ep": 34, "ec": 1863} | 1,866 | Q11622 | 34 | 1,235 | 34 | 1,863 | Firefly (TV series) | Production staff | these moments in the story help give it shape: think of them as tentpoles that support the structure". For instance, in "Shindig", the break for commercial occurs when Malcolm Reynolds is gravely injured and losing the duel. "It does not end when Mal turns the fight around, when he stands victorious over his opponent. They're both big moments, but one of them leaves you curious and the other doesn't."
Next, the writers develop the scenes onto a marker-filled whiteboard, featuring "a brief ordered description of each scene". A writer is selected to create an outline of the episode's concept—occasionally with some |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 34, "sc": 1863, "ep": 38, "ec": 133} | 1,866 | Q11622 | 34 | 1,863 | 38 | 133 | Firefly (TV series) | Production staff & Broadcast history | dialogue and jokes—in one day. The outline is given to showrunner Tim Minear, who revises it within a day. The writer uses the revised outline to write the first draft of the script while the other writers work on developing the next. This first draft is usually submitted for revision within three to fourteen days; afterward, a second and sometimes third draft is written. After all revisions are made, the final draft would be produced as the 'shooting draft'. Broadcast history Firefly consists of a two-hour pilot and thirteen one-hour episodes (with commercials). The series originally premiered in the United |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 38, "sc": 133, "ep": 38, "ec": 716} | 1,866 | Q11622 | 38 | 133 | 38 | 716 | Firefly (TV series) | Broadcast history | States on Fox in September 2002. The episodes were aired out of the intended order. Although Whedon had designed the show to run for seven years, low ratings resulted in cancellation by Fox in December 2002 after only 11 of the 14 completed episodes had aired in the United States. The three episodes unaired by Fox eventually debuted in 2003 on the Sci Fi Channel in the United Kingdom. Prior to cancellation, some fans, worried about low ratings, formed the Firefly Immediate Assistance campaign whose goal was to support the production of the show by sending in postcards to Fox. |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 38, "sc": 716, "ep": 38, "ec": 1360} | 1,866 | Q11622 | 38 | 716 | 38 | 1,360 | Firefly (TV series) | Broadcast history | After it was canceled, the campaign worked on getting another network such as UPN to pick up the series. The campaign was unsuccessful in securing the show's continuation.
The A.V. Club cited several actions by the Fox network that contributed to the show's failure, most notably airing the episodes out of sequence, making the plot more difficult to follow. For instance, the double episode "Serenity" was intended as the premiere, and therefore contained most of the character introductions and back-story. However, Fox decided that "Serenity" was unsuitable to open the series, and "The Train Job" was specifically created to act as |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 38, "sc": 1360, "ep": 38, "ec": 2012} | 1,866 | Q11622 | 38 | 1,360 | 38 | 2,012 | Firefly (TV series) | Broadcast history | a new pilot. In addition, Firefly was promoted as an action-comedy rather than the more serious character study it was intended to be, and the showbiz trade paper Variety noted Fox's decision to occasionally preempt the show for sporting events.
Fox remastered the complete series in 1080i high-definition for broadcast on Universal HD, which began in April 2008.
On March 12, 2009, the series was the winner of the first annual Hulu awards in the category "Shows We'd Bring Back".
The Science Channel began airing the series on March 6, 2011. All episodes aired in the intended order, including episodes "Trash", "The Message" |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 38, "sc": 2012, "ep": 42, "ec": 371} | 1,866 | Q11622 | 38 | 2,012 | 42 | 371 | Firefly (TV series) | Broadcast history & Critical response | and "Heart of Gold", which were not aired in the original Fox series run. Along with each episode, Dr. Michio Kaku provided commentary about the real-life science behind the science fiction of the show. Critical response Many reviews focused on the show's fusion of Wild West and outer space motifs. TV Guide's Matt Roush, for instance, called the show "oddball" and "offbeat", and noted how literally the series took the metaphor of space operas as Westerns. Roush opined that the shift from space travel to horseback was "jarring", but that once he got used to this, he found the characters |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 42, "sc": 371, "ep": 42, "ec": 999} | 1,866 | Q11622 | 42 | 371 | 42 | 999 | Firefly (TV series) | Critical response | cleverly conceived, and the writing a crisp balance of action, tension and humor. Several reviewers, however, criticized the show's setting; Tim Goodman of the San Francisco Chronicle felt that the melding of the western and science fiction genres was a "forced hodgepodge of two alarmingly opposite genres just for the sake of being different" and called the series a "vast disappointment", and Carina Chocano of Salon.com said that while the "space as Wild West" metaphor is fairly redundant, neither genre connected to the present. Emily Nussbaum of the New York Times, reviewing the DVD set, noted that the program featured |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 42, "sc": 999, "ep": 42, "ec": 1681} | 1,866 | Q11622 | 42 | 999 | 42 | 1,681 | Firefly (TV series) | Critical response | "an oddball genre mix that might have doomed it from the beginning: it was a character-rich sci-fi western comedy-drama with existential underpinnings, a hard sell during a season dominated by Joe Millionaire".
The Boston Globe described Firefly as a "wonderful, imaginative mess brimming with possibility". The review further notes the difference between the new series and other programs was that those shows "burst onto the scene with slick pilots and quickly deteriorate into mediocrity... Firefly is on the opposite creative journey." Jason Snell called the show one of the best on television, and one "with the most potential for future brilliance".
Reviewers |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 42, "sc": 1681, "ep": 46, "ec": 33} | 1,866 | Q11622 | 42 | 1,681 | 46 | 33 | Firefly (TV series) | Critical response & Fandom | also compared Firefly to Whedon's other series, Buffy the Vampire Slayer. Chocano noted that the series lacks the psychological tension of Buffy, and suggests that this might be attributable to the episodes being aired out of order. MSN, on the other hand, pointed out that after viewing the DVD boxed set it was easy to see why the program had attracted many die-hard fans. "All of Whedon's fingerprints are there: the witty dialogue, the quirky premises and dark exploration of human fallacy that made Buffy brilliant found their way to this space drama". Fandom Firefly generated a loyal base of |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 46, "sc": 33, "ep": 46, "ec": 618} | 1,866 | Q11622 | 46 | 33 | 46 | 618 | Firefly (TV series) | Fandom | fans during its three-month original broadcast run on Fox in late 2002. These fans, self-styled Browncoats, used online forums to organize and try to save the series from being canceled by Fox only three months after its debut. Their efforts included raising money for an ad in Variety magazine and a postcard writing campaign to UPN. While unsuccessful in finding a network that would continue the show, their support led to a release of the series on DVD in December 2003. A subsequent fan campaign raised over $14,000 in donations to have a purchased Firefly DVD set placed aboard |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 46, "sc": 618, "ep": 46, "ec": 1232} | 1,866 | Q11622 | 46 | 618 | 46 | 1,232 | Firefly (TV series) | Fandom | 250 U.S. Navy ships by April 2004 for recreational viewing by their crews.
These and other continuing fan activities eventually persuaded Universal Studios to produce a feature film, Serenity. (The title of Serenity was chosen, according to Whedon, because Fox still owned the rights to the name 'Firefly'). Numerous early screenings of rough film cuts were held for existing fans starting in May 2005 as an attempt to create a buzz to increase ticket sales when the final film cut was released widely on September 30, 2005. The film was not as commercially successful as fans had hoped, opening at number |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 46, "sc": 1232, "ep": 46, "ec": 1873} | 1,866 | Q11622 | 46 | 1,232 | 46 | 1,873 | Firefly (TV series) | Fandom | two and making only $40 million worldwide during its initial theatrical release.
On June 23, 2006, fans organized the first worldwide charity screenings of Serenity in 47 cities, dubbed as Can't Stop the Serenity or CSTS, an homage to the movie's tagline, "Can't stop the signal". The event raised over $65,000 for Whedon's favorite charity, Equality Now. In 2007, $106,000 was raised; in 2008, $107,219; and in 2009, $137,331.
In July 2006, a fan-made documentary was released, titled Done the Impossible, and is commercially available. The documentary relates the story of the fans and how the show has affected them, and |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 46, "sc": 1873, "ep": 46, "ec": 2545} | 1,866 | Q11622 | 46 | 1,873 | 46 | 2,545 | Firefly (TV series) | Fandom | features interviews with Whedon and various cast members. Part of the DVD proceeds are donated to Equality Now.
NASA Browncoat astronaut Steven Swanson took the Firefly and Serenity DVDs with him on Space Shuttle Atlantis's STS-117 mission in June 2007. The DVDs were added to the media collection on the International Space Station as entertainment for the station's crews.
A fan-made, not-for-profit, unofficial sequel to Serenity, titled Browncoats: Redemption, premiered at Dragon*Con 2010 on September 4, 2010. According to the film's creator and producer, Whedon gave "his blessing" to the project. The film was sold on DVD and Blu-ray at the film's |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 46, "sc": 2545, "ep": 50, "ec": 310} | 1,866 | Q11622 | 46 | 2,545 | 50 | 310 | Firefly (TV series) | Fandom & Cult status | website, with all proceeds being distributed among five charities. The film was also screened at various science-fiction conventions across the United States, with admission receipts similarly being donated. All sales ended on September 1, 2011, one year after its premiere, with total revenues exceeding $115,000. Cult status In 2005, New Scientist magazine's website held an internet poll to find "The World's Best Space Sci-Fi Ever". Firefly came in first place, with its cinematic follow-up Serenity in second. In 2012, Entertainment Weekly listed the show at No. 11 in the "25 Best Cult TV Shows from the Past 25 Years," commenting, |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 50, "sc": 310, "ep": 50, "ec": 901} | 1,866 | Q11622 | 50 | 310 | 50 | 901 | Firefly (TV series) | Cult status | "as it often does, martyrdom has only enhanced its legend."
Brad Wright, co-creator of Stargate SG-1 has said that the 200th episode of SG-1 is "a little kiss to Serenity and Firefly, which was possibly one of the best canceled series in history". In the episode, "Martin Lloyd has come to the S.G.C. [Stargate Command] because even though 'Wormhole X-Treme!' was canceled after three episodes, it did so well on DVD they're making a feature [film]". The follow-up film, Serenity, was voted the best science fiction movie of all time in an SFX magazine poll of 3,000 fans. Firefly |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 50, "sc": 901, "ep": 50, "ec": 1454} | 1,866 | Q11622 | 50 | 901 | 50 | 1,454 | Firefly (TV series) | Cult status | was later ranked #25 on TV Guide's Top Cult Shows Ever. The name for the Google beta app Google Wave was inspired by this TV series.
In an interview on February 17, 2011, with Entertainment Weekly, Nathan Fillion joked that: "If I got $300 million from the California Lottery, the first thing I would do is buy the rights to Firefly, make it on my own, and distribute it on the Internet". This quickly gave rise to a fan-run initiative to raising the funds to purchase the rights. On March 7, 2011, the organizers announced the closure of the |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 50, "sc": 1454, "ep": 50, "ec": 2062} | 1,866 | Q11622 | 50 | 1,454 | 50 | 2,062 | Firefly (TV series) | Cult status | project due to lack of endorsement from the creators, with $1 million pledged at the time it was shut down.
Joss Whedon, Tim Minear, and cast members Nathan Fillion, Alan Tudyk, Summer Glau, Adam Baldwin and Sean Maher reunited at the 2012 San Diego Comic-Con for a 10th anniversary panel. Ten thousand people lined up to get into the panel, and the panel ended with the entire crowd giving the cast and crew a standing ovation.
A tenth anniversary special, Browncoats Unite, was shown on the Science Channel on November 11, 2012. The special featured Whedon, Minear, and several of the cast |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 50, "sc": 2062, "ep": 50, "ec": 2741} | 1,866 | Q11622 | 50 | 2,062 | 50 | 2,741 | Firefly (TV series) | Cult status | members, in a discussion on the series' history.
According to Reason's Julian Sanchez, Firefly's cult following "seems to include a disproportionate number of libertarians." The story themes are often cautionary about too-powerful central authority and its capacity to do bad while being considered by the majority as good. The characters each exhibit traits that exemplify core libertarian values, such as the right to bear arms (Jayne, Zoe), legal prostitution (Inara), freedom of religion (Book), logic and reasoning (Simon), and anti-conscription (River). Joss Whedon notes this theme, saying "Mal is, if not a Republican, certainly a libertarian, he's certainly a |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 50, "sc": 2741, "ep": 58, "ec": 382} | 1,866 | Q11622 | 50 | 2,741 | 58 | 382 | Firefly (TV series) | Cult status & Ratings & In popular culture | less-government kinda guy. He's the opposite of me in many ways." Ratings At the time the series was cancelled by Fox, it averaged 4.7 million viewers and ranked 98th in Nielsen ratings. In popular culture On the CBS sitcom, The Big Bang Theory, Sheldon Cooper is a fan of Firefly. When he and Leonard Hofstadter are discussing their roommate agreement, they include a passage in which they dedicate Friday nights to watching Firefly, as Sheldon believes it will last for years. Upon its cancellation, he brands Rupert Murdoch, the owner of Fox, a traitor. During the second season of The |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 58, "sc": 382, "ep": 58, "ec": 968} | 1,866 | Q11622 | 58 | 382 | 58 | 968 | Firefly (TV series) | In popular culture | Big Bang Theory, in episode 17 ("The Terminator Decoupling"), Summer Glau appears as herself, encountering Sheldon, Leonard, and their friends on a train to San Francisco. When Raj tries to hit on her he says that although he is an astrophysicist, she was actually in space during the shooting of Firefly. Glau chides him for believing this and Raj backtracks, saying, "Those are crazy people!"
On the NBC comedy Community, the characters Troy and Abed are fans of the show. They have an agreement that if one of them dies, the other will stage it to look like a suicide caused |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 58, "sc": 968, "ep": 58, "ec": 1628} | 1,866 | Q11622 | 58 | 968 | 58 | 1,628 | Firefly (TV series) | In popular culture | by the cancellation of Firefly, in the hopes that it will bring the show back.
In the 2003 Battlestar Galactica miniseries/pilot, a ship resembling Serenity appears in the background of the scene with Laura Roslin (Mary McDonnell). Serenity is one of several spaceships inserted as cameos into digital effects scenes by Zoic Studios, the company responsible for digital effects in both Firefly and Battlestar Galactica.
The television series Castle, where Fillion plays the lead character Richard Castle, has made ongoing homages to Firefly. Castle has props from Firefly as decorative items in his home, has dressed up as a "space cowboy" for |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 58, "sc": 1628, "ep": 58, "ec": 2217} | 1,866 | Q11622 | 58 | 1,628 | 58 | 2,217 | Firefly (TV series) | In popular culture | Halloween ("You wore that five years ago," cracked his daughter), speaks Chinese that he learned from "a TV show [he] loved", and has made rapid "two-by-two" finger motions while wearing blue surgical gloves. He has been humorously asked if he has ever heard of a spa known as "Serenity", and Firefly catchphrases such as "shiny", "special hell", and "I was aiming for the head" have been used as punchlines during various dramatic scenes in Castle. He has worked a murder case at a science fiction convention with suspects being the cast of a long-cancelled space opera that only ran for |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 58, "sc": 2217, "ep": 62, "ec": 135} | 1,866 | Q11622 | 58 | 2,217 | 62 | 135 | Firefly (TV series) | In popular culture & Media franchise | a season, and has had incidental interaction with people portrayed by Firefly cast members.
Con Man, a 2015 comedy web series created by Tudyk and co-produced by Fillion, draws on the pair's experiences as cult science fiction actors touring the convention circuit. Though it is not autobiographical, the show's fictional Spectrum echoes Firefly and Tudyk's and Fillion's roles reflect their own Firefly roles. Staite, Torres and Maher made guest appearances. Maher played himself as a former Firefly actor. Media franchise The popularity of the short-lived series served as the launching point for a media franchise within the Firefly universe, including the |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 62, "sc": 135, "ep": 62, "ec": 775} | 1,866 | Q11622 | 62 | 135 | 62 | 775 | Firefly (TV series) | Media franchise | feature film Serenity, which addresses many plot points left unresolved by the series' cancellation.
Additionally, there are two comic-book mini-series, Serenity: Those Left Behind (3 issues, 104 pages, 2006), Serenity: Better Days (3 issues, 80 pages, 2008) and a one-shot hardcover Serenity: The Shepherd's Tale (56 pages, 2010), along with the one-shots Serenity: Downtime and The Other Half and Serenity: Float Out in which Whedon explored plot strands he had intended to explore further in the series. The comics are set, in plot terms, between the end of the TV series and the opening of the feature film. The two mini-series |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 62, "sc": 775, "ep": 62, "ec": 1379} | 1,866 | Q11622 | 62 | 775 | 62 | 1,379 | Firefly (TV series) | Media franchise | were later published in collected form as hardcover and paperback graphic novels. A six-issue series titled Serenity: Leaves on the Wind began in January 2014 and the series takes place after the events of the film. A six-issue series titled Serenity: No Power in the 'Verse began in October 2016 and the series is set about 1.5 years after Leaves on the Wind. In July 2018, Boom! Studios announced that they had acquired the comic book and graphic novel publishing license to Firefly with plans to release new monthly comic book series, limited series, original graphic novels and more.
In July |
{"datasets_id": 1866, "wiki_id": "Q11622", "sp": 62, "sc": 1379, "ep": 62, "ec": 1491} | 1,866 | Q11622 | 62 | 1,379 | 62 | 1,491 | Firefly (TV series) | Media franchise | 2014, the release of video game Firefly Online was announced that planned to have the cast reprise their roles. |
{"datasets_id": 1867, "wiki_id": "Q5452601", "sp": 2, "sc": 0, "ep": 6, "ec": 562} | 1,867 | Q5452601 | 2 | 0 | 6 | 562 | First Capitol Historic Site (Wisconsin) | Background | First Capitol Historic Site (Wisconsin) Background From 1818 to 1836, the land that is now Wisconsin was part of Michigan Territory. In 1836, Michigan itself achieved statehood and Congress created Wisconsin Territory from the frontier lands to the west. That territory was larger than you might guess, including the lands that are now Minnesota, Iowa, and the eastern Dakotas. At that time, this vast area was sparsely settled, with a total population of about 22,000. In 1836, Milwaukee had under 2,000 people. Madison was only wooded hills and swamps between the four lakes, which had just been bought by James |
{"datasets_id": 1867, "wiki_id": "Q5452601", "sp": 6, "sc": 562, "ep": 10, "ec": 511} | 1,867 | Q5452601 | 6 | 562 | 10 | 511 | First Capitol Historic Site (Wisconsin) | Background & Territorial capital | Doty and some other real estate speculators with an eye toward founding a city there. Territorial capital Early leaders in the territory needed a place to meet and establish the territorial government. Several land speculators saw this need even before the territory was official, and tried to prepare sites which could be chosen as the territorial capital, hoping to become wealthy if the capitol was built in their city. One such speculator was John Atchison, a general merchandise businessman from Galena. In 1835 he laid out the village of Belmont, Wisconsin and in 1836 began building four public buildings there |
{"datasets_id": 1867, "wiki_id": "Q5452601", "sp": 10, "sc": 511, "ep": 10, "ec": 1167} | 1,867 | Q5452601 | 10 | 511 | 10 | 1,167 | First Capitol Historic Site (Wisconsin) | Territorial capital | to attract the lawmakers to his site: a council house where lawmakers could convene, a lodging house for the legislators, a house for the territorial governor, and a courthouse for the territorial supreme court. These wooden buildings were constructed outside of Wisconsin (possibly Pittsburg) and shipped to Belmont for final assembly. On September 9, 1836, territorial Governor Henry Dodge announced that Belmont would be used as the territorial capital, at least for the first legislative session, making Atchison's council house the first capitol. The likely reason for Dodge's selection of Belmont as capital city was its location in Wisconsin's lead |
{"datasets_id": 1867, "wiki_id": "Q5452601", "sp": 10, "sc": 1167, "ep": 10, "ec": 1821} | 1,867 | Q5452601 | 10 | 1,167 | 10 | 1,821 | First Capitol Historic Site (Wisconsin) | Territorial capital | mining region, which at that time was the territory's most populous area. However, the selection was controversial, and some contend that Dodge had other motives for the selection based upon his earlier associations with Atchison.
The first session of Wisconsin's territorial legislature began at Belmont on October 25, 1836. Soon after the session convened, Governor Dodge gave a speech outlining the purpose of the session: to establish a system of government for the territory and make a final selection for the territorial capitol. Perhaps because of the controversy over his choice of Belmont, Dodge announced that he would approve any site |
{"datasets_id": 1867, "wiki_id": "Q5452601", "sp": 10, "sc": 1821, "ep": 10, "ec": 2451} | 1,867 | Q5452601 | 10 | 1,821 | 10 | 2,451 | First Capitol Historic Site (Wisconsin) | Territorial capital | the legislature voted to become the permanent capital, even though he had the legal power to veto all territorial legislation. That announcement re-opened the scramble for locating the territorial capital. Most lawmakers were opposed to the idea of continuing to use the capitol at Belmont, since the lodging house was small and overcrowded, and none of the buildings had heat or water. Burlington, Cassville, Fond du Lac and Madison had their advocates, among others. The boosters of Dubuque even invited the whole legislature over for a weekend visit. But Doty was there, too, lobbying for his proposed Madison City. Supposedly |
{"datasets_id": 1867, "wiki_id": "Q5452601", "sp": 10, "sc": 2451, "ep": 10, "ec": 3055} | 1,867 | Q5452601 | 10 | 2,451 | 10 | 3,055 | First Capitol Historic Site (Wisconsin) | Territorial capital | he even sent a wagon to Dubuque to bring back buffalo robes, which he then doled out to sway the freezing legislators. After much wrangling, both houses of the legislature approved moving the capital to Burlington for a year, then permanently to the site advocated by James Doty, on the isthmus at his "Madison City," just as soon as buildings could be erected.
When legislators were not debating the future site of the capital, they set the groundwork for the territorial government. In all, 42 acts were approved by the legislature before it adjourned on December 9, 1836. These acts organized |
{"datasets_id": 1867, "wiki_id": "Q5452601", "sp": 10, "sc": 3055, "ep": 14, "ec": 227} | 1,867 | Q5452601 | 10 | 3,055 | 14 | 227 | First Capitol Historic Site (Wisconsin) | Territorial capital & Later use | Wisconsin government, created a judicial system, and established several new counties in the territory. The legislature would not meet again in Belmont, preferring to meet at a temporary location in Burlington until the new capitol at Madison was completed. Later, in 1838, Burlington became a part of Iowa Territory, forcing the legislature to move to Madison earlier than anticipated. Later use As the isthmus between Lake Mendota and Lake Monona developed into the city of Madison, the village of Belmont slowly faded. Many of the settlers who had rushed to Belmont when it became territorial capital were now leaving for |
{"datasets_id": 1867, "wiki_id": "Q5452601", "sp": 14, "sc": 227, "ep": 14, "ec": 894} | 1,867 | Q5452601 | 14 | 227 | 14 | 894 | First Capitol Historic Site (Wisconsin) | Later use | Madison. Still, the village survived, although the route taken by the Mineral Point Railroad prompted most of its residents to relocate three miles to the southeast of the original town in 1867, meaning that the first capitol is now three miles northwest of Belmont.
After the territorial officials left, the capitol building and accompanying structures were used as private residences and later livestock barns. Souvenir hunters scavenged relics from the building. Then in 1910 the Wisconsin Federation of Women's Clubs initiated a restoration project, completing a restoration of the original council house in 1924. Later, the lodging house, which had been |
{"datasets_id": 1867, "wiki_id": "Q5452601", "sp": 14, "sc": 894, "ep": 14, "ec": 1316} | 1,867 | Q5452601 | 14 | 894 | 14 | 1,316 | First Capitol Historic Site (Wisconsin) | Later use | moved and used as the home of territorial Supreme Court Chief Justice Charles Dunn, was returned to its original site and underwent restoration in 1956. Together, these two structures created First Capitol Historic Site. The site was initially operated by the Wisconsin Department of Natural Resources. In 1994, it was transferred to the Wisconsin Historical Society, which is now responsible for the museum's operations. |
{"datasets_id": 1868, "wiki_id": "Q5453556", "sp": 2, "sc": 0, "ep": 6, "ec": 530} | 1,868 | Q5453556 | 2 | 0 | 6 | 530 | First Presbyterian Church (Coweta, Oklahoma) | History | First Presbyterian Church (Coweta, Oklahoma) History The First Presbyterian Church was built in 1907 in a late Gothic Revival style. By 1908, the building was closed due to the roof falling inward. However, the roof was fixed and a year later it was re-opened. By 1918, there were 34 members of the church. Around the 1950s-60s, the church was closed and abandoned. The building is no longer used as a church, and in 1972, it became the Mission Bell Museum. The building is now home to historic memorabilia and the 36 original church pews.
The chandelier in the center of the |
{"datasets_id": 1868, "wiki_id": "Q5453556", "sp": 6, "sc": 530, "ep": 6, "ec": 809} | 1,868 | Q5453556 | 6 | 530 | 6 | 809 | First Presbyterian Church (Coweta, Oklahoma) | History | room was reportedly brought by boat down the Ohio and Mississippi Rivers and up the Arkansas River in the spring of 1907. Supposedly, the whole town turned out to meet the boat when it arrived at Coweta landing. The chandelier has since been wired, and rewired, for electricity. |
{"datasets_id": 1869, "wiki_id": "Q5453964", "sp": 2, "sc": 0, "ep": 10, "ec": 239} | 1,869 | Q5453964 | 2 | 0 | 10 | 239 | First United Bank | Locations & History | First United Bank Locations Oklahoma locations include: Ada, Bokchito, Calera, Colbert, Durant, Holdenville, Hugo, Madill, Maysville, Moore, Norman, Oklahoma City, Pauls Valley, Purcell, Sapulpa, Seminole, Shawnee, Tecumseh, and Wewoka.
Texas locations include: Austin, Bonham, Bulverde, Dallas, Denison, Denton, Fredericksburg, Frisco, Gainesville, Garden Ridge, Horseshoe Bay, Kingsland, Krum, Lakeway, Leonard, Marble Falls, McKinney, Pottsboro, Prosper, Sanger, Schertz, Seguin, Sherman, Temple, and Whitesboro. History First United began as Durant National Bank on Oct. 2, 1900 when it first opened its doors in Blue County, Choctaw Nation Territory, which is known today as Durant, Oklahoma.
In 1915, Durant National Bank absorbed eight banks in the |
{"datasets_id": 1869, "wiki_id": "Q5453964", "sp": 10, "sc": 239, "ep": 10, "ec": 803} | 1,869 | Q5453964 | 10 | 239 | 10 | 803 | First United Bank | History | Oklahoma region, and in 1916, constructed a new building in Durant at 2nd and Main Streets. In 1963, Durant National Bank was renamed to Durant Bank & Trust becoming one of the first banks in Oklahoma to have full trust powers.
Oklahoma native, John Massey joined Durant Bank & Trust in 1966 as a director, and was appointed chairman of the board in 1986. At that time, he also became the majority shareholder and CEO. Greg Massey, joined the bank in 1990, and succeeded his father as CEO in 2003 when the bank had 18 locations in Oklahoma. After a series |
{"datasets_id": 1869, "wiki_id": "Q5453964", "sp": 10, "sc": 803, "ep": 10, "ec": 982} | 1,869 | Q5453964 | 10 | 803 | 10 | 982 | First United Bank | History | of acquisitions, including the merger with American Bank of Texas in 2016, First United has grown to over 85 locations in Oklahoma and Texas with more than $6 billion in assets. |
{"datasets_id": 1870, "wiki_id": "Q5454522", "sp": 2, "sc": 0, "ep": 6, "ec": 128} | 1,870 | Q5454522 | 2 | 0 | 6 | 128 | Fish Hawk (film) | Plot | Fish Hawk (film) Plot A young boy befriends a Native American man who has become an alcoholic after the death of his wife and children from small pox. |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 2, "sc": 0, "ep": 6, "ec": 577} | 1,871 | Q797897 | 2 | 0 | 6 | 577 | Fitzwilliam College, Cambridge | Foundation | Fitzwilliam College, Cambridge Foundation In 1869, Cambridge University altered its statutes to allow men who were not members of a college to become members of the University under the supervision of a censor, whose office was in Trumpington Street, opposite the Fitzwilliam Museum. This provided students who could not afford to belong to a college with a base from which to study at the University, allowing them to be admitted to degrees, sit examinations and compete for scholarships. The name "Fitzwilliam" was chosen by the students at a meeting of the Non-Collegiate Amalgamation Club in the Spring of 1887 and, |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 6, "sc": 577, "ep": 6, "ec": 1279} | 1,871 | Q797897 | 6 | 577 | 6 | 1,279 | Fitzwilliam College, Cambridge | Foundation | as a result, the University decreed that the house in Trumpington Street could be known as Fitzwilliam Hall. This became the headquarters of the Non-Collegiate Students Board and provided student facilities and limited accommodation. It was renamed Fitzwilliam House in 1922.
Due to its emphasis on academic ability rather than wealth, Fitzwilliam quickly attracted a strong academic contingent that included future Nobel Prize winners, Heads of State and important judicial figures. It developed a tradition in Medicine and established a reputation as one of the most internationally diverse institutions within the University.
In the second half of the 20th century, the availability |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 6, "sc": 1279, "ep": 10, "ec": 92} | 1,871 | Q797897 | 6 | 1,279 | 10 | 92 | Fitzwilliam College, Cambridge | Foundation & Expansion | of grants made Cambridge more accessible and the need for a non-collegiate body of undergraduates began to decline. The suggestion that Fitzwilliam close prompted an outcry from former students and it was therefore decided that it should aim for collegiate status. Funds were accumulated and a new site was acquired at Castle Hill, about one mile north of the city centre. The first new buildings were opened in 1963.
In 1966, Fitzwilliam House was granted a royal charter by the Queen-in-Council and became Fitzwilliam College. Expansion Since Fitzwilliam began operating at its current site in the north-west of Cambridge, it has |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 10, "sc": 92, "ep": 10, "ec": 726} | 1,871 | Q797897 | 10 | 92 | 10 | 726 | Fitzwilliam College, Cambridge | Expansion | grown steadily and developed into one of the University's larger, more cosmopolitan colleges. Built around a regency manor house, the college has grown by one or two buildings each decade and now consists of five interconnected courts, enclosing large, rectangular gardens. In contrast to most of the University, and indeed the regency estate at the college's centre, the majority of the buildings are of modern design.
The first two courts and the central building (comprising, among other things, the old library, the dining hall, the junior common room and the bar) were designed by Sir Denys Lasdun and completed in 1963. |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 10, "sc": 726, "ep": 10, "ec": 1319} | 1,871 | Q797897 | 10 | 726 | 10 | 1,319 | Fitzwilliam College, Cambridge | Expansion | The intention was for these buildings to constitute the back of the college and, as funding became available, the college grew to the south, with New Court (1985), the Chapel (1991) and Wilson Court (1994). Finally, the plan was completed when Gatehouse Court (2003) became the college's new front. In the following year, the college completed the new Auditorium building, and in doing so became home to some of the best performance facilities in the University.
In 2007 the college built a new boathouse on the River Cam, in 2009 the Library and IT Centre was added and, in 2010, the |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 10, "sc": 1319, "ep": 10, "ec": 1972} | 1,871 | Q797897 | 10 | 1,319 | 10 | 1,972 | Fitzwilliam College, Cambridge | Expansion | college acquired the buildings and grounds that formerly belonged to the Cambridge Lodge Hotel with the intention of renovating them for the use of graduate students.
Fitzwilliam has, over the years, also become known for its beautiful gardens, which largely predate the college. In 2008, an archaeological dig discovered on the College site the earliest clear evidence of settlement in Cambridge, the remains of a 3,500-year-old farmstead.
Fitzwilliam was the third Cambridge college and is, as of today, one of only seven to have won University Challenge. It did so in 1973 with a team that consisted of Philip Bassett (Botany), David |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 10, "sc": 1972, "ep": 14, "ec": 403} | 1,871 | Q797897 | 10 | 1,972 | 14 | 403 | Fitzwilliam College, Cambridge | Expansion & Buildings and grounds | Curry (Material Sciences), David Wurtzel (Law) and Michael Halls (English). The same team featured in the 2002 Reunited Series and won its only game, which was against a team from neighbouring college Churchill, winner of the 1970 series. Buildings and grounds The main grounds of the College are located off Storey's Way, towards the north-west of Cambridge. The college is sometimes identified as one of the Hill Colleges, together with Churchill College, St Edmund's College, Girton College and Murray Edwards College. These colleges are all among the most recently established and tend to share certain architectural features.
Fitzwilliam consists of a |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 14, "sc": 403, "ep": 18, "ec": 511} | 1,871 | Q797897 | 14 | 403 | 18 | 511 | Fitzwilliam College, Cambridge | Buildings and grounds & The Grove (1813) | variety of modern buildings, built in the grounds of a regency estate. The Grove (1813) The college's centrepiece is the Grove, a Grade II regency manor house, designed by the architect William Custance and constructed in 1813. Custance was also the house's first resident and his initials, along with the date '1814', can be found on a rainwater hopper at the side of the house.
Another slightly smaller building known as Grove Lodge was also designed by Custance and is now part of Murray Edwards College. For some time, both properties were owned by the Darwin family and The Grove served |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 18, "sc": 511, "ep": 18, "ec": 1096} | 1,871 | Q797897 | 18 | 511 | 18 | 1,096 | Fitzwilliam College, Cambridge | The Grove (1813) | as Emma Darwin's primary residence between 1883 and 1896, following the death of her husband Charles. During this time, she had the interior lined with original William Morris wallpaper and two of her sons had smaller houses built in the grounds. Although both have since been demolished, the house built by Horace Darwin, which was known as The Orchard, was donated to Murray Edwards College in 1962 and the site now serves as its primary campus. In 1988, The Grove became part of Fitzwilliam and today it is home to the Senior Tutor's office and various multi-purpose rooms, as well |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 18, "sc": 1096, "ep": 22, "ec": 495} | 1,871 | Q797897 | 18 | 1,096 | 22 | 495 | Fitzwilliam College, Cambridge | The Grove (1813) & The Hall Building (1963) | as the Middle and Senior Common Rooms. The Hall Building (1963) The Hall Building is a large complex towards the back of the college. It was built between 1960 and 1963 and was designed by Sir Denys Lasdun, who won Royal Gold Medal in 1977 and is best known for having designed the National Theatre in London. The building consists primarily of the college dining hall, but also houses the bar, kitchens, the junior common room, a couple of seminar rooms and a music room. The dinner gong, just outside the dining hall, was originally the bell of the aircraft |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 22, "sc": 495, "ep": 30, "ec": 50} | 1,871 | Q797897 | 22 | 495 | 30 | 50 | Fitzwilliam College, Cambridge | The Hall Building (1963) & Fellows' Court (1963) & Tree Court (1963) | carrier HMS Ocean, and was presented to Fitzwilliam House by Admiral of the Fleet Sir Caspar John in 1962. Fellows' Court (1963) Like the Hall Building, Fellows' Court was part of the initial construction, designed by Sir Denys Lasdun and completed in 1963 at a cost of approximately £300,000. It occupies an area in the far corner of the college and is enclosed by the Hall Building, the Law Library and two dormitories. It is generally reserved for fellows, and, as well as residence, housed the Fellows' Parlour. Tree Court (1963) Tree Court, the last component of the initial 1963 |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 30, "sc": 50, "ep": 30, "ec": 657} | 1,871 | Q797897 | 30 | 50 | 30 | 657 | Fitzwilliam College, Cambridge | Tree Court (1963) | construction, is located at the north end of the college, opposite Fellows' Court. The court was initially the college's main entrance and, with a car park and a cycling bay just outside, it remains a back door to the college. Tree Court was Lasdun's first student accommodation; he would go on to design similar buildings at the University of East Anglia and Christ's College, Cambridge. Although the court opens out onto the college gardens, the wall opposite the Hall Building was recently lengthened with the addition of the college's new Library and IT Centre. Today, Tree Court provides residence for |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 30, "sc": 657, "ep": 38, "ec": 130} | 1,871 | Q797897 | 30 | 657 | 38 | 130 | Fitzwilliam College, Cambridge | Tree Court (1963) & New Court (1985) & The Chapel (1991) | the majority of first-year students. New Court (1985) In the mid-eighties, the college expanded to the south with the construction of New Court, a three-walled residential compound, designed by MacCormac Jamieson Prichard. Students and fellows contributed to the design with such ideas as intersecting staircases and elongated windows. The building won 1989 David Urwin Award for Best New Building.
In 2004, the court gained its fourth wall with the completion of the college's new auditorium. The Chapel (1991) In 1991, a college chapel was appended to the north wing of New Court. The building, which was also designed by MacCormac Jamieson |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 38, "sc": 130, "ep": 42, "ec": 33} | 1,871 | Q797897 | 38 | 130 | 42 | 33 | Fitzwilliam College, Cambridge | The Chapel (1991) & Wilson Court (1994) | Prichard, faces directly towards the Grove and is in the International style. It is designed to resemble the hull of a ship, hinting at the religious themes of journey and protection. The building is home to a fine two-manual organ designed by Peter Collins, a Bechstein grand piano and a Goble harpsichord. The addition won the 1992 Civic Trust Award, the 1993 Carpenters' Award and the 1993 David Urwin Award for Best New Building. The firm later used a similar design for the Ruskin Library at the University of Lancaster. Wilson Court (1994) The fourth court was added to the |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 42, "sc": 33, "ep": 46, "ec": 251} | 1,871 | Q797897 | 42 | 33 | 46 | 251 | Fitzwilliam College, Cambridge | Wilson Court (1994) & Gatehouse Court (2003) | south of the college, next to the boundary with Murray Edwards, in 1994. It was designed by van Heyningen and Haward Architects and includes 48 acoustically independent student bedrooms, three seminar rooms, a large common room with a bar and the Gordon Cameron Lecture Theatre, which is also used as the college cinema. It won the 1996 RIBA Award. Gatehouse Court (2003) The completion of Gatehouse Court in 2003 saw the realisation of Sir Denys Lasdun's original vision. The design, courtesy of Allies & Morrison, reorientated the college by giving it a new entrance, complete with Porter's Lodge, administrative offices, |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 46, "sc": 251, "ep": 50, "ec": 134} | 1,871 | Q797897 | 46 | 251 | 50 | 134 | Fitzwilliam College, Cambridge | Gatehouse Court (2003) & Auditorium (2004) | meeting rooms, parking facilities, a large-scale engraving of the college crest and a flagpole. It also provided an extra 42 en suite bedrooms for student accommodation. The college now faces south and opens onto Storey's Way, a smaller, primarily residential street branching off Madingley Road.
This development expanded the college's main site dramatically and the quality of the design was recognised with the award of the 2005 RIBA Award and the 2005 BDA Award for Building of the Year. Auditorium (2004) The Auditorium building was completed in 2004. Having overseen the construction of Gatehouse Court, Allies & Morrison were employed to |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 50, "sc": 134, "ep": 50, "ec": 756} | 1,871 | Q797897 | 50 | 134 | 50 | 756 | Fitzwilliam College, Cambridge | Auditorium (2004) | design the college's new performance facilities. Built using a similar brick to that used for the Grove almost 200 years earlier, the building is largely below ground-level, resulting in a direct view of the surrounding landscape for audience members towards the back of the gallery. It won the 2005 Concrete Society Award and the 2005 BDA Award for Best Public Building.
Located near the front of the college, the building faces New Court and backs onto the college gardens. Consisting of a large central performance area, three smaller practice rooms and an entrance hall, the auditorium is the official home of |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 50, "sc": 756, "ep": 54, "ec": 44} | 1,871 | Q797897 | 50 | 756 | 54 | 44 | Fitzwilliam College, Cambridge | Auditorium (2004) & The Olisa Library (2009) | the Fitzwilliam Quartet.
The main hall, which has been praised for its acoustics, houses a Steinway grand piano, and a tympani, a full-size drum kit, amplifiers and a Bösendorfer piano for student use. Although used primarily for music, the building has also hosted drama performances and important lectures.
In recent years, guest speakers have included the American politician Jesse Jackson, former poet laureate Sir Andrew Motion, and the former head of MI6 Sir Richard Dearlove, who visited the college as part of the Arrol Adam Lecture Series in 2008. The Olisa Library (2009) A new library and IT centre was completed in |
{"datasets_id": 1871, "wiki_id": "Q797897", "sp": 54, "sc": 44, "ep": 54, "ec": 648} | 1,871 | Q797897 | 54 | 44 | 54 | 648 | Fitzwilliam College, Cambridge | The Olisa Library (2009) | 2009. As of January 2010, its book collection contains around 60,000 volumes and increases by about 1,000 volumes each year. At a cost of £5m, the building was designed by Edward Cullinan, who had worked with Lasdun on the original college plan, and who was undertaking his first major project after receiving the Royal Gold Medal in 2008. It was built as an extension to the uncompleted east wing of Tree Court and was designed to allow maximum luminosity and energy efficiency.
The building, opened in April 2010 by the Duke of Edinburgh, is also fitted with extensive computing facilities and |
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