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Nicky, Ricky, Dicky & Dawn
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Nicky, Ricky, Dicky & Dawn
Genre
Comedy
Created by
Matt Fleckenstein
Developed by
Michael Feldman
Starring
Brian Stepanek
Allison Munn
Aidan Gallagher
Casey Simpson
Mace Coronel
Lizzy Greene
Gabrielle Elyse
Kyla-Drew Simmons
Theme music composer
Doug Rockwell
Composer(s)
Chris Lee and Scott Clausen
Country of origin
United States
Original language(s)
English
No. of seasons
4
No. of episodes
82 (list of episodes)
Production
Executive producer(s)
Michael Feldman
Douglas Danger Lieblein
David DiPietro
Paul Ciancarelli
Producer(s)
Sarah Jane Cunningham and Suzie V. Freeman
Barbara Brace
Camera setup
Multi-camera
Running time
22–23 minutes
Production company(s)
Nickelodeon Productions
Release
Original network
Nickelodeon
Original release
September 13, 2014 (2014-09-13) – August 4, 2018 (2018-08-04)
External links
Website
Nicky, Ricky, Dicky & Dawn is an American comedy television series developed by Michael Feldman and created by Matt Fleckenstein that aired on Nickelodeon from September 13, 2014 to August 4, 2018. The series stars Brian Stepanek, Allison Munn, Aidan Gallagher, Casey Simpson, Mace Coronel, Lizzy Greene, Gabrielle Elyse, and Kyla-Drew Simmons.
Contents
1 Premise
2 Episodes
3 Cast and characters
4 Production
5 Reception
5.1 Ratings
5.2 Awards and nominations
6 References
7 External links
Premise[edit]
The series focuses on quadruplets Nicky, Ricky, Dicky, and Dawn Harper, 10-years-old at the start of the series,[1] who have nothing in common and often fight, but must work together to solve everyday situations.
Episodes[edit]
Main article: List of Nicky, Ricky, Dicky & Dawn episodes
Season
Episodes
Originally aired
First aired
Last aired
1 20 September 13, 2014 (2014-09-13) March 24, 2015 (2015-03-24)
2 25 May 23, 2015 (2015-05-23) August 6, 2016 (2016-08-06)
3 23 January 7, 2017 (2017-01-07) August 5, 2017 (2017-08-05)
4 14 January 6, 2018 (2018-01-06) August 4, 2018 (2018-08-04)
Cast and characters[edit]
Brian Stepanek as Tom, the father of the quadruplets. It is a running gag in the series that he cares more about his possessions than his children, but he loves his family and is a kid at heart.
Allison Munn as Anne, the mother of the quadruplets who usually gets caught up in Tom's new obsessions.
Aidan Gallagher as Nicky, the youngest of the quadruplets. He is shown to be quite comedic, quirky, and easily confused.
Casey Simpson as Ricky, is the second oldest of the quadruplets. He is the smart one of the group, always seen carrying a book or doing his homework. He is also a neat freak and a bit of a goody two-shoes, though he occasionally tries to prove to Dawn and his brothers that he can bend rules as well.
Mace Coronel as Dicky, the third oldest and easy-going quadruplet who cares a great deal about his appearance. He always takes the easy way out. He ships himself to Australia in "Quadcodile Dundee".
Lizzy Greene as Dawn, the oldest of the quadruplets. Although she's always seen bothering her brothers, she does care about them deeply. There is a consistent rivalry for the leader spot of the quads between her and Ricky.
Gabrielle Elyse as Josie, a worker at Tom's sporting shop and babysitter for Nicky, Ricky, Dicky and Dawn. She only appears in the first season.
Kyla-Drew Simmons as Mae, the quads' friend and Dawn's best friend. She once called herself "the fifth quad". In the first two seasons, she is a recurring character, but she is promoted to a main character in the third season.
Production[edit]
The series was originally picked up for 13 episodes on March 13, 2014, but was later increased to 20 episodes.[2] The series premiered on September 13, 2014. On November 18, 2014, the series was renewed for a second season.[3] The second season premiered on May 23, 2015. On February 9, 2016, Nickelodeon renewed Nicky, Ricky, Dicky & Dawn for a third season of 14 episodes. It was also confirmed that Matt Fleckenstein would step down as show runner.[4] Actress Lizzy Greene announced on her Twitter account that production for season three started on April 26, 2016.[5] The third season premiered on January 7, 2017. The series was renewed for a fourth season and had its episode order for the third season increased from 14 to 24 by Nickelodeon on March 20, 2017.[6] On October 4, 2017, it was announced that Mace Coronel would be leaving both Nicky, Ricky, Dicky & Dawn, about five episodes before the end of the fourth season, and Nickelodeon.[7] On November 15, 2017, Nickelodeon announced that the fourth season would be the last.[8]
Reception[edit]
Ratings[edit]
Season
Episodes
First aired
Last aired
Avg. viewers
(millions)
Date
Viewers
(millions)
Date
Viewers
(millions)
1 20 September 13, 2014 (2014-09-13) 1.60[9] March 24, 2015 (2015-03-24) 1.75[10] 1.75
2 25 May 23, 2015 (2015-05-23) 1.11[11] August 6, 2016 (2016-08-06) 1.31[12] 1.46
3 23 January 7, 2017 (2017-01-07) 1.58[13] August 5, 2017 (2017-08-05) 2.00[14] 1.47
4 14 January 6, 2018 (2018-01-06) 1.08[15] August 4, 2018 (2018-08-04) 0.84[16] 0.95
Awards and nominations[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2017) (Learn how and when to remove this template message)
Year
Award
Category
Result
Refs
2015 Nickelodeon Kids' Choice Awards Favorite TV Show Nominated [17][18]
2017 Nickelodeon Kids' Choice Awards Favorite TV Show – Kids' Show Nominated [19]
References[edit]
Jump up ^ Ricky Harper. "Mall in the Family". Nicky, Ricky, Dicky, and Dawn. 2:00 minutes in. She's eleven.
Jump up ^ "Nickelodeon Greenlights New Comedy from Dan Schneider, Two Other Live-Action Series". Deadline Hollywood. March 13, 2014. Retrieved August 4, 2014.
Jump up ^ "Henry Danger and Nicky, Ricky, Dicky & Dawn Renewed for Second Seasons by Nickelodeon". TV by the Numbers. November 18, 2014. Retrieved November 18, 2014.
Jump up ^ Nellie Andreeva (February 9, 2016). "Nicky, Ricky, Dicky & Dawn Renewed for Season Three by Nickelodeon; Creator Exits". Deadline Hollywood. Retrieved February 11, 2016.
Jump up ^ Lizzy Greene (April 26, 2016). "Season 3 starts today can't wait for you guys to see". Twitter. Retrieved May 11, 2016.
Jump up ^ Nellie Andreeva (March 20, 2017). "Nicky, Ricky, Dicky & Dawn Renewed for Season 4 by Nickelodeon". Deadline Hollywood. Retrieved March 20, 2017.
Jump up ^ Nellie Andreeva (October 4, 2017). "Nicky, Ricky, Dicky & Dawn Future in Limbo After Star Mace Coronel Abruptly Exits Hit Nickelodeon Series". Deadline Hollywood. Retrieved October 4, 2017.
Jump up ^ Nellie Andreeva (November 15, 2017). "Nicky, Ricky, Dicky & Dawn and School of Rock Canceled by Nickelodeon". Deadline Hollywood. Retrieved November 15, 2017.
Jump up ^ Mitch Metcalf (September 16, 2014). "Top 25 Saturday Cable Originals: 9.13.2014". Showbuzz Daily. Retrieved December 20, 2016.
Jump up ^ Mitch Metcalf (March 25, 2015). "Top 25 Tuesday Cable Originals & Network Update: 3.24.2015". Showbuzz Daily. Retrieved March 26, 2015.
Jump up ^ Mitch Metcalf (May 27, 2015). "Top 100 Saturday Cable Originals: 5.23.2015". Showbuzz Daily. Retrieved December 20, 2016.
Jump up ^ Mitch Metcalf (August 9, 2016). "Top 150 Saturday Cable Originals & Network Finals: 8.6.2016". Showbuzz Daily. Retrieved August 9, 2016.
Jump up ^ Mitch Metcalf (January 10, 2017). "Top 150 Saturday Cable Originals & Network Finals: 1.7.2017". Showbuzz Daily. Retrieved January 10, 2017.
Jump up ^ Mitch Metcalf (August 8, 2017). "Top 150 Saturday Cable Originals & Network Finals: 8.5.2017". Showbuzz Daily. Retrieved August 8, 2017.
Jump up ^ Mitch Metcalf (January 9, 2018). "Top 150 Saturday Cable Originals & Network Finals: 1.6.2018". Showbuzz Daily. Retrieved January 9, 2018.
Jump up ^ Mitch Metcalf (August 7, 2018). "Top 150 Saturday Cable Originals & Network Finals: 8.4.2018". Showbuzz Daily. Retrieved August 7, 2018.
Jump up ^ "Nickelodeon Announces Nominations for the '28th Annual Kids' Choice Awards'". Zap2it. February 20, 2015. Retrieved February 21, 2015.
Jump up ^ "Meryl Streep gets her first Kids' Choice Awards nomination: See the full list". Entertainment Weekly. February 20, 2015. Retrieved February 21, 2015.
Jump up ^ "NICKELODEON ANNOUNCES 2017 KIDS' CHOICE AWARDS NOMINATIONS | Nick Press". NickPress. Retrieved 2017-03-08.
External links[edit]
Nicky, Ricky, Dicky & Dawn on IMDb
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text:
How Far I'll Go
From Wikipedia, the free encyclopedia
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"How Far I'll Go"
Song by Auliʻi Cravalho
from the album Moana: Original Motion Picture Soundtrack
Released
November 18, 2016
Format
Digital download
Genre
Soul, show tune
Length
2:43
Label
Walt Disney
Songwriter(s)
Lin-Manuel Miranda
Producer(s)
Miranda
"How Far I'll Go" is a song from Disney's 2016 animated feature film Moana. It was written and produced by Lin-Manuel Miranda.[1] The song was performed in the film by American actress and singer Auliʻi Cravalho in her role as Moana. It was released along with the album on November 18, 2016. Canadian singer Alessia Cara also recorded the song for the Moana soundtrack. The song was nominated for Best Original Song at the 89th Academy Awards and Best Original Song at the 74th Golden Globe Awards but lost both to "City of Stars" from La La Land.
Contents
1 Composition
2 Music video
3 Other languages
3.1 Charts
4 Certifications
5 Alessia Cara version
5.1 Critical reception
5.2 Music video
5.3 Other languages
5.4 Charts
5.4.1 Weekly charts
5.4.2 Year-end charts
5.5 Certifications
6 Accolades
7 References
Composition[edit]
"How Far I'll Go" was composed as Moana's "I Want" song, following in the long tradition of "I Want" songs in 1990s Disney animated musicals.[2][3] It replaced an earlier attempt called "More", for which the demo version recorded by Marcy Harriell was released as an outtake on the deluxe version of the soundtrack album. Although Miranda has stressed that he is still "very proud of" the song as a first draft, "More" was not good enough in retrospect because it merely expressed Moana's vague desire to see more since she had already figured out everything about the island.[2][3] In contrast, "How Far I'll Go" expresses a deeper, richer message: Moana's struggle with the irresistible impulse to explore beyond the reef notwithstanding her genuine love for her island, her family, and her people.[2][3] As Miranda explained to People: "To me that's much more complicated than, 'I hate it here and I want to get out,' ... To say, ‘I love it here, I love my parents, but why can't I stop walking to the ocean and fantasizing about getting out of here?' And questioning that instinct? It's even more confusing. And that's a valid story too."[3]
To make himself write a song more compelling than "More", Miranda "went method".[2] According to Miranda, he locked himself in his childhood bedroom at his parents' residence for an entire weekend in order to force his mind back to age 16 (the same age as Moana in the film), a time when he was facing what seemed like an "impossible distance" between the reality of his pleasant middle-class childhood which had no connection to show business whatsoever, and his dreams of a career in show business.[2] He was well aware that he was composing the next Disney "I Want" song after "Let It Go" and that whatever he wrote had to be different from "Let It Go".[2]
Music video[edit]
A music video for the song was released on December 12, 2016.[4]
Other languages[edit]
When the movie had its first theater release worldwide, the song numbered 44 versions, including a special Tahitian-language adaptation created specifically for the movie.[5] For promotional purposes, South African singer Lira[6] and Filipino singer and actress Janella Salvador[7] recorded their own English-language versions of the song in order to play them over the end credits on the South African and Filipino release of the film, while Indonesian singer Maudy Ayunda and Malaysian singer Ayda Jebat recorded their own versions of the song respectively in Indonesian[8] and Malaysian[9] language.
On December 15, a 5-languages mash-up was released online, featuring singers from Southeast Asian countries: Janella Salvador from the Philippines, Maudy Ayunda from Indonesia, Myra Molloy from Thailand, Ayda Jebat from Malaysia and Trần Minh Như from Vietnam.[10] Shortly thereafter, a 24-languages video was released on Disney's Vevo channel.[11]
In June 2017, a Māori-language version of the movie, featuring four voice-actors from the original English cast, was announced.[12] Three weeks later, New Zealander Jaedyn Randell was introduced as Moana's singing voice. The movie was released in September 2017.[13] In the same year, Shruti Rane (Hindi) reprised her role in the Bengali-language version of the movie.
In November 2017, a Hawaiian-language dubbing was announced to be under way, with Auliʻi Cravalho reprising her role as Moana.[14]
show"How Far I'll Go" worldwide
Language
Performer[15]
Title
Translation
Arabic كارمن عصام سليمان (Carmen Essam Suleiman) "المجهول يناديني" ("Almajhul inadini") "The unknown calls me"
Bengali श्रुति राणे (Shruti Rane) "আমার লক্ষ্য" ("Aamar lakshya") "My goal"
Brazilian Portuguese Any Gabrielly "Saber quem sou" "To know who I am"
Bulgarian Михаела Маринова (Mihaela Marinova) "По пътя мой" ("Po pŭtya moĭ") "On my way"
Cantonese 蘇麗珊 (“So Lai Shan”; Cecilia So) (zh) "尋我的路" ("Chàhm ngóh dīk louh") "Find my own path"
Castilian Spanish María Parrado "Qué hay más allá" "What’s beyond"
Catalan Ana Fernández Pellicer "On aniré" "Where I will go"
Croatian Mia Negovetić "Što dalje" "What’s further away"
Czech Michaela Tomešová (cs) "Co je tam dál" "What's next"
Danish Clara Rugaard-Larsen "Hvor langt min verden når" "How far my world reaches"
Dutch Vajèn van den Bosch (nl) "Ooit zal ik gaan" "Sometime I’ll go"
English Auli’i Cravalho
Janella Salvador (Philippines end credits)
Lira (South Africa end credits) "How far I’ll go"
Estonian Kelly Tulvik "Kui kaugel see" "How far it is"
European Portuguese Sara Madeira "Onde irei ter" "Where I will get to"
Finnish Yasmine Yamajako "Taivaanrantaan" "Into the horizon"
Flemish Laura Tesoro "Ooit zal ik gaan" "Sometime I’ll go"
French Cerise Calixte "Le bleu lumière" "The gleam-blue"
German Debby Van Dooren "Ich bin bereit" "I am ready"
Greek Μαρίνα Σάττι (Marína Sátti) (el) "Αν θα την βρω" ("An tha tin vro") "If I'll find it"
Hawaiian Auliʻi Cravalho "I hei anau" "Where I am going"
Hebrew משי קלינשטיין (Meshi Kleinstein) (he) "כמה רחוק" ("Kama rachok") "How far"
Hindi श्रुति राणे (Shruti Rane) "मंजिल हैं जो" ("Manzil hai jo") "Where my destination is"
Hungarian Faluvégi Fanni "Ahogy csillan a távoli fény" "How the distant shine gleams"
Icelandic Agla Bríet Einarsdóttir "Hve langt ég fer" "How far I'll go"
Indonesian (Indonesia credits) Maudy Ayunda "Seberapa jauh ku melangkah" "How far I step"
Italian Chiara Grispo "Oltre l’orizzonte" "Beyond the horizon"
Japanese 屋比久知奈 (Tomona Yabiku) "どこまでも" ("Doko made mo") "To the ends of the earth"
Kazakh Назерке Серікболова (Nazerke Serikbolova) "Бірақ қайда барам" ("Biraq qayda baram") "Where do I go"
Korean 김소향 (Kim So-Hyang) "나 언젠간 떠날 거야" ("Na ŏnjen-gan ttŏnal gŏya") "When will I leave"
Latin American Spanish Sara Paula Gómez Arias "Cuán lejos voy" "How far I go"
Latvian Vanda Siliņa "Cik tālu došos es" "How far do I go"
Lithuanian Dorotėja Kravčenkaitė "Plauksiu iš čia" "I'll sail from here"
Malaysian (Malaysia credits) Ayda Jebat "Bawaku berkelana" "Take me wander"
Mandarin Chinese (China) 刘美麟 (Liú Měi-Lín) (zh) "能走多远" ("Néng zǒu duō yuǎn") "How far I’ll go"
Mandarin Chinese (Taiwan) 吳以悠 (“Wú Yǐ-Yōu”; Monica Wu) "海洋之心" ("Hǎiyáng zhī xīn") "The heart of the sea"
Māori Jaedyn Randell "Tukuna au" "I was released"
Norwegian Nora Gjestvang "Hvor langt jeg må" "How far I need"
Polish Weronika Bochat "Pół kroku stąd" "Half a step away"
Romanian Ana Bianca Popescu "E viața mea" "It's my life"
Russian Зинаида Куприянович (Zinaida Kupriyanovich) (ru) "Что меня ждёт" ("Chto menya zhdyot") "What awaits me"
Serbian Ivona Rambosek (Ивона Рамбосек) (sr) "Пучине зов" ("Pučine zov") "Call of the high seas"
Slovak Monika Potokárová "Svet plný krás, naozaj mám" "This beautiful world is truly mine"
Slovene Katja Ajster "Do kod naj grem" "Where should I go"
Swedish Wiktoria Johansson "Vad jag kan nå" "What I can reach"
Tahitian Sabrina Laughlin "E fano ai au" "I will go"
Tamil M. Haripriya Unknown Unknown
Thai ไมร่า มณีภัสสร มอลลอย (Myra Molloy) "ห่างเพียงใด" ("Hang-phiang-dai") "How far is it"
Turkish Ezgi Erol "Uzaklara" "To far off places"
Ukrainian Маргарита Мелешко (Margarita Meleshko) "Ця далина така ясна" ("Tsya dalyna taka yasna") "This expance is so bright"
Vietnamese Trần Minh Như "Chặng đường bao xa" "How far the way is"
Charts[edit]
Chart (2016–17)
Peak
position
Australia (ARIA)[16]
49
Canada (Canadian Hot 100)[17]
53
New Zealand Heatseekers (Recorded Music NZ)[18]
1
Philippines (Philippine Hot 100)[19]
100
Scotland (Official Charts Company)[20]
20
UK Singles (Official Charts Company)[21]
55
US Billboard Hot 100[22]
41
Certifications[edit]
Region
Certification
Certified units/Sales
United Kingdom (BPI)[23]
Silver 200,000
United States (RIAA)[24]
3× Platinum 3,000,000
*sales figures based on certification alone
^shipments figures based on certification alone
sales+streaming figures based on certification alone
Alessia Cara version[edit]
"How Far I'll Go"
Single by Alessia Cara
from the album Moana: Original Motion Picture Soundtrack
Released
October 28, 2016 (2016-10-28)
Format
Digital download
Genre
Synthpop
tropical house
Length
2:55
Label
Walt Disney
Songwriter(s)
Lin-Manuel Miranda
Producer(s)
Miranda
Alessia Cara singles chronology
"Scars to Your Beautiful"
(2016) "How Far I'll Go"
(2016) "Stay"
(2017)
"Scars to Your Beautiful"
(2016) "How Far I'll Go"
(2016) "Stay"
(2017)
Music video
"How Far I'll Go" on YouTube
Canadian singer and songwriter Alessia Cara recorded "How Far I'll Go" for the Moana soundtrack, with the song being released ahead of the soundtrack on October 28, 2016.[25]
Critical reception[edit]
Rolling Stone's Brittany Spanos called the song "inspirational and sweet" and went on to say "the uplifting song is a perfect fit into the Disney canon, with Cara belting lyrics about persevering to achieve her dreams in spite of her imperfections or detractors."[26] US magazine Rap-Up said "the empowering anthem allows the Canadian songstress to deliver outstanding vocals about overcoming adversity to reach for goals" and labeled it "a song with a message" and an "emotionally-charged track."[27] Taylor Weatherby of Billboard dubbed it a "bouncy, uplifting tune."[1] Idolator's Mike Wass said "the inspiring anthem is the perfect antidote to the general ugliness of 2016" and called it "a soaring ballad."[28]
Music video[edit]
The official music video for the song, directed by Aya Tanimura, was released on November 3, 2016.[29] Derek Lawrence of Entertainment Weekly described the video: "The video finds Cara roaming an empty beach as she belts out lyrics that reflect the film’s plot about a young Polynesian girl setting sail for an epic adventure."[30] The video was filmed at El Matador Beach in Malibu, California.[31]
Other languages[edit]
In many versions of Moana, Alessia Cara's version of the song played during the end credits. However, several localized adaptations of Cara's version of the song were recorded for the end credits of the film as released in certain markets around the world.
Vajèn van den Bosch (nl) (Dutch), Laura Tesoro (Flemish) and Cerise Calixte (French) sang the song both for the end credits and the movie.
hide"How far I'll go" end credits version worldwide
Language
Performer
Title
Translation
Dutch Vajèn van den Bosch (nl)[32] "Ooit zal ik gaan" "Sometime I'll go"
English Alessia Cara "How Far I'll Go"
Flemish Laura Tesoro[33] "Ooit zal ik gaan" "Sometime I'll go"
French Cerise Calixte[34] "Le bleu lumière" "The gleam-blue"
German Helene Fischer[35] "Ich bin bereit" "I am ready"
Japanese 加藤ミリヤ (Miliyah Kato)[36] "どこまでも" ("Doko made mo") "To the ends of the earth"
Kazakh Гулсим Мырзабекова (Gulsim Myrzabekova)[37] "Бірақ қайда барам" ("Biraq qayda daram") "Where do I go"
Mandarin Chinese (China) 吉克隽逸 ("Jike Junyì"; Summer Jike) (zh)[38][39] "海洋之心" ("Hǎiyáng zhī xīn") "The heart of the sea"
Mandarin Chinese (Taiwan) 阿玲 ("Ā Líng"; A-Lin)[40][41]
Māori Maisey Rika[42] "Tukuna Au" "I was released"
Polish Natalia Nykiel[43] "Pół kroku stąd" "Half a step away"
Russian Юлианна Караулова (Yulianna Karaulova)[44] "Ceрдцe мoё" ("Syerdtse moyo") "My heart"
Charts[edit]
Weekly charts[edit]
Chart (2016–17)
Peak
position
Australia (ARIA)[45]
15
Austria (Ö3 Austria Top 40)[46]
58
Belgium (Ultratip Flanders)[47]
1
Belgium (Ultratip Wallonia)[48]
19
Canada (Canadian Hot 100)[49]
46
Czech Republic (Singles Digitál Top 100)[50]
29
Denmark (Tracklisten)[51]
29
Germany (Official German Charts)[52]
53
Hungary (Rádiós Top 40)[53]
31
Ireland (IRMA)[54]
26
Italy (FIMI)[55]
51
Japan (Japan Hot 100)[56]
67
Malaysia (RIM)[57]
13
Netherlands (Single Top 100)[58]
26
New Zealand (Recorded Music NZ)[18]
3
Norway (VG-lista)[59]
10
Philippines (Philippine Hot 100)[19]
79
Portugal (AFP)[60]
40
Scotland (Official Charts Company)[61]
80
Slovakia (Singles Digitál Top 100)[62]
36
Sweden (Sverigetopplistan)[63]
7
Switzerland (Schweizer Hitparade)[64]
66
UK Singles (Official Charts Company)[65]
49
US Billboard Hot 100[66]
56
Year-end charts[edit]
Chart (2017)
Position
Australia (ARIA)[67]
76
Denmark (Tracklisten)[68]
70
New Zealand (Recorded Music NZ)[69]
22
Sweden (Sverigetopplistan)[70]
23
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[71]
Gold 35,000^
Brazil (Pro-Música Brasil)[72]
Gold 20,000*
Denmark (IFPI Denmark)[73]
Gold 45,000^
Italy (FIMI)[74]
Gold 25,000
New Zealand (RMNZ)[75]
Platinum 30,000*
Sweden (GLF)[76]
3× Platinum 120,000^
United Kingdom (BPI)[77]
Silver 200,000
United States (RIAA)[78]
Platinum 1,000,000
*sales figures based on certification alone
^shipments figures based on certification alone
sales+streaming figures based on certification alone
Accolades[edit]
Main article: List of accolades received by Moana (2016 film)
Awards
Award
Category
Result
Ref.
Critics' Choice Awards
(22nd) Best Song Nominated [79]
St. Louis Gateway Film Critics Association
(13th) Best Song [80]
Houston Film Critics Society
(10th) Best Original Song [81]
Golden Globe Awards
(74th) Best Original Song [82]
Academy Awards
(89th) Best Original Song [83]
Grammy Awards
(60th) Best Song Written for Visual Media Won [84]
References[edit]
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Jump up ^ https://www.grammy.com/grammys/news/60th-grammy-awards-full-nominees-list
show
v
t
e
Alessia Cara
Discography
Studio albums
Know-It-All
EPs
Four Pink Walls
Singles
"Here"
"Wild Things"
"Scars to Your Beautiful"
"How Far I'll Go"
"Stay"
"Growing Pains"
Featured singles
"Wild"
"1-800-273-8255"
show
v
t
e
Grammy Award for Best Song Written for Visual Media
1988–1990
1988: "Somewhere Out There"
1989: "Two Hearts"
1990: "Let the River Run"
1991–2000
1991: "Under the Sea"
1992: "(Everything I Do) I Do It For You"
1993: "Beauty and the Beast"
1994: "A Whole New World"
1995: "Streets of Philadelphia"
1996: "Colors of the Wind"
1997: "Because You Loved Me"
1998: "I Believe I Can Fly"
1999: "My Heart Will Go On"
2000: "Beautiful Stranger"
2001–2010
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Paradox of thrift
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The paradox of thrift (or paradox of saving) is a paradox of economics. The paradox states that an increase in autonomous saving leads to a decrease in aggregate demand and thus a decrease in gross output which will in turn lower total saving. The paradox is, narrowly speaking, that total saving may fall because of individuals' attempts to increase their saving, and, broadly speaking, that increase in saving may be harmful to an economy.[1] Both the narrow and broad claims are paradoxical within the assumption underlying the fallacy of composition, namely that what is true of the parts must be true of the whole. The narrow claim transparently contradicts this assumption, and the broad one does so by implication, because while individual thrift is generally averred to be good for the economy, the paradox of thrift holds that collective thrift may be bad for the economy.
It had been stated as early as 1714 in The Fable of the Bees,[2] and similar sentiments date to antiquity.[3][4] It was popularized by John Maynard Keynes and is a central component of Keynesian economics. It has formed part of mainstream economics since the late 1940s.
Contents
[hide]
1 The paradox
2 History
3 Related concepts
4 Criticisms
4.1 Austrian School criticism
5 See also
6 References and sources
7 External links
7.1 Criticisms
The paradox[edit]
The argument begins from the observation that in equilibrium, total income must equal total output. Assuming that income has a direct effect on saving, an increase in the autonomous component of saving, other things being equal, will move the equilibrium point at which income equals output to a lower value, thereby inducing a decline in saving that may more than offset the original increase.
In this form it represents a prisoner's dilemma as saving is beneficial to each individual but deleterious to the general population. This is a "paradox" because it runs contrary to intuition. Someone unaware of the paradox of thrift would fall into a fallacy of composition and assume that what seems to be good for an individual within the economy will be good for the entire population. However, exercising thrift may be good for an individual by enabling that individual to save for a "rainy day", and yet not be good for the economy as a whole.
This paradox can be explained by analyzing the place, and impact, of increased savings in an economy. If a population decides to save more money at all income levels, then total revenues for companies will decline. This decreased demand causes a contraction of output, giving employers and employees lower income. Eventually the population's total saving will have remained the same or even declined because of lower incomes and a weaker economy. This paradox is based on the proposition, put forth in Keynesian economics, that many economic downturns are demand-based.
History[edit]
While the paradox of thrift was popularized by Keynes, and is often attributed to him,[3] it was stated by a number of others prior to Keynes, and the proposition that spending may help and saving may hurt an economy dates to antiquity; similar sentiments occur in the Bible verse:
There is that scattereth, and yet increaseth; and there is that withholdeth more than is meet, but it tendeth to poverty.
— Proverbs 11:24
which has found occasional use as an epigram in underconsumptionist writings.[3][5][6][7]
Keynes himself notes the appearance of the paradox in The Fable of the Bees: or, Private Vices, Publick Benefits (1714) by Bernard Mandeville, the title itself hinting at the paradox, and Keynes citing the passage:
As this prudent economy, which some people call Saving, is in private families the most certain method to increase an estate, so some imagine that, whether a country be barren or fruitful, the same method if generally pursued (which they think practicable) will have the same effect upon a whole nation, and that, for example, the English might be much richer than they are, if they would be as frugal as some of their neighbours. This, I think, is an error.
Keynes suggests Adam Smith was referring to this passage when he wrote "What is prudence in the conduct of every private family can scarce be folly in that of a great Kingdom."
The problem of underconsumption and oversaving, as they saw it, was developed by underconsumptionist economists of the 19th century, and the paradox of thrift in the strict sense that "collective attempts to save yield lower overall savings" was explicitly stated by John M. Robertson in his 1892 book The Fallacy of Saving,[3][8] writing:
Had the whole population been alike bent on saving, the total saved would positively have been much less, inasmuch as (other tendencies remaining the same) industrial paralysis would have been reached sooner or oftener, profits would be less, interest much lower, and earnings smaller and more precarious. This ... is no idle paradox, but the strictest economic truth.
— John M. Robertson, The Fallacy of Saving, p. 131–2
Similar ideas were forwarded by William Trufant Foster and Waddill Catchings in the 1920s in The Dilemma of Thrift.[9]
Keynes distinguished between business activity/investment ("Enterprise") and savings ("Thrift") in his Treatise on Money (1930):
...mere abstinence is not enough by itself to build cities or drain fens. ... If Enterprise is afoot, wealth accumulates whatever may be happening to Thrift; and if Enterprise is asleep, wealth decays whatever Thrift may be doing. Thus, Thrift may be the handmaiden of Enterprise.
But equally she may not. And, perhaps, even usually she is not.
and stated the paradox of thrift in The General Theory, 1936:
For although the amount of his own saving is unlikely to have any significant influence on his own income, the reactions of the amount of his consumption on the incomes of others makes it impossible for all individuals simultaneously to save any given sums. Every such attempt to save more by reducing consumption will so affect incomes that the attempt necessarily defeats itself. It is, of course, just as impossible for the community as a whole to save less than the amount of current investment, since the attempt to do so will necessarily raise incomes to a level at which the sums which individuals choose to save add up to a figure exactly equal to the amount of investment.
— John Maynard Keynes, The General Theory of Employment, Interest and Money, Chapter 7, p. 84
The theory is referred to as the "paradox of thrift" in Samuelson's influential Economics of 1948, which popularized the term.
Paradox of thrift according to Balances Mechanics
The paradox of thrift formally can be well described as a circuit paradox using the terms of Balances Mechanics developed by the German economist Wolfgang Stützel (German: Saldenmechanik): It is about saving by cut of expenses, which always leads to a revenue surplus of the individual, so to saving of money. But once the totality (in the meaning of every each) saves at expenses, the revenues of economy only decline.
Partial sentence: For individual economic entities or a partial group of economy actors it is valid: the lower the expenses the higher the revenue surplus.
Size mechanics: The expenses decline of a partial group of economy actors can only lead to a revenue surplus if the complementary group does or accepts an expenses surplus.
Global sentence: A general decline of expenses always leads the totality to a decline of revenues and never to a revenue surplus.[10]
Related concepts[edit]
The paradox of thrift has been related to the debt deflation theory of economic crises, being called "the paradox of debt"[11] – people save not to increase savings, but rather to pay down debt. As well, a paradox of toil and a paradox of flexibility have been proposed: A willingness to work more in a liquidity trap and wage flexibility after a debt deflation shock may lead not only to lower wages, but lower employment.[12]
During April 2009, U.S. Federal Reserve Vice Chair Janet Yellen discussed the "Paradox of deleveraging" described by economist Hyman Minsky: "Once this massive credit crunch hit, it didn’t take long before we were in a recession. The recession, in turn, deepened the credit crunch as demand and employment fell, and credit losses of financial institutions surged. Indeed, we have been in the grips of precisely this adverse feedback loop for more than a year. A process of balance sheet deleveraging has spread to nearly every corner of the economy. Consumers are pulling back on purchases, especially on durable goods, to build their savings. Businesses are cancelling planned investments and laying off workers to preserve cash. And, financial institutions are shrinking assets to bolster capital and improve their chances of weathering the current storm. Once again, Minsky understood this dynamic. He spoke of the paradox of deleveraging, in which precautions that may be smart for individuals and firms—and indeed essential to return the economy to a normal state—nevertheless magnify the distress of the economy as a whole."[13]
Criticisms[edit]
Within mainstream economics, non-Keynesian economists, particularly neoclassical economists, criticize this theory on three principal grounds.
The first criticism is that, following Say's law and the related circle of ideas, if demand slackens, prices will fall (barring government intervention), and the resulting lower price will stimulate demand (though at lower profit or cost – possibly even lower wages). This criticism in turn has been questioned by New Keynesian economists, who reject Say's law and instead point to evidence of sticky prices as a reason why prices do not fall in recession; this remains a debated point.
The second criticism is that savings represent loanable funds, particularly at banks, assuming the savings are held at banks, rather than currency itself being held ("stashed under one's mattress"). Thus an accumulation of savings yields an increase in potential lending, which will lower interest rates and stimulate borrowing. So a decline in consumer spending is offset by an increase in lending, and subsequent investment and spending.
Two caveats are added to this criticism. Firstly, if savings are held as cash, rather than being loaned out (directly by savers, or indirectly, as via bank deposits), then loanable funds do not increase, and thus a recession may be caused – but this is due to holding cash, not to saving per se.[14] Secondly, banks themselves may hold cash, rather than loaning it out, which results in the growth of excess reserves – funds on deposit but not loaned out. This is argued to occur in liquidity trap situations, when interest rates are at a zero lower bound (or near it) and savings still exceed investment demand. Within Keynesian economics, the desire to hold currency rather than loan it out is discussed under liquidity preference.
Third, the paradox assumes a closed economy in which savings are not invested abroad (to fund exports of local production abroad). Thus, while the paradox may hold at the global level, it need not hold at the local or national level: if one nation increases savings, this can be offset by trading partners consuming a greater amount relative to their own production, i.e., if the saving nation increases exports, and its partners increase imports. This criticism is not very controversial, and is generally accepted by Keynesian economists as well,[15] who refer to it as "exporting one's way out of a recession". They further note that this frequently occurs in concert with currency devaluation[16] (hence increasing exports and decreasing imports), and cannot work as a solution to a global problem, because the global economy is a closed system – not every nation can increase net exports.
Austrian School criticism[edit]
The paradox was criticized by the Austrian School economist Friedrich Hayek in a 1929 article, "The 'Paradox' of Savings", questioning the paradox as proposed by Foster and Catchings.[17] Hayek, and later Austrian School economists agree that if a population saves more money, total revenues for companies will decline[citation needed], but they deny the assertion that lower revenues lead to lower economic growth, understanding that the additional savings are used to create more capital to increase production. Once the new, more productive structure of capital has reorganized inside of the current structure, the real costs of production is reduced for most firms.[citation needed] However, critics of the Austrian school argue that using accumulated capital to increase production is an act which requires spending, and therefore the Austrian argument does not disprove the paradox.
See also[edit]
Capitol Hill Baby-Sitting Co-op
Degrowth
Frugality
List of paradoxes
Social trap
Vicious circle
Tragedy of the Commons
In Praise of Idleness and Other Essays, an essay by Bertrand Russell on the subject of the relationships between spending, saving and labour.
References and sources[edit]
References
Jump up ^ These two formulations are given in Campbell R. McConnell (1960: 261–62), emphasis added: "By attempting to increase its rate of saving, society may create conditions under which the amount it can actually save is reduced. This phenomenon is called the paradox of thrift....[T]hrift, which has always been held in high esteem in our economy, now becomes something of a social vice."
Jump up ^ Keynes, The General Theory of Employment, Interest and Money, Chapter 23. Notes on Merchantilism, the Usury Laws, Stamped Money and Theories of Under-consumption
^ Jump up to: a b c d Nash, Robert T.; Gramm, William P. (1969). "A Neglected Early Statement the Paradox of Thrift". History of Political Economy. 1 (2): 395–400. doi:10.1215/00182702-1-2-395.
Jump up ^ See history section for further discussion.
Jump up ^ English, Irish and Subversives Among the Dismal Scientists, Noel Thompson, Nigel Allington, 2010, p. 122:
"A suggestion that a more equal distribution of income might be a remedy for general stagnation – and that excess saving can be harmful – is implicit in the quotation from the Old Testament on the Reply to Mr. Say [by John Cazenove (1788–1879)].
Jump up ^ A Reply to Mr. Say’s Letters to Mr. Malthus, by John Cazenove, uses the verse as an epigram.
Jump up ^ Studies in economics, William Smart, 1895, p. 249
Jump up ^ Robertson, John M. (1892). The Fallacy of Saving.
Jump up ^ William Trufaut Foster (1926). The Dilemma of Thrift. Pollak Foundation for Economic Research. Retrieved 8 January 2013.
Jump up ^ Wolfgang Stützel: Volkswirtschaftliche Saldenmechanik. Mohr Siebeck, (2. Auflage) Tübingen 2011. S. 74.
Jump up ^ Paradox of thrift, Paul Krugman
Jump up ^ Eggertsson, Gauti B.; Krugman, Paul (14 February 2011), Debt, Deleveraging, and the Liquidity Trap: A Fisher-Minsky-Koo Approach (PDF), doi:10.1093/qje/qjs023, retrieved 2011-12-15
Jump up ^ Federal Reserve-Janet Yellen-A Minsky Meltdown-April 2009
Jump up ^ See section 9.9 and 9.11 http://www.auburn.edu/~garriro/cbm.htm
Jump up ^ The paradox of thrift — for real, Paul Krugman, July 7, 2009
Jump up ^ Devaluing History, Paul Krugman, November 24, 2010
Jump up ^ Hayek on the Paradox of Saving
Sources
Samuelson, Paul & Nordhaus, William (2005). Economics (18th ed.). New York: McGraw-Hill. ISBN 0-07-123932-4.
External links[edit]
Wikimedia Commons has media related to Paradox of thrift.
The paradox of thrift explained
Criticisms[edit]
The Paradox of Thrift: RIP, by Clifford F. Thies, The Cato Journal, Volume 16, Number 1
Consumers don't cause recessions by Robert P. Murphy (an Austrian School critique of the paradox of thrift)
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The Wedsworth-Townsend Act
From Wikipedia, the free encyclopedia
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[hide]This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these template messages)
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2012) (Learn how and when to remove this template message)
This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (December 2016) (Learn how and when to remove this template message)
(Learn how and when to remove this template message)
Emergency!
Also known as
"The Wedworth-Townsend Act"
Genre
Drama
Created by
R.A. Cinader
Harold Jack Bloom
Directed by
Jack Webb
Starring
Robert Fuller
Julie London
Bobby Troup
Randolph Mantooth
Kevin Tighe
Opening theme
Nelson Riddle
Composer(s)
Nelson Riddle
Billy May
Country of origin
USA
Production
Executive producer(s)
Jack Webb
Producer(s)
R.A. Cinader
Release
Original release
January 15, 1972; 46 years ago (1972-01-15)
The Wedsworth-Townsend Act (sic) is the pilot episode for the TV series Emergency!, a made-for-TV movie, broadcast on NBC on January 15, 1972 (46 years ago) (1972-01-15). The primary cast from the pilot also starred in the TV series for the entire run through 1977.[citation needed]
The title, despite the possibly deliberate misspelling of "Wedworth", refers to the Wedworth-Townsend Paramedic Act of the California State Legislature, which that legislature passed and which the then State Governor Ronald Reagan signed into law on July 14, 1970 (47 years ago) (1970-07-14).[1][2]
Contents
[hide]
1 Synopsis
2 See also
3 References
4 Bibliography
5 External links
Synopsis[edit]
This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (December 2016) (Learn how and when to remove this template message)
After a late-night fire run, Los Angeles County Station 10 Fire & Rescue man John Gage (Randolph Mantooth), gets into a discussion with his battalion chief (Art Balinger) about joining a new program called the paramedics. At first Gage turns down the offer because he does not want to become an "ambulance attendant". But in a failed rescue, the victim dies on arrival at Rampart Hospital. Noting the word "rescue" on the vehicle's markings, Gage snorts derisively: "Rescue, hell. All we rescued was a corpse." As a result, he reconsiders his earlier reluctance and talks to someone about joining the paramedics; it is at this point that he first meets Los Angeles Fireman and future partner Roy DeSoto (Kevin Tighe).[citation needed]
At first Gage is still not convinced to join; while he would have the training, he would not have the authority, but DeSoto tells him of a bill before the state legislature that would commission the paramedics, meaning that if the bill had any chance of passage they would have to be ready. DeSoto further states there are presently only six qualified paramedics for the entire population of the Los Angeles area – over 61⁄2 million people. That convinces Gage to sign the application, and he begins his paramedic training in earnest at Rampart under the tutelage of ER senior doctor Kelly Brackett (Robert Fuller), neurological surgeon and ER doctor Joe Early (Bobby Troup) and ER head nurse Dixie McCall (Julie London).[citation needed]
Despite his willingness to train the new paramedics, Brackett is firmly against the program itself, preferring highly skilled medical help in the field rather than "hose jockeys" running the risk of losing a life due to inexperience or ineptitude. His attitude toward the program does not go unnoticed by Gage, who passes the paramedic course and is reassigned and partnered with DeSoto at the new Station 51. With the paramedic program not yet authorized, any emergency involving injury requires Gage and DeSoto to stop at Rampart en route and pick up a nurse, namely McCall, to administer authorized medical help.[citation needed]
When Squad 51 is called out on a traffic crash involving a vehicle over a cliff with two injuries, they again pick up McCall at Rampart, but a freak occurrence at the scene renders McCall unconscious, and the paramedics are forced to call Rampart for instructions. When they tell Brackett that McCall is also unconscious, Brackett orders them not to treat the patients. But Gage, still embittered over his failure at Squad 10, insubordinates and yells into the biophone: "To hell with the orders!" With that, he shuts down the link.[citation needed]
Later at Rampart, Brackett reprimands Gage and DeSoto for their insubordination, but then compliments their job performance; the three victims were stabilized; McCall had vasovagal syncope (unconsciousness brought on by intense stress) while the other two patients, according to Dr. Early, were simple cases. Finally realizing the paramedic program does indeed work, Brackett takes an unscheduled trip to Sacramento to address the State Assembly. In his address, Brackett goes on the record stating that he is not in favor of inexperienced youngsters saving lives in the field, but also asserts his conviction that the paramedic program can save lives, and is willing to support it until a better alternative becomes available. To the relief of Brackett and Assemblyman Michael Wolski (Jack Kruschen), the bill is approved by the Assembly, sending it to the floor of the legislature, but Brackett is due back in Los Angeles before the vote that evening.[citation needed]
Back in L.A., Gage and DeSoto are dispatched on a major night call that includes police, The Salvation Army, civil defense, and the county fire department: an explosion and cave-in at a flood-control tunnel at the Alameda Diversion Complex. Gage realizes that lack of discipline could permanently end the paramedic program, but seeing all the injuries and people begging for help only exacerbates Gage's and DeSoto's collective feelings of helplessness. They eventually reach a victim with a heart condition pinned underneath a trencher; after freeing the victim they radio Rampart with their situation. When the victim's heart starts fibrillating during the EKG reading, Brackett orders them to defibrillate. DeSoto reminds Brackett of the risks, but thinking more about the patient, Brackett lies to the paramedics telling them that the legislature had already approved the Paramedic bill; he then roars at them: "Zap 'im, damn it! Zap 'im!" Reluctantly, Gage defibrillates the patient, who stabilizes after the second attempt. Brackett offers his "highest congratulations" to the "doctors" for saving the man's life.[citation needed]
At daybreak with the situation under control, as the exhausted rescue workers make their way out of the Complex, DeSoto finds a newspaper (dropped by a woman grieving over her husband killed in the disaster) folded to an article about the passing of the Paramedic bill the previous night thanks to support from Dr. Brackett. (His picture was in the article). Brackett and McCall drive out to the scene to see Gage and DeSoto in person and to compliment their performance. DeSoto and Gage return the compliment for what Brackett did:
Gage: I really don't know what to say.
Brackett: Who asked?
See also[edit]
California Emergency Medical Services Authority
Emergency!
List of Emergency! characters
References[edit]
Jump up ^ "Our History". UCLA Center for Prehospital Care. UCLA. Retrieved 2016-09-20.
Jump up ^ Author unknown (date unknown). Origins Of California's Paramedics. Retrieved from http://www.legintent.com/california/origins-of-californias-paramedics/.
Bibliography[edit]
External links[edit]
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Wedsworth-Townsend_Act&oldid=753763889"
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