title: Eni

text: In 2018 Eni became the first shareholder of the American company Commonwealth Fusion Systems (CFS), a spin-out of the Massachusetts Institute of Technology (MIT) in Boston. CFS aims to build a fusion reactor based on tokamak technology, much more compact and cheaper compared to other existing projects such as the international ITER. On September 5, 2021, CFS successfully built and tested a 1: 1 scale prototype of a magnet based on HTS (High Temperature Superconductors) superconductors. The experiment demonstrated for the first time that it is possible to create a fusion chamber where the confinement of the plasma is ensured by this type of super magnets. This kind of fusion chamber will allow the reactor to reach very high temperatures, above 100 million degrees, necessary to make the controlled fusion of deuterium and tritium possible and thus to produce sustainable energy.


title: Eni

text: On 17 May 2022 Eni announced the procedures for the creation of an account with Gazprombank in dual currency (euro and rubles), in order to be able to proceed with the payment of Russian gas supplies, following the unilateral amendment of the contracts ordered by the Russian Federation. The decision was taken in agreement with the Italian government and does not violate the existing sanctions. The European Commissioner for Economy Paolo Gentiloni and the competent Russian federal authorities have confirmed that payments will continue to be made in euros and that the conversion operations will be carried out by Russian clearing agents without the involvement of the Russian Central Bank.


title: Eni

text: As exploration and reserve replacement being major drivers for the company, Eni boosts for production additions in its core oil field areas (North and Sub-Saharan Africa, Venezuela, Barents Sea, Yamal Peninsula, Kazakhstan, Iraq and the Far East). Eni has about 130 exploration and production subsidiaries, such as Eni Norge. In March 2022 Eni stopped buying Russian oil because of International sanctions during the Russo-Ukrainian War.


title: Eni

text: In 2012, Eni reported liquids and gas production for the full year of 1,701 thousand barrel of oil equivalent per day (kboe/d), this being calculated assuming a natural gas conversion factor to barrel equivalent, updated to 5,492 cubic feet of gas equal 1 barrel of oil from 1 July 2012.


title: Eni

text: During 2012, 60 new exploratory wells were drilled, as 56 were drilled in 2011 and 47 in 2010. The overall commercial success rate was 40% (40.8% net to Eni) as compared to 42% in 2011 (38.6% net to Eni) and 41% in 2010 (39% net to Eni). In 2012, 351 development wells were drilled as well, as 407 in 2011 and 399 in 2010.


title: Eni

text: Eni's power generation sites are located in Ferrera Erbognone, Ravenna, Livorno, Taranto, Mantua, Brindisi, Ferrara and Bolgiano. In 2012, Eni's power generation was 25.67 TWh.


title: Eni

text: Overall Eni supplies 2,600 customers including large companies, power generation companies, wholesalers and distributors of natural gas for automotive use. Residential users are 7.45 million and include households, professionals, small and medium size enterprises, and public bodies located all over Italy and 2.09 million customers in European Countries. International sales include Iberian Peninsula, Germany, Austria, Benelux, Hungary, UK/Northern Europe, Turkey, France markets.


title: Eni

text: Eni is engaged in retail and wholesales activities in Central-Eastern European countries also (Austria, France, Germany, Italy, Czech Republic, Romania, Slovakia, Slovenia, Switzerland, Hungary).


title: Eni

text: Eni's market share in refining and marketing in 2019 was 23.7% in Italy, 12.3% in Austria, 7.7% in Switzerland, 3.2% in Germany and 0.6% in France. Eni also owned a 20% share of Ruwais refinery in Abu Dhabi.


title: Eni

text: Retail sales operations are conducted under the Eni and Agip brands. The re-branding of Eni's service stations in Italy and in the rest of Europe to Eni brand is underway.


title: Eni

text: Eni operates in engineering, construction and drilling both offshore and onshore for the oil&gas industry through the subsidiary Saipem.


title: Eni

text: In April 2012, Eni in collaboration with ZEiTECS announced the world's first offshore rigless/wireline retrievable ESP system for Eni Congo.


title: Eni

text: In 2009, the European Commission filed formal antitrust charges against Eni. The commission believes that Eni has conspired to keep competitors from using its gas pipelines.


title: Eni

text: In 2009 again, according to the WikiLeaks cables, US ambassador Lanier told Washington that bribery allegations were made in Uganda by Eni which at the time was in competition for oil assets in the country against Tullow Oil. The bribes were taken by the newly appointed Ugandan prime minister, Amama Mbabazi.


title: Eni

text: After corruption charges against the subsidiary Saipem, Eni's CFO Alessandro Bernini had to resign and the new CFO Massimo Mondazzi took over in December 2012.


title: Eni

text: Eni and Royal Dutch Shell stood trial in Italy over allegations of corruption in the 2011 purchase of a big offshore oil field in Nigeria known as OPL 245. Eni and Shell reportedly paid $1.3 billion in bribes. On March 17, 2021, the Italian court of Milan fully acquitted Eni, its chief executive officer Claudio Descalzi and Royal Dutch Shell in the corruption trial for the Nigerian oil field OPL245. On July 19, 2022, the Attorney General waived the appeal before the Second Section of the Court of Appeal of Milan, making the acquittal sentences pronounced in March 2021 final.


title: Eni

text: In 2012, Eni was included in the Carbon Performance Leadership Index, which scores companies based on their commitment to transparency and environmental leadership. In the first half of 2014 Eni achieved the start-up of the Porto Torres green chemistry plant and the Venice biorefinery, with the aim to increase its production of bio and green energy. According to the 2017 Carbon Majors Report, which stores GHG emissions data on the largest company-related sources of all time, Eni accounted for 0.59% of global industrial greenhouse gas emissions from 1988 to 2015. In 2019, Eni was among the Top 10 companies by sustainability score in the World Business Council for Sustainable Development (WBCSD) rank. From 2020 to 2022, Eni is the first oil company with the most ambitious absolute emissions reduction target according to the report Absolute Impact 2022 by Carbon Tracker Initiative in accordance with the goals of the Paris agreement to significantly lower GHG emissions and increase the production of renewable energy. In 2021, Eni renewables business reached an installed capacity from renewable sources of 1,188 MW. In the same year, Eni achieved a reduction of its net Carbon Footprint Upstream by 26% compared to 2018.


title: O Yeong-su (actor)

text: O Yeong-su (; born O Se-kang, October 19, 1944) is a South Korean actor. He began acting in theatre in the 1960s, and has, according to himself, appeared in over 200 productions. He later began acting in film and television, often portraying monks due to his experience with Buddhist plays.


title: O Yeong-su (actor)

text: In 2021, he portrayed Oh Il-nam in the Netflix survival drama "Squid Game", which gave rise to his worldwide popularity and won him a Golden Globe Award for Best Supporting Actor in a Series, Miniseries or Television Film, as well as a nomination for the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series.


title: O Yeong-su (actor)

text: With the name O Se-kang, O was born in Kaepung County, Gyeonggi (modern-day Kaesong) in 1944. O's grandfather was a local educator and landlord. After the 38th parallel line was drawn across Korea, he and his family moved to Paju on the southern Korean side controlled by the American army. During the Korean War that followed shortly, his father was killed and his brother was kidnapped by North Korean forces.


title: O Yeong-su (actor)

text: O began acting in 1963 as part of a theatre crew called "The Square". He was a member of the National Theater Company of Korea from 1987 to 2010, where he worked with actors such as , whom he considers his mentor. Throughout his career, he has done productions of "A Confession for a Black Prostitute" (흑인 창녀를 위한 고백, Albert Camus's play adaptation of the novel Requiem for a Nun by William Faulkner), "A Streetcar Named Desire", and "The Merchant of Venice", among many others. According to O, he had appeared in over 200 productions by 2013.


title: O Yeong-su (actor)

text: In his thirties, he played Faust in Goethe's "Faust". In retrospect, he said he was probably too young for the role at the time. In his fifties, he played the titular "Richard III". He said he was never satisfied with his performance because he felt like he was too old for the role. In his sixties, he expressed an interest to play Willy Loman in "Death of a Salesman".


title: O Yeong-su (actor)

text: In 2014, O played Prospero in a National Theater of Korea production of William Shakespeare's "The Tempest" celebrating the 450th anniversary of Shakespeare's birth.


title: O Yeong-su (actor)

text: O played a Yeonguijeong in the play "Prince Yeonsangun", and appeared in "The Problematic Figure" in July 2015 and as Vasíly in the play "Fathers and Sons", based on the novel of the same name in August 2015.


title: O Yeong-su (actor)

text: In 2017, he played the titular "King Lear" in a production with the Daegu Metropolitan Theater Company. He had previously done a production of "King Lear" at the Daejeon Museum of Art in 2010.


title: O Yeong-su (actor)

text: In 2021, it was revealed that he would play the role of Sigmund Freud in the play "Freud's Last Session" by Mark St. Germain which is expected to start its first performance in Daehangno in January 7, 2022.


title: O Yeong-su (actor)

text: O often portrays monks on-screen. He credits his experience with Buddhist plays for getting him similar roles on film and television.


title: O Yeong-su (actor)

text: In 2021, he played Oh Il-nam in the Netflix original series "Squid Game". The series, which became the most-watched show on Netflix worldwide in its first month of airing, drew newfound attention to O. In January 2022, he won the Golden Globe Award for Best Supporting Actor, Television for his role in the series. He became the first Korean actor to win a Golden Globe.


title: O Yeong-su (actor)

text: In 2022, O was appointed ambassador for Korean performance tourism by Park Bo-gyoon, Minister of Culture, Sports and Tourism.


title: O Yeong-su (actor)

text: On November 25, 2022, prosecutors in Suwon announced that O had been indicted on sexual misconduct charges relating to an incident in 2017.


title: Lloyd Avery II

text: Lloyd Fernandez Avery II (June 21, 1969 – September 4, 2005) was an American actor. He appeared in John Singleton's Oscar-nominated film "Boyz n the Hood" (1991) as one of the Bloods who murdered high school football star Ricky Baker (played by Morris Chestnut) and was later killed in retaliation. In 2005, Avery was convicted of double homicide, and later killed in prison by his cellmate.


title: Lloyd Avery II

text: Born in Los Angeles, California, Avery grew up in View Park where he attended Beverly Hills High School. Avery was of African and Mexican descent.


title: Lloyd Avery II

text: Shortly after Avery's film debut in "Boyz n the Hood", Singleton would cast Avery once again in his next film, "Poetic Justice" (1993).


title: Lloyd Avery II

text: Avery re-emerged in 2000 starring as Nate in the film "Lockdown" and as G-Ride in the 2001 independent film "Shot".


title: Lloyd Avery II

text: In 2001, soon after wrapping "Shot", Avery was arrested and charged with a double homicide for shooting two random people, for which he was sentenced to life imprisonment. He was murdered on September 4, 2005 in Crescent City, California at the age of 36, after the brutality and strangulation from his Pelican Bay State Prison cellmate Kevin Roby as part of a Satanic ritual "intended as a warning to God."


title: Declarative programming

text: In computer science, declarative programming is a programming paradigm—a style of building the structure and elements of computer programs—that expresses the logic of a computation without describing its control flow.


title: Declarative programming

text: Many languages that apply this style attempt to minimize or eliminate side effects by describing "what" the program must accomplish in terms of the problem domain, rather than describe "how" to accomplish it as a sequence of the programming language primitives (the "how" being left up to the language's implementation). This is in contrast with imperative programming, which implements algorithms in explicit steps.


title: Declarative programming

text: Declarative programming often considers programs as theories of a formal logic, and computations as deductions in that logic space. Declarative programming may greatly simplify writing parallel programs.


title: Declarative programming

text: Common declarative languages include those of database query languages (e.g., SQL, XQuery), regular expressions, logic programming, functional programming, and configuration management systems.


title: Declarative programming

text: Declarative programming is often defined as any style of programming that is not imperative. A number of other common definitions attempt to define it by simply contrasting it with imperative programming. For example:


title: Declarative programming

text: Declarative programming is a non-imperative style of programming in which programs describe their desired results without explicitly listing commands or steps that must be performed. Functional and logical programming languages are characterized by a declarative programming style. In logical programming languages, programs consist of logical statements, and the program executes by searching for proofs of the statements.


title: Declarative programming

text: In a pure functional language, such as Haskell, all functions are without side effects, and state changes are only represented as functions that transform the state, which is explicitly represented as a first-class object in the program. Although pure functional languages are non-imperative, they often provide a facility for describing the effect of a function as a series of steps. Other functional languages, such as Lisp, OCaml and Erlang, support a mixture of procedural and functional programming.


title: Declarative programming

text: Some logical programming languages, such as Prolog, and database query languages, such as SQL, while declarative in principle, also support a procedural style of programming.


title: Declarative programming

text: Declarative programming is an umbrella term that includes a number of better-known programming paradigms.


title: Declarative programming

text: Constraint programming states relations between variables in the form of constraints that specify the properties of the target solution. The set of constraints is solved by giving a value to each variable so that the solution is consistent with the maximum number of constraints. Constraint programming often complements other paradigms: functional, logical, or even imperative programming.


title: Declarative programming

text: Well-known examples of declarative domain-specific languages (DSLs) include the yacc parser generator input language, QML, the Make build specification language, Puppet's configuration management language, regular expressions, and a subset of SQL (SELECT queries, for example). DSLs have the advantage of being useful while not necessarily needing to be Turing-complete, which makes it easier for a language to be purely declarative.


title: Declarative programming

text: Many markup languages such as HTML, MXML, XAML, XSLT or other user-interface markup languages are often declarative. HTML, for example, only describes what should appear on a webpage - it specifies neither control flow for rendering a page nor the page's possible interactions with a user.


title: Declarative programming

text: , some software systems combine traditional user-interface markup languages (such as HTML) with declarative markup that defines what (but not how) the back-end server systems should do to support the declared interface. Such systems, typically using a domain-specific XML namespace, may include abstractions of SQL database syntax or parameterized calls to web services using representational state transfer (REST) and SOAP.


title: Declarative programming

text: Functional programming languages such as Haskell, Scheme, and ML evaluate expressions via function application. Unlike the related but more imperative paradigm of Procedural programming, functional programming places little emphasis on explicit sequencing. For example, in Scheme, the order of evaluation of many kinds of sub-expressions is undefined or implicit. Instead, computations are characterised by various kinds of recursive higher-order function application and composition, and as such can be regarded simply as a set of mappings between domains and codomains. Many functional languages, including most of those in the ML and Lisp families, are not purely functional, and thus allow the introduction of stateful effects in programs, though this is typically avoided when possible.


title: Declarative programming

text: Makefiles, for example, specify dependencies in a declarative fashion, but include an imperative list of actions to take as well. Similarly, yacc specifies a context free grammar declaratively, but includes code snippets from a host language, which is usually imperative (such as C).


title: Declarative programming

text: Logic programming languages such as Prolog state and query relations. The specifics of "how" these queries are answered is up to the implementation and its theorem prover, but typically take the form of some sort of unification. Like functional programming, many logic programming languages permit side effects, and as a result are not strictly declarative.


title: Declarative programming

text: Models, or mathematical representations, of physical systems may be implemented in computer code that is declarative. The code contains a number of equations, not imperative assignments, that describe ("declare") the behavioral relationships. When a model is expressed in this formalism, a computer is able to perform algebraic manipulations to best formulate the solution algorithm. The mathematical causality is typically imposed at the boundaries of the physical system, while the behavioral description of the system itself is declarative or acausal. Declarative modeling languages and environments include Analytica, Modelica and Simile.


title: Declarative programming

text: Lisp (1958) stands for "LISt Processor." It is tailored to process lists. A full structure of the data is formed by building lists of lists. In memory, a tree data structure is built. Internally, the tree structure lends nicely for recursive functions. The syntax to build a tree is to enclose the whitespace-separated elements within parenthesis. The following is a list of three elements. The first two elements are themselves lists of two elements:


title: Declarative programming

text: Lisp has functions to extract and reconstruct elements. The function codice_2 (sometimes called codice_3) returns the first element in the list. The function codice_4 (sometimes called codice_5) returns a list containing everything but the first element. The function codice_6 returns a list that is the concatenation of two data elements. Therefore, the following expression will return the list codice_7:


title: Declarative programming

text: One drawback of Lisp is when many functions are nested, the parentheses may look confusing. Modern Lisp environments help ensure parenthesis match. As an aside, Lisp does support the "imperative language" operations of the assignment statement and goto loops. Also, "Lisp" is not concerned with the datatype of the elements at compile time. Instead, it assigns the datatypes at runtime. This may lead to programming errors not being detected early in the development process.


title: Declarative programming

text: Writing large, reliable, and readable Lisp programs requires forethought. If properly planned, the program may be much shorter than an equivalent "imperative language" program. "Lisp" is widely used in artificial intelligence. However, its usage has been accepted only because it has "imperative language" operations, making unintended side-effects possible.


title: Declarative programming

text: ML (1973) stands for "Meta Language." ML is statically typed, and function arguments and return types may be annotated.


title: Declarative programming

text: Prolog (1972) stands for "PROgramming in LOGic." It was designed to process natural languages. The building blocks of a Prolog program are "objects" and their "relationships" to other objects. "Objects" are built by stating true "facts" about them.


title: Declarative programming

text: "Relationships" are formed using multiple items inside the parentheses. In our example we have codice_20 and codice_21.


title: Declarative programming

text: Prolog's usage has expanded to become a goal-oriented language. In a goal-oriented application, the goal is defined by providing a list of subgoals. Then each subgoal is defined by further providing a list of its subgoals, etc. If a path of subgoals fails to find a solution, then that subgoal is backtracked and another path is systematically attempted. Practical applications include solving the shortest path problem and producing family trees.


title: Language of flowers

text: Floriography (language of flowers) is a means of cryptological communication through the use or arrangement of flowers. Meaning has been attributed to flowers for thousands of years, and some form of floriography has been practiced in traditional cultures throughout Europe, Asia, and Africa. Plants and flowers are used as symbols in the Hebrew Bible, particularly of love and lovers in the Song of Songs, as an emblem for the Israelite people, and for the coming Messiah. In Western culture, William Shakespeare ascribed emblematic meanings to flowers, especially in "Hamlet".


title: Language of flowers

text: Interest in floriography soared in Victorian England and in the United States during the 19th century. Gifts of blooms, plants, and specific floral arrangements were used to send a coded message to the recipient, allowing the sender to express feelings which could not be spoken aloud in Victorian society. Armed with floral dictionaries, Victorians often exchanged small "talking bouquets", called nosegays or tussie-mussies, which could be worn or carried as a fashion accessory.


title: Language of flowers

text: According to Jayne Alcock, grounds and gardens supervisor at the Walled Gardens of Cannington, the renewed Victorian era interest in the language of flowers finds its roots in Ottoman Turkey, specifically the court in Constantinople and an obsession it held with tulips during the first half of the 18th century. The Victorian use of flowers as a means of covert communication bloomed alongside a growing interest in botany.


title: Language of flowers

text: The floriography craze was introduced to Europe by two people: Englishwoman Mary Wortley Montagu (1689–1762), who brought it to England in 1717, and Aubry de La Mottraye (1674–1743), who introduced it to the Swedish court in 1727. Joseph Hammer-Purgstall's (1809) appears to be the first published list associating flowers with symbolic definitions, while the first dictionary of floriography appears in 1819 when Louise Cortambert, writing under pen name Madame Charlotte de la Tour, wrote .


title: Language of flowers

text: Floriography was popularized in France during 1810–1850, while in Britain it was popular during the Victorian age (roughly 1820–1880), and in the United States during 1830–1850. La Tour's book stimulated the publishing industry especially in France, England, and the United States, but also in Belgium, Germany, and other European countries as well as in South America. Publishers from these countries produced hundreds of editions of floriography books during the 19th century.


title: Language of flowers

text: British floral dictionaries include Henry Phillips' "Floral Emblems" published in 1825 and Frederic Shoberl's "The Language of Flowers; With Illustrative Poetry", in 1834. Shoberl was the editor of the popular annual "Forget Me Not" from 1822 to 1834.


title: Language of flowers

text: Robert Tyas was a popular British flower writer, publisher, and clergyman, who lived from 1811 to 1879; his book, "The Sentiment of Flowers; or, Language of Flora", first published in 1836 and reprinted by various publishing houses at least through 1880, was billed as an English version of Charlotte de la Tour's book.


title: Language of flowers

text: One of the most familiar books about floriography is Routledge's edition illustrated by Kate Greenaway, "The Language of Flowers". First published in 1884, it continues to be reprinted to this day.


title: Language of flowers

text: In the United States the first appearance of the language of flowers in print was in the writings of Constantine Samuel Rafinesque, a French-American naturalist, who wrote on-going features under the title "The School of Flora", from 1827 through 1828, in the weekly Saturday Evening Post and the monthly "Casket; or Flowers of Literature, Wit, and Sentiment". These pieces contained the botanic, English, and French names of the plant, a description of the plant, an explanation of its Latin names, and the flower's emblematic meaning. However, the first books on floriography were Elizabeth Wirt's "Flora's Dictionary" and Dorothea Dix's "The Garland of Flora", both of which were published in 1829, though Wirt's book had been issued in an unauthorized edition in 1828.


title: Language of flowers

text: During its peak in the United States, the language of flowers attracted the attention of popular writers and editors. Sarah Josepha Hale, longtime editor of the "Ladies' Magazine" and co-editor of "Godey's Lady's Book", edited Flora's Interpreter in 1832; it continued in print through the 1860s. Catharine H. Waterman Esling wrote a long poem titled "The Language of Flowers", which first appeared in 1839 in her own language of flowers book, "Flora's Lexicon"; it continued in print through the 1860s. Lucy Hooper, an editor, novelist, poet, and playwright, included several of her flower poems in "The Lady's Book of Flowers and Poetry", first published in 1841. Frances Sargent Osgood, a poet and friend of Edgar Allan Poe, first published "The Poetry of Flowers and Flowers of Poetry" in 1841, and it continued in print through the 1860s. Osgood edited a special gift book, "The Floral Offering", in 1847. Sarah Carter Edgarton Mayo, author of several flower books, was associate editor of the Universalist monthly "The Ladies' Repository" in Boston from 1839 to 1842. Her book, "The Flower Vase", was published in 1844. She edited the books "Fables of Flora" in 1844 and "The Floral Fortune Teller" in 1846. C. M. Kirtland is probably Caroline Matilda Kirkland, editor of the "Union Magazine of Literature and Art" from 1847 to 1851 and the Unitarian weekly "Christian Inquirer" from 1847 to 1852. First published in 1848, Kirkland's "Poetry of Flowers" continued to be in print at least until 1886. One of the more comprehensive books, its 522 pages contain an extensive dictionary and numerous flower poems.


title: Language of flowers

text: The significance assigned to specific flowers in Western culture varied – nearly every flower had multiple associations, listed in the hundreds of floral dictionaries – but a consensus of meaning for common blooms has emerged. Often, definitions derive from the appearance or behavior of the plant itself. For example, the mimosa, or sensitive plant, represents chastity. This is because the leaves of the mimosa close at night, or when touched. Likewise, the deep red rose and its thorns have been used to symbolize both the blood of Christ and the intensity of romantic love, while the rose's five petals are thought to illustrate the five crucifixion wounds of Christ. Pink roses imply a lesser affection, white roses suggest virtue and chastity, and yellow roses stand for friendship or devotion. The black rose (actually a very dark shade of red, purple, or maroon) has a long association with death and dark magic.


title: Language of flowers

text: "A woman also had to be pretty precise about where she wore flowers. Say, for instance, a suitor had sent her a tussie-mussie ( nosegay). If she pinned it to the 'cleavage of bosom', that would be bad news for him, since that signified friendship. Ah, but if she pinned it over her heart, 'That was an unambiguous declaration of love'."


title: Language of flowers

text: Later authors have been inspired by this tradition to create lists that associate a birthday flower with each day of the year.


title: Language of flowers

text: William Shakespeare, Jane Austen, Charlotte and Emily Brontë, and children's novelist Frances Hodgson Burnett, among others, used the language of flowers in their writings.


title: Language of flowers

text: Shakespeare used the word "flower" more than 100 times in his plays and sonnets. In "Hamlet", Ophelia mentions and explains the symbolic meaning of pansies, rosemary, fennel, lilies, columbine, rue, daisy, and violets. In "The Winter's Tale", the princess Perdita wishes that she had violets, daffodils, and primroses to make garlands for her friends. In "A Midsummer Night's Dream", Oberon talks to his messenger Puck amidst a scene of wild flowers.


title: Language of flowers

text: In J. K. Rowling's 1997 novel "Harry Potter and the Philosopher's Stone", Professor Severus Snape uses the language of flowers to express regret and mourning for the death of Lily Potter, his childhood friend and Harry Potter's mother, according to "Pottermore".


title: Language of flowers

text: Flowers are often used as a symbol of femininity. John Steinbeck's short story "The Chrysanthemums" centers around the yellow florets, which are often associated with optimism and lost love. When the protagonist, Elisa, finds her beloved chrysanthemums tossed on the ground, her hobby and womanhood have been ruined; this suffices the themes of lost appreciation and femininity in Steinbeck's work.


title: Language of flowers

text: In 2009, Vanessa Diffenbaugh published a "New York Times"-bestselling novel centered on floriography, "The Language of Flowers", as well as her own flower dictionary.


title: Language of flowers

text: In the poetic anthology (2018) by the Italian writer Sabrina Gatti, Julie, the protagonist, is identified in the Lilium or in the Hydrangea, using the language of flowers, a topic to which the same writer in 2019 dedicates an essay entitled .


title: Language of flowers

text: Hajime Isayama frequently used various types of flowers for symbolism and foreshadowing in his manga series "Attack on Titan", which also includes Hanakotoba (花言葉), the Japanese form of floriography.


title: Language of flowers

text: Several Anglican churches in England have paintings, sculpture, or stained glass windows of the lily crucifix, depicting Christ crucified on or holding a lily. One example is a window at The Clopton Chantry Chapel Church in Long Melford, Suffolk, England, UK.


title: Language of flowers

text: The Victorian Pre-Raphaelites, a group of 19th-century painters and poets who aimed to revive the purer art of the late medieval period, captured classic notions of beauty romantically. These artists are known for their idealistic portrayal of women, emphasis on nature and morality, and use of literature and mythology. Flowers laden with symbolism figure prominently in much of their work. John Everett Millais, a founder of the Pre-Raphaelite brotherhood, used oils to create pieces filled with naturalistic elements and rich in floriography. His painting "Ophelia" (1852) depicts Shakespeare's drowned stargazer floating amid the flowers she describes in Act IV, Scene V of "Hamlet".


title: Language of flowers

text: The Edwardian artist John Singer Sargent spent much time painting outdoors in the English countryside, frequently utilizing floral symbolism. Sargent's first major success came in 1887, with "Carnation, Lily, Lily, Rose", a large piece painted on site in the plein air manner, of two young girls lighting lanterns in an English garden.


title: Language of flowers

text: Contemporary artist Whitney Lynn created a site-specific project for the San Diego International Airport employing floriography, utilizing flowers' ability to communicate messages that otherwise would be restricted or difficult to speak aloud. Lynn previously created a work, "Memorial Bouquet," utilizing floral symbolism for the San Francisco Arts Commission Gallery. Based on Dutch Golden Age still-life painting, the flowers in the arrangement represent countries that have been sites of US military operations and conflicts.


title: Séance

text: A séance or seance (; ) is an attempt to communicate with spirits. The word "séance" comes from the French word for "session", from the Old French "seoir", "to sit". In French, the word's meaning is quite general: one may, for example, speak of ""une séance de cinéma"" ("a movie session"). In English, however, the word came to be used specifically for a meeting of people who are gathered to receive messages from ghosts or to listen to a spirit medium discourse with or relay messages from spirits. In modern English usage, participants need not be seated while engaged in a séance.


title: Séance

text: Fictionalised conversations between the deceased appeared in "Dialogues of the Dead" by George, First Baron Lyttelton, published in England in 1760. Among the notable spirits quoted in this volume are Peter the Great, Pericles, a "North-American Savage", William Penn, and Christina, Queen of Sweden. The popularity of séances grew dramatically with the founding of the religion of Spiritualism in the mid-nineteenth century. Perhaps the best-known series of séances conducted at that time were those of Mary Todd Lincoln who, grieving the loss of her son, organized Spiritualist séances in the White House, which were attended by her husband, President Abraham Lincoln, and other prominent members of society. The 1887 Seybert Commission report marred the credibility of Spiritualism at the height of its popularity by publishing exposures of fraud and showmanship among secular séance leaders. Modern séances continue to be a part of the religious services of Spiritualist, Spiritist, and Espiritismo churches today, where a greater emphasis is placed on spiritual values versus showmanship.


title: Séance

text: The term "séance" is used in a few different ways, and can refer to any of four different activities, each with its own social norms and conventions, its own favoured tools, and its own range of expected outcomes.


title: Séance

text: In the religion of Spiritualism, and the religion of Divine Metaphysics (a federally recognized religious branch out of Spiritualism in the United States), it is generally a part of services to communicate with living personalities in the spirit world. Usually, this is only called "séance" by outsiders; the preferred term for Spiritualists is "receiving messages". In these sessions, which generally take place in well-lit Spiritualist churches or outdoors at Spiritualist camps (such as Lily Dale in upstate New York or Camp Cassadaga in Florida), an ordained minister or gifted contact medium will relate messages from spirit personalities to those here in the physical form. Generally Spiritualist "message services" or "demonstrations of the continuity of life" are open to the public. Sometimes the medium stands to receive messages and only the sitter is seated; in some churches, the message service is preceded by a "healing service" involving some form of faith healing.


title: Séance

text: In addition to communicating with the spirits of people who have a personal relationship to congregants, some Spiritual Churches also deal with spirits who may have a specific relationship to the medium or a historic relationship to the body of the church. An example of the latter is the spirit of Black Hawk, a Native American warrior of the Fox tribe who lived during the 19th century. Black Hawk was a spirit who was often contacted by the Spiritualist medium Leafy Anderson and he remains the central focus of special services in the African American Spiritual Churches that she founded.


title: Séance

text: In the Latin American religion of Espiritismo, which somewhat resembles Spiritualism, séance sessions in which congregants attempt to communicate with spirits are called "misas" (literally "masses"). The spirits addressed in Espiritismo are often those of ancestors or Catholic saints.


title: Séance

text: Mediums who claim to contact spirits of the dead or other spirits while on a stage, with audience members seated before them, are not literally holding a séance, because they themselves are not seated; however, this is still called "séance". One of the foremost early practitioners of this type of contact with the dead was Paschal Beverly Randolph, who worked with the spirits of the relatives of audience members, but was also famed for his ability to contact and deliver messages from ancient seers and philosophers, such as Plato.


title: Séance

text: Leader-assisted séances are generally conducted by small groups of people, with participants seated around a table in a dark or semi-dark room. The leader is typically asserted to be a medium and he or she may go into a trance that theoretically allows the spirits to communicate through his or her body, conveying messages to the other participants. Other modes of communication may also be attempted, including psychography or automatic writing, numbered raps, levitation of the table or of spirit trumpets, apports, or even smell. It was thought spirits of the dead resided within the realm of dark and shadow, making the absence of light a necessity to invoke them. Skeptics were unwilling to accept this required condition. Saying,"You would not buy an automobile if it was only presented in the dark."


title: Séance

text: This is the type of séance that is most often the subject of shock and scandal when it turns out that the leader is practicing some form of stage magic illusion or using mentalism tricks to defraud clients.


title: Séance

text: Among those with an interest in the occult, a tradition has grown up of conducting séances outside of any religious context and without a leader. Sometimes only two or three people are involved, and, if they are young, they may be using the séance as a way to test their understanding of the boundaries between reality and the paranormal. It is in such small séances that the planchette and ouija board are most often utilized.


title: Séance

text: Here spiritualists and practitioners (psychic and mediums) hold a seance so that all participants speak with various personalities in the spirit world. This held in a seating manner in a circle.


title: Séance

text: Mediumship involves an act where the practitioner attempts to receive messages from spirits of the dead and from other spirits that the practitioner believes exist. Some self-ordained mediums are fully conscious and awake while functioning as contacts; others may slip into a partial or full trance or into an altered state of consciousness. These self-called "trance-mediums" often state that, when they emerge from the trance state, they have no recollection of the messages they conveyed; it is customary for such practitioners to work with an assistant who writes down or otherwise records their words.


title: Séance

text: Spirit boards, also known as talking boards, or ouija boards (after a well-known brand name) are flat tablets, typically made of wood, Masonite, chipboard, or plastic. On the board are a number of symbols, pictures, letters, numbers and/or words. The board is accompanied by a planchette (French for "little board"), which can take the form of a pointer on three legs or magnifying glass on legs; homemade boards may employ a shot glass as a planchette. A most basic Ouija board would contain simply the alphabet of whatever country the board is being used in, although it is not uncommon for whole words to be added.


title: Séance

text: One or more of the participants in the séance place one or two fingers on the planchette which is in the middle of the board. The appointed medium asks questions of the spirit(s) with whom they are attempting to communicate.


title: Séance

text: During the latter half of the 19th century, a number of Spiritualist mediums began to advocate the use of specialized tools for conducting séances, particularly in leader-assisted sessions conducted in darkened rooms. "Spirit trumpets" were horn-shaped speaking tubes that were said to magnify the whispered voices of spirits to audible range. "Spirit slates" consisted of two chalkboards bound together that, when opened, were said to reveal messages written by spirits. "Séance tables" were special light-weight tables which were said to rotate, float, or levitate when spirits were present. "Spirit cabinets" were portable closets into which mediums were placed, often bound with ropes, in order to prevent them from manipulating the various aforementioned tools.


title: Séance

text: Scientific skeptics and atheists generally consider both religious and secular séances to be scams, or at least a form of pious fraud, citing a lack of empirical evidence. The exposure of supposed mediums whose use of séance tools derived from the techniques of stage magic has been disturbing to many believers in spirit communication. In particular, the 1870s exposures of the Davenport Brothers as illusionists and the 1887 report of the Seybert Commission brought an end to the first historic phase of Spiritualism. Stage magicians like John Nevil Maskelyne and Harry Houdini made a side-line of exposing fraudulent mediums during the late 19th and early 20th centuries. In 1976, M. Lamar Keene described deceptive techniques that he himself had used in séances; however, in the same book, Keene also stated that he still had a firm belief in God, life after death, ESP, and other psychic phenomena. In his 2004 television special "Seance", magician Derren Brown held a séance and afterwards described some of the tricks used by him (and 19th-century mediums) to create the illusion of paranormal events.


title: Séance

text: Critics of channeling—including both skeptics and believers—state that since the most commonly reported physical manifestations of channeling are an unusual vocal pattern or abnormal overt behaviors of the medium, it can be quite easily faked by anyone with theatrical talent. Critics of spirit board communication techniques—again including both skeptics and believers—state that the premise that a spirit will move the planchette and spell out messages using the symbols on the board is undermined by the fact that several people have their hands on the planchette, which allows any of them to spell out anything they want without the others knowing. They claim that this is a common trick, used on occasions such as teenage sleepover parties, to scare the people present.


title: Séance

text: Another criticism of spirit board communication involves what is called the ideomotor effect which has been suggested as an automatism, or subconscious mechanism, by which a Ouija-user's mind unknowingly guides his hand upon the planchette, hence he will honestly believe he is not moving it, when, in fact, he is. This theory rests on the embedded premise that human beings actually have a "subconscious mind," a belief not held by all.


title: Séance

text: The exposures of fraud by tool-using mediums have had two divergent results: skeptics have used historic exposures as a frame through which to view all spirit mediumship as inherently fraudulent, while believers have tended to eliminate the use of tools but continued to practice mediumship in full confidence of its spiritual value to them.


title: Séance

text: Jews and Christians are taught that it is sinful to attempt to conjure or control spirits in accordance with Deuteronomy XVIII: 9–12.


title: Séance

text: Research in anomalistic psychology has revealed the role of suggestion in seances. In a series of fake seance experiments (Wiseman "et al.". 2003) paranormal believers and disbelievers were suggested by an actor that a table was levitating when, in fact, it remained stationary. After the seance, approximately one third of the participants incorrectly reported that the table had moved. The results showed a greater percentage of believers reporting that the table had moved. In another experiment the believers had also reported that a handbell had moved when it had remained stationary and expressed their belief that the fake seances contained genuine paranormal phenomena. The experiments strongly supported the notion that in the seance room, believers are more suggestible than disbelievers for suggestions that are consistent with their belief in paranormal phenomena.


title: Séance

text: Popular 19th-century trance medium lecturers include Cora Scott Hatch, Achsa W. Sprague, Emma Hardinge Britten (1823–1899), and Paschal Beverly Randolph (1825–1875).


title: Séance

text: Among the notable people who conducted small leader-assisted séances during the 19th century were the Fox sisters, whose activities included table-rapping, and the Davenport Brothers, who were famous for the spirit cabinet work. Both the Foxes and the Davenports were eventually exposed as frauds.


title: Séance

text: In the 20th century, notable trance mediums also include Edgar Cayce, Arthur Ford and David Marius Guardino.


title: Séance

text: Notable people who have attended séances and professed a belief in Spiritualism include the social reformer Robert Owen; the journalist and pacifist William T. Stead; William Lyon Mackenzie King, the Prime Minister of Canada for 22 years, who sought spiritual contact and political guidance from his deceased mother, his pet dogs, and the late US President Franklin D. Roosevelt; the journalist and author Lloyd Kenyon Jones; and the physician and author Arthur Conan Doyle.


title: Séance

text: A number of artists, including abstractionists Hilma af Klint, the Regina Five, and Paulina Peavy have given partial or complete credit for some of their work to spirits that they contacted during seances. Paulina said that "when she painted, she did not have control over her brush, that it moved on its own, and that it was Lacamo(the spirit) who was directing it."


title: Séance

text: Scientists who have conducted a search for real séances and believed that contact with the dead is a reality include the chemist William Crookes, the evolutionary biologist Alfred Russel Wallace, and "reportedly", the inventor of radio Guglielmo Marconi, the inventor of telephone Alexander Graham Bell, the experimental physicist Oliver Lodge and the inventor of television technology John Logie Baird, who claimed to have contacted the spirit of the inventor Thomas Edison.


title: Séance

text: Among the best-known exposers of fraudulent mediumship acts have been the researchers Frank Podmore of the Society for Psychical Research, Harry Price of the National Laboratory of Psychical Research, the professional stage magicians John Nevil Maskelyne (who exposed the Davenport Brothers) and Harry Houdini, who clearly stated that he did not oppose the religion of Spiritualism itself, but only the trickery by phony mediums that was being practiced in the name of the religion.


title: Séance

text: The psychical researcher Hereward Carrington exposed the tricks of fraudulent mediums such as those used in slate-writing, table-turning, trumpet mediumship, materializations, sealed-letter reading and spirit photography. The skeptic Joseph McCabe documented many mediums who had been caught in fraud and the tricks they used in his book "Is Spiritualism Based on Fraud?" (1920).


title: Séance

text: Magicians have a long history of exposing the fraudulent methods of mediumship. Early debunkers included Chung Ling Soo, Henry Evans and Julien Proskauer. Later magicians to reveal fraud were Fulton Oursler, Joseph Dunninger, Joseph Rinn, and James Randi. The researchers Trevor H. Hall and Gordon Stein have documented the trickery of the medium Daniel Dunglas Home. Tony Cornell exposed a number of fraudulent mediums including Rita Goold and Alec Harris.


title: Thank Me Later

text: Thank Me Later is the debut studio album by Canadian rapper and singer Drake. It was released on June 15, 2010, by Young Money Entertainment, Cash Money Records, and Universal Motown Records. Production for the album took place at various recording studios during 2009 to 2010 and was mostly produced by longtime collaborators 40 and Boi-1da. It features contributions from Alicia Keys, Timbaland, Swizz Beatz, Nicki Minaj, Lil Wayne, The-Dream, and Kanye West, among others.


title: Thank Me Later

text: "Thank Me Later" has a languorous, ambient production that incorporates moody synthesizers, sparse beats, obscured keyboards, minor keys, and subtle arrangements. Thematically, the album focuses on Drake's introduction to fame and his romances over the course of confessional, club-oriented, and sexual songs. Drake's emotionally transparent, self-deprecating lyrics are delivered in both rapped and subtly sung verses, and explore feelings of doubt, insecurity, and heartbreak.


title: Thank Me Later

text: Following an anticipated release, "Thank Me Later" debuted at number one on the "Billboard" 200 with first week sales of 447,000 copies in the US, eventually selling 1.8 million copies there by August 2015. It also topped the Canadian Albums Chart and attained a platinum certification in Canada in its debut week. All four of the album's singles became top 40 hits on the "Billboard" Hot 100, with "Find Your Love" reaching number five. Reviews of "Thank Me Later" were generally positive, with critics applauding Drake's personal themes and drawing musical comparisons to the works of Kid Cudi and West, particularly the latter's 2008 album "808s & Heartbreak". It later ranked as one of 2010's best albums.


title: Thank Me Later

text: Released in February 2009, Drake's mixtape "So Far Gone" proceeded his series of early mixtapes and achieved unexpected critical and commercial success, earning him two Grammy Award-nominations and producing the hit single "Best I Ever Had". The single reappeared on his debut EP, which was released after a bidding competition among labels and his signing with Universal Motown Records amid support from high-profile hip hop artists such as Kanye West, Jay-Z, and Lil Wayne. Drake followed-up on "So Far Gone"s success with several guest appearances on other rappers' works, adding to the hype surrounding him at the time.


title: Thank Me Later

text: In an interview for "Complex", Drake stated that his debut album will be "a solid hip hop album" and musically distinct from his "So Far Gone" mixtape, which received negative comparisons to Kanye West's "808s & Heartbreak" (2008). He expressed a desire to work with André 3000, Kid Cudi, and Sade for the album. In an interview for MTV, Drake cited Nas and André 3000 as influences for parts of "Thank Me Later", stating "Nas was somebody that I used to listen to his raps and never understood how he did it. I always wanted to understand how he painted those pictures and his bar structure. I went back and really studied Nas and André 3000 and then came back with this album". In comparing the album to his previous work, he stated "It's gonna be bigger, it's gonna sound happier. More victorious, 'cause that's where I'm at in my life". He told "Entertainment Weekly" that, "I didn't make this album for commercial purposes. A lot of the verses are extremely long. I just made it to share with people. I hope they can enjoy".


title: Thank Me Later

text: Drake resumed work on the album in October 2009, following an onstage injury from a July 2009 concert. Recording sessions for the album took place at several recording studios, including Metalworks Studios, BLD&DSTRY, and Cherry Beach Studios in Toronto, NightBird Recording Studios in West Hollywood, Gee Jam Studios in Portland, Jamaica, The Setai Hotel Recording Studio and The Hit Factory in Miami, Blast Off Studios and Rock the Mic in New York, Glenwood Studios in Los Angeles, Triangle Sounds Studios in Atlanta, Takeover Studios in Houston, and Avex Recording Studio in Honolulu. The track "Up All Night" was recorded on a bus "somewhere in Lexington", and "Unforgettable" was recorded on a bus "somewhere in New Orleans". The album was mixed at Tree Sound Studios, Blast Off Studios, Gee Jam Studios, Cherry Beach Studios, The Setai Hotel Recording Studio, Metalworks Studios, Stadium Red in New York, and Studio 306 in Toronto. Lil Wayne, Cortez Bryant, Gee Roberson, Ronald "Slim" Williams, Oliver El-Khatib, Noah "40" Shebib, Derrick "E.I." Lawrence, Jas Prince, and Bryan "Birdman" Williams served as executive producers for the album.


title: Thank Me Later

text: Producers 40 and Boi-1da handled most of the tracks' programming and instrumentation. Besides his Toronto-based producer team, Drake also collaborated with European producer Crada, who previously worked on Kid Cudi's 2009 debut album "". Drake told "Entertainment Weekly" that he collaborated with an indie pop band named Francis and the Lights. Kevin Rudolf also participated in the album's recording, contributing with keyboards on "Show Me a Good Time" and "Find Your Love". R&B singer Mary J. Blige contributed additional vocals to the track "Fancy". In March 2010, Drake confirmed that he had recorded a track with Eminem and Dr. Dre. In early November 2009, Lil Wayne released an official statement explaining that "Thank Me Later" had been completed, though Drake later commented that he was still working on the album. On April 26, 2010, Drake announced to a crowd during a show that he had finished recording and had turned in a final copy of the album.


title: Thank Me Later

text: "Thank Me Later" has a languorous, ambient production and is characterized by subtle arrangements, obscured keyboards, skittering snare drums, and reverbed percussion. Lyrically, "Thank Me Later" has moody, introspective subject matter, and mainly centers around Drake's introduction to fame and his romances. The "Toronto Star" describes the content as "about the sorts of doubts, excesses, betrayals and creeping paranoid suspicions that arrive hand-in-hand with celebrity". Music journalist Greg Kot describes the album as "personal and eccentric, the journal of a flawed, self-doubting regular guy rather than a strutting icon-in-waiting".


title: Thank Me Later

text: The album's first-half generally discusses fame directly with confessional songs about unrequited love, money, and women, followed by club-oriented and sexual songs. Drake's lyrics explore feelings of doubt, insecurity, and heartbreak, while exhibiting both emotional and grammatical malapropisms. He raps in a nasal voice and sings subtly, with a flow generally in A-B-AB form. Music journalist Jody Rosen observes "emotionally transparent" rapping that eschews the "thuggy" style previously popular in hip hop, finding Drake's style to be "subtle and rueful rather than loud and lively".


title: Thank Me Later

text: Music writers liken "Thank Me Later" to Kanye West's "808s & Heartbreak". Nathan Rabin writes that, "musically, Drake favors warm washes of synthesizers that create a melancholy, fragile mood redolent of "808s & Heartbreak"." Comparisons are also drawn to "Man on the Moon: The End of Day" by Kid Cudi, a protégé of West. By contrast, Joshua Ostroff of "The Globe and Mail" feels that "Thank Me Later"s "emotional navel-gazing lacks West's often-suffocating self-pity and offers a proper synthesis of rap and R&B." Jeff Weiss of the "Los Angeles Times" views that the album ignores West's celebratory side "in search of anthems for the easily alienated".


title: Thank Me Later

text: "Fireworks" references the divorce of Drake's parents and alludes to his brief fling with Rihanna. "Karaoke" features background keyboards that add to the song's 1980s musical influence, with lyrics about the difficulty of relationships. In "The Resistance", Drake worries about fame changing him, with lyrics veering from his ailing grandmother to a one-night stand that resulted in an abortion. "Over" incorporates an orchestral backdrop, and according to Michael Cragg of "musicOMH", contains three hooks. The artful song is about the elation and confusion that accompanies fame. "Show Me a Good Time" opens and closes with a squeaky yelling sound. On the song, Drake talks addresses hip hop listeners who find him inauthentic. "Up All Night" has menacing strings, and Drake boastfully rapping about his nightlife, while trading lines with Nicki Minaj. The club song "Fancy" has a predominant hook, looped samples, and backwards strings. It is an ode to women who spend hours primping in preparation for the nightlife. The song features vocals by producer Swizz Beatz and T.I., with additional harmonies by Mary J. Blige at the song's conclusion. "Shut It Down" is a progressive soul song, in the manner of a piano ballad and slow jam.


title: Thank Me Later

text: "Light Up" features loud synth drums and plaintive piano strings. The Jay-Z-collaboration is a critique on the hip hop industry, its detrimental effects, and the trappings of being an artist: "While all my closest friends out partyin'/ I'm just here makin' the music that they party to," while Jay-Z gives advice: "Drake, here's how they gonna come at you / with silly rap feuds, trying to distract you." Jay-Z expands on the album's overarching theme of self-doubt: "And since no good deed go unpunished / I'm not as cool with niggaz as I once was / I once was cool as the Fonz was / But these bright lights turned me to a monster." "Miss Me" has Lil Wayne rapping jokes, including a crude punch line about sucking "the brown" off his penis and subsequently groaning, "Ewwww, that's nasty." "Cece's Interlude" has a Prince-like LinnDrum and transparent lyrics addressing a girl: "I wish I / Wasn't famous / I wish I / Was still in school / So that I could have you in my dorm room / I would put it on you crazy." The pop song "Find Your Love" was produced by Kanye West and bears similarity to his 2008 song "Heartless".


title: Thank Me Later

text: "Thank Me Later" was one of the most anticipated hip hop releases of 2010. Universal Motown Records announced its release date as June 15, 2010, before it leaked on June 1 in its entirety. Drake responded on Twitter: "I gave away free music for years so we're good over here... just allow it to be the soundtrack to your summer and Enjoy! June 15th!" The album was released June 15, 2010, by Aspire Music Group, with Young Money Entertainment under a joint venture with Cash Money Records and distribution by Universal Motown. When "Thank Me Later" was released, it debuted at number one on the "Billboard" 200 in the United States and sold 447,000 copies in its first week. It also debuted at number one in Canada with first-week sales of 31,000 copies. By August 2015, the album has sold 1.8 million copies in the United States.


title: Thank Me Later

text: In promotion of "Thank Me Later", Drake performed at the in Washington, D.C. on June 13, 2010. On June 15, Drake made an in-store appearance at a Best Buy-outlet in New York City's Union Square in promotion of the album's release, interacting with fans and signing copies of the album. On the day of its release, Drake also made interviews for several radio stations through the phone. A planned free concert by Drake at South Street Seaport's Pier 17 that day was cancelled by concert organizers and authorities after unruly behavior within crowds and unsafe overcrowding. Following the cancellation, Drake appeared at Manhattan nightspot Amnesia for an album-release party sponsored by radio station Hot 97.


title: Thank Me Later

text: Four singles were released from the album—"Over" on March 8, 2010, "Find Your Love" on May 5, "Miss Me" on June 1, and "Fancy" on August 3. All four singles reached the top 40 of the "Billboard" Hot 100, including "Miss Me" at number 15 and "Over" at number 14. "Find Your Love" charted at number five on the Hot 100 and also reached number 10 in Canada. "Shut It Down" was originally planned for release as the first single in late 2009 and "Show Me a Good Time" was planned to be the fifth single, but both releases failed to materialize.


title: Thank Me Later

text: "Thank Me Later" was met with generally positive reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from professional critics, the album received an average score of 75, based on 26 reviews. Aggregator AnyDecentMusic? gave it 6.0 out of 10, based on their assessment of the critical consensus.


title: Thank Me Later

text: Tim Sendra of AllMusic complimented the album's "rich and nuanced production and Drake's thoughtful, playful, and intense lyrics", writing that his "willingness to be introspective and honest ... makes [him] unique and helps make "Thank Me Later" special." "Pitchfork" critic Ryan Dombal said "Drake vies for superstardom while embracing his non-drug-dealing, non-violent, non-dire history-- one that connects with most rap fans in a completely reasonable way." In "The A.V. Club", Rabin wrote that "on his cohesive, bittersweet, assured debut, he proves himself worthy of the sometimes-blinding spotlight". Rosen, writing for "Rolling Stone", found Drake to be "in total command of a style that would have been hard to imagine dominating hip-hop a few years ago". In the opinion of Ben Detrick from "Spin", "Thank Me Later" had "dynamics like few other hip-hop albums before it", and while "Drake's personal anecdotes lack the bravado of bullet-wound boasts", they were "intimate and lyrically detailed enough to draw blood". "Prefix" critic Wilson McBee deemed it one of the few pop rap records "that comes close to being a classic".


title: Thank Me Later

text: Some reviewers were less impressed. Daniel Roberts of "PopMatters" said none of the songs are better than "Best I Ever Had" and believed Drake was suffering from an "identity crisis", finding the record "good at parts, but never great". Josuha Errett of "Now" felt Drake "complains about fame way too much" while calling him "humorless". In "MSN Music", Robert Christgau deemed Drake "neither thug nor thug wannabe ... plenty talented, but pretty shallow and without much focus as a mack". He wrote of the record: "Pleasing and hookful though it be, [it] consistently bemoans the confusing emoluments and accoutrements of fame". Pete Cashmore from "NME" believed "it's those constant and predictable superstar interjections that prevent the album from standing out as much as it had potential to do." "Slant Magazine"s Jesse Cataldo viewed Drake's "insistent navel-gazing" as a flimsy "concept", but commended the album for "nail[ing] confused introspection in a genre famous for willful misrepresentation of self."


title: Thank Me Later

text: At the end of 2010, "Thank Me Later" appeared on several critics' top-ten lists of the year's best albums, including "Time", who ranked it fifth best, and "Rolling Stone", who named it the seventh best album of the year. At the 2010 Grammy Awards, "Best I Ever Had" was nominated for Best Rap Solo Performance and Best Rap Song. In 2013 and 2022, "Rolling Stone" included "Thank Me Later" in its list of the 100 Best Debut Albums of All Time.


title: Ka-Bar

text: Ka-Bar (; trademarked as KA-BAR) is the contemporary popular name for the combat knife first adopted by the United States Marine Corps in November 1942 as the 1219C2 combat knife (later designated the USMC Mark 2 combat knife or Knife, Fighting Utility), and subsequently adopted by the United States Navy as the U.S. Navy utility knife, Mark 2. Ka-Bar is the name of a related knife manufacturing company, Ka-Bar Knives., Inc. (formerly Union Cutlery Co.), of Olean, New York, a subsidiary of the Cutco Corporation.


title: Ka-Bar

text: Although Ka-Bar Knives, Inc., currently makes a wide variety of knives and cutlery, it is best known for the Ka-Bar Fighting/Utility knife, which has traditionally used a 1095 carbon steel clip point blade and leather-washer handle.


title: Ka-Bar

text: After the United States' entry into World War II, complaints arose from Army soldiers and Marines who were issued World War I-era bronze or alloy-handled trench knives such as the U.S. Mark I trench knife for use in hand-to-hand fighting. The Mark I was relatively expensive and time-consuming to manufacture, and reports from the field indicated that the knife's large 'brass-knuckle' fingerguard handle made it difficult to secure in conventional scabbards while limiting the range of useful fighting grip positions. Another criticism was that the Mark I's relatively thin blade was prone to breakage when used for common utility tasks such as cutting wire or opening ammunition crates and ration cans. A final impetus came from the War Department, which had determined the need for a new multipurpose knife capable of fulfilling the roles of both a fighting and a utility knife, while at the same time conserving strategic metal resources.


title: Ka-Bar

text: The Marine Corps authorized limited issuance of a fighting knife with a stiletto blade design, the Marine Raider stiletto designed by Lt. Col. Clifford H. Shuey, a Marine Corps engineering officer. Shuey's pattern was essentially a copy of the Fairbairn–Sykes fighting knife with altered material specifications designed to reduce dependence on critical strategic metals. The Raider stiletto was initially issued to elite Marine forces, including the entire 1st Marine Raider Battalion commanded by Colonel Merritt A. Edson, the USMC 1st Parachute Battalion, and to Marines of the 2nd Marine Raider Battalion commanded by Lt. Col. Evans F. Carlson. Primarily intended as a thrusting (stabbing) weapon, the Marines of the 1st Raider battalion found the Raider stiletto to be well designed for silent killing, but was of little use for any other purpose, and too frail for general utility tasks. After their first combat, many Marines in the 2nd Raider Battalion exchanged their Raider stilettos for No. 17 and No. 18 Collins general-purpose short machetes ("machetes pequeños") purchased with unit funds. The Collins machetes, which superficially resembled a large Bowie knife, were also issued to some Army air crews as part of the "Jungle Emergency Sustenance Kit" of 1939.


title: Ka-Bar

text: In the absence of suitable official-issue knives, a number of Marines deploying for combat in 1942 obtained their personal knives through private purchase, usually hunting/utility patterns such as Western States Cutlery Co.'s pre-war "L76" and "L77" pattern knives, both of which had "Bowie" type clip blades and leather handles. The Western States "L77" was stocked at the San Diego Base Exchange at the onset of the war, and knives of this pattern were carried by many Marines in the 1st Marine Division as well as by Marine Raiders in the 2nd Marine Raider Battalion commanded by Lt. Col. Evans F. Carlson.


title: Ka-Bar

text: In response to a specification requesting a modern individual fighting knife design for the U.S. Marines, ordnance and quartermaster officials requested submissions from several military knife and tool suppliers to develop a suitable fighting and utility knife for individual Marines, using the U.S. Navy Mark 1 utility knife and existing civilian hunting/utility knives such as Western's L77 as a basis for further improvements. Working with Union Cutlery, USMC Colonel John M. Davis and Major Howard E. America contributed several important changes, including a longer, stronger blade, the introduction of a small fuller to lighten the blade, a peened pommel (later replaced by a pinned pommel), a straight (later, slightly curved) steel crossguard, and a stacked leather handle for better grip. The blade, guard, and pommel were Parkerized instead of the bright polished steel of the prototype. The design was given the designation of 1219C2 The knife used a thicker blade stock than that of the USN Mark 1 utility knife, and featured a clip point. After extensive trials, the prototype was recommended for adoption. The Marines' Quartermaster at the time initially refused to order the knives, but his decision was overruled by the Commandant. The Marine Corps adopted the knife on November 23, 1942.


title: Ka-Bar

text: The knife proved easy to manufacture, and the first run was shipped Jan. 27, 1943, by Camillus Cutlery Company. After the U.S. Navy became disenchanted with blade failures on the USN Mark 1 utility knife, the latter service adopted the Ka-Bar as the US Navy Utility Knife, Mark 2. The Marine Corps in turn re-designated the Ka-Bar as either the USMC Mark 2 Combat Knife, or simply the Knife, Fighting Utility. In naval service, the knife was used as a diving and utility knife from late 1943 onward, though the stacked leather handle tended to rot and disintegrate rapidly in saltwater.


title: Ka-Bar

text: The Marine Corps issued Ka-Bar fighting utility knife throughout Marine forces, with early deliveries going primarily to elite formations. In late 1943 the Ka-Bar replaced the Marine Raider stiletto in service, a change welcomed by the Marines of Col. Edson's 1st Raider Battalion, who found the Raider stiletto ideal for silent killing but of little use for anything else. As the knife went into large-scale production, the Marines issued the Ka-Bar Fighting Utility knife to reconnaissance and engineering units and to any Marine armed with the M1911 pistol, M1 carbine, BAR, or crew-served machine gun (rifle-armed Marines were typically issued a bayonet). Marines were often issued knives with "U.S.N. Mark 2" markings when Navy-issued Ka-Bar knives were all that was available. By 1944 the Ka-Bar knife was issued to virtually any Marine in the combat branches who desired one, and was in use by Marine Corps close combat instructors for training new recruits. Unlike the prior Marine Raider stiletto, Marines were taught to use their new knife primarily as a slashing weapon in the initial phases of hand-to-hand combat.


title: Ka-Bar

text: As its new name implied, the "Knife, Fighting Utility" was designed from the outset as a dual-purpose knife: it was both an effective combat knife and a utility tool, well-suited to the type of jungle warfare encountered by Marines in the Pacific theater. This dual-purpose design resulted in some initial criticism of the pattern as being less than ideal for knife fighting, but combat experience of returning veterans as well as reports from the battlefield dispelled doubts about its combat effectiveness.


title: Ka-Bar

text: After the Second World War, the U.S. Navy and Marine Corps continued to use the Ka-Bar Fighting Utility knife. In addition to military contract knives, the knife was produced for the civilian market, and the pattern enjoyed some popularity as a general-purpose hunting and utility knife.


title: Ka-Bar

text: Camillus Cutlery Co., the first and largest manufacturer to supply the knife, produced over 1 million with "Camillus.N.Y." on the knife's crossguard. Besides Camillus, the Union Cutlery Co., Robeson (ShurEdge) Cutlery Co., and PAL Cutlery Co. produced the Ka-Bar knife under military contract during World War II.


title: Ka-Bar

text: After the end of World War II, Utica Cutlery Co., Conetta Cutlery Co., Camillus, and, around 1980, Ontario Knife Co., all produced the knife under contract for the U.S. military. From 1945-1952, Weske Cutlery Co. of Sandusky, Ohio, purchased leftover and overrun parts from wartime knife contractors and assembled them for commercial sale, polishing out manufacturer and military markings, and fitting them with ungrooved leather handles. Though W.R. Case made two prototype Ka-Bar knives as part of a contract submission in 1942-43, no contract was ever awarded to Case for the production of the knife. In 1992, Case released a modern commemorative version of these prototypes, the Case XX USMC Fighting Utility Knife. The Case knife is manufactured for Case by Ontario Knife Co.


title: Ka-Bar

text: The originator of the KA-BAR trademark, Union Cutlery Co, began using the name in 1923, having received a letter from a fur trapper who had used the knife to kill a wounded bear which attacked him when his rifle jammed. According to company records, the letter was only partially legible; "ka bar" could be read, as fragments of the phrase "kill a bear". In 1923, the company adopted the name Ka-Bar from the "bear story" as its trademark. From 1923, the KA-BAR trademark was used as a ricasso stamp by Union Cutlery Co. on its line of automatic switchblade pocket knives, including the "KA-BAR Grizzly", "KA-BAR Baby Grizzly", and "KA-BAR Model 6110 Lever Release" knives. The company produced about 1 million knives with the trademark on the ricasso. By 1944, Marines began referring to the knife as the "KA-BAR", regardless of manufacturer. The popular designation of the knife may also have resulted from contact with Marine Corps close combat instructors in San Diego, who used the name when training recruits. To capitalize on the popularity, Union Cutlery changed its name to Ka-Bar Cutlery Inc. in 1952.


title: Ka-Bar

text: Ka-Bar makes Army and Navy versions along with USMC versions. They are the same as the Marine version except for different initials at the bottom of the blade and different symbols on the sheath. Marines today often treat the blades, guards and pommels with non-reflective black spray paint to reduce reflected light and give them additional protection against saltwater corrosion. According to Ka-Bar, its 1095 Cro-Van, a moderate carbon and low chromium steel alloy, allows the blade to hold an edge very well. The "1095 Cro-Van" steel used in the blades of contemporary Ka-Bars has a hardness of 56–58 HRC, while the guard and pommel are made from sintered 1095 carbon steel. Besides use as a fighting knife, the Ka-Bar has proved useful as a utility knife, for opening cans, digging trenches, and cutting wood, roots, wire, and cable. In 1995, a version was released with a stainless steel blade, synthetic handle, and synthetic sheath marketed as "The Next Generation". As of June 2012 the "Next Generation" models have been discontinued. In 1999, Ka-Bar released the "D2 Extreme" version of their fighting knife, coming with the same synthetic handle and sheath that was produced with the "Next Generation", but also a blade made from D2 tool steel for extra edge retention and slightly better corrosion resistance than 1095.


title: Ka-Bar

text: In May 2014, the Ek Commando Knife Co. was purchased by Ka-Bar, with the firm selling its versions in 2015.


title: Ka-Bar

text: In 2008, Ka-Bar began producing Ethan Becker's knife designs after his partnership with Camillus ended.


title: The Thorn Birds (miniseries)

text: The Thorn Birds is an American television miniseries broadcast on ABC from March 27 to 30, 1983. It starred Richard Chamberlain, Rachel Ward, Barbara Stanwyck, Christopher Plummer, Piper Laurie, Jean Simmons, Richard Kiley, Bryan Brown, Mare Winningham and Philip Anglim. It was directed by Daryl Duke and based on the 1977 novel of the same name by Colleen McCullough. The series was enormously successful and became the United States' second highest-rated miniseries of all time behind "Roots"; both series were produced by television veteran David L. Wolper.


title: The Thorn Birds (miniseries)

text: The novel was originally developed as a feature film with Ed Lewis attached to produce. Ivan Moffat wrote an early draft of the script. Herbert Ross was the first director, and he saw Christopher Reeve about playing the lead. Then Peter Weir became attached to direct; Robert Redford was the favourite to play the lead. Eventually Weir dropped out and Arthur Hiller was going to direct; Ryan O'Neal was mooted as a star. Eventually it was decided to turn it into a mini series.


title: The Thorn Birds (miniseries)

text: The role of Meggie Cleary became the most sought after role of the production, and was considered the role of a lifetime. Many actresses campaigned and auditioned for the role over a long period of pre-production. British actress Lynne Frederick was one of many actresses who heavily campaigned for the role. Frederick even dyed her hair red to showcase herself. Other actresses who auditioned for the part included Michelle Pfeiffer, Jane Seymour, Olivia Newton-John, and Kim Basinger.


title: The Thorn Birds (miniseries)

text: "The Thorn Birds" was released on VHS in 1991 in the US and Canada; it was re-released on DVD in the US and Canada on February 3, 2004. Both editions were given a "Not Rated" certification. It is rated PG in New Zealand for violence, sexual references, coarse language and nudity.


title: The Thorn Birds (miniseries)

text: A followup titled "" was broadcast by CBS in 1996. It tells the story of the 19 years unaccounted for in the original miniseries.


title: Tan Son Nhat International Airport

text: Tân Sơn Nhất International Airport () is the busiest airport in Vietnam with 32.5 million passengers in 2016 and 38.5 million passengers in 2018. It serves Ho Chi Minh City as well as the rest of southeastern Vietnam. As of January 2017, it had a total capacity of only 25 million passengers, which has caused constant congestion and sparked debate for expanding or building a new airport. The airport's IATA code, SGN, is derived from the city's former name of "Saigon". It was the 25th busiest airport in the world in 2020.


title: Tan Son Nhat International Airport

text: Of the routes the airport offers, the domestic Ho Chi Minh City – Hanoi route is the busiest in Southeast Asia and the sixth


title: Tan Son Nhat International Airport

text: Tan Son Nhat International Airport has its origins in the early 1930s when the French colonial government constructed a small airport with unpaved runways, known as Tân Sơn Nhứt Airfield near the village of Tan Son Nhut. By mid-1956, with U.S. aid, a runway had been built; the airfield near Saigon became known as South Vietnam's principal international gateway. During the Vietnam War (or Second Indochina War), Tan Son Nhut Air Base (then using the alternative spelling Tân Sơn Nhứt) was an important facility for both the U.S. Air Force and the Republic of Vietnam Air Force. Between 1968 and 1974, Tan Son Nhut Airport was one of the busiest military airbases in the world. Pan Am schedules from 1973 show that during the last days of South Vietnam, Boeing 747 service was being operated four times a week to San Francisco via Guam and Manila. Continental Airlines operated up to 30 Boeing 707 military charters per week to and from Tan Son Nhut Airport during the 1968–74 period.


title: Tan Son Nhat International Airport

text: On 9 December 2004, United Airlines became the first U.S. airline to fly to Vietnam since Pan Am's last flight during the Fall of Saigon in April 1975. Flight UA 869, operated using a Boeing 747-400 landed at Ho Chi Minh City, the terminus of the flight that originated from San Francisco via Hong Kong. On 29 October 2006, this service was switched from San Francisco to Los Angeles with a stop in Hong Kong, operating as UA 867 (also using a 747–400). In 2009, the service UA 869 has resumed once again from San Francisco via Hong Kong International Airport. United ended the route to San Francisco via Hong Kong on 30 October 2011. The airline resumed the route from Ho Chi Minh City to Hong Kong after its merger with Continental Airlines. The flight until suspended, no longer made a stop at San Francisco and was flown on a Boeing 777-200ER instead of the 747-400.


title: Tan Son Nhat International Airport

text: In 2006, Tan Son Nhat International Airport served approximately 8.5 million passengers (compared with 7 million in 2005) with 64,000 aircraft movements. It has recently accounted for nearly two-thirds of the arrivals and departures at Vietnam's international gateway airports. Due to increasing demand (about 15–20% per annum), the airport has been continuously expanded by the Southern Airports Corporation.


title: Tan Son Nhat International Airport

text: In 2010, Tan Son Nhat domestic terminal handled 8 million passengers, its maximum capacity. The airport reached its full capacity of 20 million passengers in 2013, two years earlier than predicted. Both domestic and international terminal are being expanded to meet the increasing demand. In December 2014, expansion for the domestic terminal was finished, boosting the terminal's capacity to 13 million passengers per annum. In September 2017, People's Army of Vietnam ceded 21 hectare of military land in the vicinity of the airport to Airports Corporation of Vietnam for civil use. This gave way for the construction of 21 new aircraft parking spaces, expected to be completed by Tet holidays in 2018. Tan Son Nhat will then have 72 parking spaces for airplanes.


title: Tan Son Nhat International Airport

text: Of the routes the airport offers, the Ho Chi Minh City – Hanoi route is the busiest in Southeast Asia and the seventh busiest in the world, serving 6,769,823 customers in 2017.


title: Tan Son Nhat International Airport

text: A new international terminal funded by Japanese official development assistance and constructed by a consortium of four Japanese contractors (KTOM, abbreviation of four contractors' names: Kajima – Taisei – Obayashi – Maeda), opened in September 2007 with an initially designed capacity of 10 million passengers a year. In 2014, the terminal served over 9 million international passengers and a demand of an expansion to the terminal was in sight. The first phase of an urgent expansion to the terminal was finished in December 2016 with an addition of 2 new jet bridges and other facilities. Upon the completion of phase two, the terminal can handle 13 million passengers annually.


title: Tan Son Nhat International Airport

text: Following the opening of its new international terminal in September 2007, Tan Son Nhat has two major terminal buildings with separate sections for international and domestic flights.


title: Tan Son Nhat International Airport

text: The Prime Minister of Vietnam, by Decision 1646/TTg-NN, has approved the addition of of adjacent area to extend the apron and to build a cargo terminal to handle the rapid increase of passenger (expected to reach 17 million in 2010, compared to 7 million and 8.5 million in 2005 and 2006 respectively) and cargo volume at the airport.


title: Tan Son Nhat International Airport

text: A bus station is situated in front of the international terminal and is served by Ho Chi Minh City Bus. It is connected to the city center by bus line 109 and 152 as well as shuttle bus line 49. Connecting the airport to Vung Tau and other cities in Mekong Delta are express minibus services as well as bus line 119 (via Mien Tay Bus Station).


title: Tan Son Nhat International Airport

text: The airport is expected to be served by Ho Chi Minh City Metro Line 4B, connected to Line 4 and 5 with services to the southern and eastern area of the city. However, it is currently not known when the line will be constructed.


title: Tan Son Nhat International Airport

text: Until 2016, the airport only had one main access route via Truong Son Street, which caused chronic congestion for traffic going in and out of the airport. As an effort to ease traffic bottleneck, in August 2016, Pham Van Dong Boulevard officially opened and connected the airport to National Route 1 in an intersection east of the airport.


title: Tan Son Nhat International Airport

text: Throughout its history there have been several incidents that happened at the airport, some of the most notable are summarized below:


title: Tan Son Nhat International Airport

text: Tan Son Nhat International Airport is located inside the crowded urban core of Ho Chi Minh City, making expansions difficult. In a report submitted to the Vietnamese National Assembly in 2015, legislators deemed continued expansion of Tan Son Nhat problematic in five aspects. Firstly, it would be more economically viable to build a new airport rather than extensively upgrade Tan Son Nhat. An estimated US$9.1 billion was reportedly needed for a new 4,000 m runway, a new passenger terminal and other facilities at Tan Son Nhat. Secondly, Tan Son Nhat airspace overlaps with that of Bien Hoa Airport, which is currently reserved for national defense purpose. A reduction in military activities in Bien Hoa is considered to be temporary and unsustainable. At the same time, Tan Son Nhat also acts as a strategic location in national defense; therefore, the airport cannot be used entirely for civic air transport. Additionally, due to its urban location, aside from increasing ground traffic stress in its access points, the airport cannot operate between midnight and 5AM in accordance to the International Civil Aviation Organization sustainable development goals, further limiting its capability.


title: Tan Son Nhat International Airport

text: However, Ho Chi Minh City People's Assembly thought otherwise. They believe that building a new airport can be impractical and unrealistic, giving that the numbers supporting the new airport are "wrong calculations, magical stats" to "trick others with a purpose of serving their own designs." The cost of construction is too high in the midst of already-suppressed national debt, stressing the people without fully-diagnosed value. It is believed that the delay of the expansion is due to the military-run golf course at the north of the airport, where the land is listed as "defense land." Ho Chi Minh City hired an independent French consultant firm ADPi to evaluate the suggestions. The firm supported the idea of expansion at first, but then called off and delayed its final statement, and finally released a report to support the new airport proposition. The city's Assembly responded that the report was rigged.


title: Tan Son Nhat International Airport

text: Following Decision 703/QĐ-TTg by the Vietnamese Prime Minister in July 2005, a new airport—Long Thanh International Airport—was planned to replace Tan Son Nhat airport for international departure use. The initial master plan for the new airport was publicly announced in December 2006. The new airport will be built in Long Thành District, Đồng Nai Province, about east of Ho Chi Minh City and north of the petroleum-focused city of Vung Tau, near Highway 51A.


title: Tan Son Nhat International Airport

text: According to the approved modified plan in 2011, Long Thanh International Airport will be constructed on an area of , and will have four runways (4,000 m x 60 m or 13,100 ft x 200 ft) and be capable of receiving the Airbus A380. The project will be divided in three stages. Stage One calls for the construction of two parallel runways and a terminal with a capacity of 25 million passengers per year, due to be completed in 2020. Stage Two is scheduled for completion in 2030, giving the airport three runways, two passenger terminals and a cargo terminal designed to receive 1.5 million metric tons of cargo and 50 million passengers per year. The final stage is scheduled to be initiated after 2035, envisioned to handle 100 million passengers, 5 million metric tons of cargo annually on an infrastructure of 4 runways and 4 passenger terminals. The total budget for the first stage alone was estimated to be US$6.7 billion.


title: Tan Son Nhat International Airport

text: Because Long Thanh will not be ready for service until at least 2025, Tan Son Nhat must expand to meet the increasing demand. In January 2017, Airport Design and Construction Consultancy (ADCC) presented 3 proposals to expand the airport. Vietnam's Deputy Prime Minister Trịnh Đình Dũng agreed to proceed a US$860 million upgrade proposal for final review before submitting to the government. Under the chosen proposal, there would be a new mixed-use Terminal 3 and a civil-use Terminal 4 (to be built on the south side of the airport), a parallel taxiway between the existing runways and technical hangars on the northeast. The estimated time to complete the upgrade would be 3 years and the airport would then have a capacity of 43–45 million passengers annually. The decision was controversial due to the fact that the golf course immediately north of SGN would remain untouched despite the urgent need of airport expansion. The Minister of Transport Trương Quang Nghĩa explained that the airport could not be expanded northward due to costs and environmental impact. On 12 June 2017, Prime Minister Nguyễn Xuân Phúc requested the Ministry of Transport to research the prospect of constructing a third runway at Tan Son Nhut International Airport. The French consulting company ADP Ingénierie (ADPi) was subsequently hired to provide a second opinion for the project.


title: Tan Son Nhat International Airport

text: In March 2018, ADPi presented their plan for the expansion. The firm advised against the construction of a third runway and supported a southward expansion plan. Without a new runway, Tan Son Nhut has a maximum capacity of 51 million passengers per year – a number ADPi predicted SGN to reach in 2025, in time for the opening of Long Thanh. However, an independent consultancy of Ho Chi Minh City believed it could reach up to 80 million by the time Long Thanh was supposed to open, in accordance with reports by Boeing or the International Air Transport Association. As such, they proposed a three-phase northward expansion plan that would see a new runway and two new terminals to increase the airport's capacity to 70 million passengers per year.


title: Tan Son Nhat International Airport

text: On 28 March 2018, Prime Minister Nguyễn Xuân Phúc ultimately selected the ADPi proposal as the basis for the expansion of the airport. This proposal includes a new Terminal 3 with a designed capacity of 20 million passengers per year south of Runway 07R/25L, additional facilities in the north area where a golf court currently occupies as well as improvements and constructions of access points for the airport.


title: Central venous catheter

text: A central venous catheter (CVC), also known as a central line(c-line), central venous line, or central venous access catheter, is a catheter placed into a large vein. It is a form of venous access. Placement of larger catheters in more centrally located veins is often needed in critically ill patients, or in those requiring prolonged intravenous therapies, for more reliable vascular access. These catheters are commonly placed in veins in the neck (internal jugular vein), chest (subclavian vein or axillary vein), groin (femoral vein), or through veins in the arms (also known as a PICC line, or peripherally inserted central catheters).


title: Central venous catheter

text: Central lines are used to administer medication or fluids that are unable to be taken by mouth or would harm a smaller peripheral vein, obtain blood tests (specifically the "central venous oxygen saturation"), administer fluid or blood products for large volume resuscitation, and measure central venous pressure. The catheters used are commonly 15–30 cm in length, made of silicone or polyurethane, and have single or multiple lumens for infusion.


title: Central venous catheter

text: There are no absolute contraindications to the use of central venous catheters. Relative contraindications include: coagulopathy, trauma or local infection at the placement site, or suspected proximal vascular injury. However, there are risks and complications associated with the placement of central lines, which are addressed below.


title: Central venous catheter

text: Central line insertion may cause several complications. The benefit expected from their use should outweigh the risk of those complications.


title: Central venous catheter

text: The incidence of pneumothorax is highest with subclavian vein catheterization due to its anatomic proximity to the apex of the lung. In the case of catheterization of the internal jugular vein, the risk of pneumothorax is minimized by the use of ultrasound guidance. For experienced clinicians, the incidence of pneumothorax is about 1.5–3.1%. The National Institute for Health and Clinical Excellence (UK) and other medical organizations recommend the routine use of ultrasonography to minimize complications.


title: Central venous catheter

text: If a pneumothorax is suspected, an upright chest x-ray should be obtained. An upright chest x-ray is preferred because free air will migrate to the apex of the lung, where it is easily visualized. Of course, this is not always possible, particularly in critically ill patients in the intensive care unit. Radiographs obtained in the supine position fail to detect 25–50% of pneumothoraces. Instead, bedside ultrasound is a superior method of detection in those too ill to obtain upright imaging.


title: Central venous catheter

text: Perforation of vasculature by a catheter is a feared and potentially life-threatening complication of central lines. Fortunately, the incidence of these events is exceedingly rare, especially when lines are placed with ultrasound guidance. Accidental cannulation of the carotid artery is a potential complication of placing a central line in the internal jugular vein. This occurs at a rate of approximately 1% when ultrasound guidance is used. However, it has a reported incidence of 0.5–11% when an anatomical approach is used. If the carotid is accidentally cannulated and a catheter is inserted into the artery, the catheter should be left in place and a vascular surgeon should be notified because removing it can be fatal.


title: Central venous catheter

text: All catheters can introduce bacteria into the bloodstream. This can result in serious infections that can be fatal in up to 25% of cases. The problem of central line-associated bloodstream infections (CLABSI) has gained increasing attention in recent years. They cause a great deal of morbidity (harm) and deaths, and increase health care costs.


title: Central venous catheter

text: Microbes can gain access to the bloodstream via a central catheter a number of ways. Rarely, they are introduced by contaminated infusions. They might also gain access to the lumen of the catheter through break points such as hubs. However, the method by which most organisms gain access is by migrating along the portion of the catheter tracking through subcutaneous tissue until they reach the portion of the catheter in the vein. Additionally, bacteria present in the blood may attach to the surface of the catheter, transforming it into a focus of infection.


title: Central venous catheter

text: If a central line infection is suspected in a person, blood cultures are taken from both the catheter and a vein elsewhere in the body. If the culture from the central line grows bacteria much earlier (>2 hours) than the other vein site, the line is likely infected. Quantitative blood culture is even more accurate, but this method is not widely available.


title: Central venous catheter

text: Antibiotics are nearly always given as soon as a patient is suspected to have a catheter-related bloodstream infection. However, this must occur after blood cultures are drawn, otherwise the culprit organism may not be identified. The most common organisms causing these infections are coagulase negative staphylococci such as "staphylococcus epidermidis". Infections resulting in bacteremia from "Staphylococcus aureus" require removal of the catheter and antibiotics. If the catheter is removed without giving antibiotics, 38% of people may still develop endocarditis. Evidence suggests that there may not be any benefit associated with giving antibiotics before a long-term central venous catherter is inserted in cancer patients and this practice may not prevent gram positive catheter-related infections. However, for people who require long-term central venous catheters who are at a higher risk of infection, for example, people with cancer who at are risk of neutropenia due to their chemotherapy treatment or due to the disease, flushing the catheter with a solution containing an antibiotic and heparin may reduce catheter-related infections.


title: Central venous catheter

text: In a clinical practice guideline, the American Centers for Disease Control and Prevention recommends against routine culturing of central venous lines upon their removal. The guideline makes several other recommendations to prevent line infections.


title: Central venous catheter

text: To prevent infection, stringent cleaning of the catheter insertion site is advised. Povidone-iodine solution is often used for such cleaning, but chlorhexidine appears to be twice as effective as iodine. Routine replacement of lines makes no difference in preventing infection. The CDC makes a myriad of recommendations regarding risk reduction for infection of CVCs, including:


title: Central venous catheter

text: Venous catheters may occasionally become occluded by kinks in the catheter, backwash of blood into the catheter leading to thrombosis, or infusion of insoluble materials that form precipitates. However, thrombosis is the most common cause of central line occlusion, occurring in up to 25% of catheters .


title: Central venous catheter

text: CVCs are a risk factor for forming blood clots (venous thrombosis) including upper extremity deep vein thrombosis. It is thought this risk stems from activation of clotting substances in the blood by trauma to the vein during placement. The risk of blood clots is higher in a person with cancer, as cancer is also a risk factor for blood clots. As many as two thirds of cancer patients with central lines show evidence of catheter-associated thrombosis. However, most cases (more than 95%) of catheter-associated thrombosis go undetected. Most symptomatic cases are seen with placement of femoral vein catheters (3.4%) or peripherally inserted central catheters (3%). Anti-clotting drugs such as heparin and fondaparinux have been shown to decrease the incidence of blood clots, specifically deep vein thrombosis, in a person with cancer with central lines. Additionally, studies suggest that short term use of CVCs in the subclavian vein is less likely to be associated with blood clots than CVCs placed in the femoral vein in non-cancer patients.