Bugs Bunny is an animated cartoon character, created in the late 1930s by Leon Schlesinger Productions and voiced by Mel Blanc. Bugs is best known for his starring roles in the Looney Tunes and Merrie Melodies series of animated short films, produced by Warner Bros. Though a similar character called Happy Rabbit debuted in the WB cartoon Porky's Hare Hunt and appeared in a few subsequent shorts, the definitive character of Bugs is credited to have made his debut in director Tex Avery's Oscar-nominated film A Wild Hare. Bugs is an anthropomorphic gray and white rabbit or hare, famous for his flippant, insouciant personality, he is characterized by a Brooklyn accent, his portrayal as a trickster, his catch phrase "Eh... What's up, doc?". Due to Bugs' popularity during the golden age of American animation, he became not only an American cultural icon and the official mascot of Warner Bros. Entertainment, but one of the most recognizable characters in the world, he can thus be seen in the older Warner Bros. company logos.
Since his debut, Bugs has appeared in various short films, feature films, compilations, TV series, music records, video games, award shows, amusement park rides, commercials. He has appeared in more films than any other cartoon character, is the 9th most-portrayed film personality in the world, has his own star on the Hollywood Walk of Fame. According to Chase Craig, who wrote and drew the first Bugs Bunny comic Sunday pages and the first Bugs comic book, "Bugs was not the creation of any one man. In those days, the stories were the work of a group who suggested various gags, bounced them around and finalized them in a joint story conference." A rabbit with some of the personality of Bugs, though looking different, was featured in the film Porky's Hare Hunt, released on April 30, 1938. It was co-directed by an uncredited Cal Dalton; this cartoon has an identical plot to Avery's Porky's Duck Hunt, which had introduced Daffy Duck. Porky Pig is again cast as a hunter tracking a silly prey, more interested in driving his pursuer insane and less interested in escaping.
Hare Hunt replaces the little black duck with a small white rabbit. The rabbit introduces himself with the odd expression "Jiggers, fellers," and Mel Blanc gave the character a voice and laugh much like those he would use for Woody Woodpecker; the rabbit character was popular enough with audiences that the Termite Terrace staff decided to use it again. According to Friz Freleng and Dalton had decided to dress the duck in a rabbit suit; the white rabbit had a shapeless body. In characterization, he was "a rural buffoon", he was loud, zany with a guttural laugh. Blanc provided him with a hayseed voice; the rabbit comes back in Prest-O Change-O, directed by Chuck Jones, where he is the pet rabbit of unseen character Sham-Fu the Magician. Two dogs, fleeing the local dogcatcher, enter his absent master's house; the rabbit harasses them but is bested by the bigger of the two dogs. This version of the rabbit was cool and controlled, he was otherwise silent. The rabbit's third appearance comes in Hare-um Scare-um, directed again by Hardaway.
This cartoon—the first in which he is depicted as a gray bunny instead of a white one—is notable as the rabbit's first singing role. Charlie Thorson, lead animator on the film, gave the character a name, he had written "Bugs' Bunny" on the model sheet. In promotional material for the cartoon, including a surviving 1939 presskit, the name on the model sheet was altered to become the rabbit's own name: "Bugs" Bunny. In his autobiography, Blanc claimed that another proposed name for the character was "Happy Rabbit." In the actual cartoons and publicity, the name "Happy" only seems to have been used in reference to Bugs Hardaway. In Hare-um Scare-um, a newspaper headline reads, "Happy Hardaway." Animation historian David Gerstein disputes that "Happy Rabbit" was used as an official name, arguing that the only usage of the term came from Mel Blanc himself in humorous and fanciful tales he told about the character's development in the 1970s and 1980s. Thorson had been approached by Tedd Pierce, head of the story department, asked to design a better rabbit.
The decision was influenced by Thorson's experience in designing hares. He had designed Max Hare in Toby Tortoise Returns. For Hardaway, Thorson created the model sheet mentioned, with six different rabbit poses. Thorson's model sheet is "a comic rendition of the stereotypical fuzzy bunny", he had a pear-shaped body with a protruding rear end. His face had large expressive eyes, he had an exaggerated long neck, gloved hands with three fingers, oversized feet, a "smart aleck" grin. The end result was influenced by Walt Disney Animation Studios' tendency to draw animals in the style of cute infants, he had an obvious Disney influence, but looked like an awkward merger of the lean and streamlined Max Hare from The Tortoise and the Hare, the round, soft bunnies from Little Hiawatha. In Jones' Elmer's Candid Camera, the rabbit first meets Elmer Fudd; this time the rabbit looks more like the present-day Bugs and with a similar face—but retaining the more primitive voice. Candid Camera's Elmer cha
In metaphysics and philosophy of language, the correspondence theory of truth states that the truth or falsity of a statement is determined only by how it relates to the world and whether it describes that world. Correspondence theories claim that true beliefs and true statements correspond to the actual state of affairs; this type of theory attempts to posit a relationship between thoughts or statements on one hand, things or facts on the other. Correspondence theory is a traditional model which goes back at least to some of the ancient Greek philosophers such as Plato and Aristotle; this class of theories holds that the truth or the falsity of a representation is determined by how it relates to a reality. As Aristotle claims in his Metaphysics: "To say that that which is, is not, that, not, is, is a falsehood. A classic example of correspondence theory is the statement by the medieval philosopher and theologian Thomas Aquinas: "Veritas est adaequatio rei et intellectus", which Aquinas attributed to the ninth-century Neoplatonist Isaac Israeli.
Correspondence theory was either explicitly or implicitly embraced by most of the early modern thinkers, including René Descartes, Baruch Spinoza, John Locke, Gottfried Wilhelm Leibniz, David Hume, Immanuel Kant. Correspondence theory has been attributed to Thomas Reid. In late modern philosophy, Friedrich Wilhelm Joseph Schelling espoused the correspondence theory. Karl Marx subscribed to a version of the correspondence theory. In contemporary Continental philosophy, Edmund Husserl defended the correspondence theory. In contemporary analytic philosophy, Bertrand Russell, Ludwig Wittgenstein, J. L. Austin, Karl Popper defended the correspondence theory. Bertrand Russell and Ludwig Wittgenstein have in different ways suggested that a statement, to be true, must have some kind of structural isomorphism with the state of affairs in the world that makes it true. For example, "A cat is on a mat" is true if, only if, there is in the world a cat and a mat and the cat is related to the mat by virtue of being on it.
If any of the three pieces is missing, the statement is false. Some sentences pose difficulties for this model, however; as just one example, adjectives such as "counterfeit", "alleged", or "false" do not have the usual simple meaning of restricting the meaning of the noun they modify: a "tall lawyer" is a kind of lawyer, but an "alleged lawyer" may not be. In 2018, Claudio Costa has developed a full-blooded version of the correspondence theory of truth; this version of the theory incorporates coherence and extends the idea of correspondence to formal sciences.. J. L. Austin theorized that there need not be any structural parallelism between a true statement and the state of affairs that makes it true, it is only necessary that the semantics of the language in which the statement is expressed are such as to correlate whole-for-whole the statement with the state of affairs. A false statement, for Austin, is one, correlated by the language to a state of affairs that does not exist. Most advocates of correspondence theories have been metaphysical realists.
This is in contrast to metaphysical idealists who hold that everything that exists exists as a substantial metaphysical entity independently of the individual thing of which it is predicated, to conceptualists who hold that everything that exists is, in the end, just an idea in some mind. However, it is not necessary that a correspondence theory be married to metaphysical realism, it is possible to hold, for example, that the facts of the world determine which statements are true and to hold that the world is but a collection of ideas in the mind of some supreme being. One attack on the theory claims that the correspondence theory succeeds in its appeal to the real world only in so far as the real world is reachable by us; the direct realist believes. Such a person can wholeheartedly adopt a correspondence theory of truth; the rigorous idealist believes. The correspondence theory appeals to imaginary undefined entities, so it is incoherent. Other positions hold that we have some type of awareness, etc. of real-world objects which in some way falls short of direct knowledge of them.
But such an indirect awareness or perception is itself an idea in one's mind, so that the correspondence theory of truth reduces to a correspondence between ideas about truth and ideas of the world, whereupon it becomes a coherence theory of truth. Either the defender of the correspondence theory of truth offers some accompanying theory of the world, or they do not. If no theory of the world is offered, the argument is so vague as to be useless or unintelligible: truth would be supposed to be correspondence to some undefined, unknown or ineffable world, it is difficult to see how a candid truth could be more certain than the world we are to judge its degree of correspondence against. On the other hand, as soon as the defender of the correspondence theory of truth offers a theory of the world, they are operating in some specific ontological or scientific theory, which stands in need of justification, but the only way to support the truth of this theory of the world, allowed by the corresponden
"Open Your Heart" is the eleventh overall single from British band M People. It is the second single from their third album Bizarre Fruit. Written by Mike Pickering and Paul Heard. Produced by M People, it was released on 23 January 1995. The song peaked at number nine on the UK Singles Chart. Hot on the heels of their single "Sight for Sore Eyes" and a Top 5 album Bizarre Fruit and a sold out UK Tour, M People released this single in a slight reshuffle, as "Search for the Hero" was meant to be the second single but the band were re-editing the Bizarre Fruit version to a more radio friendly edit so "Open Your Heart" was released instead; the band had been on holiday together over the New Year break in Grenada, while dance mixes of this single had been released early and on UK radio, Pete Tong had been rotating several mixes on BBC Radio 1. This single was the first M People single to be available on two CD formats. CD1 and the 12" maxi were released on 23 January 1995 and CD2 was released on 30 January 1995 and was only available in the UK and contained the sought after E-Smoove remix of Sight for Sore Eyes.
Billboard wrote that the song "has won the hearts of M People die-hards at club level, it sports a hook that takes up instant residence in the brain upon impact. Maestros Mike Pickering and Paul Heard blur, with notable finesse, the timeline dividing current house music trends and vintage Philly soul, while singer Heather Small continues to evolve into a smoky-voiced diva who may remind some of a club-minded Anita Baker. Smashing." Music & Media commented, "Bizarre Fruit is the album title, not forbidden fruit. So take a bite of it Continentals, there's no risk of being banned from paradise, their best since Moving On Up." Charles Aaron from Spin said about "Open Your Heart"/"Search For the Hero" that "this British disco collective—songwriters Paul Hears and Mike Pickering, vocalist Heather Small—is just a more conventional version of Ten City, but their thumping anthems give you a lift over a scenic bridge to a homey chorus that opens up like a window shade on a sunny day." AllMusic editor William Cooper wrote that the song has a "obvious dance appeal" and a "touch of'70s R&B in the mix".
The single entered the chart outside the Top 10 at number 11, but growing airplay and the release of the exclusive second CD meant that sales surged from 63,000 copies in its first week to 78,000 copies in its second. The single climbed from number 11 into the Top 10 at number 9 where it peaked, providing the band with their seventh consecutive top 10 hit in just two years since the release of How Can I Love You More, it spent in total four weeks in a total seven weeks on the Singles Chart. The Bizarre Fruit album underwent a resurgence in sales, re-entering the Album Chart Top 10 at number 8, so the band once again recorded simultaneous single and album Top 10s, being at numbers 9 and 8 in the first week of February 1995 like the last two singles, it became M People's second single to top the Billboard Hot Dance Club Play chart in the US in May 1995. Radio support for the single grew slowly, despite being serviced to radio in the first week of 1995, traditionally a quiet time for single releases.
Predecessor Sight for Sore Eyes had remained in the airplay Top 20 three months after entering. In the three weeks prior to airplay the single entered the chart at No. 195, scaling to number 35 and moving to number 19. Only after physical release did the single enter the Airplay Top 10 and peak at number 5. Sight for Sore Eyes re-entered the Airplay 20 at number 20 when Open Your Heart peaked, so for the first and only time, M People had two singles in the UK Airplay Top 20; the single stayed in the chart for 13 weeks but peaked lower than any of the other Bizarre Fruit singles. With four remixes in total across both CD singles, from the likes of Armand Van Helden, Fire Island, Luv Dup and Brothers in Rhythm, "Open Your Heart" had a set of club versions, it contained an exclusive re-mix of previous single Sight for Sore Eyes done bone by Producers: E-Smoove. For the first time for a remix, Heather went back into the recording studio for Brothers in Rhythm to re-sing both the verses and chorus in a different arrangement.
The band had done all this during the promotion of "Sight for Sore Eyes" in the autumn of 1994. The artwork for the single is a heart shaped tin can that half opened against a caustic bronze background. Photographed by Jason Tozer, it continues the metal artwork theme as seen on the artwork of previous single Sight for Sore Eyes with the corrugated metal sheets and the barbed-wire pear on the artwork of the Bizarre Fruit album, they performed this song in a stripped down acoustic version on various occasions, most notable when they performed their M People special with Jools Holland in March 1998. The video was filmed over two days: 25/26 November 1994, before the Bizarre Fruit tour kicked off and was the most expensive video done to that point. Produced by Matthew Amos, this more adventurous offering showed the band in an elevator moving between floors and watching clubbers come in and out of the sliding doors exiting onto another dancefloor. Band members Mike Pickering, Paul Heard, Shovell are in amongst the crowd dancing while Heather stands still singing in a red Oriental-style dress on the other side of the viewing glass, as people dance around her and leave or disappear as as they arrived.
As the video continues, the camera is continuously panning from right to left encircling the body of the elevator moving from the front where you can see the people dancing to round to the back where you can see the mech