title: MUD

text: Numerous dungeon crawlers were created on the PLATO system at the University of Illinois and other American universities that used PLATO, beginning in 1975. Among them were "pedit5", "oubliette", "moria", "avatar", "krozair", "dungeon", "dnd", "crypt", and "drygulch". By 1978–79, these games were heavily in use on various PLATO systems, and exhibited a marked increase in sophistication in terms of 3D graphics, storytelling, user involvement, team play, and depth of objects and monsters in the dungeons.


title: MUD

text: Inspired by "Adventure", a group of students at MIT in the summer of 1977 wrote a game for the PDP-10 minicomputer; called "Zork", it became quite popular on the ARPANET. "Zork" was ported, under the filename DUNGEN ("dungeon"), to FORTRAN by a programmer working at DEC in 1978.


title: MUD

text: In 1978 Roy Trubshaw, a student at the University of Essex in the UK, started working on a multi-user adventure game in the MACRO-10 assembly language for a DEC PDP-10. He named the game "MUD" ("Multi-User Dungeon"), in tribute to the "Dungeon" variant of "Zork", which Trubshaw had greatly enjoyed playing. Trubshaw converted MUD to BCPL (the predecessor of C), before handing over development to Richard Bartle, a fellow student at the University of Essex, in 1980. The game revolved around gaining points till one achieved the Wizard rank, giving the character immortality and special powers over mortals.


title: MUD

text: "MUD", better known as "Essex MUD" and "MUD1" in later years, ran on the University of Essex network, and became more widely accessible when a guest account was set up that allowed users on JANET (a British academic X.25 computer network) to connect on weekends and between the hours of 2 AM and 8 AM on weekdays. It became the first Internet multiplayer online role-playing game in 1980, when the university connected its internal network to ARPANet.


title: MUD

text: The original "MUD" game was closed down in late 1987, reportedly under pressure from CompuServe, to whom Richard Bartle had licensed the game. This left "MIST", a derivative of "MUD1" with similar gameplay, as the only remaining MUD running on the University of Essex network, becoming one of the first of its kind to attain broad popularity. "MIST" ran until the machine that hosted it, a PDP-10, was superseded in early 1991.


title: MUD

text: 1985 saw the origin of a number of projects inspired by the original "MUD". These included "Gods" by Ben Laurie, a "MUD1" clone that included online creation in its endgame, and which became a commercial MUD in 1988; and "MirrorWorld", a tolkienesque MUD started by Pip Cordrey who gathered some people on a BBS he ran to create a "MUD1" clone that would run on a home computer.


title: MUD

text: Neil Newell, an avid "MUD1" player, started programming his own MUD called "SHADES" during Christmas 1985, because "MUD1" was closed down during the holidays. Starting out as a hobby, "SHADES" became accessible in the UK as a commercial MUD via British Telecom's Prestel and Micronet networks. A scandal on "SHADES" led to the closure of Micronet, as described in Indra Sinha's net-memoir, "The Cybergypsies".


title: MUD

text: At the same time, Compunet started a project named "Multi-User Galaxy Game" as a science fiction alternative to "MUD1", a copy of which they were running on their system at the time. When one of the two programmers left CompuNet, the remaining programmer, Alan Lenton, decided to rewrite the game from scratch and named it "Federation II" (at the time no "Federation I" existed). The MUD was officially launched in 1989. "Federation II" was later picked up by AOL, where it became known simply as "Federation: Adult Space Fantasy". "Federation" later left AOL to run on its own after AOL began offering unlimited service.


title: MUD

text: In 1978, around the same time Roy Trubshaw wrote "MUD", Alan E. Klietz wrote a game called "Scepter" (Scepter of Goth), and later called "Milieu" using Multi-Pascal on a CDC Cyber 6600 series mainframe which was operated by the Minnesota Educational Computing Consortium. Klietz ported "Milieu" to an IBM XT in 1983, naming the new port "Scepter of Goth". "Scepter" supported 10 to 16 simultaneous users, typically connecting in by modem. It was the first commercial MUD; franchises were sold to a number of locations. "Scepter" was first owned and run by GamBit (of Minneapolis, Minnesota), founded by Bob Alberti. GamBit's assets were later sold to Interplay Productions.


title: MUD

text: In 1984, Mark Peterson wrote "The Realm of Angmar", beginning as a clone of "Scepter of Goth". In 1994, Peterson rewrote "The Realm of Angmar", adapting it to MS-DOS (the basis for many dial-in BBS systems), and renamed it "Swords of Chaos". For a few years this was a very popular form of MUD, hosted on a number of BBS systems, until widespread Internet access eliminated most BBSes.


title: MUD

text: In 1984, Mark Jacobs created and deployed a commercial gaming site, "Gamers World". The site featured two games coded and designed by Jacobs, a MUD called "Aradath" (which was later renamed, upgraded and ported to GEnie as "Dragon's Gate") and a 4X science-fiction game called "Galaxy", which was also ported to GEnie. At its peak, the site had about 100 monthly subscribers to both "Aradath" and "Galaxy". GEnie was shut down in the late 1990s, although "Dragon's Gate" was later brought to AOL before it was finally released on its own. Dragon's Gate was closed on February 10, 2007.


title: MUD

text: In the summer of 1980, University of Virginia classmates John Taylor and Kelton Flinn wrote "Dungeons of Kesmai", a six player game inspired by "Dungeons & Dragons" which used roguelike ASCII graphics. They founded the Kesmai company in 1982 and in 1985 an enhanced version of "Dungeons of Kesmai", "Island of Kesmai", was launched on CompuServe. Later, its 2-D graphical descendant "Legends of Kesmai" was launched on AOL in 1996. The games were retired commercially in 2000.


title: MUD

text: The popularity of MUDs of the University of Essex tradition escalated in the United States during the late 1980s when affordable personal computers with 300 to 2400 bit/s modems enabled role-players to log into multi-line BBSs and online service providers such as CompuServe. During this time it was sometimes said that MUD stands for "Multi Undergraduate Destroyer" due to their popularity among college students and the amount of time devoted to them.


title: MUD

text: "" was published by Yehuda Simmons in 1989. It was the first persistent game world of its kind without the traditional hourly resets and points-based puzzle solving progression systems. Avalon introduced equilibrium and balance (cooldowns), skill-based player vs player combat and concepts such as player-run governments and player housing.


title: MUD

text: The first popular MUD codebase was AberMUD, written in 1987 by Alan Cox, named after the University of Wales, Aberystwyth. Alan Cox had played the original University of Essex MUD, and the gameplay was heavily influenced by it. AberMUD was initially written in B for a Honeywell L66 mainframe under GCOS3/TSS. In late 1988 it was ported to C, which enabled it to spread rapidly to many Unix platforms upon its release in 1989. AberMUD's popularity resulted in several inspired works, the most notable of which were TinyMUD, LPMud, and DikuMUD.


title: MUD

text: "Monster" was a multi-user adventure game created by Richard Skrenta for the VAX and written in VMS Pascal. It was publicly released in November 1988. "Monster" was disk-based and modifications to the game were immediate. "Monster" pioneered the approach of allowing players to build the game world, setting new puzzles or creating dungeons for other players to explore. Monster, which comprised about 60,000 lines of code, had a lot of features which appeared to be designed to allow "Colossal Cave Adventure" to work in it. Though there never were many network-accessible Monster servers, it inspired James Aspnes to create a stripped-down version of "Monster" which he called TinyMUD.


title: MUD

text: TinyMUD, written in C and released in late 1989, spawned a number of descendants, including TinyMUCK and TinyMUSH. TinyMUCK version 2 contained a full programming language named MUF (Multi-User Forth), while MUSH greatly expanded the command interface. To distance itself from the combat-oriented traditional MUDs it was said that the "D" in TinyMUD stood for Multi-User "Domain" or "Dimension"; this, along with the eventual popularity of acronyms other than MUD (such as MUCK, MUSH, MUSE, and so on) for this kind of server, led to the eventual adoption of the term MU* to refer to the TinyMUD family. UberMUD, UnterMUD, and MOO were inspired by TinyMUD but are not direct descendants.


title: MUD

text: TinyMUD is also used to refer to the first database run under the TinyMUD codebase, which is also known as TinyMUD Classic; it ran from August 1989 to April 1990, and still comes back up every August during a holiday called Brigadoon Day, a reference to the Scottish village in the musical Brigadoon.


title: MUD

text: The first version of Hourglass was written by Yehuda Simmons and later Daniel James for "" which debuted in 1989 at the last of the London MUD mega Meets aptly named "Adventure '89" and initially hosted on the IOWA system. Initially written in ARM assembly language on the Acorn Archimedes 440, in 1994 it made the leap from the venerable Archimedes to Debian Linux on the PC and later Red Hat where, other than shifting to Ubuntu, it has remained ever since. An early version of Hourglass was also ported to the PC, named Vortex, by Ben Maizels in 1992.


title: MUD

text: Although written specifically for "Avalon: The Legend Lives", it went on to spawn a number of games, including "Avalon: The First Age", which ran from 1999 to 2014. The now defunct 1996 "Age of Thrones" and notably "Achaea, Dreams of Divine Lands" started life in Vortex prior to moving to its own Rapture engine. Hourglass continues to be developed as of 2016 and "Avalon: The Legend Lives" currently has 2,901,325 written words and 2,248,374 lines of game code (with 2,417,900 instructions). The original game came in at 1 KB in 1989, compared to 102 GB in January 2016.


title: MUD

text: In 1989, LPMud was developed by Lars Pensjö (hence the LP in LPMud). Pensjö had been an avid player of TinyMUD and AberMUD and wanted to create a world with the flexibility of TinyMUD and the gameplay of AberMUD. In order to accomplish this he wrote what is nowadays known as a virtual machine, which he called the LPMud driver, that ran the C-like LPC programming language used to create the game world. Pensjö's interest in LPMud eventually waned and development was carried on by others such as Jörn "Amylaar" Rennecke, Felix "Dworkin" Croes, Tim "Beek" Hollebeek and Lars Düning. During the early 1990s, LPMud was one of the most popular MUD codebases. Descendants of the original LPMud include MudOS, DGD, SWLPC, FluffOS, and the Pike programming language, the latter the work of long-time LPMud developer Fredrik "Profezzorn" Hübinette.


title: MUD

text: In 1990, the release of DikuMUD, which was inspired by AberMUD, led to a virtual explosion of hack and slash MUDs based upon its code. DikuMUD inspired numerous derivative codebases, including CircleMUD, Merc, ROM, SMAUG, and GodWars. The original Diku team comprised Sebastian Hammer, Tom Madsen, Katja Nyboe, Michael Seifert, and Hans Henrik Staerfeldt. DikuMUD had a key influence on the early evolution of the MMORPG genre, with "EverQuest" (created by avid DikuMUD player Brad McQuaid) displaying such Diku-like gameplay that Verant developers were made to issue a sworn statement that no actual DikuMUD code was incorporated.


title: MUD

text: In 1987, David Whatley, having previously played "Scepter of Goth" and "Island of Kesmai", founded Simutronics with Tom and Susan Zelinski. In the same year they demonstrated a prototype of "GemStone" to GEnie. After a short-lived instance of "GemStone II", "GemStone III" was officially launched in February 1990. "GemStone III" became available on AOL in September 1995, followed by the release of "DragonRealms" in February 1996. By the end of 1997 "GemStone III" and "DragonRealms" had become the first and second most played games on AOL.


title: MUD

text: The typical MUD will describe to the player the room or area they are standing in, listing the objects, players and non-player characters (NPCs) in the area, as well as all of the exits. To carry out a task the player would enter a text command such as take apple or attack dragon. Movement around the game environment is generally accomplished by entering the direction (or an abbreviation of it) in which the player wishes to move, for example typing north or just n would cause the player to exit the current area via the path to the north.


title: MUD

text: MUD clients are computer applications that make the MUD telnet interface more accessible to users, with features such as syntax highlighting, keyboard macros, and connection assistance. Prominent clients include TinyTalk, TinyFugue, TinTin++, and zMUD.


title: MUD

text: While there have been many variations in overall focus, gameplay and features in MUDs, some distinct sub-groups have formed that can be used to help categorize different game mechanics, game genres and non-game uses.


title: MUD

text: Perhaps the most common approach to game design in MUDs is to loosely emulate the structure of a "Dungeons & Dragons" campaign focused more on fighting and advancement than role-playing. When these MUDs restrict player-killing in favor of player versus environment conflict and questing, they are labeled hack and slash MUDs. This may be considered particularly appropriate since, due to the room-based nature of traditional MUDs, ranged combat is typically difficult to implement, resulting in most MUDs equipping characters mainly with close-combat weapons. This style of game was also historically referred to within the MUD genre as "adventure games", but video gaming as a whole has developed a meaning of "adventure game" that is greatly at odds with this usage.


title: MUD

text: Most MUDs restrict player versus player combat, often abbreviated as PK (Player Killing). This is accomplished through hard coded restrictions and various forms of social intervention. MUDs without these restrictions are commonly known as PK MUDs. Taking this a step further are MUDs devoted "solely" to this sort of conflict, called pure PK MUDs, the first of which was "Genocide" in 1992. "Genocide" ideas were influential in the evolution of player versus player online gaming.


title: MUD

text: Roleplaying MUDs, generally abbreviated as RP MUDs, encourage or enforce that players act out the role of their playing characters at all times. Some RP MUDs provide an immersive gaming environment, while others only provide a virtual world with no game elements. MUDs where roleplay is enforced and the game world is heavily computer-modeled are sometimes known as roleplay intensive MUDs, or RPIMUDs. In many cases, role-playing MUDs attempt to differentiate themselves from hack and slash types, by dropping the "MUD" name entirely, and instead using MUX (Multi-User Experience) or MUSH (Multi-User Shared Hallucination).


title: MUD

text: Social MUDs de-emphasize game elements in favor of an environment designed primarily for socializing. They are differentiated from talkers by retaining elements beyond online chat, typically online creation as a community activity and some element of role-playing. Often such MUDs have broadly defined contingents of socializers and roleplayers. Server software in the TinyMUD family, or MU*, is traditionally used to implement social MUDs.


title: MUD

text: A less-known MUD variant is the talker, a variety of online chat environment typically based on server software like ew-too or NUTS. Most of the early Internet talkers were LPMuds with the majority of the complex game machinery stripped away, leaving just the communication commands. The first Internet talker was "Cat Chat" in 1990.


title: MUD

text: Taking advantage of the flexibility of MUD server software, some MUDs are designed for educational purposes rather than gaming or chat. "MicroMUSE" is considered by some to have been the first educational MUD, but it can be argued that its evolution into this role was not complete until 1994, which would make the first of many educational MOOs, "Diversity University" in 1993, also the first educational MUD. The MUD medium lends itself naturally to constructionist learning pedagogical approaches. The Mud Institute (TMI) was an LPMud opened in February 1992 as a gathering place for people interested in developing LPMud and teaching LPC after it became clear that Lars Pensjö had lost interest in the project. TMI focussed on both the LPMud driver and library, the driver evolving into MudOS, the TMI Mudlib was never officially released, but was influential in the development of other libraries.


title: MUD

text: A graphical MUD is a MUD that uses computer graphics to represent parts of the virtual world and its visitors. A prominent early graphical MUD was "Habitat", written by Randy Farmer and Chip Morningstar for Lucasfilm in 1985. Graphical MUDs require players to download a special client and the game's artwork. They range from simply enhancing the user interface to simulating 3D worlds with visual spatial relationships and customized avatar appearances.


title: MUD

text: Games such as "Meridian 59", "EverQuest", "Ultima Online" and "Dark Age of Camelot" were routinely called graphical MUDs in their earlier years. "RuneScape" was actually originally intended to be a "text-based" MUD, but graphics were added very early in development. However, with the increase in computing power and Internet connectivity during the late 1990s, and the shift of online gaming to the mass market, the term "graphical MUD" fell out of favor, being replaced by MMORPG, Massively Multiplayer Online Role-Playing Game, a term coined by Richard Garriott in 1997.


title: MUD

text: Within a MUD's technical infrastructure, a mudlib (concatenation of "MUD library") defines the rules of the in-game world. Examples of mudlibs include Ain Soph Mudlib, CDlib, Discworld Mudlib, Lima Mudlib, LPUniversity Mudlib, MorgenGrauen Mudlib, Nightmare Mudlib, and TMI Mudlib.


title: MUD

text: MUD history has been preserved primarily through community sites and blogs and not through mainstream sources with journalistic repute. As of the late 1990s, a website called The Mud Connector has served as a central and curated repository for active MUDs. In 1995, "The Independent" reported that over 60,000 people regularly played about 600 MUDs, up from 170 MUDs three years prior. "The Independent" also noted distinct patterns of socialization within MUD communities. Seraphina Brennan of "Massively" wrote that the MUD community was "in decline" as of 2009.


title: MUD

text: Sherry Turkle developed a theory that the constant use (and in many cases, overuse) of MUDs allows users to develop different personalities in their environments. She uses examples, dating back to the text-based MUDs of the mid-1990s, showing college students who simultaneously live different lives through characters in separate MUDs, up to three at a time, all while doing schoolwork. The students claimed that it was a way to "shut off" their own lives for a while and become part of another reality. Turkle claims that this could present a psychological problem of identity for today's youths.


title: MUD

text: "A Story About A Tree" is a short essay written by Raph Koster regarding the death of a "LegendMUD" player named Karyn, raising the subject of inter-human relationships in virtual worlds.


title: MUD

text: Observations of MUD-play show styles of play that can be roughly categorized. Achievers focus on concrete measurements of success such as experience points, levels, and wealth; Explorers investigate every nook and cranny of the game, and evaluate different game mechanical options; Socializers devote most of their energy to interacting with other players; and then there are Killers who focus on interacting negatively with other players, if permitted, killing the other characters or otherwise thwarting their play. Few players play only one way, or play one way all the time; most exhibit a diverse style. According to Richard Bartle, "People go there as part of a hero's journey—a means of self-discovery".


title: MUD

text: Research has suggested that various factors combine in MUDs to provide users with a sense of "presence" rather than simply communication.


title: MUD

text: As a noun, the word MUD is variously written MUD, Mud, and mud, depending on speaker and context. It is also used as a verb, with to mud meaning to play or interact with a MUD and mudding referring to the act of doing so. A mudder is, naturally, one who MUDs. Compound words and portmanteaux such as mudlist, mudsex, and mudflation are also regularly coined. Puns on the "wet dirt" meaning of "mud" are endemic, as with, for example, the names of the ROM (Rivers of MUD), MUCK, MUSH, and CoffeeMUD codebases and the MUD "Muddy Waters".


Don't Shoot Me I'm Only the Piano Player is the sixth studio album by English musician Elton John. Released in January 1973 by DJM Records, it was the first of two studio albums he released in 1973 (the second was "Goodbye Yellow Brick Road", released nine months later), and was his second straight No. 1 album in the US and first No. 1 album in the UK.


title: Don't Shoot Me I'm Only the Piano Player

text: The lead single "Crocodile Rock" yielded John his first No. 1 single in both the US and Canada. "Daniel" was also a major hit from the album, giving him his second Canadian No. 1 single on the "RPM" Top Singles Chart and No. 2 on the US "Billboard" Hot 100 and reaching No. 4 in the UK, one place higher than achieved by "Crocodile Rock".


text: The team returned to France to record at the Château d'Hérouville, also known at the time as "Strawberry Studios", which was how the studio was credited in the album's sleeve; "Honky Château", the previous Elton John album, had been recorded there. The album featured horns arranged by producer Gus Dudgeon on "Elderberry Wine" (the B-side to "Crocodile Rock"), "Midnight Creeper" and "I'm Going to Be a Teenage Idol", the latter of which was inspired by John's friend, T-Rex frontman Marc Bolan. The horn players were the same ones who were used on "Honky Château". Paul Buckmaster returned to add strings on "Blues for Baby and Me" and "Have Mercy on the Criminal". During his Australian concerts with the Melbourne Symphony Orchestra in 1986, John lauded Buckmaster's work on songs such as "Have Mercy on the Criminal", calling the string arrangements "revolutionary".


text: The title of the album came from friend and actor/comedian Groucho Marx. Elton was playing the piano at a party at Groucho's home; Groucho, who referred to him as 'John Elton', held out his middle and index finger in the style of a pistol. Elton then raised his hands and said "Don't shoot me, I'm only the piano player" at Marx's gun imitation.


text: The album was a huge hit on both sides of the Atlantic, topping the UK and US album charts. It is one of only three albums to feature just the core band of John on pianos and keyboards, Davey Johnstone on guitars, Dee Murray bass and Nigel Olsson on drums, without percussionist Ray Cooper. The other two are "Honky Château" (1972) (bar a performance by Cooper on congas on the song "Amy") and "Breaking Hearts" (1984).


text: An outtake of note was a re-recording of "Skyline Pigeon", which became the B-side to the single of "Daniel".


text: Critics at the time called some of the performances, especially "Crocodile Rock", derivative, which John freely acknowledged years later. In "His Song: The Musical Journey of Elton John" by author Elizabeth Rosenthal, John said "Crocodile Rock" was written as an overt homage to '50s records, and his vocal intentionally mimicked singer Bobby Vee. "High Flying Bird" was intended to sound like a Van Morrison record, and "Midnight Creeper" was a tip of the hat to the Rolling Stones.


text: John toured Australia during 1971 and was so inspired by Daddy Cool's hit single "Eagle Rock" that, with Taupin, he wrote "Crocodile Rock". The cover of this album has a photo of lyricist Taupin wearing a "Daddy Who?" promotional badge.


text: "Don't Shoot Me..." was also, according to John, the first album during which he felt comfortable experimenting with his vocal performances and style.


text: The album's title comes from something Elton said during an evening spent with Groucho Marx. After an evening of constant ribbing from Marx, Elton's comeback was to hold his hands up and say, "Don't shoot me, I'm only the piano player." The album's cover photograph, which shows a young couple outside a movie theatre whose marquee reads: "Don't Shoot Me I'm Only The Piano Player starring Elton John"; on the wall is a movie poster advertising the Marx Brothers' 1940 film "Go West" as a tribute to Groucho Marx.


text: The title is also a play on the 1960 François Truffaut film "Shoot the Piano Player" and the original Oscar Wilde quote "Don't shoot the piano player, he's doing his best", which Wilde said he saw in a saloon on a visit to the U.S.


title: Mike Dunleavy (politician)

text: Michael James Dunleavy (born May 5, 1961) is an American educator and politician serving as the 12th governor of Alaska. A Republican, Dunleavy was a member of the Alaska Senate from 2013 to 2018. He defeated former Democratic United States senator Mark Begich in the 2018 gubernatorial election after incumbent governor Bill Walker dropped out of the race. He was reelected in 2022.


title: Mike Dunleavy (politician)

text: Dunleavy was born and raised in Scranton, Pennsylvania. After graduating from Scranton Central High School in 1979, he earned a Bachelor of Arts in history at Misericordia University in 1983. He earned his master's degree in education from the University of Alaska Fairbanks. In 1983, he moved to Alaska and his first job was at a logging camp in Southeast Alaska. Later, Dunleavy pursued his dream of becoming a teacher. He earned his teacher's certificate, and then a master of education degree from the University of Alaska Fairbanks. He spent nearly two decades in northwest Arctic communities working as a teacher, principal, and superintendent. Dunleavy's wife, Rose, is from the Kobuk River Valley community of Noorvik. They have three children – Maggie, Catherine, and Ceil – who were raised in both rural and urban Alaska. In 2004 Dunleavy and his family moved to Wasilla, where he owned an educational consulting firm and worked on a number of statewide educational projects. Before his election to the Alaska Senate, Dunleavy served on the Matanuska-Susitna Borough board, including two years as the board's president.


title: Mike Dunleavy (politician)

text: Dunleavy challenged incumbent state senator Linda Menard (redistricted from District G) for the District D August 28, 2012 Republican Primary and won with 2,802 votes (57.42%). He was unopposed in the November 6 general election and won with 11,724 votes (94.24%) against write-in candidates.


title: Mike Dunleavy (politician)

text: In 2017, Dunleavy announced he would run for governor in 2018 but abandoned the race in September 2017, citing heart problems. In December 2017 he announced his return to the race.


title: Mike Dunleavy (politician)

text: He resigned his senate seat effective January 15, 2018, to focus on his campaign. Retired United States Air Force lieutenant colonel Mike Shower was chosen as his successor by Governor Bill Walker and confirmed by the Alaska Senate caucus after numerous replacement candidates were rejected.


title: Mike Dunleavy (politician)

text: In August 2021, Dunleavy announced his candidacy for reelection in 2022. He was reelected with 50.3% of the vote, becoming the first incumbent Republican governor to be reelected since Jay Hammond in 1978 and the first governor of any political affiliation to be reelected since Tony Knowles in 1998.


title: Mike Dunleavy (politician)

text: On March 11, 2020, Dunleavy's office declared a state of emergency to ensure all entities had the necessary response resources a day before the first case arrived via a foreign national in Anchorage.


title: Mike Dunleavy (politician)

text: In April 2020, Dunleavy activated the State Emergency Operations Center under Alaska's Department of Military and Veterans Affairs. Joint Task Force-Alaska was stood up to provide a coordinated effort for the Alaska Army and Air National Guard, the Alaska State Defense Force, and the Alaska Naval Militia to support the state.


title: Mike Dunleavy (politician)

text: On May 19, 2020, Dunleavy announced the lifting of all state mandates for businesses and public gatherings, keeping only a mandatory (but unenforced) quarantine period for persons coming from out of state.


title: Mike Dunleavy (politician)

text: In June 2020, Dunleavy announced a new extension of the two-week quarantine measure that required visitors to Alaska to present a negative test for the virus if they were not willing to self-quarantine for two weeks.


title: Mike Dunleavy (politician)

text: In April 2021, Dunleavy announced that Alaska would offer free vaccinations to tourists at major airports starting June 1, 2021, as part of the United States' vaccination campaign.


title: Mike Dunleavy (politician)

text: On October 8, 2021, Dunleavy refused to issue another COVID-19 disaster declaration, thinking it unnecessary. "Exercising the Disaster Act does not give our team any more health tools than what they need and are using right now", he said, adding, "Masking is, as I have stated, a local issue best left to local leaders."


title: Mike Dunleavy (politician)

text: On October 15, 2021, Dunleavy clarified that he didn't endorse mask or vaccine mandates but wouldn't ban them either.


title: Mike Dunleavy (politician)

text: In November 2021, Dunleavy ordered state agencies to ignore federal vaccine mandates, arguing that they were "unconstitutional" and "completely unnecessary," claiming that Alaska had handled COVID better than nearly every other state.


title: Mike Dunleavy (politician)

text: Dunleavy opposes abortion. In July 2019, he vetoed $334,700 for the state to pay for abortions from the court system's budget. The Dunleavy administration wrote, "The legislative and executive branch are opposed to state-funded elective abortions; the only branch of government that insists on state-funded elective abortions is the Supreme Court." A year later, Anchorage Superior Court Judge Jennifer S. Henderson ruled that Dunleavy's vetoes in 2019 and 2020 were unconstitutional and violated the separation of powers doctrine: "In spite of this Court’s faith that the Alaska judiciary remains independent and committed to its essential function of deciding cases according to the rule of law, the Court must unfortunately conclude that in vetoing funds appropriated to the State appellate courts in express retaliation against the Alaska Supreme Court for its legal decision-making, the Governor violated the separation of powers doctrine."


title: Mike Dunleavy (politician)

text: Dunleavy rejects the scientific consensus on climate change. In February 2019, he abolished Alaska's climate change task force, a team instated by Bill Walker, calling it unnecessary.


title: Mike Dunleavy (politician)

text: In September 2019, during a meeting at the International Forum of Sovereign Wealth Funds with Mark Gordon, Dunleavy said that warming the Arctic could be good for Alaska, believing that it could create further business opportunities. In October 2019, Dunleavy clashed with Representative Alexandria Ocasio-Cortez on Twitter over the Green New Deal proposal, saying that the Green New Deal would impact our civilization as we know it.


title: Mike Dunleavy (politician)

text: In September 2020, Dunleavy expressed support for renewable energy ideas: "I know there’s a view on the part of some that a Republican governor that is supportive of Alaska’s resource extraction industries, including those around fossil fuels, would not want anything to do with renewables” and "It makes total sense to explore pumped hydro, using wind as a main source of energy and the reservoir as the batteries."


title: Mike Dunleavy (politician)

text: In February 2022, Dunleavy denounced the Biden Administration's request for suspension of the Ambler Road Project: "The Biden Administration has opened yet another front in its war on Alaska. You would think President Biden would want to improve access to American sources of copper and other strategic minerals that are needed in our combined efforts to increase renewables. Instead, actions like this only serve to push development to Third World nations that don't have the environmental ethic that Alaskans have. This pendulum swing away from the last federal administration's approval disregards extensive environmental studies and widespread social engagement while creating instability in long-term investment."


title: Mike Dunleavy (politician)

text: Dunleavy has encouraged the United States Environmental Protection Agency to approve the permit for Pebble Mine, which other Alaska politicians oppose because it would threaten the fishery of Bristol Bay.


title: Mike Dunleavy (politician)

text: In January 2019, Dunleavy announced that he would declare "war on criminals" by proposing four bills that would increase criminal penalties for sexual offenses; reverse a range of reductions to sentences; add a new category of crime called terroristic threatening; increase bail and give judges more discretion in how people charged with crimes are released before trials; and reduce the use of parole. He said, "If you are a criminal, this is the beginning of the end for your activities", and "If you’re going to assault people—if you’re going to engage in sexual assaults, physical assaults—this is going to be a very unsafe place for you. We’re not going to tolerate it at all."


title: Mike Dunleavy (politician)

text: In May 2020, after the murder of George Floyd, Dunleavy called the act "horrific" and thanked Alaskans for their peaceful protests. "People absolutely have the right to protest: This is America," Dunleavy said. "What occurred in Minneapolis when Mr. Floyd was killed in that police action, we all know is terrible." But Dunleavy expressed concern that the protests in Alaska could spread COVID-19, noting that any events that combine people being in close proximity with singing and shouting can spread the virus. He emphasized advice from state officials that people at gatherings wear face masks or stay at least 6 to 10 feet away from others.


title: Mike Dunleavy (politician)

text: In May 2022, Dunleavy expressed opposition to the termination of Title 42 by the Center for Disease Control: "The Termination Order is detrimental to the states tasked with enforcing immigration standards, and it is not logically appropriate" and "This policy runs contrary to the Biden Administration’s other declarations because it is expressly premised on the decrease of COVID-19, but the Administration has ignored these facts by enforcing mandatory vaccination and mask mandates."


title: Mike Dunleavy (politician)

text: In January 2022, Dunleavy called on legislators to improve election integrity by prohibiting automatic voter registration, tracking absentee balloting, requiring signature verification, and implementing voter roll maintenance, saying, "We just want to make sure that as we move forward in Alaska that our concerns, our worries, are taken care of."


title: Mike Dunleavy (politician)

text: Dunleavy and Kevin Meyer were the Republican nominees for governor and lieutenant governor of Alaska, respectively, and were elected in the November 2018 general election. Dunleavy was sworn in on December 3, 2018. He appointed Kevin Clarkson to be Alaska attorney general.


title: Mike Dunleavy (politician)

text: On September 6, 2022, a complaint was filed against Dunleavy alleging that his campaign was paying staffers with state funds.


title: Mike Dunleavy (politician)

text: On June 28, 2019, Dunleavy exercised line-item veto authority as governor to make cuts of $433 million, including a cut of $130 million (41%) of state contributions to the University of Alaska.


title: Mike Dunleavy (politician)

text: Also on June 28, 2019, Dunleavy vetoed $335,000 from the budget of the Alaska Supreme Court, stating that he did so because the Court had held that the state was constitutionally required to provide public funding for elective abortions.


title: Mike Dunleavy (politician)

text: In September 2020, Dunleavy agreed to reimburse the state $2,800 for allegedly partisan advertisements that were paid for with state funds. Dunleavy did not admit to wrongdoing, but stated that it was in the best interest of the state to resolve the allegations.


title: Mike Dunleavy (politician)

text: On July 15, 2019, an effort to recall Dunleavy began after a public backlash over his cuts to public assistance, education and the University of Alaska ($135 million cut to state funding, about a 41% reduction). It was the second recall petition against a governor in Alaska history, the first being the failed petition against Governor Wally Hickel. Had the recall election been successful, Lieutenant Governor Kevin Meyer would have become governor.


title: Mike Dunleavy (politician)

text: To have the petition certified by the Division of Elections, the petitioners were first required to submit 28,501 signatures (approximately 10% of the voting population in Alaska's last general election). On September 5, 2019, volunteers submitted 49,006 petition signatures. On November 4, 2019, the Division of Elections declined to certify the recall petition after the Alaska attorney general Kevin Clarkson, a Dunleavy appointee, issued a legal opinion. Clarkson acknowledged that the petitioners had submitted enough signatures and paid the necessary fees, but asserted that "the four allegations against the governor 'fail to meet any of the listed grounds for recall—neglect of duty, incompetence, or lack of fitness'". The petitioners said they would appeal the division's decision.


title: Mike Dunleavy (politician)

text: In January 2020, Anchorage Superior Court Judge Eric Aarseth rejected the division's decision not to certify the recall petition. The state appealed Aarseth's ruling to the Alaska Supreme Court, which on May 8 affirmed that the recall effort could proceed.


title: Mike Dunleavy (politician)

text: Recall petitions in Alaska have two rounds. The second round requires 25% of the votes cast in the previous general election. Once the second completed petition is submitted to the Division of Elections it will either accept or refuse the petition. The deadline to submit signatures for the petition is 180 days before the end of the governor's term, which in this case is June 8, 2022. If a recall is successful, the vacancy is filled "as a vacancy caused by any other means". If a recall election against the governor is successful, the lieutenant governor finishes the term. If the petition is accepted, the Division of Elections schedules a recall election.


title: Mike Dunleavy (politician)

text: On February 18, 2021, the recall campaign announced it had 55,613 signatures of the 71,252 required to submit the second petition to the Division of Elections. On March 18, 2021, Dunleavy said he believed the recall election would occur in the summer of 2021 and planned to campaign to remain in office. As of August 21, 2021, 62,373 signatures had been collected.


title: Mike Dunleavy (politician)

text: The "Recall Dunleavy" effort failed to submit enough signatures to trigger a recall election in November 2020 or in 2021. As of June 2022, not enough signatures have been collected, and Dunleavy is up for reelection in November 2022 as part of the usual electoral process.


title: Luc Longley

text: Lucien James Longley (born 19 January 1969) is an Australian professional basketball coach and former player. He was the first Australian to play in the National Basketball Association (NBA), where he played for four teams over 10 seasons. Longley most notably played for the Chicago Bulls, with whom he won three championships from 1996 to 1998. He represented Australia as a player at three Olympic Games in 1988, 1992 and 2000, and has worked as an assistant coach for the Australian national basketball team.


title: Luc Longley

text: Longley began his career in Australia with a brief stint playing for the Perth Wildcats of the National Basketball League (NBL) in 1986. He played collegiately for the New Mexico Lobos and was drafted 7th overall by the Minnesota Timberwolves in the 1991 NBA draft. Longley played three middling seasons with the Timberwolves before he was traded to the Chicago Bulls in 1994. He became the Bulls' starting center during their historic 1995–96 season when they set the NBA record for most wins in a regular season with 72. Longley was an important component of the team's success and stayed in the Bulls' starting lineup during their championship three-peat. Following the demise of the Bulls after their 1998 championship win, he had brief stints with the Phoenix Suns and New York Knicks.


title: Luc Longley

text: Longley was born 19 January 1969 in Melbourne, Victoria, to Sue ("née" Hansen) and Richard Longley. Longley's father is an architect who stood tall and represented Australia at international level in basketball, including being a member of two Olympic squads. His mother, who is tall, is an equestrian who has been divorced from Richard since 1984 and resides in Albuquerque, New Mexico, United States. Longley has two brothers, Sam, a journalist and actor, and Griffin, also a journalist and who also played briefly for the Perth Wildcats.


title: Luc Longley

text: Longley grew up in Fremantle, Western Australia. At the age of 16 he was a member of the Australian Under-19 side and the following year, 1986, he joined the Perth Wildcats, with whom he played two games.


title: Luc Longley

text: Longley was recruited out of Scotch College in Perth by the University of New Mexico's basketball coach, Gary Colson, who went to Perth to recruit Longley's childhood friend Andrew Vlahov, who ended up attending Stanford University. Vlahov and Longley both played their junior basketball for the Perth Redbacks on the same team. Longley attended college at the University of New Mexico, from 1987 to 1991, where he averaged 19.1 points, 9.2 rebounds and 3.6 assists in his senior year. He helped New Mexico reach the NCAA Tournament in 1991. At nineteen he was a member of the national team for the Seoul Olympics, where they finished fourth, at the time the best result an Australian senior men's basketball team had achieved in Olympic competition.


title: Luc Longley

text: Longley also spent time at the Australian Institute of Sport in 1986 and 1987 (before heading to New Mexico) under the coaching of Australian Boomers head coach Adrian Hurley, attending the AIS with Vlahov and another emerging basketball player from Adelaide, Mark Bradtke. Throughout the 1990s, that trio would form the nucleus of the Australian Boomers front court with Longley at centre, 6'10" (208 cm) Bradtke at power forward, and 6'7" (201 cm) Vlahov at small forward.


title: Luc Longley

text: When Longley returned home to Perth during college breaks, he regularly suited up for the Perth Redbacks, helping the team to consecutive State Basketball League (SBL) championships in 1989 and 1990.


title: Luc Longley

text: Longley was drafted 7th overall by the Minnesota Timberwolves in 1991. After long contract negotiations that were still going on when the 1991–92 NBA season started and actually prevented him from playing for the first month, Longley made his NBA debut for the Timberwolves on 30 November 1991. In 1992, he again represented Australia at the Barcelona Olympics. After two-plus mediocre seasons with the struggling franchise, the center was traded to the Chicago Bulls for Stacey King late in the 1993–94 season.


title: Luc Longley

text: Longley became the Bulls' starting center. He won three straight championships with the Bulls from 1996 to 1998, becoming the first Australian player to win an NBA title and the only player to have won three championships.


title: Luc Longley

text: After Longley played 55 games from the bench in 1994–95, Chicago Bulls coach Phil Jackson made him the starting center in 1995–96. Unfortunately for Longley, post-season surgery to his left ankle and the subsequent recovery time saw him forced to miss playing for the Australian Boomers at the 1996 Olympics in Atlanta.


title: Luc Longley

text: Longley missed almost two months of the 1996–97 season after dislocating his shoulder while body surfing at Hermosa Beach near the team's hotel after a game in Los Angeles. In a 2014 interview on Australian television, Longley joked that after a month he began receiving phone calls from Michael Jordan telling him to get back on court soon because he had no one to set screens for him.


title: Luc Longley

text: Following the breakup of the Bulls roster after the 1997–98 season, Chicago did a sign-and-trade deal with Longley, sending him to the Phoenix Suns for Mark Bryant, Martin Müürsepp, Bubba Wells, and a conditional first-round draft pick.


title: Luc Longley

text: Longley was traded to the New York Knicks prior to the 2000–01 NBA season in what was only the second four-team trade in NBA history. The Suns acquired Chris Dudley as part of the deal together with a first-round draft pick from New York and an undisclosed amount of cash, while New York received Longley, Glen Rice, Travis Knight, Vladimir Stepania, Lazaro Borrell, Vernon Maxwell, two first-round draft picks (from the Los Angeles Lakers and the Seattle SuperSonics) and two second-round draft picks from Seattle. Seattle received Patrick Ewing and the Lakers received Horace Grant, Greg Foster, Chuck Person and Emanual Davis. Longley spent one year with New York before retiring, due to a degenerative condition in his left ankle.


title: Luc Longley

text: Luc Longley made his international debut for the Australia national basketball team in 1988 and would be, whenever possible, the preferred starting centre for the next 12 years. He appeared in three Summer Olympic Games (1988, 1992 and 2000) as well as at the 1990 FIBA World Championship. Unfortunately, injury prevented him from playing for Australia at the 1996 Olympic games as well as the 1994 and 1998 FIBA World Championships.


title: Luc Longley

text: During his international career, Longley played alongside some of the greats of Australian basketball including Andrew Gaze, Phil Smyth, Mark Bradtke, Andrew Vlahov, Ray Borner, Brett Maher and Larry Sengstock.


title: Luc Longley

text: Longley has made it known that although many focus on his three championships with the Chicago Bulls, he feels his time spent with the Australian Boomers is just as important. On the Aussie Hoopla podcast Longley discussed how important the Australian Boomers was to his growth as a player and noted this as the reason he wants to give back to the national program as an assistant coach


title: Luc Longley

text: In 2001, he was inducted into the Australian Institute of Sport 'Best of the Best'. Longley was part-owner of the Perth Wildcats basketball club in the Australian National Basketball League for several years and was the #1 ticket holder at the Fremantle Dockers in the Australian Football League between 2006 and 2007. In 2006 Longley was inducted into Basketball Australia's Hall of Fame in Melbourne.


title: Luc Longley

text: On 8 October 2009 Longley was inducted into the Sport Australia Hall of Fame at its 25th anniversary dinner in Melbourne, becoming only the fourth basketball player to be inducted along with Andrew Gaze, Michele Timms and Phil Smyth.


title: Luc Longley

text: Longley was married to an American, Kelly Yates, whom he met in New Mexico while he was attending college and they had two daughters. He married an Australian, Anna Gare, a former musician and current television presenter, in 2008.


title: Luc Longley

text: The Longley family are well known in the Fremantle area, to the extent a 25-year-old, then Chicago Bulls player, Longley was present at the Fremantle Football Club's unveiling and launch at the Fremantle Port. He cited Fremantle at the time as "one of the world's great spots".


title: Luc Longley

text: On 6 April 2007, Longley's $2 million home in Fremantle, Western Australia, was destroyed by a fire. It was initially believed much of Longley's memorabilia from his basketball career was lost, although he later stated he only lost his 1996 team photo. He then bought a warehouse on a nearby street which Gare's father, an architect, converted into a house for their needs. In 2015, the couple moved to a property near the coastal Western Australian town of Denmark.


title: Luc Longley

text: In December 2009 Longley, who had previously participated in marine conservation efforts, named a newly discovered shrimp species "Lebbeus clarehanna" after his 15-year-old daughter.


title: Nick Carter (singer)

text: Nickolas Gene Carter (born January 28, 1980) is an American singer and a member of the vocal group Backstreet Boys. As of 2015, Carter has released three solo albums, "Now or Never", "I'm Taking Off" and "All American", during breaks between Backstreet Boys schedules, and a collaboration with Jordan Knight titled "Nick & Knight". He has made occasional television appearances and starred in his own reality shows, "House of Carters" and "I (Heart) Nick Carter".


title: Nick Carter (singer)

text: Carter was born in Jamestown, New York, where his parents, Jane Elizabeth (née Spaulding, previously Carter) and Robert Carter, owned a bar called the Yankee Rebel in Westfield, New York. He has English, Welsh, Irish, and German ancestry. Several years later, when Carter was four, the family moved to Ruskin, Florida, near Tampa, and managed the Garden Villa Retirement Home, where they added to the family. Carter's siblings include Leslie Carter (1986–2012) and Aaron Carter (1987–2022).


title: Nick Carter (singer)

text: Growing up, Carter began his acting and singing career at a young age when his mother heard him outside and enrolled him in voice lessons with a voice teacher named Marianne Prinkey. She later got him dance lessons in ballet, tap and hip hop at Karl and DiMarco's School of Theatre and Dance when he was 10. He also did several commercials, such as the Florida State Lottery and The Money Store, talent shows, and the Florida State Fair, auditioned for several acting roles in the late 1980s and early 1990s, and performed around Tampa Bay, FL. As a kid, he described himself as the weird kid, whose friends were the elderly, and was consistently picked on a lot until fourth grade, after his family moved to Apollo Beach, Florida. His first role was the lead role in the fourth-grade production of "Phantom of the Opera" at Miles Elementary School. His performance was so energetic that he received a standing ovation, with people crying in the audience at how wonderful the boy's voice projected. He also did an educational video called "Reach For a Book," a show called "The Klub" and performed at the Tampa Bay Buccaneers home games for two years. He also made an appearance in the 1990 Tim Burton film "Edward Scissorhands" as a child playing on a Slip 'N Slide. He stated, "It would be going too far to say I was actually in Edward Scissorhands because I was so far in the background that you can't tell it's me. It would be better to say I was on the set of the film... I was in the scene when Edward looks out of a window to the neighborhood. For a split second, he sees some kids playing - one of them was me. I was sliding on a yellow piece of plastic we used to call a Slip n' Slide. They were long flat sheets with water coming out of holes and were popular with kids at the time. I had to slide on one in the background of a shot. It was great fun being on the set but it was really cold and they made us do it a lot of times".


title: Nick Carter (singer)

text: One of his dance teachers, Sandy, placed him in his first group called "Nick and the Angels." Between 1989 and 1993, Carter recorded various popular songs, including "Breaking Up Is Hard to Do" and "Uptown Girl" and a few original songs that he would perform at events. These recordings appeared on an unofficial release called "Before the Backstreet Boys 1989–1993" by Dynamic Discs, Inc., released in October 2002. It was revealed that through several auditions, Carter met AJ McLean and Howie Dorough and they became friends.


title: Nick Carter (singer)

text: He and his siblings grew up in an unconventional, dysfunctional family. He had a rough childhood due to his parents constantly fighting and screaming violently at each other. The friends that he had growing up were either dead, drug addicts, or in prison, and eventually, performing was Carter's most giant escape from his problems. At age 12, he put in a winning performance on the 1992 New Original Amateur Hour.


title: Nick Carter (singer)

text: At 12 years old, Carter auditioned for Disney's The Mickey Mouse Club and the Backstreet Boys. He was asked to join the group and was given the choice of either joining The Mickey Mouse Club with a $50,000 contract or this new music group. Carter chose to go with the group rather than the Mickey Mouse Club. After he joined the group, he had his own personal tutor on tour. In 2013 or 2014, Carter received his GED as shown on "I Heart Nick Carter". At 13 years old, Carter, AJ McLean, Brian Littrell, Howie Dorough, and Kevin Richardson formed the vocal group the Backstreet Boys on April 20, 1993. Carter is the youngest member. The Backstreet Boys have recorded several albums, beginning in the mid-1990s, the latest being 2019's "DNA". In March 2016, the group announced that they would begin an exclusive headlining residency at Planet Hollywood in Las Vegas called .


title: Nick Carter (singer)

text: In 2002, when the Backstreet Boys expressed a strong desire to leave their management company, The Firm, Carter was the first member of the group to choose to remain with them to manage his solo career and work on a solo album. Around then, Carter started writing songs and recording during his downtime when Jive asked him to do a solo album. As the group began recording their new album without him, he started working on his first solo album. In September 2002, Carter released the first single from his solo album, "Help Me" which did well on radio countdowns landing at #1 on various stations including New York City's Z100 and achieved considerable worldwide success while the other single, "I Got You" was a minor hit in Europe. On October 29, 2002, his first solo album "Now Or Never" was released and sold over 500,000 copies in the first week. It reached No. 17 on the " Billboard" 200 charts and was certified gold, both in the United States and Canada. The album made the charts in many countries as well. He also launched a worldwide tour in support of the album. He was No. 9 of "People" magazine's "50 Most Beautiful People" in 2000 and was voted by readers of teen magazine "Cosmogirl"'s "Sexiest Man in the World" in their October 2002 issue, beating out such competition as actor Brad Pitt and rival pop star Justin Timberlake for the title, launching a media-hyped "rivalry" between Timberlake and Carter, culminating in an amicable 2009 meeting off-camera on the set of "Late Night with Jimmy Fallon" where Carter defeated Timberlake in an arm-wrestling match. He was also featured on the cover of the magazine.


title: Nick Carter (singer)

text: Carter went on tour in early 2003, where he performed at smaller venues like clubs. Much smaller venues than what he had been used to with Backstreet Boys. That same year Carter started working on his second solo album, but that was put on hold when the Backstreet Boys returned to the studio to record a new album in 2004. One of the tracks from the earlier recording sessions was used as the theme song to the television series "House of Carters" in 2006. "Let It Go" was written by Carter, Matthew Gerrard, and Bridget Louise Benenate. It would be 8 years before Carter finally focused on another solo album. Carter started to work on the album in 2008, but most of the recording of his second solo album, "I'm Taking Off," took place during any downtime he had in between Backstreet Boys touring in 2010. "I'm Taking Off" was first released on February 2, 2011, in Japan and later released in the U.S. on May 24, 2011, on iTunes only. The album was later released in other countries on different dates. It was Carter's first solo album without the help of a major label. He co-wrote every song released except a bonus track in Japan. In Germany, the album was released by Glor, Canada 305 Records, and in Japan, AMEX.


title: Nick Carter (singer)

text: Carter recorded a duet with pop singer Jennifer Paige called "Beautiful Lie" in 2009. In 2010, Carter started recording new songs for his second solo album, working with Rami Yacoub, Carl Falk, Toby Gad, Josh Hoge, and Claude Kelly, among many others. Carter's new album titled "I'm Taking Off" was released on February 2, 2011, in Japan, in Germany on June 3, 2011, and in the USA via iTunes on May 24. As of June 2011, Carter's second solo album reached No. 8 in Japan, selling over 20,000 copies.


title: Nick Carter (singer)

text: In January 2014, Carter recorded a duet album with Jordan Knight from fellow boy band New Kids on the Block. They both worked on a duet album and called their collaboration "Nick & Knight", which debuted at #24 on the US "Billboard" 200 and #14 in Canada. The tour to support the album ran from September–November 2014. They announced their album and tour on April 30 on "Good Morning America". The self-titled album was released on September 2, 2014. Fans were able to get a taste of the album when they pre-ordered it by receiving a download of the song "Just the Two of Us." The first single, "One More Time," was released on July 15, 2014. The album features a few tracks written by Carter and Jordan.


title: Nick Carter (singer)

text: In 2015, Carter announced he would be working on a third solo album for release later that year. The album was called "All American" and was released digitally on November 25 via iTunes, Amazon, and Google Play. The CD release was delayed until February 2016 and released in Japan that same month. For most of the album, he worked with Dan Muckala, Natasha Bedingfield, and others. This album would see Carter returning to a pop/rock sound like "Now or Never". Some tracks on the album also sound like the 1950s and 1960s. The first single from his new album, entitled "I Will Wait", was released on October 1, 2015, on Vevo and is an acoustic ballad. The new CD "All American", was released on November 25, 2015. In support of the album, Carter toured in February and March 2016. Canadian pop/rock singer Avril Lavigne is also featured on Carter's album. She sings with him in the song "Get Over Me".


title: Nick Carter (singer)

text: Carter also did some acting appearing on various TV shows, including the NBC show "American Dreams" in 2002 and ABC's "8 Simple Rules" in 2003. In October 2004, he even starred as a High School football player Brody in the ABC Family Halloween special, "The Hollow", opposite Kevin Zegers. The film first premiered on ABC Family during their 13 Nights of Halloween in October 2004. The film was edited for TV and younger audiences. It was initially a rated R film. The rated-R movie was later released on DVD. But it would be a few years before Carter did any acting again as the Backstreet Boys worked on their return to music in 2004.


title: Nick Carter (singer)

text: In 2007, Carter filmed the independent movie "Kill Speed" with Brandon Quinn, Andrew Keegan, Natalia Cigliuti, Greg Grunberg, and Reno Wilson, where he played a character named Foreman. The movie was originally scheduled for release in 2008, but due to issues with the release (some say with distribution), it would years before it was eventually released on DVD. In the US, its release was on June 12, 2012. While in the UK, its release was in 2010, along with some other countries. On May 8, 2012, he made a guest appearance on CW's "90210" and played himself. He's currently trying to do more acting. Carter made his big-screen debut in 2013, appearing in the comedy "This Is the End" along with the rest of the Backstreet Boys.


title: Nick Carter (singer)

text: Carter has gotten into writing screenplays and filming/directing movies. The first film he directed was a movie he had written called "The Pendant" in 2010. It was a short 15-minute film and can be purchased on his official website. Unfortunately, the only public viewing of the film was at the Royal Theater in Toronto on August 13, 2010. However, fans could see the film by buying tickets through his official site. He also directed another movie in 2012, but no word when that will be released.


title: Nick Carter (singer)

text: In July 2013, Carter launched a campaign on Indiegogo.com, a crowdfunding site, to raise money for his movie "Evil Blessings." The goal was to raise $85,000. Instead, the campaign raised $156,214. Carter has said he'll use his money and the money raised to fund the movie. In return for the donations, multiple perks depended on how much you donated. They included chats with Carter on Skype, your name in the movie credits and/or website, movie merchandise (t-shirt, poster, DVD, etc.), acting roles, tickets to the premiere, tickets to BSB concerts, an online concert, and much more. Carter wrote the screenplay for the film. Due to a few setbacks, the film was delayed and put on hold. In July 2013, the director of the movie died. The film was said to start filming in June 2014, but the success of the Backstreet Boys' In a World Like This Tour delayed filming and was pushed back to January 2015. That gave Carter some more time to rework the screenplay. In October 2014, Carter announced that this film would be postponed due to the director's death. Instead, he'll film a new movie called "Dead West" in January 2015. The money donated to "Evil Blessings" will be used for this film. Carter hired the production company, the Asylum (the company that produced "Sharknado"), to help. In July 2015, Carter announced that the movie was renamed "Dead 7" to give it a more global appeal. "Dead 7" includes various members of different boy bands.


title: Nick Carter (singer)

text: At Comic-Con 2015 in San Diego, Carter revealed his plans to film a movie he had written and would be directing and starring in. Entitled "Dead 7", the film focuses on a ragtag band of gunslingers operating during a post-apocalyptic zombie plague. The film also stars Carter's wife, Lauren, and his bandmates Howie D. and AJ McLean. Besides NSYNC's Joey Fatone and Chris Kirkpatrick, O-Town's Erik-Michael Estrada, Jacob Underwood, and Trevor Penick, and 98 Degrees' Jeff Timmons will also star in the movie. The film also includes Jon Secada, Geraldo (a rapper remembered for the song Rico Suave), Art Alexakis (Everclear), and Debra Wilson ("MadTV" cast member), plus many more. The movie was filmed in Butte, Montana, in August 2015 and finished in early September, and the movie aired on the SyFy network on April 1, 2016.


title: Nick Carter (singer)

text: In 2006, Carter and his siblings starred in their reality television show, "House of Carters", which premiered on October 2, 2006, on E!. The series features all five Carter siblings reuniting to live in the same house together in Los Angeles to try to reconnect as a family and get their lives together, as well as in-depth moments of their ups and downs. Their father, Robert Carter, and stepmother, Ginger, also appeared on the show. The series lasted one season, and eight episodes were aired.


title: Nick Carter (singer)

text: In 2014, Carter returned to reality TV, and he and his wife (then fiancée at the time), Lauren Kitt, starred in their VH1 reality show, "I Heart Nick Carter", which centered around the planning of their April 2014 wedding and premiered on September 10, 2014, on VH1. The show only had eight episodes and documented Carter's life as he prepared to get married. This included Carter trying to set the wedding date between Backstreet Boys touring, as well as footage of Carter working. Recording a new album with New Kids on the Block member Jordan Knight, various events such as a book signing, charity event, touring with Backstreet Boys in Europe (other group members also appeared on the show), his bachelor party, and much more. The wedding aired in a one-hour season finale. Carter announced on Twitter that VH1 did not renew the show for a second season.


title: Nick Carter (singer)

text: On August 26, 2015, it was revealed that Carter would be taking part in the 21st season of "Dancing with the Stars" which began on September 14, 2015. He was paired with professional dancer Sharna Burgess. Carter and Burgess made the finals of the show and came in second place, behind Bindi Irwin and Derek Hough. He performed "I Will Wait" off his "All American" album live at the finale.


title: Nick Carter (singer)

text: In June 2017, Carter appeared alongside Emma Bunton and Timbaland as a judge on a new singing competition show called "Boy Band".


title: Nick Carter (singer)

text: In 2020, Carter competed as the "Crocodile" on the fourth season of "The Masked Singer", finishing in third place.


title: Nick Carter (singer)

text: Carter started Oceans Campaign in 2001 to help raise awareness about the ocean. It was a part of the Just Within Reach foundation that fellow group member Kevin Richardson founded. He was announced as the new United Nations Special Ambassador for (YoD) on May 17, 2007, representing the United Nations Environment Program, the Convention on Migratory Species, and the Whale and Dolphin Conservation Society. The Year of the Dolphin campaign aimed to raise awareness of dolphins in the wild, the threats they faced to their survival, and actions that could help their wild conservation. He was to record a new song and video with all proceeds going to this project, make a public service announcement and appear at local schools. Carter has stated that he has a passion for the environment and its oceans. He has worked with the United Nations Environmental Program (UNEP) and the Coral Reef Action Network (ICRAN). He also has lobbied for these causes at Capitol Hill. In 2016, Carter sold two of his paintings on eBay, where a portion of the proceeds went to the St. Jude Children's Hospital. Carter has also auctioned various items over the years for charities.


title: Nick Carter (singer)

text: Carter met Lauren Michelle Kitt, a fitness trainer, in 2008. They married in Santa Barbara, California, in 2014. Their wedding was featured in an issue of "In Touch Weekly" and was filmed for Carter's reality show, "I Heart Nick Carter". They have three children; a son born in 2016 and two daughters born in 2019 and 2021. In September 2018, Carter revealed that Kitt had a miscarriage. They had been expecting a girl. Carter told "People" magazine that even though he loves performing on tour, he had to miss his daughter's third birthday to go to Europe.


title: Nick Carter (singer)

text: In 2002, Carter got into power boat racing and started his own team, Nick Carter Racing, which won the National Championship in its first year.


title: Nick Carter (singer)

text: On January 2, 2002, Carter was arrested at Pop City nightclub in Tampa, Florida, and charged with a misdemeanor count of resisting/opposing a law enforcement officer without violence.


title: Nick Carter (singer)

text: On March 5, 2005, Carter was arrested in Huntington Beach, California, and charged with one count of driving under the influence and one count of driving with a blood-alcohol level above 0.08, the legal limit. Carter pled guilty to the charges and was ordered to pay $1,200 in fines, was placed on three years of informal probation, had his driving privileges restricted for 90 days, and was required to complete a three-month alcohol education program.


title: Nick Carter (singer)

text: On January 13, 2016, Carter was arrested at Hog's Breath Saloon in Key West, Florida after he was refused service at the bar due to "high levels of intoxication." Carter was asked to leave by management and, after getting into a physical altercation with the bar's bouncers, was charged with misdemeanor battery.


title: Nick Carter (singer)

text: In September 2019, Carter was granted a temporary restraining order against his younger brother Aaron after alleging he threatened to kill his then-pregnant wife. On November 20, the judge made the decision the day after one of Carter's sisters was granted a domestic violence restraining order, and Carter's brother-in-law was granted a harassment restraining order until November 2020.


title: Nick Carter (singer)

text: On February 18, 2022, in a class-action lawsuit filed against the cryptocurrency company SafeMoon that alleged the company is a pump and dump scheme, Carter was named as a defendant along with Youtuber and professional boxer Jake Paul, rappers Soulja Boy and Lil Yachty, and social media personality Ben Phillips for promoting the SafeMoon token on their social media accounts with misleading information. On the same day, the U.S. 11th Circuit Court of Appeals ruled in a lawsuit against Bitconnect that the Securities Act of 1933 extends to targeted solicitation using social media.


title: Nick Carter (singer)

text: On December 8, 2022, Shannon Ruth filed a lawsuit against Carter alleging that he raped her in 2001, when she was 17, onboard the Backstreet Boys' tour bus. The suit alleges that Ruth, who is on the autism spectrum and has cerebral palsy, was waiting to get Carter's autograph following a Backstreet Boys concert at the Tacoma Dome in Tacoma, Washington when Carter invited her inside the bus, where he served her alcohol and then tried to make her perform oral sex on him before ultimately raping her. Ruth also accused Carter of calling her a "retarded little bitch" during the alleged assault, and of threatening to harm her if she told anyone. In a statement by his attorney Michael Holtz, Carter denied the allegation and claimed that Ruth' lawyer had allegedly taken advantage of the situation by manipulating Ruth into making her sexual misconduct allegations about Carter and called the lawsuit a " press stunt" by Ruth's lawyers.


title: Nick Carter (singer)

text: Ruth's complaint includes allegations from three other Jane Does, including a 15-year-old, who also say that Carter sexually assaulted them and infected them with HPV. All four women said Carter provided them with alcohol before the assaults.


title: Nick Carter (singer)

text: Following the release of the lawsuit ABC canceled the "A Very Backstreet Holiday," television special that was scheduled to air the following week on December 14, 2022.


title: Nick Carter (singer)

text: In 2018, Melissa Schuman, a former member of the girl band Dream, publicly claimed Carter forced her to have sex “against my will” when he was 22 and she was 18. Carter denied the allegation.


title: Nick Carter (singer)

text: Carter has acknowledged ongoing struggles with drug and alcohol abuse. He revealed that he started drinking when he was just two years old and again at nine. He says that he became sober after being diagnosed with cardiomyopathy and realized that he could die if he did not make major lifestyle changes. The singer credits fellow Backstreet Boys member Kevin Richardson for helping him turn his life around by giving him Norman Vincent Peale's book "Why Some Positive Thinkers Get Powerful Results". After reading that book he started a healthier lifestyle, saying "Working out definitely helped my self-esteem, and it helped to kind of push it all aside. I just started replacing drinking and the parties... with healthier things like sports, video games."


title: Nick Carter (singer)

text: Carter also appeared on "The Ellen DeGeneres Show" on February 19, 2009, to talk about his past with drug and alcohol addictions. In December 2011, Carter again appeared on TV to talk about his struggle with drugs and alcohol, this time on "The Dr. Phil Show"'s "Second Chances" special. This segment led to his first book deal with Bird Street Books. In 2013, he published the memoir titled "Facing the Music and Living to Talk About It".


title: Japanese verb conjugation

text: Japanese verbs, like the verbs of many other languages, can be phonetically modified to change their purpose, nuance or meaning – a process known as conjugation. In Japanese, the beginning of a word (the "stem") is preserved during conjugation, whilst the ending of the word is altered in some way to change the meaning (this is the "inflectional suffix"). Japanese verb conjugations are independent of person, number and gender (they do not depend on whether the subject is "I", "you", "he", "she", "we", etc.); the conjugated forms can express meanings such as negation, present and past tense, volition, passive voice, causation, imperative and conditional mood, and ability. There are also special forms for conjunction with other verbs, and for combination with particles for additional meanings.


title: Japanese verb conjugation

text: Japanese verbs have agglutinating properties: some of the conjugated forms are themselves conjugable verbs (or "i"-adjectives), which can result in several suffixes being strung together in a single verb form to express a combination of meanings.


title: Japanese verb conjugation

text: For Japanese verbs, the verb stem remains invariant among all conjugations. However, conjugation patterns vary according to a verb's category. For example, and belong to different verb categories (godan and ichidan, respectively) and therefore follow different conjugation patterns. As such, knowing a verb's category is essential for conjugating Japanese verbs.


title: Japanese verb conjugation

text: Verbs are conjugated from their ""dictionary form"", where the final kana is either removed or changed in some way. From a technical standpoint, verbs usually require a specific conjugational stem (see § Verb bases, below) for any given inflection or suffix. With godan verbs, the conjugational stem can span all five rows of the gojūon kana table (hence, the classification as a class‑5 verb). Ichidan verbs are simpler to conjugate: the final kana, which is always , is simply removed or replaced with the appropriate inflectional suffix. This means ichidan verb stems, in themselves, are valid conjugational stems which always end with the same kana (hence, the classification as a class‑1 verb).


title: Japanese verb conjugation

text: This phenomenon can be observed by comparing conjugations of the two verb types, within the context of the gojūon table.


title: Japanese verb conjugation

text: As visible above, the godan verb has a static verb stem, , and a dynamic conjugational stem which changes depending on the purpose: , , , and . Unlike godan verb stems, ichidan verb stems are also functional conjugational stems, with the final kana of the stem remaining static in all conjugations.


title: Japanese verb conjugation

text: Conjugable words (verbs, "i"‑adjectives, and "na"‑adjectives) are traditionally considered to have six possible . However, as a result of the language evolving, historical sound shifts, and the post‑WWII spelling reforms, three additional sub‑bases have emerged for verbs (seen in the table below as the Potential, Volitional, and Euphonic bases). Meanwhile, verbs no longer differentiate between the and the bases (these bases are only distinguished for "na"‑adjectives in the modern language, see Japanese adjectives). Verb bases function as the necessary stem forms to which inflectional suffixes attach.


title: Japanese verb conjugation

text: Verbs are named and listed in dictionaries according to their . This is also called the "plain form" (since this is the plain, non‑polite, non‑past conjugation), and it is the same as the modern , and the . The verb group (godan, ichidan, or irregular) determines how to derive any given conjugation base for the verb. With godan verbs, the base is derived by shifting the final kana along the respective vowel row of the gojūon kana table. With ichidan verbs, the base is derived by removing or replacing the final kana.


title: Japanese verb conjugation

text: The table below illustrates the various verb bases across the verb groups, with the patterns starting from the dictionary form.


title: Japanese verb conjugation

text: Of the nine verb bases, the shūshikei/rentaikei, meireikei, and ren'yōkei bases can be considered fully conjugated forms without needing to append inflectional suffixes. In particular, the shūshikei/rentaikei and meireikei bases do not conjugate with any inflectional suffixes. By contrast, a verb cannot be considered fully conjugated in its kateikei, mizenkei, izenkei, kanōkei, or onbinkei base alone; a compatible inflectional suffix is required for that verb construction to be grammatical.


title: Japanese verb conjugation

text: Certain inflectional suffixes, in themselves, take on the form of verbs or "i"‑adjectives. These suffixes can then be further conjugated by adopting one of the verb bases, followed by the attachment of the appropriate suffix. The agglutinative nature of Japanese verb conjugation can thus make the final form of a given verb conjugation quite long. For example, the word is broken down into its component morphemes below:


title: Japanese verb conjugation

text: There are three modern verb base forms that are considered to be derived from older forms. These are the potential, volitional, and euphonic sub‑bases, as shown in the Verb base formation table above.


title: Japanese verb conjugation

text: As with all languages, the Japanese language has evolved to fulfil the contemporary needs of communication. The potential form of verbs is one such example. In Old Japanese and Early Middle Japanese, potential was expressed with the verb ending , which was also used to express the passive voice ("to be done") and the spontaneous voice ("something happens on its own"). This evolved into the modern passive ending , which can similarly express potential and spontaneous senses. As usage patterns changed over time, different kinds of potential constructions emerged, such as the grammatical pattern of the rentaikei base + , and also via the kanōkei base. The historical development of the kanōkei base is disputed, however the consensus is that it stemmed from a shift wherein transitive verbs developed an intransitive sense similar to the spontaneous, passive, and potential, and these intransitive forms conjugated in the of the Classical Japanese of the time. The lower bigrade conjugation pattern evolved into the modern ichidan pattern in modern Japanese, and these stems for godan verbs have the same form as the hypothetical stems in the table above.


title: Japanese verb conjugation

text: The mizenkei base that ends with was also used to express the volitional mood for in Old Japanese and Middle Japanese, in combination with volitional suffix . Sound changes caused the resulting "-amu" ending to change: → → (like English ""ow"") → (like English ""aw"") → . The post‑WWII spelling reforms updated spellings to reflect this and other sound changes, resulting in the addition of the ishikei or volitional base, ending with , for the volitional mood of yodan verbs. This also resulted in a reclassification of "yodan verbs" to .


title: Japanese verb conjugation

text: The ren'yōkei base also underwent various euphonic changes specific to the perfective and conjunctive ("te") forms for certain verb stems, giving rise to the onbinkei or euphonic base. In the onbinkei base, the inflectional suffixes for godan verbs vary according to the last kana of the verb's ren'yōkei base.


title: Japanese verb conjugation

text: The copula or "to be" verb in Japanese is a special case. This comes in two basic forms, in the plain form and in the polite form. These are generally used to predicate sentences, equate one thing with another (i.e. "A is B."), or express a self‑directed thought (e.g. a sudden emotion or realization).


title: Japanese verb conjugation

text: The Japanese copula is not a standard 'verb' and conjugations are limited to a smaller subset of functions. Furthermore, this conjugates according to its own specific patterns:


title: Japanese verb conjugation

text: The negative forms, and , are compatible with all negative valence conjugations (such as the negative past tense or the negative -te form). However, the negative forms, and , are conjugated into the past tense by appending as a suffix (and are therefore incompatible with subsequent conjugations). Furthermore, the perfective forms, and , are compatible with the ~tara conditional.


title: Japanese verb conjugation

text: The imperfective form (also known as the ""non‑past", "plain form", "short form", "dictionary form"" and the ""attributive form"") is broadly equivalent to the present and future tenses of English. In Japanese, the imperfective form is used as the headword or lemma. It is used to express actions that are assumed to continue into the future, habits or future intentions.


title: Japanese verb conjugation

text: The imperfective form cannot be used to make a progressive continuous statement, such as in the English sentence "I am shopping". To do so, the verb must first be conjugated into its "te form" and attached to the auxiliary verb .


title: Japanese verb conjugation

text: The imperfective form uses the shūshikei/rentaikei base, and is thus equivalent to the dictionary form.


title: Japanese verb conjugation

text: Additionally, the imperfective form is compatible with the nominalizers and , which repurpose the verb as a noun. For example, .


title: Japanese verb conjugation

text: The negative form is compatible with the particle for additional functions, such as requesting someone to cease/desist or joining a subordinate clause.


title: Japanese verb conjugation

text: The negative continuous form is created by using the mizenkei base, followed by the suffix; equivalent to replacing with in the . An exception is , which instead conjugates as . In this form, the negative continuous cannot terminate a sentence. The verb has the "negative continuous tense" unless followed by the particle, where its meaning changes to "without". The form (, without doing) is semantically interchangeable with , however is only used in written Japanese or formal speech.


title: Japanese verb conjugation

text: The perfective form is created by using the onbinkei base, followed by the suffix. This conjugation pattern is more complex compared to other conjugations because the exact realization of the inflectional suffix—particularly in godan verbs—is based on the of the verb stem. "(See also: Euphonic changes)"


title: Japanese verb conjugation

text: The allows verbs to function like conjunctions. Similar to the word ""and"" in English, the "te" form connects clauses to make longer sentences. Conversely, as a sentence terminal, it functions as a casual instruction (like a gentle imperative command). Finally, the "te" form attaches to a myriad of auxiliary verbs for various purposes.


title: Japanese verb conjugation

text: There are limitations where the "te" form cannot be used to conjugate between pairs of verbs (such as when two verbs are unrelated) and the conjunctive form is used instead.


title: Japanese verb conjugation

text: The "te" form is created by using the onbinkei base, followed by the suffix. Just like the perfective form, this conjugation pattern is more complex compared to other conjugations because the exact realization of the inflectional suffix—particularly in godan verbs—is based on the of the verb stem. "(See also: Euphonic changes)"


title: Japanese verb conjugation

text: The "te" form is compatible with particles for additional functions, such as giving permission or expressing prohibition.


title: Japanese verb conjugation

text: The "te" form is also compatible with an extensive list of auxiliary verbs. These auxiliary verbs are attached after the .


title: Japanese verb conjugation

text: Finally, the "te" form is necessary for making polite requests with and . These honorific words are attached with their imperative forms and , which is more socially proper than using the true imperative.


title: Japanese verb conjugation

text: During speech, the speaker may terminate a sentence in the "te" form but slightly lengthen the vowel sound as a natural pause: . Similar to when a sentence ends with "so…" in English, this serves as a social cue that can:


title: Japanese verb conjugation

text: Another usage of the "te" form is, just as with English, the order of clauses may be reversed to create emphasis. However, unlike in English, the sentence will terminate on the te form (rather than between clauses).


title: Japanese verb conjugation

text: The conjunctive form (also known as the ""stem form", "masu form", "i form"" and the ""continuative form"") functions like an intermediate conjugation; it requires an auxiliary verb to be attached since the conjunctive form is rarely used in isolation. It can also function to link separate clauses (hence the name "conjunctive") in a similar way to the "te" form above; however usage of the conjunctive form as a conjunction . The conjunctive form can function as a gerund (a verb functioning as a noun) without the need for nominalizers, although permissible use cases are limited.


title: Japanese verb conjugation

text: The conjunctive form uses the ren'yōkei base. It is one of the simplest conjugation patterns due to its lack of irregular conjugations. It does have an additional case for certain honorific verbs, but even those follow a consistent conjugation pattern.


title: Japanese verb conjugation

text: The conjunctive form is compatible with particles for additional functions, such as expressing purpose or a firm avoidance.


title: Japanese verb conjugation

text: The conjunctive form is also compatible with an extensive list of auxiliary verbs. One of which, , has highly irregular inflections.


title: Japanese verb conjugation

text: The conjunctive form, like the "te" form, connects clauses in a similar way to how "and" does in English. However, the conjunctive and "te" forms are not usually interchangeable, and each form fulfills specific grammatical purposes. When a pair of verbs have a strong connection in context, only the "te" form can bridge them. When a pair of verbs are not directly related but happen during a shared period of time, only the conjunctive form can bridge them. Furthermore, if a pair of verbs are both controllable or uncontrollable in nature, the "te" form must bridge them; otherwise, when a verb is controllable whilst the other verb is uncontrollable, the conjunctive form must bridge them. Finally, the "te" and conjunctive forms are interchangeable if additional information is included between the verbs.


title: Japanese verb conjugation

text: In the case where the conjunctive form is interchangeable with the "te" form, there is a stylistic means where the conjunctive form is preferred. This avoids repetition, much like how English users might avoid saying "and…and…and…". In practice however, such a strategy is more readily accustomed to writing and more difficult to control in spoken conversation (where the "te" form is usually elected for every verb).


title: Japanese verb conjugation

text: Another common usage is to form compound words, specifically compound nouns and compound verbs. As for compound nouns, the conjunctive form attaches as a prefix to another noun. Compound verbs are formed in the same way, except the conjunctive form attaches to the imperfective form. This pattern can be used to express mutuality if a transitive verb attaches to .


title: Japanese verb conjugation

text: The volitional form (also known as the ""conjectural form", "tentative form", "presumptive form"" and the ""hortative form"") is used to express speaker's will or intention (volitional), make an inclusive command or invitation (hortative or persuasive) or to make a guess or supposition (presumptive).


title: Japanese verb conjugation

text: The volitional form is created by using the ishikei base, followed by the suffix. Phonetically, う is surfaced as in volitional form, unlike う in dictionary/imperfective form; for example, and .


title: Japanese verb conjugation

text: The refocuses the verb as the target objective of a sentence; it emphasizes the "action" as the detail of importance. Although a sentence can include a specific subject enacting the passive verb, the subject is not required. The passive voice can nuance neutrality, a regrettable action ("suffering passive") or a means of being respectful.


title: Japanese verb conjugation

text: The passive form is created by using the mizenkei base, followed by the suffix. For ichidan verbs and , the passive form and the potential form have an identical conjugation pattern with the same suffix. This makes it impossible to distinguish whether an ichidan verb adopts a passive or potential function without contextual information.


title: Japanese verb conjugation

text: After conjugating into the passive form, the verbs become ichidan verbs. They can therefore be further conjugated according to any ichidan pattern. For instance, a passive verb (e.g. ) can conjugate using the ichidan pattern for the to join sequential statements (), or the conjunctive form to append the polite auxiliary verb ().


title: Japanese verb conjugation

text: After conjugating into the causative form, the verbs become ichidan verbs. They can therefore be further conjugated according to any ichidan pattern. For instance, a causative verb (e.g. ) can conjugate using the ichidan pattern for the to join sequential statements (), or the conjunctive form to append the polite auxiliary verb ().


title: Japanese verb conjugation

text: The causative passive form expresses that a reluctant subject was positioned (or forced) into doing something they would rather avoid. The causative passive form is obtained by conjugating a verb into its causative form and further conjugating it into the passive form. However, because words such as are considered difficult to pronounce, the conjugational suffix is often contracted in colloquial speech. Specific to godan verbs only, the contracts into .


title: Japanese verb conjugation

text: The imperative form functions as firm instructions do in English. It is used to give orders to subordinates (such as within military ranks, or towards pet animals) and to give direct instructions within intimate relationships (for example, within family or close friends). When directed towards a collective rather than an individual, the imperative form is used for mandatory action or motivational speech. The imperative form is also used in "reported speech".


title: Japanese verb conjugation

text: However, the imperative form is perceived as confrontational or aggressive when used for commands; instead, it is more common to use the "te" form (with or without the suffix), or the conjunctive form's , .


title: Japanese verb conjugation

text: Non‑volitional verbs, such as and , have imperative forms (for these two verbs, and ), but these appear to be relatively recent innovations, and usage may be limited to informal contexts.


title: Japanese verb conjugation

text: The potential form describes the capability of doing something. It is also used to ask favors from others, just as "Can you…?" does in English. However, unlike in English, the potential form does not request permission; the phrase is always understood to mean ""Do I have the ability to eat this apple?"" or ""Is this apple edible?"" (but never ""May I eat this apple?"" ).


title: Japanese verb conjugation

text: For transitive verbs, the potential form uses the particle to mark direct objects, instead of the particle.


title: Japanese verb conjugation

text: The potential form is created by using the kanōkei base, followed by the suffix. has its own suppletive potential form . For ichidan verbs and , the potential form and the passive form have an identical conjugation pattern with the same suffix. This makes it impossible to distinguish whether an ichidan verb adopts a passive or potential function without contextual information.


title: Japanese verb conjugation

text: After conjugating into the potential form, the verbs become ichidan verbs. They can therefore be further conjugated according to any ichidan pattern. For instance, a potential verb (e.g. ) can conjugate using the ichidan pattern for the to join sequential statements (), or the conjunctive form to append the polite auxiliary verb ().


title: Japanese verb conjugation

text: The conditional form (also known as the ""hypothetical form", "provisional form"" and the ""provisional conditional eba form"") is broadly equivalent to the English conditionals "if…" or "when…". It describes a condition that provides a specific result, with emphasis on the condition. The conditional form is used to describe hypothetical scenarios or general truths.


title: Japanese verb conjugation

text: In its , the conditional form can express obligation or insistence by attaching to or . This pattern of grammar is a double negative which loosely translates to ""to avoid that action, will not happen"". Semantically cancelling out the negation becomes ""to do that action, will happen"" ; however the true meaning is ""I must do that action"".


title: Diegesis

text: Diegesis (; from the Greek from , "to narrate") is a style of fiction storytelling that presents an interior view of a world in which:


title: Diegesis

text: In diegesis, the narrator "tells" the story. The narrator presents the actions (and sometimes thoughts) of the characters to the readers or audience.


title: Diegesis

text: In a rather different usage, diegetic elements are part of the fictional world ("part of the story"), as opposed to non-diegetic elements which are stylistic elements of how the narrator tells the story ("part of the storytelling").


title: Diegesis

text: "Diegesis" (Greek διήγησις "narration") and "mimesis" (Greek μίμησις "imitation") have been contrasted since Plato's and Aristotle's times. "Mimesis" "shows" rather than "tells", by means of action that is enacted. "Diegesis" is the "telling" of a story by a narrator. The narrator may speak as a particular character, or may be the "invisible narrator", or even the "all-knowing narrator" who speaks from "outside" in the form of commenting on the action or the characters.


title: Diegesis

text: In Book III of his "Republic" (c. 373 BC), Plato examines the "style" of "poetry" (the term includes comedy, tragedy, epic and lyric poetry): All types narrate events, he argues, but by differing means. He distinguishes between narration or report ("diegesis") and imitation or representation ("mimesis"). Tragedy and comedy, he goes on to explain, are wholly imitative types; the dithyramb is wholly narrative; and their combination is found in epic poetry. When reporting or narrating, "the poet is speaking in his own person; he never leads us to suppose that he is any one else"; when imitating, the poet produces an "assimilation of himself to another, either by the use of voice or gesture". In dramatic texts, the poet never speaks directly; in narrative texts, the poet speaks as himself.


title: Diegesis

text: In his "Poetics", the ancient Greek philosopher Aristotle argues that kinds of "poetry" (the term includes drama, flute music, and lyre music for Aristotle) may be differentiated in three ways: according to their "medium", according to their "objects", and according to their "mode" or "manner" (section I); "For the medium being the same, and the objects the same, the poet may imitate by narration—in which case he can either take another personality as Homer does, or speak in his own person, unchanged—or he may present all his characters as living and moving before us" (section III).


title: Diegesis

text: For narratologists all parts of narratives—characters, narrators, existents, actors—are characterized in terms of diegesis. For definitions of diegesis, one should consult Aristotle's "Poetics"; Gerard Genette's "Narrative Discourse: An Essay in Method" (Cornell University Press, 1980); or (for a readable introduction) H. Porter Abbott's "The Cambridge Introduction to Narrative" (Cambridge University Press 2002). In literature, discussions of diegesis tend to concern discourse/sjužet (in Russian Formalism) (vs. story/fabula).


title: Diegesis

text: Diegesis is multi-levelled in narrative fiction. Genette distinguishes between three "diegetic levels". The extradiegetic level (the level of the narrative's telling) is, according to Prince, "external to (not part of) any diegesis." One might think of this as what we commonly understand to be the narrator's level, the level at which exists a narrator who is not part of the story being told. The diegetic level or intradiegetic level is understood as the level of the characters, their thoughts and actions. The metadiegetic level or hypodiegetic level is that part of a diegesis that is embedded in another one and is often understood as a story within a story, as when diegetic narrators themselves tell a story.


title: Diegesis

text: In filmmaking the term is used to name the story depicted on screen, as opposed to the story in real time that the screen narrative is about. Diegesis may concern elements, such as characters, events, and things within the main or "primary" narrative. However, the author may include elements that are not intended for the primary narrative, such as stories within stories. Characters and events may be referred to elsewhere or in historical contexts and are therefore outside the main story; thus, they are presented in an "extradiegetic" situation.