title: England cricket team

text: Criticism has been made of the England and Wales Cricket Board using only the England name while utilising Welsh players such as Simon and Geraint Jones. With Welsh players pursuing international careers exclusively with an England team, there have been a number of calls for Wales to become an independent member of the ICC, or for the ECB to provide more fixtures for a Welsh national team. However, both Cricket Wales and Glamorgan County Cricket Club have continually supported the ECB, with Glamorgan arguing for the financial benefits of the Welsh county within the English structure, and Cricket Wales stating they are "committed to continuing to play a major role within the ECB"


title: England cricket team

text: The absence of a Welsh cricket team has seen a number of debates within the Welsh Senedd. In 2013 a debate saw both Conservative and Labour members lend their support to the establishment of an independent Welsh team.


title: England cricket team

text: In 2015, a report produced by the Welsh National Assembly's petitions committee, reflected the passionate debate around the issue. Bethan Jenkins, Plaid Cymru's spokesperson on heritage, culture, sport and broadcasting, and a member of the petitions committee, argued that Wales should have its own international team and withdraw from the ECB. Jenkins noted that Ireland (with a population of 6.4 million) was an ICC member with 6,000 club players whereas Wales (with 3 million) had 7,500. Jenkins said: "Cricket Wales and Glamorgan CCC say the idea of a Welsh national cricket team is 'an emotive subject', of course having a national team is emotive, you only have to look at the stands during any national game to see that. To suggest this as anything other than natural is a bit of a misleading argument."


title: England cricket team

text: In 2017, the First Minister of Wales, Carwyn Jones called for the reintroduction of the Welsh one-day team stating: "[It] is odd that we see Ireland and Scotland playing in international tournaments and not Wales."


title: England cricket team

text: In February 2021, England and Wales Cricket Board announced that England's Principal partner NatWest has been replaced by Cinch, an online used car marketplace.


title: England cricket team

text: England's kit is manufactured by Castore, who replaced previous manufacturer New Balance in April 2022.


title: England cricket team

text: When playing Test cricket, England's cricket whites feature the three lions badge on the left of the shirt and the name of the sponsor Cinch on the centre. English fielders may wear a navy blue cap or white sun hat with the ECB logo in the middle. Helmets are also coloured navy blue. Before 1997 the uniform sported the TCCB lion and stumps logo on the uniforms, while the helmets, jumpers and hats had the three lions emblem.


title: England cricket team

text: In limited overs cricket, England's ODI and Twenty20 shirts feature the Cinch logo across the centre, with the three lions badge on the left of the shirt and the New Balance logo on the right. In ODIs, the kit comprises a blue shirt with navy trousers, whilst the Twenty20 kit comprises a flame red shirt and navy trousers. In ICC limited-overs tournaments, a modified kit design is used with sponsor's logo moving to the sleeve and 'ENGLAND' printed across the front.


title: England cricket team

text: Over the years, England's ODI kit has cycled between various shades of blue (such as a pale blue used until the mid-1990s, when it was replaced in favour of a bright blue) with the occasional all-red kit.


title: England cricket team

text: In April 2017, ECB brought back traditional cable-knit sweater for test matches under new supplier New Balance.


title: England cricket team

text: "Listed chronologically in order of first match and include neutral fixtures such as World Cup and Champions Trophy games"


title: England cricket team

text: These lists show the five players (or those tied for fifth) with the most appearances for England in each form of the game. The lists are correct up to match starting on 9 December 2022.


title: England cricket team

text: This lists all the active players who have played for England in the past year (since 16 December 2021) and the forms in which they have played, and any players (in italics) outside this criteria who have been selected in the team's most recent squad or have some form of central contract. It does not include former limited-overs captain Eoin Morgan, who retired from international cricket in June 2022, or list ODIs for Ben Stokes, who retired from that format a month later.


title: England cricket team

text: The ECB offers a number of central contracts in September each year to England players whom the selectors think will form the core of the team. Other players who play enough games during the year can gain Incremental contracts, and there are also Pace bowling development contracts for promising fast bowlers.


title: England cricket team

text: At the start of each season the ECB presents the England Men's Cricketer of the Year award to "recognise outstanding performances in all formats of international cricket over the past year", voted on by members of the cricket media.


title: England cricket team

text: The England cricket team represents England and Wales. However, under ICC regulations, players can qualify to play for a country by nationality, place of birth or residence, so (as with any national sports team) some people are eligible to play for more than one team. ECB regulations state that to play for England, a player must be a British citizen, and have either been born in England or Wales, or have lived in England or Wales for three years. This has led to players who also held other nationalities becoming eligible to play for England. The qualification period for those born outside England and Wales has varied in the past, but in November 2018 the ECB announced that the period would be reduced to three years in all circumstances, in line with ICC regulations.


title: England cricket team

text: Of the current squad (see above), Jason Roy was born to British parents in South Africa so had to fulfil residency requirements. In addition, Chris Jordan, Ben Stokes and Tom Curran have British citizenship, having lived in England since their youth. Curran's younger brother, Sam, was born in the UK, so did not have to undergo a qualification period. Jofra Archer, though born in Barbados to a Barbadian mother, qualifies through his English father. Keaton Jennings and Brydon Carse were both born in South Africa and had to serve qualification periods after arriving in England having already played top-level cricket in the country of their birth.


title: England cricket team

text: ICC regulations also allow cricketers who represent associate (i.e. non-Test-playing) nations to switch to a Test-playing nation, provided nationality requirements are fulfilled. In recent years, this has seen Irish internationals Ed Joyce, Boyd Rankin and Eoin Morgan switch to represent England (before Ireland were promoted to full member status in 2018), whilst Gavin Hamilton previously played for Scotland – though Joyce, Rankin and Hamilton were later able to re-qualify for and represent the countries of their birth.


title: Romani language

text: Romani (; also Romany, Romanes , Roma; ) is an Indo-Aryan macrolanguage of the Romani communities. According to "Ethnologue", seven varieties of Romani are divergent enough to be considered languages of their own. The largest of these are Vlax Romani (about 500,000 speakers), Balkan Romani (600,000), and Sinte Romani (300,000). Some Romani communities speak mixed languages based on the surrounding language with retained Romani-derived vocabulary – these are known by linguists as Para-Romani varieties, rather than dialects of the Romani language itself.


title: Romani language

text: The differences between the various varieties can be as large as, for example, the differences between the Slavic languages.


title: Romani language

text: Speakers of the Romani language usually refer to the language as ' "the Romani language" or " (adverb)" "in a Rom way". This derives from the Romani word ', meaning either "a member of the (Romani) group" or "husband". This is also the origin of the term "Roma" in English, although some Roma groups refer to themselves using other demonyms (e.g. 'Kaale', 'Sinti').


title: Romani language

text: In the 18th century, it was shown by comparative studies that Romani belongs to the Indo-European language family. In 1763 Vályi István, a Calvinist pastor from Satu Mare in Transylvania, was the first to notice the similarity between Romani and Indo-Aryan by comparing the Romani dialect of Győr with the language (perhaps Sinhala) spoken by three Sri Lankan students he met in the Netherlands. This was followed by the linguist Johann Christian Christoph Rüdiger (1751–1822) whose book ' (1782) posited Romani was descended from Sanskrit. This prompted the philosopher Christian Jakob Kraus to collect linguistic evidence by systematically interviewing the Roma in Königsberg prison. Kraus's findings were never published, but they may have influenced or laid the groundwork for later linguists, especially August Pott and his pioneering ' (1844–45). Research into the way the Romani dialects branched out was started in 1872 by the Slavicist Franz Miklosich in a series of essays. However, it was the philologist Ralph Turner's 1927 article “The Position of Romani in Indo-Aryan” that served as the basis for the integrating of Romani into the history of Indian languages.


title: Romani language

text: Romani is an Indo-Aryan language that is part of the Balkan sprachbund. It is the only New Indo-Aryan spoken exclusively outside the Indian subcontinent.


title: Romani language

text: Romani is sometimes classified in the Central Zone or Northwestern Zone Indo-Aryan languages, and sometimes treated as a group of its own.


title: Romani language

text: Romani shares a number of features with the Central Zone languages. The most significant isoglosses are the shift of Old Indo-Aryan "r̥" to "u" or "i" (Sanskrit ', Romani ' 'to hear') and "kṣ-" to "kh" (Sanskrit ', Romani ' 'eye'). However, unlike other Central Zone languages, Romani preserves many dental clusters (Romani ' 'three', ' 'brother', compare Hindi ', '). This implies that Romani split from the Central Zone languages before the Middle Indo-Aryan period. However, Romani shows some features of New Indo-Aryan, such as erosion of the original nominal case system towards a nominative/oblique dichotomy, with new grammaticalized case suffixes added on. This means that the Romani exodus from India could not have happened until late in the first millennium.


title: Romani language

text: Many words are similar to the Marwari and Lambadi languages spoken in large parts of India. Romani also shows some similarity to the Northwestern Zone languages. In particular, the grammaticalization of enclitic pronouns as person markers on verbs (' 'done' + ' 'me' → "" 'I did') is also found in languages such as Kashmiri and Shina. This evidences a northwest migration during the split from the Central Zone languages consistent with a later migration to Europe.


title: Romani language

text: Based on these data, Yaron Matras views Romani as "kind of Indian hybrid: a central Indic dialect that had undergone partial convergence with northern Indic languages."


title: Romani language

text: In terms of its grammatical structures, Romani is conservative in maintaining almost intact the Middle Indo-Aryan present-tense person concord markers, and in maintaining consonantal endings for nominal case – both features that have been eroded in most other modern Indo-Aryan languages.


title: Romani language

text: Romani shows a number of phonetic changes that distinguish it from other Indo-Aryan languages – in particular, the devoicing of voiced aspirates ("bh dh gh" > "ph th kh"), shift of medial "t d" to "l", of short "a" to "e", initial "kh" to "x", rhoticization of retroflex "ḍ, ṭ, ḍḍ, ṭṭ, ḍh" etc. to "r" and "ř", and shift of inflectional "-a" to "-o".


title: Romani language

text: After leaving the Indian subcontinent, Romani was heavily affected by contact with European languages. The most significant of these was Medieval Greek, which contributed lexically, phonemically, and grammatically to Early Romani (10th–13th centuries). This includes inflectional affixes for nouns, and verbs that are still productive with borrowed vocabulary, the shift to VO word order, and the adoption of a preposed definite article. Early Romani also borrowed from Armenian and Persian.


title: Romani language

text: Romani and Domari share some similarities: agglutination of postpositions of the second layer (or case marking clitics) to the nominal stem, concord markers for the past tense, the neutralisation of gender marking in the plural, and the use of the oblique case as an accusative. This has prompted much discussion about the relationships between these two languages. Domari was once thought to be the "sister language" of Romani, the two languages having split after the departure from the Indian subcontinent, but more recent research suggests that the differences between them are significant enough to treat them as two separate languages within the Central Zone (Hindustani) group of languages. The Dom and the Rom therefore likely descend from two different migration waves out of India, separated by several centuries.


title: Romani language

text: The first attestation of Romani is from 1542 AD in western Europe. The earlier history of the Romani language is completely undocumented, and is understood primarily through comparative linguistic evidence.


title: Romani language

text: Linguistic evaluation carried out in the nineteenth century by Pott (1845) and Miklosich (1882–1888) showed the Romani language to be a New Indo-Aryan language (NIA), not a Middle Indo-Aryan (MIA), establishing that the ancestors of the Romani could not have left India significantly earlier than AD 1000.


title: Romani language

text: The principal argument favouring a migration during or after the transition period to NIA is the loss of the old system of nominal case, and its reduction to just a two-way case system, nominative vs. oblique. A secondary argument concerns the system of gender differentiation. Romani has only two genders (masculine and feminine). Middle Indo-Aryan languages (named MIA) generally had three genders (masculine, feminine and neuter), and some modern Indo-Aryan languages retain this old system even today.


title: Romani language

text: It is argued that loss of the neuter gender did not occur until the transition to NIA. Most of the neuter nouns became masculine while a few feminine, like the neuter (') in the Prakrit became the feminine (') in Hindi and " in Romani. The parallels in grammatical gender evolution between Romani and other NIA languages have been cited as evidence that the forerunner of Romani remained on the Indian subcontinent until a later period, perhaps even as late as the tenth century.


title: Romani language

text: There is no historical proof to clarify who the ancestors of the Romani were or what motivated them to emigrate from the Indian subcontinent, but there are various theories. The influence of Greek, and to a lesser extent of Armenian and the Iranian languages (like Persian and Kurdish) points to a prolonged stay in Anatolia, Armenian highlands/Caucasus after the departure from South Asia. The latest territory where Romani is thought to have been spoken as a mostly unitary linguistic variety is the Byzantine Empire, between the 10th and the 13th centuries. The language of this period, which can be reconstructed on the basis of modern-day dialects, is referred to as "Early Romani" or "Late Proto-Romani".


title: Romani language

text: The Mongol invasion of Europe beginning in the first half of the thirteenth century triggered another westward migration. The Romani arrived in Europe and afterwards spread to the other continents. The great distances between the scattered Romani groups led to the development of local community distinctions. The differing local influences have greatly affected the modern language, splitting it into a number of different (originally exclusively regional) dialects.


title: Romani language

text: Today, Romani is spoken by small groups in 42 European countries. A project at Manchester University in England is transcribing Romani dialects, many of which are on the brink of extinction, for the first time.


title: Romani language

text: Today's dialects of Romani are differentiated by the vocabulary accumulated since their departure from Anatolia, as well as through divergent phonemic evolution and grammatical features. Many Roma no longer speak the language or speak various new contact languages from the local language with the addition of Romani vocabulary.


title: Romani language

text: Dialect differentiation began with the dispersal of the Romani from the Balkans around the 14th century and on, and with their settlement in areas across Europe in the 16th and 17th centuries. The two most significant areas of divergence are the southeast (with epicenter of the northern Balkans) and west-central Europe (with epicenter Germany). The central dialects replace ' in grammatical paradigms with '. The northwestern dialects append ', simplify ' to ', retain ' in the nominalizer ' / ', and lose adjectival past-tense in intransitives (', ' → " 'he/she went'). Other isoglosses (esp. demonstratives, 2/3pl perfective concord markers, loan verb markers) motivate the division into Balkan, Vlax, Central, Northeast, and Northwest dialects.


title: Romani language

text: Matras (2002, 2005) has argued for a theory of geographical classification of Romani dialects, which is based on the diffusion in space of innovations. According to this theory, Early Romani (as spoken in the Byzantine Empire) was brought to western and other parts of Europe through population migrations of Rom in the 14th–15th centuries. These groups settled in the various European regions during the 16th and 17th centuries, acquiring fluency in a variety of contact languages. Changes emerged then, which spread in wave-like patterns, creating the dialect differences attested today. According to Matras, there were two major centres of innovations: some changes emerged in western Europe (Germany and vicinity), spreading eastwards; other emerged in the Wallachian area, spreading to the west and south. In addition, many regional and local isoglosses formed, creating a complex wave of language boundaries. Matras points to the prothesis of ' in ' > ' 'egg' and ' > ' 'he' as typical examples of west-to-east diffusion, and of addition of prothetic ' in ' > ' as a typical east-to-west spread. His conclusion is that dialect differences formed in situ, and not as a result of different waves of migration.


title: Romani language

text: In a series of articles (beginning in 1982) Marcel Courthiade proposed a different kind of classification. He concentrates on the dialectal diversity of Romani in three successive strata of expansion, using the criteria of phonological and grammatical changes. Finding the common linguistic features of the dialects, he presents the historical evolution from the first stratum (the dialects closest to the Anatolian Romani of the 13th century) to the second and third strata. He also names as "pogadialects" (after the " dialect of Great Britain) those with only a Romani vocabulary grafted into a non-Romani language (normally referred to as Para-Romani).


title: Romani language

text: The first stratum includes the oldest dialects: ' (of Tirana), ' (of Korça), ', ', ', ', ', ' (of Pristina), ' ('), ' ('), ', ', ' (from Finland), ', and the so-called "Baltic dialects".


title: Romani language

text: Some Romanies have developed mixed languages (chiefly by retaining Romani lexical items and adopting second language grammatical structures), including:


title: Romani language

text: The most concentrated areas of Romani speakers are found in the Balkans and central Europe, particularly in Romania, Bulgaria, North Macedonia and Slovakia. Although there are no reliable figures for the exact number of Romani speakers, the estimated amount of Romani speakers in the European Union is around 3.5 million, this makes it the largest spoken minority language in the European Union.


title: Romani language

text: The language is recognized as a minority language in many countries. At present the only places in the world where Romani is employed as an official language are the Republic of Kosovo (only regionally, not nationally) and the Šuto Orizari Municipality within the administrative borders of Skopje, North Macedonia's capital.


title: Romani language

text: The first efforts to publish in Romani were undertaken in the interwar Soviet Union (using the Cyrillic script) and in socialist Yugoslavia. Portions and selections of the Bible have been translated to many different forms of the Romani language. The entire Bible has been translated to Kalderash Romani.


title: Romani language

text: Some traditional communities have expressed opposition to codifying Romani or having it used in public functions. However, the mainstream trend has been towards standardization.


title: Romani language

text: Different variants of the language are now in the process of being codified in those countries with high Romani populations (for example, Slovakia). There are also some attempts currently aimed at the creation of a unified standard language.


title: Romani language

text: A standardized form of Romani is used in Serbia, and in Serbia's autonomous province of Vojvodina, Romani is one of the officially recognized languages of minorities having its own radio stations and news broadcasts.


title: Romani language

text: In Romania, a country with a sizable Romani minority (3.3% of the total population), there is a unified teaching system of the Romani language for all dialects spoken in the country. This is primarily a result of the work of Gheorghe Sarău, who made Romani textbooks for teaching Romani children in the Romani language. He teaches a purified, mildly prescriptive language, choosing the original Indo-Aryan words and grammatical elements from various dialects. The pronunciation is mostly like that of the dialects from the first stratum. When there are more variants in the dialects, the variant that most closely resembles the oldest forms is chosen, like ', instead of ', ', ' instead of ', ' instead of ' or ', etc.


title: Romani language

text: An effort is also made to derive new words from the vocabulary already in use, "i.e.", ' (airplane), ' (slide rule), ' (retrospectively), ' (adjective). There is an ever-changing set of borrowings from Romanian as well, including such terms as ' (weather, time), ' (town hall), ' (cream), ' (saint, holy). Hindi-based neologisms include ' (bulb, electricity), ' (example), ' (drawing, design), ' (writing), while there are also English-based neologisms, like "" < "to print".


title: Romani language

text: Romani is now used on the internet, in some local media, and in some countries as a medium of instruction.


title: Romani language

text: Historically, Romani was an exclusively unwritten language; for example, Slovak Romani's orthography was codified only in 1971.


title: Romani language

text: The overwhelming majority of academic and non-academic literature produced currently in Romani is written using a Latin-based orthography.


title: Romani language

text: The proposals to form a unified Romani alphabet and one standard Romani language by either choosing one dialect as a standard, or by merging more dialects together, have not been successful - instead, the trend is towards a model where each dialect has its own writing system. Among native speakers, the most common pattern for individual authors to use an orthography based on the writing system of the dominant contact language: thus Romanian in Romania, Hungarian in Hungary and so on.


title: Romani language

text: To demonstrate the differences, the phrase /romani tʃʰib/, which means "Romani language" in all the dialects, can be written as ', ', ', ', ', ', ', ', ', ', "" and so on.


title: Romani language

text: A currently observable trend, however, appears to be the adoption of a loosely English and Czech-oriented orthography, developed spontaneously by native speakers for use online and through email.


title: Romani language

text: The Romani sound system is not highly unusual among European languages. Its most marked features are a three-way contrast between unvoiced, voiced, and aspirated stops: /p, t, k, t͡ʃ/, /b, d, ɡ, d͡ʒ/, and /pʰ, tʰ, kʰ, t͡ʃʰ/ and the presence in some dialects of a second rhotic ⟨ř⟩, realized as retroflex [ɽ] or [ɻ], a long trill [rː], or uvular [ʀ].


title: Romani language

text: The following is the core sound inventory of Romani. Phonemes in parentheses are only found in some dialects:


title: Romani language

text: Eastern and Southeastern European Romani dialects commonly have palatalized consonants, either distinctive or allophonic. Some dialects add the central vowel . Vowel length is often distinctive in Western European Romani dialects. Loans from contact languages often allow other non-native phonemes.


title: Romani language

text: Conservative dialects of Romani have final stress, with the exception of some unstressed affixes (e.g. the vocative ending, the case endings added on to the accusative noun, and the remoteness tense marker). Central and Western European dialects often have shifted stress earlier in the word.


title: Romani language

text: In some varieties such as Slovak Romani, at the end of a word, voiced consonants become voiceless and aspirated ones lose aspiration. Some examples:


title: Romani language

text: Nominals in Romani are nouns, adjectives, pronouns and numerals. Some sources describe articles as nominals.


title: Romani language

text: General Romani is an unusual language, in having two classes of nominals, based on the historic origin of the word, that have a completely different morphology. The two classes can be called "inherited" and "borrowed", but this article uses names from Matras (2006), "ikeoclitic" and "xenoclitic". The class to which a word belongs is obvious from its ending.


title: Romani language

text: The first class is the old, Indian vocabulary (and to some extent Persian, Armenian and Greek loanwords). The ikeoclitic class can also be divided into two sub-classes, based on the ending.


title: Romani language

text: The ending of words in this sub-class is -o with masculines, -i with feminines, with the latter ending triggering palatalisation of preceding "d, t, n, l" to "ď, ť, ň, ľ".


title: Romani language

text: The second class is loanwords from European languages. (Matras adds that the morphology of the new loanwords might be borrowed from Greek.)


title: Romani language

text: Nouns are marked for any of eight cases; nominative, vocative, accusative, genitive, dative, locative, ablative, and instrumental. The former three are formed by inflections on the noun itself, but the latter five are marked by adding postpositions to the accusative, used as an "indirect root."


title: Romani language

text: The vocative and nominative are a bit "outside" of the case system as they are produced only by adding a suffix to the root.


title: Romani language

text: The oblique cases disregard gender or type: ' / ' (locative), ' / ' (dative), ' (ablative), ' (instrumental and comitative), and ' / ' (genitive).


title: Romani language

text: Example: the suffix for indirect root for masculine plural for all inherited words is ', the dative suffix is '.


title: Romani language

text: Parts of speech such as adjectives and the article, when they function as attributes before a word, distinguish only between a nominative and an indirect/oblique case form. In the Early Romani system that most varieties preserve, declinable adjectives had nominative endings similar to the nouns ending in "-o" (masculine "-o", feminine "-i") but the oblique endings "-e" in the masculine, "-a" in the feminine. The ending "-e" was the same regardless of gender. So-called athematic adjectives had the nominative forms "-o" in the masculine "and" the feminine and "-a" in the plural; the oblique has the same endings as the previous group, but the preceding stem changes by adding the element "-on-".


title: Romani language

text: Romani derivations are highly synthetic and partly agglutinative. However, they are also sensitive to recent development - for example, in general, Romani in Slavic countries show an adoption of productive aktionsart morphology.


title: Romani language

text: The verb stem (including derivation markers) by itself has non-perfective aspect and is present or subjunctive.


title: Romani language

text: Similarly to nominals, verbs in Romani belong to several classes, but unlike nominals, these are not based on historical origin. However, the loaned verbs can be recognized, again, by specific endings, which are Greek in origin.


title: Romani language

text: Borrowed verbs from other languages are marked with affixes taken from Greek tense/aspect suffixes, including ', ', and ".


title: Romani language

text: The Romani verb has three persons and two numbers, singular and plural. There is no verbal distinction between masculine and feminine.


title: Romani language

text: Romani tenses are, not exclusively, present tense, future tense, two past tenses (perfect and imperfect), present or past conditional and present imperative.


title: Romani language

text: Depending on the dialect, the suffix ' marks the present, future, or conditional. There are many perfective suffixes, which are determined by root phonology, valency, and semantics: e.g. ' 'did'.


title: Romani language

text: There are two sets of personal conjugation suffixes, one for non-perfective verbs, and another for perfective verbs. The non-perfective personal suffixes, continued from Middle Indo-Aryan, are as follows:


title: Romani language

text: Verbs may also take a further remoteness suffix whose original form must have been ' and which is preserved in different varieties as ', ', ' or ". With non-perfective verbs this marks the imperfect, habitual, or conditional. With the perfective, this marks the pluperfect or counterfactual.


title: Romani language

text: All the persons and numbers of present tense of the word ' in East Slovak Romani. Note the added ', which is typical for this group.


title: Romani language

text: Valency markers are affixed to the verb root either to increase or decrease valency. There is dialectal variation as to which markers are most used; common valency-increasing markers are ', ', and ', and common valency-decreasing markers are ' and ". These may also be used to derive verbs from nouns and adjectives.


title: Romani language

text: Romani syntax is quite different from most Indo-Aryan languages, and shows more similarity to the Balkan languages.


title: Romani language

text: Šebková and Žlnayová, while describing Slovak Romani, argues that Romani is a free word order language and that it allows for theme-rheme structure, similarly to Czech, and that in some Romani dialects in East Slovakia, there is a tendency to put a verb at the end of a sentence.


title: Romani language

text: However, Matras describes it further. According to Matras, in most dialects of Romani, Romani is a VO language, with SVO order in contrastive sentences and VSO order in thetic sentences. The tendency of some dialects to put the verb in final position may be due to Slavic influence.


title: Romani language

text: Clauses are usually finite. Relative clauses, introduced by the relativizer "kaj", are postponed. Factual and non-factual complex clauses are distinguished.


title: Romani language

text: Romani has lent several words to English such as "pal" (ultimately from Sanskrit ' "brother") and "nark" "informant" (from Romani ' "nose"). Other Romani words in general British slang are "gadgie" (man), "shiv" or "chiv" (knife). Urban British slang shows an increasing level of Romani influence, with some words becoming accepted into the lexicon of standard English (for example, "chav" from an assumed Anglo-Romani word, meaning "small boy", in the majority of dialects). There are efforts to teach and familiarise Vlax-Romani to a new generation of Romani so that Romani spoken in different parts of the world are connected through a single dialect of Romani. The Indian Institute of Romani Studies, Chandigarh published several Romani language lessons through its journal "Roma" during the 1970s.


title: Romani language

text: Occasionally loanwords from other Indo-Iranian languages, such as Hindi, are mistakenly labelled as Romani due to surface similarities (due to a shared root), such as "cushy", which is from Urdu (itself a loan from Persian "") meaning "excellent, healthy, happy".


title: Diljit Dosanjh

text: Daljit Singh Dosanjh known professionally as Diljit Dosanjh (born 6 January 1984) is an Indian singer, actor, film producer and television personality. He works in Punjabi Music and subsequently in Punjabi and Hindi cinema. Dosanjh entered Social 50 chart by "Billboard" in 2020. He is featured in various music charts including Canadian Albums Chart, UK Asian chart by "Official Charts Company and New Zealand Hot Singles." His movies, including "Jatt & Juliet 2", "Punjab 1984", "Sajjan Singh Rangroot" and "Honsla Rakh" are among the highest grossing Punjabi films in history.


title: Diljit Dosanjh

text: Hailing from Dosanjh Kalan, Jalandhar, Dosanjh started in 2002 and gained recognition in punjabi music with his album ‘Smile’(2005) and ‘Chocolate’(2008) followed by ‘The Next Level’(2009) with Yo Yo Honey Singh. Subsequently he pursued his acting, starring in debut punjabi movie The Lion of Punjab in 2011.


title: Diljit Dosanjh

text: He made his Bollywood debut in 2016 with the crime thriller "Udta Punjab" for which he earned the Filmfare Award for Best Male Debut, in addition for a nomination for the Filmfare Award for Best Supporting Actor. This was followed by "Good Newwz" (2019), for which he received his second nomination for the Filmfare Award for Best Supporting Actor. As of 2020, he has won the most five PTC Award for Best Actor. He has also appeared as a judge in three seasons of the reality show "Rising Star". In 2020, Dosanjh entered Social 50 chart by "Billboard", following the release of his 11th album "G.O.A.T.". The album, along with his next one "MoonChild Era" were listed in the Billboard Canadian Albums Chart.


title: Diljit Dosanjh

text: Diljit Dosanjh was born on 6 January 1984 to a Sikh family in the village of Dosanjh Kalan in Phillaur tehsil, Jalandhar district, Punjab, India. His father, Balbir Singh, is a former employee of Punjab Roadways and his mother, Sukhwinder Kaur, is a homemaker. He has two siblings, one elder sister and one younger brother. He spent his early childhood in Dosanjh Kalan and then moved to Ludhiana, Punjab from where he completed his formal education, including graduating high school from Shri Guru Harkrishan Public School. While still in school, he began his singing career by performing Kirtan (Sikh religious music) at local gurdwaras. Diljit Singh and his family then moved to Ludhiana and currently living there.


title: Diljit Dosanjh

text: Diljit released his first album "Ishq Da Uda Ada" in 2004 with Finetone Cassettes, a division of T-Series. Rajinder Singh of Finetone, who helped Dosanjh make a debut in the Punjabi music industry, suggested to him to spell his first name as Diljit instead of Daljit. The music was composed by Bablu Mahindra and the lyrics were written by Balvir Boparai. Dosanjh gave vocals to all the eight tracks and the producers made a music video for the title track of the album. In 2004, his second album "Dil" was released, which was again with Finetone Cassettes.


title: Diljit Dosanjh

text: Dosanjh's popularity soared with the release of his third album, "Smile", produced by Sukhpal Sukh, which included the tracks "Nachh Diyan Alran Kuwariyan" and "Paggan Pochviyan Wale." The album was released by Finetone Cassettes in 2005. His next album "Ishq Ho Gaya" was released in 2006 by Finetone Cassettes. His fifth album, titled "Chocolate", came out in 2008. In 2009, Dosanjh released four different singles – "Bhagat Singh," "No Tension," "Power of Duets" and "Dance with Me." Next year, Dosanjh released his sixth album called "The Next Level" with nine tracks. Dosanjh gave his next song in 2010 for "Mel Karade Rabba": Original Soundtrack. The track was lip-synced by the actor Jimmy Shergill and was included in the feature film of the same name during opening credits.


title: Diljit Dosanjh

text: 2011 saw Dosanjh's entry into mainstream Punjabi films. His debut film in the lead role "The Lion of Punjab", was released in February 2011. Though the film flopped at the box office, his track "Lak 28 Kudi Da," from the films's soundtrack, was a major success. The track, featuring Yo Yo Honey Singh, reached number 1 on The Official Asian Download Chart in USA published by the BBC. In July 2011, his second Punjabi film "Jihne Mera Dil Luteya" was released. The film, also featuring Gippy Grewal and Neeru Bajwa, did good business. Dosanjh gave vocals to six of the twelve tracks in the film's soundtrack. In November the same year, Diljit announced that he won't release his controversial album "Urban Pendu", that included the single "15 Saal." That single, featuring Yo Yo Honey Singh, talked about the promiscuous behaviour of underage girls and their indulgence in alcohol, drugs and tattoos. He wrote on his Facebook page: "It was not my intention to hurt anyone's sentiments. I apologize to my fans who were waiting for this song." Dosanjh wore a T-shirt with the words ""Urban Pendu"" printed on it in the music video of his 2013 hit single Proper Patola as a remembrance of that track and album. Dosanjh also released three different singles in 2011 – "Catty Eyes," "Dharti" and "Chustiyan."


title: Diljit Dosanjh

text: Dosanjh continued his collaboration with Honey Singh in 2012 and released a single titled "Goliyan" that formed a part of the album "International Villager". He next sang for the soundtrack of the Bollywood film "Tere Naal Love Ho Gaya", released in January 2012, in a single called "Pee Pa Pee Pa" that also featured Priya Panchal. He also acted in that music video in the film. His subsequent single "Bodyguard", glorified the fall of Libyan revolutionary and politician, Muammar Gaddafi, where Dosanjh sang about his lifestyle, capture and death. His subsequent single "Miss Lonely", was composed by JSL Singh. In March 2012, he released his first religious album titled "Sikh". The album featured eight singles and talked about the principles and philosophy of Sikh religion. Dosanjh played a lead role in June 2012 film "Jatt & Juliet", which became one of the biggest hits in the Punjabi film industry. The award-winning film, directed by Anurag Singh, also featured actress Neeru Bajwa and was shot in Punjab and Mumbai in India and Vancouver, British Columbia, Canada. Dosanjh Diljit won the PTC Punjabi Film Award for Best Actor for the film. He gave vocals to five of the seven songs in the soundtrack of the film. The same year in November, he released his eighth album, called "Back 2 Basics", with nine tracks and the music composed by Tru Skool. The duo worked together to produce the incredibly popular "Kharku" which won the "Best Bhangra Song of the Year" award at both the Brit Asia TV Music Awards, and the PTC Punjabi Music Awards. In January 2013, Dosanjh's third Punjabi film "Saadi Love Story" hit the big screens. The film, that also starred Amrinder Gill and Surveen Chawla, flopped at the box office. Dosanjh sang for two songs in the film's soundtrack, which was composed by Jaidev Kumar. Dosanjh made a guest appearance in the April 2013 Bollywood film "Bikkar Bai Sentimental" with his track "Main Fan Bhagat Singh Da". Inspired by the success of "Jatt & Juliet", the producers of the film released a sequel to the film, titled "Jatt & Juliet 2", in June 2013. Dosanjh played the role of a cop in the film. The film had nine songs in the soundtrack, of which four were sung by Dosanjh. He gave vocals for the track "Main Taan Aidaan Hi Nachna" from the soundtrack of the Bollywood film "Yamla Pagla Deewana 2", which was released in June 2013. In August 2013, Dosanjh's music video "Proper Patola" was released on Vevo, making it the first Punjabi song to be featured on Vevo. The single, composed by Badshah, received over one million hits on YouTube just within a fortnight of its release. Dosanjh said: "I extend my thanks to all who have liked watching the song. I'm glad to live up to the expectations of all, and with their faith in me." Diljit shot for his next Punjabi film "Disco Singh", which was released on 11 April 2014. The film, directed and written by Anurag Singh, also features Surveen Chawla and is shot in Delhi NCR. In 2014, he worked for the film "Punjab 1984", which is set in the backdrop of 1984–86 Punjab insurgency. The film was released on 27 June 2014 and is directed by Anurag Singh. The film won National Film Award for Best Feature Film in Punjabi. Diljit is only the first south Asian artist who visited the US headquarters of Google, Facebook, Twitter, YouTube and Instagram on the same day. In 2015, he sang in a duet song in Coke Studio @ MTV Season 4, "Ki Banu Duniya Da", with the singer Gurdas Maan which was released on 15 August 2015 and was broadcast on 16 August 2015 on MTV India. Diljit's second film from 2015 "Mukhtiar Chadha" was appreciated for his unique role in it. In 2015, the "Most Sensational Celebrities" (MSC) study among most famous people in Pollywood, the riskiest personalities on the web, Diljit Dosanjh was found number one from number five in 2014 thus leaving behind Mika Singh, Gippy Grewal and Harbhajan Mann.


title: Diljit Dosanjh

text: Dosanjh next starred in the social drama "Udta Punjab" (2016), his first Hindi film. With a worldwide collection of 996.7 million, the film proved to be a commercial success. Directed by Abhishek Chaubey, the film deals with the subject of substance abuse in the Indian province of Punjab. Co-starring alongside Kareena Kapoor, Shahid Kapoor and Alia Bhatt, "Udta Punjab" generated controversy when the Central Board of Film Certification deemed that the film represented Punjab in a negative light and demanded extensive censorship before its theatrical release. The Bombay High Court later cleared the film for exhibition with one scene cut. Dosanjh also sang the song "Ik Kudi" for the film. In a highly positive review, "The Hindu" said that Dosanjh was "successful" in delivering a "highly hitting performance".


title: Diljit Dosanjh

text: As of September 2016, Dosanjh has completed work on his second Bollywood production "Phillauri", alongside Anushka Sharma and Suraj Sharma. The film was released on 23 March 2017. It grossed over ₹5 million in its box-office. In 2018, a film based on World War I, titled "Sajjan Singh Rangroot" was released in which Dosanjh played the titular character. He is the first turbaned Sikh to be honoured with a wax statue at Madame Tussauds. In 2019, he acted in "Good Newwz", alongside Akshay Kumar, Kareena Kapoor and Kiara Advani.


title: Diljit Dosanjh

text: In 2020, he appeared in social satire "Suraj Pe Mangal Bhari" alongside Manoj Bajpayee and Fatima Sana Shaikh. The film was released theatrically on 13 November 2020. In the same year, Dosanjh sang a spiritual song - "Paigambar".


title: Diljit Dosanjh

text: In 2020, Dosanjh entered Social 50 chart by Billboard, following the release of his 11th album G.O.A.T. The album later rose to the top of "Billboard"'s Top Triller Global chart. Also, the album entered top 20 in Canadian Albums Chart.


title: Diljit Dosanjh

text: In 2021, Dosanjh released his twelfth album "Moonchild Era", it was penned by Raj Ranjodh and Arjan Dhillon. Album charted at #32 on Billboard Canadian Albums Chart making him the first Indian Artist to have his three albums on Billboard Charts. In 2021, he made it to the Sikh 100 list.


title: Diljit Dosanjh

text: In 2021, he released his debut film as producer "Honsla Rakh" starring Sonam Bajwa, Shehnaaz Gill, Shinda Grewal alongside him. The film made 5.05 crore on its opening day making it the highest grossing punjabi film on openings day. He signed with Warner Music in March 2022.


title: Diljit Dosanjh

text: Continually experimenting with new musical ideas and images, Dosanjh's musical and performance style is the subject of analysis and scrutiny from critics. Dosanjh grew up learning music from Gobinder Singh Alampuri and Kartar Singh, and his initial work reflected their style. His later collaboration with Honey Singh lent a different dimension to his music. The composers Jaidev Kumar, Sukhpal Sukh, Sachin Ahuja, Pavneet Birgi, Jassi Bros Bhinda Aujla, and Tru Skool have all influenced him. His goal is to make a Punjabi song that becomes worldwide hit like Korean single "Gangnam Style".


title: Diljit Dosanjh

text: His live performances are described as "highly entertaining and innovative". For his music videos, he has worked with a wide range of directors such as Rimpy Prince, Sukh Sanghera, Amarjit Satwant, Parmod Sharma Rana and Azeem I Parkar. He has been best appreciated for comic roles in films. In March 2016, Diljit stated that his dream role is a pirate similar to Captain Jack Sparrow as played by Johnny Depp in "Pirates of the Caribbean series".<ref name="hindustantimes.com/ 2016"></ref> He regularly tours in Canada/USA and, since 2014, in the United Kingdom. His 2016 "The Dosanjh Tour" led to sold-out concerts throughout the UK. As a result, he became the second Punjabi artist after Gurdas Mann who sold out Wembley Arena.


title: Diljit Dosanjh

text: Dosanjh was ranked in The Times Most Desriable Men at No. 9 in 2016, at No. 13 in 2017, at No. 20 in 2018, at No. 16 in 2019, at No. 14 in 2020.


title: Diljit Dosanjh

text: He was ranked in the Chandigarh Times Most Desirable Men at No. 2 in 2018, at No. 1 in 2019, at No. 2 in 2020.


title: Diljit Dosanjh

text: In August 2020, he became the first Punjabi artist to get featured at the Times Square in New York City.


title: Diljit Dosanjh

text: Diljit Dosanjh is associated with Coca-Cola. In August 2015, Coca-Cola Signed Diljit Dosanjh as Brand Endorser for Punjab, India. Flipkart, India's leading e-commerce company roped Diljit Dosanjh for its "Flipkart Connect" campaign for Punjab. Diljit was appointed the brand ambassador of Season 4 of the Star Sports Pro Kabbadi along with Rana Daggubati and Puneeth Rajkumar. He sang and performed the Pro Kabbadi League theme song "Asli Panga", produced by Yo Yo Honey.


title: Diljit Dosanjh

text: Dosanjh started an NGO called "Saanjh Foundation" focusing on underprivileged children and seniors, contributing to orphanages and old age homes. It also endeavours youth empowerment with issues like self-confidence, well-being, anti-bullying, mentoring, and career development. It takes its name from the second part of Dosanjh's last name, which loosely translated means "amity". He launched this organisation on his birthday in 2013.


title: Jennifer Pan

text: Jennifer Pan (born June 17, 1986) is a Vietnamese Canadian woman who was convicted of a 2010 kill-for-hire attack targeting both of her parents, murdering her mother and injuring her father. The crime took place at the Pan residence in Unionville, Markham, Ontario, in the Greater Toronto Area. Pan was found guilty on multiple charges and sentenced to life imprisonment with the possibility of parole after 25 years, the same penalty as her co-conspirators.


title: Jennifer Pan

text: Jennifer Pan's mother, Bich Ha Pan (pronounced "Bick"), and father, Huei Hann Pan, were immigrants from the Chinese diaspora in Vietnam (Viet Hoa) to Canada. Hann was born and educated in Vietnam, moving to Canada in 1979 as a political refugee. Bich also immigrated as a refugee. The couple were married in Toronto and lived in Scarborough. Their two children are Jennifer, born 1986, and Felix, born 1989. The Pans found work at Magna International, an auto parts manufacturer in Aurora, Ontario. Hann worked as a tool and die maker, while Bich made car parts. Hann and Bich were thrifty and by 2004 were financially stable enough to purchase a "large" house with a two-car garage on a residential street in Markham, a city in the Greater Toronto Area with a large Asian population. Bich drove a Lexus ES 300 and Hann drove a Mercedes-Benz C-Class (W203). They had accumulated $200,000 in savings.


title: Jennifer Pan

text: Jennifer's parents set many goals for their children and had extremely high expectations of them. Jennifer was made to take piano lessons at the age of four, as well as figure skating classes where she trained most days during the week. She had hopes of becoming an Olympic figure skating champion until she tore a ligament in her knee. Jennifer attended Mary Ward Catholic Secondary School where she played the flute in the school band. According to her high school friend Karen K. Ho, Hann was seen as "the classic tiger dad," and Bich was "his reluctant accomplice." The Pans picked Jennifer up when classes ended each day and monitored her extracurricular activities very closely. They never permitted her to date boys while attending high school, or to attend high school dances out of fear that these activities would distract her from her academic commitments. Jennifer was not permitted to attend any parties during the time her parents believed she was attending university. At the age of 22, "she had never gone to a club, been drunk, visited a friend's cottage or gone on vacation without her family." Jennifer and her friends reportedly regarded this upbringing as restrictive and greatly oppressive.


title: Jennifer Pan

text: Despite her parents' high expectations that Jennifer receive good grades in lower school, her grades throughout high school were somewhat average (in the 70% range) except for music. She forged report cards multiple times using false templates, deceiving her parents into thinking she earned straight As. When Jennifer failed calculus class in grade 12, Ryerson University rescinded her early admission. As she could not bear to be perceived as a failure, she began to lie to those she knew, including her parents, and pretended she was attending university. Instead, she sat in cafés, taught as a piano instructor and worked in a restaurant to earn money. In order to maintain the charade, Jennifer told her parents she had won scholarships, later falsely claiming that she had accepted an offer into the pharmacology program at the University of Toronto. She went to the extent of purchasing second-hand textbooks and watching videos related to pharmacology in order to create notebooks full of purported class notes that she could show her parents.


title: Jennifer Pan

text: Jennifer also requested permission from her parents to stay near the campus with a friend throughout the week. She was actually staying with her boyfriend, Daniel Chi-Kwong Wong, whom she had met in high school. He was of mixed Chinese and Filipino ancestry, resided in Ajax, and worked at a Boston Pizza restaurant. Wong, once a student at Mary Ward, transferred to Cardinal Carter Academy in North York, Toronto, due to low grades, and later studied at York University. He was an active marijuana dealer.


title: Jennifer Pan

text: While pretending to complete her degree at the University of Toronto, Pan told her parents that she had started working as a volunteer at The Hospital for Sick Children. Hann and Bich soon became suspicious when they realized she did not have a hospital ID badge or uniform. On one occasion, Bich followed her daughter to "work" and quickly discovered her deception. Livid, Hann wanted to throw Jennifer out of the house, but her mother persuaded him to allow her to stay. As she had not completed high school due to failing calculus, she eventually began working to finish high school completely and was later encouraged by her parents to apply to university. She was, however, forbidden to contact Wong or to go anywhere except for her piano-teaching job. Nevertheless, she and Wong spoke secretly during this period.


title: Jennifer Pan

text: By the time Jennifer was 24, Wong had grown weary of trying to pursue a relationship with her, as Jennifer was so daunted and restricted by her parents that she lived at home and only met him in secret. Wong broke off his relationship with Jennifer and began to date another young woman. After learning of the new relationships, Pan claimed to Wong that a man had entered her house, showing what appeared to be a police badge, after which several men had rushed in and gang-raped her. She claimed that after this, a bullet was mailed to her, and that both of these events were orchestrated by Wong's new girlfriend.


title: Jennifer Pan

text: In spring 2010, Pan was in contact with Andrew Montemayor, a high school friend who, she claims, had boasted in their high school years about robbing people at knife point, an assertion denied by Montemayor. Montemayor introduced her to Ricardo Duncan, a "goth kid" whom Pan claims she gave $1,500 to kill her father in the parking lot at his workplace. Duncan alleged that she once gave him $200 for a night out, but that he returned it, and that he rebuffed her when she asked him to kill her parents.


title: Jennifer Pan

text: Pan and Wong were back in contact at this time and, according to the police, came up with a plan to hire a professional hitman for $10,000 to kill her parents, calculating that she would then inherit $500,000. They planned to move in together. Wong connected Pan with a man, Lenford Roy Crawford, Jamaican-born, whom he called Homeboy, and gave her a SIM card and an iPhone so that she could contact Crawford without using her usual cell phone. Crawford contacted another man, named Eric Shawn "Sniper" Carty, who in turn contacted Montreal-born David Mylvaganam. Crawford lived in Brampton and Mylvaganam lived in Toronto, while Carty, who previously lived in Rexdale, Toronto, at the time did not have a fixed residence. The Crown (prosecution) stated that Mylvaganam was one of the hitmen. Carty was later convicted for an unrelated 2009 murder.


title: Jennifer Pan

text: The murder took place at the Pan house in Unionville neighbourhood in Markham, Ontario. On November 8, 2010, Pan unlocked the front door of the family home when she went to bed, then spoke by phone to Mylvaganam. Shortly afterwards, Mylvaganam and two other people entered the home through the unlocked front door, all carrying guns. In the court testimony, the Crown did not establish the identity of the other two hitmen; Wong and Crawford were at work. Carty stated that he was the driver for those who broke into the house, and that he selected them and was involved in plotting the attack. He did not state that he was one of the three or that he directly attacked others. The identity of the triggerperson remains unknown.


title: Jennifer Pan

text: After demanding all the money in the house and ransacking the main bedroom, the three men took Bich and Hann to the basement where they shot them multiple times. Bich was killed but Hann survived his wounds. The three men then took all the cash that was in the house including $2,000 from Pan and left. Pan claimed that they tied her up, but that she managed to free her hands and dial 9-1-1. Hann Pan was treated at Markham Stouffville Hospital, before being moved to a trauma unit at Sunnybrook Hospital in Toronto, by aircraft.


title: Jennifer Pan

text: The evening after the murder, Pan underwent her first interview with the police. Pan was arrested on November 22, 2010, during her third interview at the Markham police station (5 District) of York Regional Police. During that interview Pan admitted that she had hired the killers, but claimed that she hired them to kill her and not her parents. The interrogating police officer, William "Bill" Goetz, falsely told Pan that he had computer software that could analyze untruths in statements and that there were satellites that used infrared technology to analyze movements in buildings; in Canada, police are legally allowed to lie to those they are interrogating in regard to the evidence in the trial, as well as in regard to the strategies they are using. Goetz had used the Reid technique to obtain Pan's confession.


title: Jennifer Pan

text: Mylvaganam was arrested at the Jane Finch Mall in North York, Toronto, on April 14, 2011. Carty was arrested at the prison he was held in, Maplehurst Correctional Complex in Milton, Ontario, on April 15, 2011. Wong was arrested on April 26, 2011, at his place of employment. Crawford was the final suspect arrested, entering custody on May 4, 2011, in Brampton. Pan was held at Central East Correctional Centre in Lindsay, Ontario as a pre-trial inmate.


title: Jennifer Pan

text: The trial of Pan and her accomplices began on March 19, 2014, in Newmarket and continued for ten months. All pleaded not guilty to the charges of first degree murder, attempted murder, and conspiracy to commit murder. At the trial, York Regional Police evidence included exhaustive tracking of the mobile device movements and text message traffic, including over 100 messages sent between Pan and Wong in the six hours prior to the killing. Further evidence centered around the atypical nature of the "break-in", "robbery", shootings, and irregularities in Pan's testimony. Pan's obsession with Wong, her lack of true emotion and a confession regarding the attack, and recognition of the trauma she underwent were also detailed. A major irregularity was that Pan was not assaulted, blindfolded, taken to the basement, nor shot, leaving behind an eyewitness to the attack. Evidence from Hann, which differed greatly from Pan's version, also undermined her credibility. The trial included over 200 exhibits; over 50 witnesses testified at the trial.


title: Jennifer Pan

text: Pan, Wong, Mylvaganam, and Crawford were all convicted on December 13, 2014, and each received a life sentence with no chance of parole for 25 years.


title: Jennifer Pan

text: Originally, Carty was tried with the other perpetrators. Edward Sapiano, Carty's lawyer, fell ill, so around the summer of 2014, his case was declared a mistrial. In December 2015, Carty received an 18-year sentence after pleading guilty to conspiring to commit murder, with eligibility for parole after nine years. According to Carty, he did not wish to subject Hann Pan to another criminal trial.


title: Jennifer Pan

text: Jennifer Pan was sentenced to life with no chance of parole for 25 years for the murder of her mother, and attempted murder of her father. Pan's father and brother requested a court order that banned her from ever contacting members of her surviving family again. Despite the objections of the defence lawyers, the judge filed the order. Pan is also banned from ever contacting Wong again.


title: Jennifer Pan

text: , Pan is currently incarcerated at the Grand Valley Institution for Women in Kitchener, Ontario. Wong, previously held in Lindsay, Ontario, was at Collins Bay Institution in Kingston, Ontario. Mylvaganam was at Atlantic Institution in Renous, New Brunswick. Crawford was at Kent Institution in Agassiz, British Columbia. Carty, who requested to go to a federal prison in Western Canada or Atlantic Canada, was still at the provincial Millhaven Assessment Unit, awaiting his transfer to a federal prison. He later moved to Kent, where he died in his cell on April 26, 2018.


title: Jennifer Pan

text: According to the "South China Morning Post", the case "sent shockwaves across Canada and the Asian diaspora." An editorial in the "Northwest Asian Weekly" suggested consideration of the "idea of recognizing the mental and psychological symptoms that parenting may have gone too far" in the Pan household. A story by Karen K. Ho in "Toronto Life" magazine brought the story to widespread attention by framing it an instance of tiger parenting gone tragically wrong. In 2016, journalist Jeremy Grimaldi published a true crime book about Pan called "A Daughter's Deadly Deception: The Jennifer Pan Story". The "Casefile," "My Favorite Murder and Crimes of Passion" podcasts and the "Deadly Women" series also covered the case.


title: Jennifer Pan

text: Bich-Ha Pan's funeral was held on November 15, 2010, and took place at the Ogden Chapel in Scarborough. A funeral for Bich Ha's father was held, according to Pan, prior to Bich Ha's to satisfy a Vietnamese custom that asks for older members of the family to have their funerals first. Jennifer Pan had organized both funerals and had been asked to do so. Bich-Ha was buried on November 19. Hann Pan could not attend due to his injuries.


title: Blood Sugar Sex Magik

text: Blood Sugar Sex Magik is the fifth studio album by American rock band Red Hot Chili Peppers, released September 24, 1991, by Warner Bros. Records. Produced by Rick Rubin, its musical style differed notably from the band's previous album "Mother's Milk" (1989), reducing the use of heavy metal guitar riffs and accentuating the melodic songwriting contributions of guitarist John Frusciante. The album's subject matter incorporates sexual innuendos and references to drugs and death, as well as themes of lust and exuberance.


title: Blood Sugar Sex Magik

text: "Blood Sugar Sex Magik" peaked at number three on the US "Billboard" 200, and produced hit singles "Under the Bridge," "Give It Away," "Suck My Kiss," "Breaking the Girl" and "If You Have to Ask." The album propelled the band into worldwide popularity and critical acclaim. Frusciante quit the band during its 1992 tour, uncomfortable with fame; he rejoined in 1998.


title: Blood Sugar Sex Magik

text: "Blood Sugar Sex Magik" is widely recognized as an influential and seminal release of the alternative rock explosion of the 1990s, with Steve Huey of AllMusic calling it "probably the best album the Chili Peppers will ever make."


title: Blood Sugar Sex Magik

text: The band's previous album, 1989's "Mother's Milk", was the band's second album to enter the "Billboard" 200, peaking at number 52, at the time the biggest of their career. Although the album was somewhat successful, production was dragged down by producer Michael Beinhorn. He convinced Frusciante to play with a heavier guitar tone, and instructed Anthony Kiedis to write lyrics that would be more radio-friendly, causing the band to feel restricted creatively.


title: Blood Sugar Sex Magik

text: As the band's contract with EMI came to an end, they began looking for a new record label. The group reached a consensus to go with Epic, with the proviso that they buy out their last album from EMI. Though the label promised it would take only a few days, the process stretched out into several months. Although a deal had been made with Epic, Mo Ostin of Warner Bros. Records called Kiedis to congratulate him on the successful deal, and complimented the rival record label. Kiedis recalled of the situation: "The coolest, most real person we had met during all these negotiations had just personally called to encourage me to make a great record for a rival company. That was the kind of guy I'd want to be working for." The group pursued the idea, and eventually dropped the contract with Epic in favor of a deal with Warner Bros. Ostin called an old friend at EMI, who immediately allowed for the label transfer.


title: Blood Sugar Sex Magik

text: Now settled into Warner Bros. Records, the Chili Peppers began looking for a suitable producer. One in particular, Rick Rubin, stood out, as he was more broadminded than people the band had worked with in the past, even though Rubin had turned down the chance to produce their 1987 album "The Uplift Mofo Party Plan" due to the drug problems of Kiedis and guitarist Hillel Slovak (who died of a heroin overdose a year later). Unlike the Peppers' previous producers, Rubin was someone the band felt confident in to ask for guidance and input during times of difficulty. He would often help arrange drum beats, guitar melodies and lyrics.


title: Blood Sugar Sex Magik

text: The band sought to record the album in an unconventional setting, believing it would enhance their creative output. Rubin suggested the mansion magician Harry Houdini allegedly once lived in, to which they agreed. A crew was hired to set up a recording studio and other equipment required for production in the house in Los Angeles. The Peppers decided they would remain inside the mansion for the duration of recording, though according to Kiedis, Smith was convinced the location was haunted, and refused to stay. He would, instead, come each day by motorcycle. Smith himself disputes this account, and instead claims the real reason he did not stay at The Mansion was because he wanted to be with his wife. Frusciante, however, disagreed with Smith, and said "There are definitely ghosts in the house," but he felt they were "very friendly. We [the band] have nothing but warm vibes and happiness everywhere we go in this house."


title: Blood Sugar Sex Magik

text: Frusciante, Kiedis and Flea each had their own rooms in the house. When not recording with the band, Frusciante would spend his time painting, listening to music, reading and recording songs he'd written. Due to the seclusion, Kiedis ended up recording all his vocals in his room, as it was large enough to accommodate the recording equipment. For more than 30 days, the Chili Peppers worked inside the house; Kiedis felt it was an accommodating and resourceful environment which allowed him to complete the rest of the lyrics. During production, the band agreed to let Flea's brother-in-law document the creative process on film. When the album's recording was complete, the Chili Peppers released the film, titled "Funky Monks".


title: Blood Sugar Sex Magik

text: "Blood Sugar Sex Magik" was written at a more rapid pace than the band's previous album. Before the Chili Peppers relocated into the mansion, Frusciante and Kiedis collaborated at each other's homes, in order to arrange song structures and guitar riffs. Then they presented ideas to Flea and Smith, and as a whole, they decided on what they would use for the bass, guitar, vocal and percussion ensembles.


title: Blood Sugar Sex Magik

text: Kiedis focused lyrically on sexual references and innuendos, as they were frequently on his mind. Songs such as "Suck My Kiss," "If You Have to Ask," "Sir Psycho Sexy," "Give It Away" and "Blood Sugar Sex Magik" all contained sexual links, with lyrics like "A state of sexual light / Kissing her virginity / My affinity" and "Glorious euphoria / Is my must / Erotic shock / Is a function of lust." The concept behind "The Greeting Song" was a request Rubin had made. Rubin asked Kiedis to write a song solely about girls and cars. Although Kiedis disliked the concept, he wrote the song as Rubin requested and ended up disliking almost every one of the lyrics' aspects. Kiedis also began writing songs about anguish, and the self-mutilating thoughts he experienced thanks to his addiction to both heroin and cocaine; he believed his life had come to its lowest point under a bridge in downtown Los Angeles. Over a month later, Rubin stumbled upon a poem that eventually became the lyrics to "Under the Bridge." Also, he suggested Kiedis show it to the other band members. However, Kiedis was apprehensive because he thought the lyrics were "too soft" and different from the band's style. After singing the verse to Frusciante and Smith, the band started working on the song's structure the next day. Both Rubin and Kiedis worked several hours on arranging the song's chords and melodies until they both accepted it as complete. Frusciante ultimately chose the chords he played in the intro so it could balance out the song's depressing atmosphere: "my brain interpreted it as being a really sad song so I thought if the lyrics are really sad like that I should write some chords that are happier." "Naked in the Rain" was among the first songs that the band wrote for the album. The Red Hot Chili Peppers even played once at the end of the "Mother's Milk Tour" in 1990, while the intros for "The Greeting Song" and "Sir Psycho Sexy" were also teased during the end of that tour; however, neither song was completed or had lyrics.


title: Blood Sugar Sex Magik

text: "Blood Sugar Sex Magik" integrated the band's typical punk and funk style, but moved away from that with more melodically driven songs. Tracks like "The Righteous and the Wicked," "Suck My Kiss," "Blood Sugar Sex Magik," "Give it Away" and "Funky Monks" still incorporated the use of heavy metal guitar riffs, but they differed from "Mother's Milk" since they contained less distortion. Flea, who'd centered his bass playing around the slapping technique, downplayed this, favoring more traditional and melodic bass lines. He even adopted a minimalist, "less is more" philosophy, saying, "I was trying to play simply on "Blood Sugar Sex Magik" because I'd been playing too much prior to that, so I thought, 'I've really got to chill out and play half as many notes'. When you play less, it's more exciting—there's more room for everything. If I do play something busy, it stands out, instead of the bass being a constant onslaught of notes. Space is good." Kiedis thought that the album had expanded the Red Hot Chili Peppers' musical horizons and served as a departure from their previous material. One of "Blood Sugar Sex Magik"<nowiki>'</nowiki>s more melodic tracks, "Breaking the Girl," was written about Kiedis' constantly shifting relationships. He feared that he was following in his father's footsteps and simply becoming a womanizer, rather than establishing stable and long-term relationships: "As exciting and temporarily fulfilling as this constant influx of interesting and beautiful girls can be, at the end of the day, that shit is lonely and you're left with nothing." The track also featured a bridge in the middle, consisting of percussion instruments salvaged from a garbage dump.


title: Blood Sugar Sex Magik

text: Although jams had always served as an integral aspect of song creation for the Chili Peppers, "Blood Sugar Sex Magik" saw songs containing more structure. One specific jam caused the breakout song on the album: Frusciante, Flea, and Smith were all playing together—with Kiedis at another part of the room watching—when "Flea started playing this insane bass line, and Chad cracked up and played along ... I always had fragments of song ideas or even specific isolated phrases in my mind. I (Kiedis) took the mic and belted out 'Give it away, give it away, give it away, give it away now." The philosophy behind the lyrics came from a conversation that Kiedis had with Nina Hagen, regarding selflessness and how insignificant material possessions were in his life. It, thus, gave developed the song "Give It Away". He also reminisced about late Chili Peppers guitarist Hillel Slovak, composing "My Lovely Man" in his memory. Kiedis wrote "Sir Psycho Sexy" as an over-zealous and exaggerated version of himself; a figure that could get any woman, and do anything he pleased to them. "The Power of Equality" confronted topics concerning racial equality, prejudice, and sexism. Kiedis wrote "I Could Have Lied" to document the brief relationship he had with Irish singer Sinéad O'Connor.


title: Blood Sugar Sex Magik

text: Around 25 songs were written and recorded during the "Blood Sugar Sex Magik" sessions, with 17 of those making the album's final cut. The album's singles contained four outtakes from the album sessions as B-sides. Among those were the instrumental "Fela's Cock," a cover of the Stooges' "Search and Destroy" and "Sikamikanico" (which would also appear on the "Wayne's World" soundtrack in 1992). On Oct. 3, 2019, the song was performed for the first time ever at the request of guitarist Josh Klinghoffer for his 40th birthday. The most notable outtake was "Soul to Squeeze," a song that would eventually become a hit single in 1993 when it was released on the "Coneheads" soundtrack and was also included on the band's 2003 "Greatest Hits" album.


title: Blood Sugar Sex Magik

text: "Little Miss Lover" and "Castles Made of Sand" (a song the band had been performing live for a few years), two Jimi Hendrix cover songs, would eventually be released in 2006 as iTunes bonus tracks. An unknown song appeared in the VH-1 "Blood Sugar Sex Magik" documentary, "Ultimate Albums". A rough mix of the album surfaced on the Internet and contains some alternate versions of the songs recorded during the album's sessions.


title: Blood Sugar Sex Magik

text: All photography, paintings and art direction for "Blood Sugar Sex Magik" were credited to filmmaker Gus Van Sant, with the exception of the "tongue illustration", which, according to the album booklet, is credited to Henky Penky (Henk Schiffmacher). The cover of the album features the four band members' faces positioned around a rose, with thorny vines in black and white coming out of their open mouths and converging on the rose. The lyrics are printed in white lettering across a black background, hand written by Kiedis. The booklet also contains a collage of photos assembled to showcase the band members' various tattoos, which feature faces of Native American tribal leaders, animals and sea creatures, as well as various symbols and phrases. Photographs of each band member alone, and two photographs of the band as a whole are also included.


title: Blood Sugar Sex Magik

text: Singles released to coincide with the album share little with "Blood Sugar Sex Magik"<nowiki>'</nowiki>s artwork. The cover of "Give It Away" was a painting of a Chinese infant, surrounded by fish, vegetables, fruits and sushi; "Under the Bridge" is a photograph of a bridge in the city of Los Angeles; "Suck My Kiss" had a black and white photograph of the band, with Kiedis and Flea holding a large fish; "If You Have to Ask" is an illustration of an avocado next to a girl's large buttocks in a yellow bikini; and "Breaking the Girl" featured a painting of a human being covered in magma.


title: Blood Sugar Sex Magik

text: "Blood Sugar Sex Magik" was released on September 24, 1991, the same day as Nirvana's breakthrough album "Nevermind". It was certified gold on November 26, 1991, and certified platinum on April 1, 1992; since then it has gone seven times platinum in the United States. The album peaked at number 3 on the "Billboard" 200. Originally, "Give it Away" did not fare well in the mainstream; one of Warner Bros.' target radio stations refused to air it, telling the band to "come back to us when you have a melody in your song". KROQ (of Los Angeles), however, began to play the single several times daily, and that, according to Kiedis, "was the beginning of the infusion of 'Give It Away' into mass consciousness." The single ultimately peaked at number 9 on the UK Top 40 and number 73 on the "Billboard" Hot 100. "Blood Sugar Sex Magik" has sold over 13 million copies worldwide.


title: Blood Sugar Sex Magik

text: Due to the success of "Give it Away," the band did not foresee "Under the Bridge" as being equally viable. Warner Bros. sent representatives to a Chili Peppers' concert in order to figure out what would ultimately be the next single. When Frusciante began playing "Under the Bridge," Kiedis missed his cue; the entire audience began singing the song, instead. Kiedis was initially "mortified that I'd fucked up in front of Warner's people ... I apologized for fucking up but they said 'Fucking up? Are you kidding me? When every single kid at the show sings a song, that's our next single. "Under the Bridge" was, therefore, selected as "Blood Sugar Sex Magik"<nowiki>'</nowiki>s second single. By January 1992, "Under the Bridge" had exploded, peaking at number 2 on the "Billboard" Hot 100.


title: Blood Sugar Sex Magik

text: To promote the album in Europe, Kiedis and Frusciante both agreed they would make the trip. However, it proved difficult for Frusciante to adapt to life outside of the mansion, after being in near-seclusion for almost 30 days. Kiedis recalled of the situation: "He had such an outpouring of creativity while we were making that album that I think he really didn't know how to live life in tandem with that creativity." It was also during this period when Frusciante began to experiment with heroin, which further compromised his mental stability. The European promotional trek took its toll on Frusciante, and he decided to return home when he and Kiedis reached London.


title: Blood Sugar Sex Magik

text: "Blood Sugar Sex Magik" was well received by critics, who praised the Chili Peppers for not overpowering the listener with heavy metal guitar riffs as their previous album had. "Rolling Stone"'s Tom Moon credited Rick Rubin for the change in style; Rubin "[gave] the Chilis' dynamic". He went on to praise the overall sound, which "displayed a growing curiosity about studio texture and nuance".


title: Blood Sugar Sex Magik

text: Steve Huey of AllMusic said the album was "The Red Hot Chili Peppers' best album ... John Frusciante's guitar is less overpoweringly noisy, leaving room for differing textures and clearer lines, while the band overall is more focused and less indulgent." He considered "Blood Sugar" to be "varying ... it expands the group's musical and emotional range." "Guitar Player" magazine credited Frusciante with the Chili Peppers' drastic change in style: "by blending acid-rock, soul-funk, early art-rock, and blues style with a raw, unprocessed Strat-and-Marshall tone, [Frusciante] hit on an explosive formula that has yet to be duplicated".


title: Blood Sugar Sex Magik

text: Devon Powters of "PopMatters" said that "in one funked-out, fucked up, diabolical swoop, "Blood Sugar Sex Magik" reconfigured my relationship to music, to myself, to my culture and identity, to my race and class". In an article published in "The Tampa Tribune", editor Philip Booth praised the record as "an ambitious effort that amounts to a culmination and blossoming of the musical forces that have been brewing in the band's sound since Kiedis and Flea birthed the band in 1983". Robert Christgau gave it an honorable mention in his "Village Voice" consumer guide, naming "Give It Away" and "Breaking the Girl" as highlights while writing "they've grown up, they've learned to write, they've got a right to be sex mystiks."


title: Blood Sugar Sex Magik

text: "Chicago Sun-Times" critic Michael Corcoran was more reserved in his praise, deeming the record "great" only on occasion while finding the length of the album excessive. "Blood Sugar Sex Magik" is considered to be an influential album, throughout the nineties, by establishing itself as a fundamental foundation for alternative rock. It has also been referred to as "the cornerstone album of funk rock" by FasterLouder.


title: Blood Sugar Sex Magik

text: "Under the Bridge", which became a breakout song for the band, was considered to be a highlight of the album by several critics. AllMusic reviewed the song individually and called it a "poignant sentiment ... it is self evident among the simple guitar which cradles the introductory verse, and the sense of fragility that is only doubled by the still down-tempo choral crescendo", and ultimately "has become an integral part of the 1990s alterna-landscape, and remains one of the purest diamonds that sparkle amongst the rough-hewn and rich funk chasms that dominate the Peppers' own oeuvre." However, "Entertainment Weekly" criticized the seriousness that the Red Hot Chili Peppers explored as being "disapproving of the band's usual Red Hot antics", and "Under the Bridge" had "fancy-shmancy touches". The song ended up peaking at number 2 on the "Billboard" Hot 100 in April 1992.


title: Blood Sugar Sex Magik

text: "Give It Away" was also praised, though as "... a free-associative mixture of positive vibes, tributes to musical heroes, and free love", with Frusciante "adding the song's two most unpredictable change-ups: a sudden contrast to Kiedis' hyperactivity in the form of a languid solo pre-recorded and dubbed backwards over the rhythm track, and a hard-rocking riff which is not introduced until the song's outro".


title: Blood Sugar Sex Magik

text: Tracks such as "Sir Psycho Sexy", however, were criticized for being overly explicit. Devon Powters of "PopMatters" said that "Eight minutes of 'Sir Psycho Sexy' will turn RHCP's young listeners into quivering masses of hormonal jello. Oversexed lines sneak their way into 'Apache Rose Peacock'; 'Blood Sugar Sex Magik', simply, sounds like fucking. Even the purest virgin comes away from "Blood Sugar Sex Magik" with a degree of sexual maturity; even the slickest playa can learn a couple of new moves."


title: Blood Sugar Sex Magik

text: In contrast, "Suck My Kiss", according to Amy Hanson of AllMusic, "completely flew in the face of the established pecking order of alternative rock." With the song, the Chili Peppers "fully allied themselves with the very few genre-bending bands that were able to make a radical impact on the sonic landscape that was dominated, it seemed, from every minute angle by grunge."


title: Blood Sugar Sex Magik

text: Before the "Blood Sugar Sex Magik" tour began, Kiedis saw the music video for the Smashing Pumpkins' "Rhinoceros" on MTV. He called the band's manager and asked him to accommodate the Smashing Pumpkins for the tour. Several days after the Pumpkins confirmed they would accompany the Chili Peppers, former Chili Peppers drummer Jack Irons called and asked the band to allow his friend's new group, Pearl Jam, to open for them on the forthcoming tour.


title: Blood Sugar Sex Magik

text: The first show following the release of "Blood Sugar Sex Magik" was at the Oscar Mayer Theater in Madison, Wisconsin, which was met with positive reactions from the "Milwaukee Journal": "the audience was a swirling mass of airborne cups, ice cubes, shoes, shirts, pogo dancers, body-passers and stage divers. And it wasn't purely a boy's club in the moshpit—many females bought into the mayhem, stripping down to their bras and flinging themselves about madly as the band tore through 'Higher Ground', 'Suck My Kiss', and 'Give it Away', which was Goth-ed up by Frusciante when he added a riff from Black Sabbath's 'Sweet Leaf'."


title: Blood Sugar Sex Magik

text: "Blood Sugar Sex Magik" began receiving heavy radio play and massive sales in the middle of their U.S. tour. Frusciante, who wanted the Chili Peppers to remain in the underground music scene, entered a state of denial and depression. According to Kiedis, "He began to lose all of the manic, happy-go-lucky, fun aspects of his personality. Even onstage, there was a much more serious energy around him." Frusciante began to form grudges against his bandmates. He saw the band's newfound popularity as shameful.


title: Blood Sugar Sex Magik

text: Onstage tension began to grow between Kiedis and Frusciante. Kiedis recalled an argument after a show in New Orleans: "We had a sold-out house and John just stood in the corner, barely playing his guitar. We came offstage and John and I got into it." With the Peppers now playing shows at arenas rather than theaters, the promoters decided that Pearl Jam should be replaced with a more successful act. Kiedis contacted Nirvana drummer Dave Grohl, who accepted an offer for Nirvana to replace Pearl Jam. The Smashing Pumpkins' Billy Corgan, however, refused to play with Nirvana as he had once dated frontman Kurt Cobain's wife Courtney Love. The Pumpkins were, therefore, replaced with Pearl Jam.


title: Blood Sugar Sex Magik

text: Their first show with Nirvana was at the L.A Sports Arena. Kiedis described their act as "raw energy; their musicality, their song selection, they were like a chain saw cutting through the night". When the Red Hot Chili Peppers finished touring with Nirvana, they traveled to Europe, where Frusciante, in need of someone to connect to, brought along his girlfriend Toni Oswald. Kiedis said that "John had broken our unwritten rule of no spouses or girlfriends on the road". Briefly interrupting the European tour, the Chili Peppers flew to New York City and performed on an episode of "Saturday Night Live". They played "Under the Bridge" as the second song; a performance that Kiedis felt was sabotaged by Frusciante:


title: Blood Sugar Sex Magik

text: The band took a two-week hiatus between the European and Japanese legs of the tour, which began in May 1992. Minutes before the Chili Peppers were scheduled to perform in Tokyo, Frusciante refused to go on stage, saying he had quit. After half an hour of coaxing, Frusciante agreed to play the show, though he said it would be his last. Kiedis recalled of the situation: "It was the most horrible show ever. Every single note, every single word, hurt, knowing that we were no longer a band. I kept looking over at John and seeing this dead statue of disdain ... And that night, John disappeared from the topsy-turvy world of the Red Hot Chili Peppers." The band hired guitarist Arik Marshall to complete the tour, which included Lollapolooza and several European and South American festivals. He was fired at the end of the tour.


title: Blood Sugar Sex Magik

text: "Blood Sugar Sex Magik" was placed atop many "Best Of" lists, especially those pertaining to the '90s. "Spin" magazine charted the album at number 58 on their "Top 90 Albums of the 90s", and "Pause and Play" ranked it number 11 on a similar list. In a 2021 article listing "The Best Albums of 1991" from the staff of "Paste" magazine, "Blood Sugar Sex Magik" ranked number 15 on the list. The record was also placed in "Guitarist Magazine's" "101 Essential Guitar Albums"; and included in the book "1001 Albums You Must Hear Before You Die".


title: Blood Sugar Sex Magik

text: In 2003, "Rolling Stone" released their list of the 500 Greatest Albums of All Time with "Blood Sugar Sex Magik" ranked at 310. In 2012, a revised list was released with "Blood Sugar Sex Magik" again ranked at 310. In 2020, "Rolling Stone" again released a revised version of their list with "Blood Sugar Sex Magik" now ranking much higher at 186.


title: Claudia Winkleman

text: Claudia Anne Irena Winkleman (born 15 January 1972) is an English television presenter, radio personality, film critic and journalist. Between 2004 and 2010, she presented "" on weeknights on BBC Two. Since 2010, she has co-presented "Strictly Come Dancing"s main results show on Sunday nights with Tess Daly on BBC One and since 2014 has been a main co-host alongside Daly on the Saturday night live shows, following the departure of Sir Bruce Forsyth. She has twice been nominated for the British Academy Television Award for Best Entertainment Performance for her work on "Strictly Come Dancing".


title: Claudia Winkleman

text: Winkleman was also the presenter of the BBC's "Film...", replacing Jonathan Ross after his move to ITV in 2010. She was the co-presenter of "Let's Sing and Dance" for its first two series with Steve Jones. From 2013 and 2016 she presented the BBC Two series "The Great British Sewing Bee". In 2022, Winkleman fronted the BBC reality show "The Traitors".


title: Claudia Winkleman

text: Her trademark appearance includes heavy eyeliner and black hair with a characteristic fringe; she has said "I don't think I'd have a career if I didn't have a fringe".


title: Claudia Winkleman

text: Winkleman was born in London to a Jewish family and she has no full siblings. Her parents divorced when she was three, both remarrying four years later. Her mother, Eve Pollard, married Nicholas Lloyd, becoming Lady Lloyd in 1990. Winkleman's father later married children's author Cindy Black.


title: Claudia Winkleman

text: Winkleman's half-sister from her father's second marriage is actress Sophie Winkleman, who is married to Lord Frederick Windsor. She also has a half-brother, Oliver Lloyd, from her mother's second marriage. Raised in Hampstead, London, Winkleman was educated at the City of London School for Girls and New Hall, Cambridge, obtaining a Master of Arts in Art History.


title: Claudia Winkleman

text: In 1992, she began appearing frequently in the long-running BBC series "Holiday", and this continued throughout the mid-1990s. This culminated in a special documentary in which she travelled around the world for 34 days reporting from Japan, India, Costa Rica and Dubai. Throughout this period, she appeared as a reporter on other shows, particularly "This Morning" interviewing various celebrities. During the late 1990s, Winkleman presented a number of programmes on smaller digital channels. She had a stint on the cable channel L!VE TV, but soon left to pursue other projects. In 1996, Winkleman hosted Granada programmes "God's Gift" (taking over from Davina McCall) and "Pyjama Party" (co-hosted with Katie Puckrik and Michelle Kelly).


title: Claudia Winkleman

text: Winkleman also presented a number of gameshows including the dating show "Three's a Crowd", LWT show "Talking Telephone Numbers", the second series of Granada TV show "God's Gift" and "Fanorama". In 1997 she was the co-host of children's Saturday morning TV show "Tricky". She was also an occasional team captain on a gameshow called "HeadJam", hosted by Vernon Kay.


title: Claudia Winkleman

text: Winkleman's first major television job was in 2001, on the regional discussion programme "Central Weekend". Between 2002 and 2004, Winkleman began her first daily TV role when she hosted the BBC Three Entertainment update show "Liquid News", taking over from Christopher Price on the now defunct BBC Choice. She shared the presenting duties with Colin Paterson, and later Paddy O'Connell. The show featured celebrity interviews.


title: Claudia Winkleman

text: In 2003, "Fame Academy" appointed Winkleman to present a daily update show on BBC Three, in conjunction with its second series. She repeated the show in 2005 for the much shorter celebrity version "Comic Relief Does Fame Academy". Also in 2005, Winkleman co-hosted "The House of Tiny Tearaways", a BBC Three reality TV show. She also began hosting "", a supplementary programme to "Strictly Come Dancing", taking over from Justin Lee-Collins.


title: Claudia Winkleman

text: Winkleman presented many prime time programmes. In 2007, she took over from Cat Deeley as the main host for the third series of "Comic Relief Does Fame Academy", co-hosting with Patrick Kielty. She co-hosted the inaugural Eurovision Dance Contest 2007 alongside Graham Norton for BBC One in September of that year and again in 2008. She co-presented the UK selection process for the Eurovision Song Contest 2008 called "", this time accompanied by Eurovision stalwart Terry Wogan. In March 2008, Winkleman rekindled her partnership with Kielty when the pair hosted the final leg of "Sport Relief 2008".


title: Claudia Winkleman

text: In 2007, Winkleman was the face of Sky Movie Premiere's coverage of the 79th Academy Awards, repeating it for the 80th Academy Awards in 2008. The show was broadcast live in conjunction with the ceremony itself, running right through the night into the early hours of the morning. Winkleman has made many guest appearances on panel and talk shows, including: "Never Mind the Buzzcocks", "Would I Lie to You?", "Have I Got News for You", "Friday Night with Jonathan Ross" and "Lily Allen and Friends". In February 2008, she appeared on the British version of the comedy improvisational show "Thank God You're Here", hosted by Paul Merton.


title: Claudia Winkleman

text: Winkleman narrated the 2008 BBC Three show "Glamour Girls", a documentary series about glamour modelling in Britain.


title: Claudia Winkleman

text: In March 2009, Winkleman was announced as the host of the new series of "Hell's Kitchen" on ITV1. She fronted the nightly show live from the restaurant in East London in its fourth series in the spring. On 14 November 2009, she appeared on the main show of "Strictly Come Dancing" to present backstage, due to main presenter Bruce Forsyth being on sick leave. She co-hosted the show with Tess Daly and guest presenter Ronnie Corbett.


title: Claudia Winkleman

text: On 29 March 2010, she was named as one of the new co-presenters of "the Film programme", replacing Jonathan Ross. "The Guardian" stated, through her recent hosting of Sky Television's coverage of The Oscars, Winkleman had "proved both a passionate and engaging advocate of cinema", while her husband Kris Thykier is a film producer with credits on several mainstream releases.


title: Claudia Winkleman

text: On 2 April 2013, Winkleman began presenting the BBC Two sewing competition "The Great British Sewing Bee", until 2016. The show went off air for 2017, but was brought back in 2018, with Joe Lycett replacing Winkleman as presenter.


title: Claudia Winkleman

text: In 2015, she appeared on "The Big Fat Anniversary Quiz". In May 2015, she appeared on an episode of "Watchdog" on BBC One in which she discussed, during a segment on dangerous Halloween costumes, that the previous year her daughter had been badly burned when the costume she was wearing caught fire. In November 2016, Winkleman presented the one-off BBC special "Bublé at the BBC" with Michael Bublé.


title: Claudia Winkleman

text: From 2018, she presented "Britain's Best Home Cook" and "The Makeover Show" for BBC One. In May 2018, Winkleman co-presented "The Biggest Weekend" on BBC Two and BBC Radio 2.


title: Claudia Winkleman

text: "" was devised as a companion show to run conjoined with the second series of "Strictly Come Dancing", and continues to run to date. It follows a similar format to the one Winkleman made popular on "Fame Academy", and sees the presenter deliberating and dissecting the ins and outs of the main competition, accompanied by an array of dance experts, assorted guests and the competitors themselves. The show is aired every weekday at 6:30 pm on BBC Two throughout the course of the series.


title: Claudia Winkleman

text: "Strictly Come Dancing: It Takes Two" was originally hosted by Winkleman since its inception. In 2011, former contestant Zoe Ball took over as host from Winkleman.


title: Claudia Winkleman

text: In 2010, Winkleman became co-host of the Sunday night results show of "Strictly Come Dancing", presenting alongside Tess Daly. In 2014, Winkleman's role on "Strictly Come Dancing" expanded to presenting the main show, following the departure of Bruce Forsyth.


title: Claudia Winkleman

text: Winkleman started her journalism career as a travel writer, writing columns about her various worldwide excursions. She did so in "The Sunday Times" and "The Independent", but also contributed to the free daily London paper "Metro" in a similar capacity. As her television career and family evolved, she travelled less, and began to write more general work, opinion-led lifestyle journalism about womanhood, sex and relationships. She wrote for "Cosmopolitan" and "Tatler" amongst others. Between 2005 and 2008, she wrote a regular weekly column for "The Independent" called "Take It From Me".


title: Claudia Winkleman

text: In April and May 2008, Winkleman hosted a six-part comedy quiz series taking a humorous look into the week's celebrity gossip, called "Hot Gossip". The show was broadcast on a Saturday afternoon on BBC Radio 2; points were awarded to those who dished out dirt. The show featured many famous pundits, including Will Smith, Phil Nichol, Jo Caulfield, Rufus Hound and Jonathan Ross' brother, Paul.


title: Claudia Winkleman

text: She hosted a weekly show on BBC Radio 2 every Friday night between 10pm and midnight called "Claudia Winkleman's Arts Show" consisting of interviews with people from the arts world, as well as reviews and debate. In July 2010, Winkleman sat in for Dermot O'Leary. She covered for Ken Bruce on several occasions from 2012 until 2014.


title: Claudia Winkleman

text: In April 2016, she began presenting her own Sunday night show on BBC Radio 2 called "Claudia on Sunday" from 7 to 9pm. In June 2017, Winkleman covered for "Steve Wright in the Afternoon" from 2 to 5pm.


title: Claudia Winkleman

text: In 2020, "Claudia on Sunday" was displaced from the schedules and subsequently ended due to the Coronavirus pandemic. It was announced on 23 November 2020 that Winkleman had taken over the Saturday mid-morning slot on BBC Radio 2 from Graham Norton.


title: Claudia Winkleman

text: In 2007, she answered telephones at the BT Tower for the Disasters Emergency Committee in response to problems in Darfur. In May 2007, she helped relaunch The National Missing Persons Campaign, and also supported a Christmas campaign by the charity Refuge, which aimed to stop domestic violence.


title: Claudia Winkleman

text: In June 2008, Winkleman was featured in "Heat" magazine with no make-up on, as part of a stand against the excessive airbrushing of prominent women, which she described as "pretty terrifying".


title: Claudia Winkleman

text: On 18 March 2011, Winkleman was one of the presenters of BBC's Comic Relief. In 2012, she was one of the judges and the host of the FilmNation shorts at the British Film Institute, which as part of the Cultural Olympiad for London 2012, encouraged young people aged 14–25 to get involved in film making.


title: Claudia Winkleman

text: In June 2000, Winkleman married film producer Kris Thykier at Marylebone Town Hall. The couple have three children.


title: Claudia Winkleman

text: On 31 October 2014, Winkleman's then eight-year-old daughter was taken to hospital after being seriously injured when her Halloween costume caught fire. Winkleman stated that the costume brushed against a candle in a pumpkin. This incident prompted the government to tighten the flame retardant standards of Halloween costumes.


title: Wall Street

text: Wall Street is an eight-block-long street in the Financial District of Lower Manhattan in New York City. It runs between Broadway in the west to South Street and the East River in the east. The term "Wall Street" has become a metonym for the financial markets of the United States as a whole, the American financial services industry, New York–based financial interests, or the Financial District itself. Anchored by Wall Street, New York has been described as the world's principal financial center.