title: Puberty blocker

text: Some opponents of the use of puberty blockers argue that minors are not able to give proper consent. Some advocates for the use of puberty blockers argue that there are psychological and developmental benefits of puberty blockers which are compelling enough to overlook the issue of informed consent in many cases. According to a 2019 study, a "multidisciplinary staged approach" is necessary "to ensure meaningful consent". According to the 2021 editorial, "Disproportionate emphasis is given to young people's inability to provide medical consent, a moot point given that—like any medical care—parental consent is required. ... what matters ethically is whether an individual has a good enough reason for wanting treatment". Bioethicist Maura Priest contends that, even in the absence of parental permission, the use of puberty blockers could mitigate any adverse effects on familial relationships within the home of a transgender child. She posits that there are benefits to having access to puberty blockers, while psychological costs are often associated with untreated gender dysphoria in children. Bioethicist Florence Ashley contends that counseling and educating the parents of transgender youth could also be beneficial to familial relationships.


title: Puberty blocker

text: One study found that the use of puberty blockers decreases the risk of depression and reduces behavioral issues. Opponents have argued that potentially negative "effects may be too subtle to observe during the follow-up sessions by clinical assessment alone".


title: Puberty blocker

text: Opponents of the use of puberty blockers in adolescents argue that gender identity is still fluctuating at this age and that blockers might interfere with gender identity formation and development of a free sexuality, as well as pointing to what they consider to be high rates of desistance after puberty. Almost all (98%) children who took puberty blockers in a significant recent study by the main UK child/adolescent gender clinic continued on to hormone replacement therapy. Similarly, most reviews noting psychological benefits refer to the classic Dutch study, which had very stringent requirements for medical treatment.


title: Puberty blocker

text: In April 2021, Arkansas passed a ban on treatment of minors under 18 with puberty blockers, but it was temporarily blocked by a federal judge a week before the law was set to take effect. In April 2022, Alabama passed a ban from minors under 19 from obtaining puberty blockers and made it a felony for a doctor to prescribe puberty blockers to a minor with a punishment of up to ten years in prison. The Alabama law was partially blocked by a federal judge a few days after the law took effect. In August 2022, Florida banned Medicaid from covering gender affirming care, including puberty blockers. State bans on puberty blockers have led some families with transgender children to flee their states.


title: Puberty blocker

text: Efforts to ban puberty blockers are opposed by the American Medical Association, the American Academy of Child and Adolescent Psychiatry (AACAP), the American Academy of Pediatrics, the American Psychiatric Association, the Endocrine Society, the Pediatric Endocrine Society, the American College of Obstetricians and Gynecologists, the American Psychological Association, the American College of Physicians, the American Academy of Family Physicians, the American Osteopathic Association, the American Association of Clinical Endocrinologists, the American Nurses Association, the US Professional Association for Transgender Health, and the World Professional Association for Transgender Health (WPATH). In Australia, the Royal Australasian College of Physicians, the Royal Australian College of General Practitioners, the Australian Endocrine Society, and AusPATH also all support access. In the UK, the British Medical Association supports access.


title: Puberty blocker

text: In Europe, some medical groups have discouraged or limited the use of puberty blockers. Following the "Bell v Tavistock" decision by the High Court of Justice for England and Wales, in which the High Court ruled children under 16 were not competent to give informed consent to puberty blockers — overturned by the Court of Appeal in September 2021 — Sweden's Karolinska Institute, administrator of the second-largest hospital system in the country, announced in March 2021 that it would discontinue providing puberty blockers or cross-sex hormones to children under 16. Additionally, the Karolinska Institute changed its policy to cease providing puberty blockers or cross-sex hormones to teenagers 16–18, outside of approved clinical trials. On 22 February 2022, Sweden's National Board of Health and Welfare said that puberty blockers should only be used in "exceptional cases" and said that their use is backed by "uncertain science". However, other providers in Sweden continue to provide puberty blockers and in Sweden, a clinician's professional judgment determines what treatments are recommended or not recommended. Youth are able to access gender-affirming care when doctors deem it medically necessary. The treatment is not banned in Sweden, unlike in Alabama and Arkansas, and is offered as part of its national healthcare service.


title: Puberty blocker

text: On 30 June 2020, the British National Health Service changed the information it displayed on its website regarding the reversibility of the effects of puberty blockers and their use in the treatment of minors with gender dysphoria, according to a report by BBC's "Woman's Hour". Specifically, the NHS removed "the effects of treatment with GnRH analogues are considered to be fully reversible, so treatment can usually be stopped at any time after a discussion between you, your child and your MDT (multi-disciplinary team)," and added "little is known about the long-term side effects of hormone or puberty blockers in children with gender dysphoria. Although the Gender Identity Development Service (GIDS) advises this is a physically reversible treatment if stopped, it is not known what the psychological effects may be. It's also not known whether hormone blockers affect the development of the teenage brain or children's bones. Side effects may also include hot flushes, fatigue and mood alterations."


title: Puberty blocker

text: A February 2022 poll by LGBT support service The Trevor Project and Morning Consult found that 52 percent of American adults expressed some level of support for transgender minors having access to puberty blockers if it is recommended by their doctor and supported by their parents.


title: Puberty blocker

text: An April 2021 PBS Newshour/NPR/Marist poll with the question "Do you support or oppose legislation that would prohibit gender transition-related medical care for minors" found 66% of Americans would oppose a ban, including 69% of Democrats, 70% of Republicans, and 64% of Independents.


title: Only Love Can Hurt Like This

text: "Only Love Can Hurt Like This" is a song by English singer Paloma Faith, written by Diane Warren. Released as the second single to promote her third studio album, "A Perfect Contradiction" (2014), on 11 May 2014, it was promoted on shows such as "".


title: Only Love Can Hurt Like This

text: The song peaked at number 6 in the United Kingdom, making it Faith's highest-charting single to date, surpassing her 2012 single "Picking Up the Pieces". It made its Australian chart premiere on 21 July 2014 after being used on a high-profile TV advertisement for Channel 7's drama series "Winners & Losers". It reached the number one position on the Australian ARIA charts on 26 July. It also peaked at number 3 on the New Zealand Singles Chart, marking Faith's first top ten and highest-peaking single there to date.


title: Only Love Can Hurt Like This

text: "Only Love Can Hurt Like This" was written by Diane Warren, who has previously written songs for Whitney Houston, Cher, Toni Braxton, LeAnn Rimes, Christina Aguilera and Britney Spears. Initially, Faith refused to record the song because she hadn't any writing credit for it, however after hearing the song Faith felt overwhelmed by how (lyrically) the song reflected on her relationship and emotion at the time. Warren has also written a song with a synonymous title, "Nothing Hurts Like Love", sung by Daniel Bedingfield. The song "Only Love Can Hurt Like This" was premiered in a stripped back acoustic version on Amazon.com, and was later performed at a Burberry fashion show in February 2014; later this performance was made available on the iTunes Store.


title: Only Love Can Hurt Like This

text: The song has been described as a Motown-influenced sixties-style ballad and is a largely acoustic song featuring mainly brass and drums, expanding to include backing vocals and heavy use of violins in the final choruses. The song also includes subtle piano accentuation. The iTunes album review for "A Perfect Contradiction" describes the song as: "[a] towering, wall-of-sound ballad ..." - a reference to the production formula developed by record producer Phil Spector.


title: Only Love Can Hurt Like This

text: Unlike other songs produced by AC Burrell or Kyle Townsend, "Only Love Can Hurt Like This" is not tuned to the widely used concert pitch of Instead, it was recorded about 35 cents sharp, about one-third of the way to the next semitone.


title: Only Love Can Hurt Like This

text: Diane Warren has written for Faith twice again, towards the single "Leave While I'm Not Looking" (featured on the 'Outsider's Edition' of "A Perfect Contradiction"), and "The Crazy Ones" (featured as the main theme of the film "Miss You Already").


title: Only Love Can Hurt Like This

text: The official music video for "Only Love Can Hurt Like This" was preceded by an '"Off the Cuff"' version, released on Faith's official Vevo account and was premiered on 31 March 2014. In this video, is shown just Paloma (looking typically vampish in a trademark vintage outfit) and her pianist (Dom Pipkin, who had previously recorded piano for Faith on the acoustic tracks included in the deluxe edition of Fall to Grace) performing the song alone in a room. This video was directed by Anthony Saul.


title: Only Love Can Hurt Like This

text: On 25 April, Faith uploaded a teaser of the official music video on her official Instagram account, and informed that the video was set to release on 28 April. The song's official video has been credited to Denna Cartamkhoub (as the producer) and Paul Gore (as the director) who also worked with Faith on her "Can't Rely on You"'s and Trouble with My Baby's music video. The video for this song was shot by Daniel Landin.


title: Only Love Can Hurt Like This

text: The track was used in the promotional video for the 2015 season of the New Zealand popular soap opera "Shortland Street".


title: Only Love Can Hurt Like This

text: Faith performed 'Only Love Can Hurt Like This' at the 2015 BRIT Awards which was held on 25 February 2015. An indoor rain system was activated to add emotive effect. After her performance, Faith commented: "I am drenched!" and "I just sang my song... in torrential rain!". Wayne McGregor's "Random Dancers" performed in the background.


title: Only Love Can Hurt Like This

text: A cover of the song in Spanish, titled "Sólo el Amor Lastima Así", was released by the Mexican band Motel, featuring María José, for the 2015 film A La Mala.


title: Only Love Can Hurt Like This

text: The song went viral on TikTok in 2022. Faith subsequently released a slowed-down version of the song, which also went viral on the platform.


title: 2017–18 UEFA Europa League

text: The 2017–18 UEFA Europa League was the 47th season of Europe's secondary club football tournament organised by UEFA, and the 9th season since it was renamed from the UEFA Cup to the UEFA Europa League.


title: 2017–18 UEFA Europa League

text: The final was played at the Parc Olympique Lyonnais in Décines-Charpieu, France. Atlético Madrid defeated Marseille to win their third Europa League title.


title: 2017–18 UEFA Europa League

text: As winners, Atlético Madrid earned the right to play against the winners of the 2017–18 UEFA Champions League, Real Madrid, in the 2018 UEFA Super Cup. Moreover, they would also have been automatically qualified for the 2018–19 UEFA Champions League group stage, but since they had already qualified through their league performance, the berth reserved was given to the third-placed team of the 2017–18 Ligue 1, the fifth-ranked association according to next season's access list.


title: 2017–18 UEFA Europa League

text: Manchester United qualified for the 2017–18 UEFA Champions League as the title holders of Europa League. They were unable to defend their title as they qualified for the Champions League knockout phase, and were eliminated by Sevilla in the round of 16.


title: 2017–18 UEFA Europa League

text: A total of 190 teams from all 55 UEFA member associations participated in the 2017–18 UEFA Europa League. The association ranking based on the UEFA country coefficients was used to determine the number of participating teams for each association:


title: 2017–18 UEFA Europa League

text: Starting from this season, Gibraltar were granted two spots instead of one in the Europa League. Kosovo, who became a UEFA member on 3 May 2016, made their debut in the UEFA Europa League.


title: 2017–18 UEFA Europa League

text: For the 2017–18 UEFA Europa League, the associations were allocated places according to their 2016 UEFA country coefficients, which took into account their performance in European competitions from 2011–12 to 2015–16.


title: 2017–18 UEFA Europa League

text: Apart from the allocation based on the country coefficients, associations could have additional teams participating in the Europa League, as noted below:


title: 2017–18 UEFA Europa League

text: In the default access list, Manchester United entered the group stage (as the sixth-placed team of the 2016–17 Premier League). However, since they qualified for the Champions League as the Europa League title holders, the spot which they qualified for in the Europa League group stage was vacated, and the following changes to the default allocation system were made:


title: 2017–18 UEFA Europa League

text: A Europa League place was vacated when a team qualified for both the Champions League and the Europa League, or qualified for the Europa League by more than one method. When a place was vacated, it was redistributed within the national association by the following rules (regulations Articles 3.03 and 3.04):


title: 2017–18 UEFA Europa League

text: Notably two teams took part in the competition that were not playing in their national top division, Tirana (2nd tier) and Vaduz (representing Liechtenstein, playing in Swiss second tier).


title: 2017–18 UEFA Europa League

text: The schedule of the competition was as follows (all draws were held at the UEFA headquarters in Nyon, Switzerland, unless stated otherwise).


title: 2017–18 UEFA Europa League

text: Matches in the qualifying, play-off, and knockout rounds could also be played on Tuesdays or Wednesdays instead of the regular Thursdays due to scheduling conflicts.


title: 2017–18 UEFA Europa League

text: In the qualifying rounds and the play-off round, teams are divided into seeded and unseeded teams based on their 2017 UEFA club coefficients, and then drawn into two-legged home-and-away ties. Teams from the same association cannot be drawn against each other.


title: 2017–18 UEFA Europa League

text: The draw for the group stage was held on 25 August 2017, 13:00 CEST, at the Grimaldi Forum in Monaco. The 48 teams were drawn into twelve groups of four, with the restriction that teams from the same association cannot be drawn against each other. For the draw, the teams were seeded into four pots based on their 2017 UEFA club coefficients.


title: 2017–18 UEFA Europa League

text: In each group, teams played against each other home-and-away in a round-robin format. The group winners and runners-up advanced to the round of 32, where they were joined by the eight third-placed teams of the 2017–18 UEFA Champions League group stage. The matchdays were 14 September, 28 September, 19 October, 2 November, 23 November, and 7 December 2017.


title: 2017–18 UEFA Europa League

text: A total of 29 national associations were represented in the group stage. Arsenal, Atalanta, Fastav Zlín, 1899 Hoffenheim, İstanbul Başakşehir, 1. FC Köln, Lugano, Milan, Östersund, Real Sociedad, Red Star Belgrade, Vardar and Vitesse made their debut appearances in the UEFA Europa League group stage (although Milan and Red Star Belgrade had appeared in the UEFA Cup group stage). Vardar were the first team from Macedonia to play in either the Champions League or Europa League group stage.


title: 2017–18 UEFA Europa League

text: In the knockout phase, teams played against each other over two legs on a home-and-away basis, except for the one-match final. The mechanism of the draws for each round was as follows:


title: 2017–18 UEFA Europa League

text: Votes were cast by coaches of the 48 teams in the group stage, together with 55 journalists selected by the European Sports Media (ESM) group, representing each of UEFA's member associations. The coaches were not allowed to vote for players from their own teams. Jury members selected their top three players, with the first receiving five points, the second three and the third one. The shortlist of the top three players was announced on 9 August 2018. The award winner was announced during the 2018–19 UEFA Europa League group stage draw in Monaco on 31 August 2018.


title: James Martin (chef)

text: James Martin (born 30 June 1972) is a British chef and television presenter, best known for his television work with the BBC and ITV.


title: James Martin (chef)

text: Martin presented the BBC cookery series "Saturday Kitchen" from 2006 until 2016, before leaving the BBC.


title: James Martin (chef)

text: More recently, Martin has presented "James Martin's French Adventure" (2017), "Saturday Morning with James Martin" (2017–present) and "James Martin's American Adventure" (2018) for ITV.


title: James Martin (chef)

text: Martin's family were farmers on the Castle Howard estate where he helped his mother in the kitchen, igniting his interest in cuisine. He lived in Welburn, UK, where he attended Amotherby School in Malton and later on, Malton School.


title: James Martin (chef)

text: James Martin trained at Hostellerie De Plaisance, Saint-Émilion, France, and from there, spent two years as a Pastry Chef at Chewton Glen Hotel in the South of England.


title: James Martin (chef)

text: He first appeared on television in 1996 on programmes including "James Martin: Yorkshire's Finest" (set in various Yorkshire locations with an emphasis on Yorkshire cuisine), "Ready Steady Cook" and "The Big Breakfast".


title: James Martin (chef)

text: Martin co-presented BBC Food's "Stately Suppers" with Alistair Appleton, and then appeared on the Channel 4 programme Richard & Judy, where he would visit a member of the public in their own home who had been nominated to be cooked a 'comfort food' meal. From 2006 until 2016, he was the presenter of the BBC One show "Saturday Kitchen".


title: James Martin (chef)

text: In September 2011, James was tasked with revamping the menu and catering facilities at Scarborough General Hospital, for "Operation Hospital Food" for the BBC. The show was recommissioned for a second and third series which were shown on BBC One in 2013 and 2014 respectively.


title: James Martin (chef)

text: In June 2013, "The Roux Scholarship" was shown on Watch. Martin joined the judging panel along with fellow celebrity chefs including Rick Stein, Raymond Blanc and Angela Hartnett.


title: James Martin (chef)

text: In July 2013, Martin appeared alongside Angela Hartnett and Richard Corrigan on BBC One on a special edition of "The Great British Menu" entitled "The Great British Budget Menu". The show aimed to highlight food poverty and involved the chefs cooking nutritious meals on a budget.


title: James Martin (chef)

text: In September 2013, the programme "James Martin's Food Map of Britain" aired on BBC Two. There were 10 episodes with each focusing on a different region of Britain. James investigated the produce of each area and cooked two dishes per episode. Since 2013, he has been a judge on "Junior Bake Off" on the CBBC channel.


title: James Martin (chef)

text: In October 2014, James presented a new daytime show for BBC One called "Meet the Street" which aimed to unite communities and reduce loneliness. In 2015, he guest presented numerous episodes of "The One Show" with Alex Jones. In 2015, Martin presented "The Box", a daytime cookery series for BBC One.


title: James Martin (chef)

text: In 2015, while attending the "BBC Good Food Middle East Awards" in Dubai, Martin witnessed the death of magazine boss, Dominic De Sousa whom he had been speaking with, just moments before the tabloid mogul stood up and suffered a fatal heart attack. This event had an effect on Martin and had a part in him later deciding to leave '"Saturday Kitchen".


title: James Martin (chef)

text: In February and March 2016 Martin toured his first live show around the UK entitled 'Plates, mates and automobiles'.


title: James Martin (chef)

text: Since September 2017, Martin has presented "Saturday Morning with James Martin", a Saturday morning cookery show for ITV.


title: James Martin (chef)

text: In 2009, Martin wrote in his column that he hated cyclists, and deliberately took pleasure in scaring them by driving an electric Tesla Roadster (2008) in a manner that startled a cycling group, forcing them off the road. Following criticism from cycling groups and professionals such as Bradley Wiggins and Stuart O'Grady, he apologised for the statements. Complaints said that the driving was illegal and dangerous.


title: James Martin (chef)

text: Martin opened his restaurant, called "The Leeds Kitchen", inside the Alea Casino in Leeds in 2011. The casino, and with it the restaurant, closed in March 2013.


title: James Martin (chef)

text: In 2012 he opened a restaurant inside The Talbot Hotel, Malton, North Yorkshire. The restaurant won a Michelin star at the end of 2012. In June 2013 it was reviewed by food critic Jay Rayner for "The Observer" who described his meal there as "three beautifully poised, close to faultless dishes". Martin left The Talbot in February 2015.


title: James Martin (chef)

text: In September 2013 Martin opened his restaurant James Martin Manchester, specialising in modern British cuisine.


title: James Martin (chef)

text: There are four branches of "James Martin Kitchen" bakery and cafe located at; airside at Stansted and Glasgow airports, inside Debenhams at intu Lakeside and at Manchester Piccadilly Train Station.


title: James Martin (chef)

text: In Autumn 2021, Martin teamed up with potato company "Albert Bartlett" to create the new menu for the launch of "SpudULike by James Martin" chain of restaurants. It is a relaunch of Spudulike that traded from 1974 to 2019.


title: James Martin (chef)

text: James teaches at "The Kitchen – Cookery School" at Chewton Glen, a cookery school and relaxed dining restaurant in New Milton, Hampshire.


title: James Martin (chef)

text: September 2021, Martin launched a range of premium French wines which are produced in the village of Névian near Narbonne in the Corbières region.


title: James Martin (chef)

text: Martin has been in a relationship with his long-term girlfriend Louise Davies, who is a TV producer, since 2011. James met Davies on "Celebrity Who Wants to Be a Millionaire?"


title: James Martin (chef)

text: Martin raced in the 2013 Masters Series in an Appendix K 1964 Mini Cooper S. On 23 June 2013 he took his first race win at the Brands Hatch Mini Festival, becoming the 2013 Champion of Mini Festival.


title: James Martin (chef)

text: Martin also raced a "works" GT Aston Martin at the Aston Martin Centenary Festival in July 2013 where he achieved a position of 9th out of 30 racers. He then qualified as a helicopter pilot.


title: James Martin (chef)

text: In 2010, Martin was awarded the title of Honorary Professor by the University of West London, London School of Hospitality and Tourism along with Michel Roux, Raymond Blanc and Anton Mosimann.


title: James Martin (chef)

text: On 10 June 2013, Martin was honoured with The Craft Guild of Chefs Special Award. In 2015 he was named ‘TV Personality of the Year’ at the Fortnum & Mason Awards. James was inducted into the Guilde Internationale des Fromagers at the International Cheese Awards 2016.


title: James Martin (chef)

text: In 2021, Martin was again voted ‘TV Personality of the Year’ at the Fortnum & Mason Awards. On 6 September 2021, Martin's Saturday Morning scooped Best Food Show at the TV Choice Awards. In November 2021, Martin won 'Most Influential Chef, Cook or Food Writer' award, and also 'Best Cookbook', for 'Great British Adventure: A celebration of Great British food' at the Great British Food Awards.


title: Display device

text: A display device is an output device for presentation of information in visual or tactile form (the latter used for example in tactile electronic displays for blind people). When the input information that is supplied has an electrical signal the display is called an "electronic display".


title: Display device

text: Some displays can show only digits or alphanumeric characters. They are called segment displays, because they are composed of several segments that switch on and off to give appearance of desired glyph. The segments are usually single LEDs or liquid crystals. They are mostly used in digital watches and pocket calculators. Common types are seven-segment displays which are used for numerals only, and alphanumeric fourteen-segment displays and sixteen-segment displays which can display numerals and Roman alphabet letters.


title: Display device

text: 2-dimensional displays that cover a full area (usually a rectangle) are also called video displays, since it is the main modality of presenting video.


title: An Echo in the Bone

text: An Echo in the Bone is the seventh book in the "Outlander" series of novels by Diana Gabaldon. Centered on time travelling 20th century doctor Claire Fraser and her 18th century Scottish Highlander warrior husband Jamie Fraser, the books contain elements of historical fiction, romance, adventure and fantasy.


title: An Echo in the Bone

text: First published and released in the United States on September 22, 2009, the novel continues the adventures of Claire and Jamie in the 18th century, as well as their daughter, Brianna MacKenzie and her husband, Roger MacKenzie, who returned to the 20th century at the end of the previous book, "A Breath of Snow and Ashes".


title: An Echo in the Bone

text: In the 20th century at Lallybroch, Brianna, Roger, Jem, and Mandy are reading letters from Claire and Jamie from the past, one of which mentions hidden gold, with a location known only to Jem. Given his date of death on the family record, Brianna and Roger know he is unlikely to make it safely back. Rob Cameron, one of Brianna's coworkers, kidnaps Jem, and it appears that he has taken Jem into the past. Roger and William travel through time to find them, but Rob appears at Brianna's home and orders her to tell Jem to disclose the location of the gold. Jem is locked underground at the dam where Brianna and Rob work. He finds an electric train and starts an escape; his fate is unseen.


title: An Echo in the Bone

text: In the past, Lord William Ellesmere (Jamie's son who was raised as Lord John Grey's stepson) is involved in the American Revolution as a Redcoat, but he is repeatedly embarrassed until the battle of Saratoga, wherein he distinguishes himself. Arch and Murdina Bug go after the gold on Fraser's Ridge. During a confused confrontation, Mrs. Bug shoots Jamie when he tells her to stop, and Ian shoots her. Ian feels guilty for killing Mrs. Bug; Arch vows to take his revenge when Ian has 'someone worth losing'. Claire, Jamie, and Ian leave their mountain home for Scotland to see Jenny, Ian, and their children, and also to recover Jamie's printing press. Before they can leave America, they become involved in the Revolutionary War; Jamie accidentally shoots the hat off William's head at Saratoga. A kinsman of Jamie's on the British side, Simon Fraser of Balnain, is killed, and Jamie and Claire are asked to take his body back to Scotland. Before they leave, a stranger tries to blackmail Jamie, but Ian kills him. Claire, Jamie, and Ian leave for Scotland to bury Jamie's relative, and Ian leaves his dog Rollo with a Quaker woman named Rachel Hunter. Jamie, Claire, and Ian reach Scotland, where Ian the elder, husband to Jamie's sister Jenny and Jamie's best childhood friend, is dying of consumption. Ian and Jenny are ecstatic that young Ian has returned, but Jenny is hostile to Claire, who is unable to cure Ian. Jamie apologizes to Laoghaire (his second wife) for their separation. Laoghaire's daughter and Jamie's adopted daughter, Joan, requires Laoghaire to marry her lover, a crippled servant, so that she (Joan) can become a nun. A letter from Laoghaire's daughter Marsali reveals that her son, Henri-Christian, is very ill. In this missive, Marsali beseeches Claire's help in treating him. Claire agrees to return to America to treat Henri-Christian, stipulating that Laoghaire marry her lover, stop taking alimony from Jamie, and help Joan become a nun.


title: An Echo in the Bone

text: Claire saves Henri-Christian's life, with the help of Lord John, and saves Lord John's injured nephew Henry. Lord John's niece Dottie has come to America as well, in love with Rachel's brother, a Quaker physician named Denzell Hunter. Claire receives a letter from Jamie that Ian has died and Jenny has decided to leave Lallybroch. Word later arrives that Jamie has been lost at sea. Claire is about to be arrested for being a spy when Lord John insists on marrying Claire for her protection, as well as for the protection of Fergus, Marsali, and their children. Arch tries to kill Rachel, but Ian fights him, until William kills Arch. Jamie returns alive, with Redcoats after him, and pretends to take Lord John hostage and flees; William realizes that Jamie is his father, flies into a rage, and storms out.


title: An Echo in the Bone

text: Claire Elizabeth Beauchamp Randall Fraser - Main female character around whom the series revolves. Nurse/Physician. Born in 1918 and married in the 20th century to professor/historian Frank Randall, Claire falls through the standing stones at Craigh na Dun in Scotland at Beltane (1 May) while on a second honeymoon with Frank in 1946, and finds herself in the 18th century Scotland Highlands in 1743. She is forced to marry James Alexander Malcolm MacKenzie Fraser (Jamie), whom she eventually falls in love with. Mother of Faith (stillborn, 18th century) and Brianna, adopted mother of Fergus, and mother-in-law to Roger and Marsali. Returned through the stones to 20th century in 1746 to protect hers and Jamie's unborn child (who is then born in Boston in the 20th century). Twenty years later, after Frank Randall has died, Claire discovers (through Roger's research) that Jamie probably didn't die at Culloden, and she returns through the standing stones to 1766 to search for him.


title: An Echo in the Bone

text: James Alexander Malcolm MacKenzie Fraser - Laird of Lallybroch (Scotland) and Fraser's Ridge, North Carolina. Former inmate of Ardsmuir Prison. Eighteenth century husband of Claire, whom he affectionately calls "Sassenach". Father of Faith (stillborn - mother : Claire), Brianna (mother : Claire) and William Ransom (mother : Geneva Dunsany), adopted father to Fergus (with Claire).


title: An Echo in the Bone

text: Lord John William Grey - Retired veteran of the Rising of 1745 and Seven Years' War. The former governor of Ardsmuir Prison. Jamie and Claire's long-time friend. Stepfather of William Ransom, brother to Harold Grey, Duke of Pardloe, and uncle to Benjamin, Henry, Adam, and Dorothea Grey.


title: An Echo in the Bone

text: Lt. Lord William Ransom - The 9th Earl of Ellsmere, stepson of Lord John Grey, and the illegitimate son of James Fraser and Geneva Dunsany. Cousin to the children of Hal Grey, Duke of Pardloe, as well as the children of Jenny and Ian Murray.


title: An Echo in the Bone

text: Ian Murray (Jr.) - Jenny and Ian Murray's son, Jamie's nephew, and Fergus', Brianna's and William's cousin. Adopted into the Mohawk, but returned to the Ridge with Rollo, his half-wolf dog.


title: An Echo in the Bone

text: Brianna Ellen Fraser MacKenzie - Jamie and Claire's daughter born in 20th century Boston and raised by Claire and Frank Randall. Younger sister of Faith (stillborn), younger adoptive sister of Fergus, and older paternal half-sister of William. Arrives in the 18th century in 1769. She marries Roger and they have two children: a son, Jeremiah, known as "Jemmy" and a daughter, Amanda Claire MacKenzie (Mandy). Returned to the 20th century at the end of "A Breath of Snow and Ashes" due to baby Amanda's heart condition.


title: An Echo in the Bone

text: Roger MacKenzie Wakefield - One-time Oxford professor and historian, folksinger, minister and Gaelic teacher. Twentieth century descendant of Geillis Duncan and Dougal MacKenzie, Great-nephew and adopted son of Rev. Reginald Wakefield (Outlander), and Jamie and Claire's son-in-law. Arrives in the 18th century in 1769. Married to Brianna and father of Jemmy and Mandy. At the end of "A Breath of Snow and Ashes", takes his family back to the 20th century to get medical help for baby Amanda's heart condition. The family then moves to live at present-day Lallybroch, the Fraser family home.


title: An Echo in the Bone

text: Jeremiah "Jemmy" Alexander Ian Fraser MacKenzie - Roger and Brianna's son, born in 18th century colonial North Carolina, and who, like his parents, granny Claire, and sister Amanda, can time-travel.


title: An Echo in the Bone

text: Amanda "Mandy" Claire Hope MacKenzie - Roger and Brianna's daughter, born in 18th century colonial North Carolina, and who, like her parents, granny Claire, and brother Jemmy, can time-travel. Her medical condition caused her parents to travel back to the future, to have it corrected. Jemmy went with them.


title: An Echo in the Bone

text: Fergus Claudel Fraser - Printer, one-time French pickpocket and spy. Jamie and Claire's adopted son. First appears in Dragonfly in Amber. Married to Marsali.


title: An Echo in the Bone

text: Marsali Fraser - Laoghaire's daughter, Jamie's stepdaughter and daughter-in-law, and Claire's daughter-in-law. First appears in Voyager. Married to Fergus and mother to Germain, Joan, Félicite, and Henri-Christian.


title: An Echo in the Bone

text: Janet "Jenny" Fraser Murray - The one time Lady of Lallybroch, 18th century, married to Ian Murray Sr. Older sister of James Fraser and mother of Jamie, Maggie, Katherine, Michael, Janet, and Ian.


title: An Echo in the Bone

text: Ian Murray, Sr - Jamie Fraser's childhood/lifetime best friend. Married to Janet "Jenny" Fraser, Jamie's beloved older sister.


title: An Echo in the Bone

text: Tom Christie - A former inmate of Ardsmuir Prison. Malva's and Allan's father. In love with Claire. Arrives at the Ridge at the end of Fiery Cross.


title: An Echo in the Bone

text: Denys Randall-Isaacs - The son of Alex Randall, adopted son of Jonathan "Black Jack" Randall, and ancestor of Frank Randall, Claire Fraser's 20th century husband.


title: An Echo in the Bone

text: Perseverance "Percy" Wainwright Beauchamp - English spy married into a French noble family. One-time lover (and later, stepbrother) of Lord John Grey.


title: An Echo in the Bone

text: Rachel Hunter - Quaker nurse assisting her brother serving in the Revolutionary American Army. Love interest of Ian Murray Jr.


title: An Echo in the Bone

text: For both Ian Murrays, Senior/Junior are not used in-character, but rather Old/Young, variants thereof, or the similar Gaelic words Mor/Og.


title: Chakri dynasty

text: The Chakri dynasty (, , , ) is the current reigning dynasty of the Kingdom of Thailand, the head of the house is the king, who is head of state. The family has ruled Thailand since the founding of the Rattanakosin Era and the city of Bangkok in 1782; following the end of Taksin Thonburi's reign, when the capital of Siam shifted to Bangkok. The royal house was founded by Rama I, an Ayutthaya military leader of Sino-Mon descent.


title: Chakri dynasty

text: Prior to his accession to the throne, Rama I held for years the title Chakri, the civil chancellor. In founding the dynasty, the king himself chose ""Chakri"" as the name for it. The emblem of the house is composed of the discus (Chakra) and the trident (Trisula), the celestial weapons of gods Vishnu and Shiva, of whom the Thai sovereign is seen as an incarnation.


title: Chakri dynasty

text: The current head of the house is Maha Vajiralongkorn who was proclaimed king on 1 December 2016, but has reigned with retroactive effect since 13 October 2016 after the death of his father Bhumibol Adulyadej. The house's current seat is the Grand Palace. On Saturday, 4 May 2019, the coronation of Vajiralongkorn, with the traditional ceremony, occurred in Bangkok.


title: Chakri dynasty

text: The present royal family of Thailand is descended from Prince Mahidol Adulyadej of Songkla (1891–1929) and Srinagarindra (later Princess Mother) (1900–95) forming the House of Mahidol (ราชสกุลมหิดล) (a cadet branch of the dynasty). The Prince was a son of King Chulalongkorn and his wife Queen Savang Vadhana. The Prince was also the half-brother of both King Vajiravudh and King Prajadhipok. After the death of King Ananda Mahidol (Prince Mahidol's elder son), King Bhumibol Adulyadej (the Prince's younger son) ascended the throne in 1946. In 1949 the King married his first cousin once removed, Mom Rajawongse Sirikit Kitiyakara (a daughter of Mom Chao Nakkhatra Mangala Kitiyakara, a grandson of King Chulalongkorn). Bhumibol was succeeded by his son Maha Vajiralongkorn officially on 13 October 2016, but was proclaimed King on 1 December 2016.


title: Chakri dynasty

text: The Maha Uparat (มหาอุปราช) or the Krom Phrarajawang Bavorn Sathan Mongkol (Vice or Second King of Siam/Viceroy of Siam) (กรมพระราชวังบวรสถานมงคล) was an office that was bestowed on the highest ranking prince, frequently the monarch's younger brother or son. Until 1885 every Chakri monarch had appointed a prince to this office. The "Uprarat" and his miniature court would reside at the Front Palace (วังหน้า) (a palace complex to the north of the Grand Palace, now the site of the Bangkok National Museum). By tradition the Uparat was designated the heir to the throne, however only Prince Isarasundhorn was able to ascend the throne as King Buddha Loetla Nabhalai. The office was extremely prestigious and carried with it almost equal status to the king, this can be seen in Prince Chutamani (younger brother of King Mongkut), who was elevated to Vice King Pinklao in 1851 (he carried with him the styles and titles of a King). The office was abolished by King Chulalongkorn when his Uparat and cousin Prince Bovorn Vichaicharn died. He then declared his oldest son the crown prince of Siam, but not Uparat.


title: Chakri dynasty

text: Krom Phrarajawang Boworn Sathan Phimuk (กรมพระราชวังบวรสถานพิมุข), or the Rear Palace, was another office inherited from the Kingdom of Ayutthaya. However, since the founding of the dynasty there has only been one rear palace. Prince Anurak Devesh was the nephew of King Buddha Yodfa Chualoke (his mother Princess Thepsuthavadi was the king's elder sister) and was appointed to the office in 1785.


title: Chakri dynasty

text: The Crown Prince of Thailand or Sayam Makutrajakuman (สยามมกุฎราชกุมาร) is the designated and heir apparent to the throne and headship of the dynasty. The title was created in 1886 when King Chulalongkorn appointed his eldest son by Princess Consort Savang Vadhana, Prince Vajirunhis as Sayam Makutrajakuman. The title was copied directly from the Western tradition. Since then, there has only been three crown princes. The most recent crown prince, Maha Vajiralongkorn, was invested with the title in 1972 and became King in 2016. The succession is governed by the 1924 Palace Law of Succession passed by King Vajiravudh.


title: Millennium Bridge, London

text: The Millennium Bridge, officially known as the London Millennium Footbridge, is a steel suspension bridge for pedestrians crossing the River Thames in London, England, linking Bankside with the City of London. It is owned and maintained by Bridge House Estates, a charitable trust overseen by the City of London Corporation. Construction began in 1998, and it initially opened on 10 June 2000.


title: Millennium Bridge, London

text: Londoners nicknamed it the "Wobbly Bridge" after pedestrians experienced an alarming swaying motion on its opening day. The bridge was closed later that day and, after two days of limited access, it was closed again for almost two years so that modifications and repairs could be made to keep the bridge stable and stop the swaying motion. It reopened in February 2002.


title: Millennium Bridge, London

text: The bridge is located between Southwark Bridge and Blackfriars Railway Bridge. Its southern end is near the Globe Theatre, the Bankside Gallery, and Tate Modern, while its northern end is next to the City of London School below St Paul's Cathedral. The bridge's alignment is such that a clear view (i.e. a "terminating vista") of St Paul's south facade is presented from across the river, framed by the bridge supports.


title: Millennium Bridge, London

text: The design of the bridge was the subject of a competition organised in 1996 by Southwark council and RIBA Competitions. The winning entry was an innovative "blade of light" effort from Arup Group, Foster and Partners, and Sir Anthony Caro. Due to height restrictions, and to improve the view, the bridge's suspension design had the supporting cables below the deck level, giving a very shallow profile. The bridge has two river piers and is made of three main sections of , , and (north to south) with a total structure length of ; the aluminium deck is wide. The eight suspension cables are tensioned to pull with a force of 2,000 tons against the piers set into each bank—enough to support a working load of 5,000 people on the bridge at a time.


title: Millennium Bridge, London

text: Ordinarily, bridges across the River Thames require an Act of Parliament. For this bridge, that was avoided by the Port of London Authority granting a licence for the structure, and the City of London and London Borough of Southwark granting planning permission. Construction began in late 1998 and the main works were started on 28 April 1999 by Monberg & Thorsen and Sir Robert McAlpine. The eventual cost was £18.2 million (£2.2m over budget), primarily paid for by the Millennium Commission and the London Bridge Trust.


title: Millennium Bridge, London

text: Unexpected lateral vibration due to resonant structural response caused the bridge to be closed on 12 June for modifications. Attempts had been made to limit the number of people crossing the bridge, which led to long queues but were ineffective to dampen the vibrations. Closure of the bridge only two days after opening attracted public criticism as another high-profile British Millennium project that suffered an embarrassing setback, akin to how many saw the Millennium Dome.


title: Millennium Bridge, London

text: Vibration was attributed to an under-researched phenomenon whereby pedestrians crossing a bridge that has a lateral sway have an unconscious tendency to match their footsteps to the sway, exacerbating it. The tendency of a suspension bridge to sway vertically when troops march over it in step was well known, which is why troops stop marching in stride together as a unit when crossing such a bridge. An example is London's Albert Bridge, which has a sign dating from 1873 warning marching ranks of soldiers to break step while crossing.


title: Millennium Bridge, London

text: The bridge's movements were caused by a positive feedback phenomenon, known as "synchronous lateral excitation". The natural sway motion of people walking caused small sideways oscillations in the bridge, which in turn caused people on the bridge to sway in step, increasing the amplitude of the bridge oscillations and continually reinforcing the effect; the maximum sway was around 70mm. On the day of opening, the bridge was crossed by 90,000 people, with up to 2,000 on the bridge at a time.


title: Millennium Bridge, London

text: Resonant vibrational modes due to vertical loads (such as trains, traffic or pedestrians) and wind loads are well understood in bridge design. In the case of the Millennium Bridge, because the lateral motion caused pedestrians to directly participate with the bridge, the vibrational modes had not been anticipated by the designers. When the bridge lurches to one side, the pedestrians must adjust to keep from falling over, and they all do this at the same time. The effect is similar to soldiers marching in lockstep, but horizontal instead of vertical.


title: Millennium Bridge, London

text: The risks of lateral vibration in lightweight bridges are well known. Any bridge with lateral frequency modes of less than 1.3 Hz, and sufficiently low mass, could witness the same phenomenon with sufficient pedestrian loading. The greater the number of people, the greater the amplitude of the vibrations. Other bridges which have seen similar problems are:


title: Millennium Bridge, London

text: Engineers at Arup, the company that designed the bridge, conducted research into the unexpected oscillation which they called "synchronous lateral excitation". The first laboratory studies used pedestrians on moving platforms at the University of Southampton and Imperial College London. Later in 2000, one span of the bridge was instrumented and tested with crowds of up to 275 people.


title: Millennium Bridge, London

text: They concluded that making the bridge stiffer, to move its resonant frequency out of the excitation range, was not feasible as it would greatly change its appearance. Instead, the resonance was controlled by retrofitting 37 viscous fluid dampers to dissipate energy. These include 17 chevron dampers – long V-shaped braces under the deck panels – to control lateral movement, 4 vertical to ground dampers to control lateral and vertical movements, and 16 pier dampers to control lateral and torsional movements. Additionally, 52 tuned mass dampers add inertia to control vertical movement. The work took from May 2001 to January 2002 and cost £5 million. After a period of testing, the bridge was reopened on 22 February 2002 and has not been subject to significant vibration since. In spite of the successful cure, the "wobbly bridge" (sometimes "wibbly-wobbly") epithet remains in common usage among Londoners.


title: Millennium Bridge, London

text: An artistic expression of the higher-frequency resonances within the cables of the bridge were explored by Bill Fontana's "Harmonic Bridge" exhibition at the Tate Modern in mid-2006. This used acoustic transducers placed at strategic locations on the cabling of the Millennium Bridge and the signals from those transducers were amplified and dynamically distributed throughout the Turbine Hall of the Tate by a programme which Fontana entered into the sound diffusion engine of the Richmond Sound Design AudioBox.


title: Millennium Bridge, London

text: A short inclined lift, known as the Millennium Inclinator, is next to the northern end of the Millennium Bridge. It was opened in December 2003 to allow pedestrians to surmount the steep slope (13.6°) of Peter's Hill from the riverside to the entrance to the Millennium Bridge without using the alternative flight of steps. The lower end of the lift is on Paul's Walk next to the Thames, and the top end is further up Peter's Hill on the terrace which is level with the deck of the bridge. It was primarily installed for use by those who cannot easily manage the steep steps, such as people with disabilities and parents with push chairs.


title: Millennium Bridge, London

text: The lift carriage was originally powered by an electric traction motor, manufactured in Italy by Maspero Elevatori, with a speed of and a maximum capacity of . However, by 2010 the City of London Planning and Transportation Committee decided that the level of service was unacceptable, because the inclinator was frequently out of service due to mechanical breakdowns and vandalism. So the Committee agreed it would be replaced at a cost of up to £750,000 in time for the 2012 Summer Paralympics.


title: Millennium Bridge, London

text: A major renovation project was undertaken in 2012, and the lift was reopened in time to be used by people attending the Thames Diamond Jubilee Pageant of 3 June 2012, which took place about a month before the 2012 Summer Olympics. The new lift was manufactured by the company "Hütter Aufzüge" of Glinde, Schleswig-Holstein, Germany, a lift manufacturer which was taken over by the Otis Elevator Company in 2013. Installation was by Axis Elevators.


title: Millennium Bridge, London

text: Following a redevelopment of the area in 2021 the lift was closed and will be replaced by a platform lift.


title: Lust for Life (Iggy Pop album)

text: Lust for Life is the second solo studio album by American musician Iggy Pop, released on September 9, 1977, through RCA Records. It was his second collaboration with English musician and friend David Bowie after "The Idiot", released in March the same year. Shortly after Bowie released his own album "Low" in January, Pop went on a tour to support "The Idiot" with Bowie as his keyboardist. At the tour's conclusion, Pop and Bowie regrouped in Berlin to record the former's next solo album.


title: Lust for Life (Iggy Pop album)

text: "Lust for Life" was recorded at Hansa Studio by the Wall in West Berlin from May to June 1977, with production being handled by Bowie, Pop, and engineer Colin Thurston. The touring band of Pop, Bowie, guitarist Ricky Gardiner, and brothers Tony Fox and Hunt Sales on bass and drums, respectively, comprised the primary lineup for the album. After "The Idiot" was mostly composed by Bowie, Pop was adamant about having more control over "Lust for Life", often composing his own arrangements, including for "Sixteen". This resulted in a hard rock and proto-punk sound more akin to his older style with the band the Stooges. Pop would use Bowie's arrangements for some songs, including the well-known title track.


title: Lust for Life (Iggy Pop album)

text: Upon release, "Lust for Life" received little promotion from RCA but nevertheless peaked at number 28 on the UK Albums Chart and remained Pop's highest-charting album there until 2016's "Post Pop Depression". It also peaked at number 8 in the Netherlands and number 120 on the US "Billboard" Top LPs & Tape chart. Critically, "Lust for Life" was well-received, with many praising Pop's energetic performance throughout and his greater role compared to "The Idiot"; the former would later be regarded as one of his best works and has appeared on several best album lists. It also marked Pop and Bowie's final collaboration until the mid-1980s.


title: Lust for Life (Iggy Pop album)

text: After a period of drug addiction, Iggy Pop joined his friend David Bowie on his 1976 Isolar Tour and afterwards, moved to Europe with him in hopes of getting sober. After moving into the Château d'Hérouville in Hérouville, France, Bowie decided to produce Pop's first solo album. Recorded from June to August 1976, "The Idiot" was Pop's first release since the breakup of his former band the Stooges in 1974. The majority of the music was composed by Bowie, while Pop wrote most of the lyrics, often in response to the music being composed. Due to Bowie's major influence on its creation, "The Idiot" marked a departure from the proto-punk sound of the Stooges, in favor of a style more akin to art rock. After the album's completion, Bowie recorded his own album, "Low", in a style reminiscent of "The Idiot". Bowie's label RCA Records released "Low" in January 1977 and due to its unexpected commercial success, Bowie persuaded RCA to release "The Idiot" in March. The album became the biggest commercial success involving Pop up to that point, reaching the top 40 in both the US and the UK charts.


title: Lust for Life (Iggy Pop album)

text: Bowie declined to promote "Low", opting instead to support Pop on a tour of his own. With himself on keyboards, Bowie assembled a band that included Ricky Gardiner on guitar, with brothers Tony Fox and Hunt Sales on bass and drums, respectively. Rehearsals began in mid-February 1977 and the tour began at the start of March.


title: Lust for Life (Iggy Pop album)

text: Songs played included popular Stooges numbers, a couple of tracks from "The Idiot", and tracks that would appear on "Lust for Life", including "Tonight", "Some Weird Sin", and "Turn Blue". Bowie was adamant about not taking the spotlight away from Pop, often staying behind his keyboard and not addressing the audience. The tour ended on April 16. The success of "The Idiot" and the tour earned Pop fame and success greater than he ever achieved with the Stooges. However, during interviews, he was often asked about Bowie more than his own work. This frustrated Pop and led to him realizing that for their next collaboration, he would have to take more control.


title: Lust for Life (Iggy Pop album)

text: At the end of the tour, Pop and Bowie returned to Berlin to start writing. To further achieve his own identity, Pop moved out of the apartment he was sharing with Bowie and his assistant Coco Schwab, relocating to his own place in the same building. The two continued writing for a few weeks before they were joined by Gardiner in May 1977, who recalled that "quite a few ideas were already present". The trio spent a small number of weeks writing, devising tracks such as "The Passenger" and "Lust for Life". At the end of May, they moved to the Hansa Studio by the Wall to begin recording. The rhythm section of Hunt and Tony Sales on drums and bass, respectively, returned from the tour, along with guitarist Carlos Alomar who was brought in by Bowie as a musical director. Bowie reduced his role significantly from "The Idiot", solely contributing keyboards like the tour. Gardiner recalled that because they were already a "tour-hardened band", there was a more "live" feel to the tracks than "The Idiot". For the impromptu "Fall in Love with Me", the band swapped instruments: Hunt played bass, Tony Fox played guitar, and Gardiner played drums.


title: Lust for Life (Iggy Pop album)

text: Bowie, Pop, and producer-engineer Colin Thurston produced "Lust for Life" under the pseudonym "Bewlay Bros.", named after the final track on Bowie's 1971 album "Hunky Dory". Pop did not sleep much during its making, commenting "See, Bowie's a hell of a fast guy ... I realized I had to be quicker than him, otherwise whose album was it gonna be?" He worked frequently with the Sales brothers and Gardiner, even rejecting some musical arrangements Bowie provided him for a few tracks, including "Success". Pop prepared only fragments of lyrics before singing, and essentially improvised at the microphone. This spontaneous lyrical method inspired Bowie to improvise his own words on his next studio album ""Heroes"" (1977). According to Pop, the entire album was written, recorded, and mixed in eight days, starting in May and finishing in June.


title: Lust for Life (Iggy Pop album)

text: "Lust for Life" is generally considered to be more of a Pop record than the Bowie-dominated "The Idiot", being less experimental and having more of a rock and roll flavor. Overall, reviewers have characterized "Lust for Life" as hard rock and proto-punk. However, some of its themes are similarly dark, as in "The Passenger", cited by "NME" editors Roy Carr and Charles Shaar Murray as one of Pop's "most haunting" tracks, and "Tonight" and "Turn Blue", both of which deal with heroin abuse. In contrast were more upbeat songs such as "Success" and "Lust for Life", the latter of which was described by "Rolling Stone" as Pop's "survivor message to the masses".


title: Lust for Life (Iggy Pop album)

text: According to Pop, Bowie's celebrated riff on "Lust for Life" was inspired by the Morse code opening to the American Forces Network news in Berlin. At various points in the song, the melody is doubled by the entire band; in Alomar's words, "You can't play a counter-rhythm to that, you just had to follow." Joy Division drummer Stephen Morris declared, "On "Lust for Life" the drums sound not huge but massive! The loudest cymbals known to man, that riff! I wanted to sound like that, still do."


title: Lust for Life (Iggy Pop album)

text: "The Passenger" was inspired by a Jim Morrison poem that saw "modern life as a journey by car", as well as rides on the Berlin S-Bahn, according to Pop's former girlfriend Esther Friedmann. The lyrics have also been interpreted as "Iggy's knowing commentary on Bowie's cultural vampirism". The music, a "laid-back ... springy groove", was composed by Gardiner. Characterized by AllMusic as "a glorious throwaway" and by "Rolling Stone" as "an infectious throwaway", "Success" is a light-hearted track of the call and response variety.


title: Lust for Life (Iggy Pop album)

text: At just under seven minutes, "Turn Blue", the longest song on "Lust for Life", was a sprawling confessional that dated back to an abortive recording session by Bowie and Pop in May 1975, when the latter was in the depths of his drug addiction. Originally titled "Moving On", it was composed by Bowie, Pop, Walter Lacey, and Warren Peace. It was the only set of lyrics that did not appear on the original vinyl record sleeve. The album's remaining tracks included "Sixteen", the only piece written entirely by Pop; "Some Weird Sin", a hard rock number featuring a "lost-boy lyric"; the "neo-punk" "Neighborhood Threat"; and "Fall in Love with Me", which grew from an impromptu jam by the band to which Pop composed lyrics apparently evoking Friedmann.


title: Lust for Life (Iggy Pop album)

text: The cover photo was by Andy Kent, who also shot the cover for "The Idiot". It was taken in Pop's dressing room while he was preparing to talk to an interviewer during his UK tour. Kent stated: "It was a lucky great shot. This was Jimmy. The nice guy, a guy you'd like to hang out with." Pegg writes that the cover provides a stark contrast to "The Idiot", in that Pop's healthy appearance and smiling gaze represents "Lust for Life"s overall positive tone compared to its predecessor.


title: Lust for Life (Iggy Pop album)

text: "Lust for Life" was released through RCA on September 9, 1977, with the catalog number RCA PL-12488. It received little promotion from RCA, primarily due to the death of Elvis Presley two weeks earlier, whose catalog the label was adamant on reissuing. Although RCA had pressed decent quantities of the album, once the first pressings were sold out, there were none left. Tony Sales recalled: ""Lust for Life" just disappeared from the shelves, and that was it." Trynka notes that whereas "The Idiot" had received a decent amount of press coverage, "Lust for Life", which he calls "the most overtly commercial album of Iggy Pop's career"—and the record that marked his "return to health and happiness"—received little, contributing to its poor performance.


title: Lust for Life (Iggy Pop album)

text: Despite little promotion and lack of vinyl pressings, "Lust for Life" managed to peak at number 28 on the UK Albums Chart and remained Pop's highest-charting release in the UK until 2016's "Post Pop Depression". It also peaked at number 120 on the US "Billboard" Top LPs & Tape chart, and performed well in the Netherlands, peaking at number 8. "Success", backed with "The Passenger", was released on September 30, 1977, as a single from the album, but failed to chart.


title: Lust for Life (Iggy Pop album)

text: With little promotion from the label, Pop was forced to continue touring. The Sales brothers were brought back for the tour, while Canadian guitarist Stacy Heydon, who worked with Bowie on his 1976 Isolar Tour, replaced Gardiner on guitar. Bowie, who was adamant about promoting ""Heroes"", was replaced on keyboards by Scott Thurston, a former member of the Stooges. The band, who performed 40 gigs in almost nine weeks, received positive reviews. Critic Lester Bangs of "NME", who gave negative assessments for both "The Idiot" and "Lust for Life", praised Pop's on-stage energy. Thurston recalled Pop being more professional than his days touring with the Stooges; he attributed this to him turning 30 years old. Thurston and Pop became good friends during the tour, although Pop still suffered from bouts of alcohol and cocaine use, as well as financial troubles. The Sales brothers were fired by Pop at the end of the tour.


title: Lust for Life (Iggy Pop album)

text: On release, "Lust for Life" was met with positive reviews from music critics. In a contemporary review, "Rolling Stone" critic Billy Altman considered that "purely on its own terms, "Lust for Life" is a successful album", but complained that Pop's "new stance is so utterly unchallenging and cautious". By contrast, Robert Christgau of "The Village Voice" refuted the critical opinion that Pop's "creative power has dissipated", finding "The Idiot" and "Lust for Life" to be more consistent than Pop's albums with the Stooges. He later noted that of the two, he preferred "Lust for Life" "because it's faster and more assertive—which means, among other things, that the nihilistic satire is counteracted by the forward motion of the music itself". Kris Needs of "ZigZag" magazine felt "Lust for Life" is not as "consistent" as its predecessor. He nevertheless considered the album one of his favorite albums of 1977, finding it to be more of a "day" record with its predecessor being a "night" record. In "Sounds" magazine, Pete Makowski praised the record, calling it "excellent". He complimented the band's performance and Pop's vocals, labeling them "a bit jagged but powerful". Writing for "NME", Max Bell gave the record a positive review, calling it "quite good". He praised Pop's greater role compared to "The Idiot", as well as his vocal performance. However, he was critical of some tracks, including "Some Weird Sin", "Tonight", and "Success", the last of which he considered "'Fame' revisited".


title: Lust for Life (Iggy Pop album)

text: Retrospectively, "Lust for Life" has continued to receive positive reviews. Writing for AllMusic, Mark Deming called "Lust for Life" Pop's best solo work, stating that with the record, he "managed to channel the aggressive power of his work with the Stooges with the intelligence and perception of "The Idiot", and the result was the best of both worlds". Trynka calls "Lust for Life" Pop's "most effervescent, optimistic album", praising Pop's greater contribution to the record over its predecessor. Reviewing the album as part of the 2020 box set "The Bowie Years", Sasha Geffen of "Pitchfork" praised Pop's performance, writing that he managed to put more of himself into the record than "The Idiot".


title: Lust for Life (Iggy Pop album)

text: At the end of the tour, Pop became fed up with RCA and decided he was going to quickly finish his contract with a live album. The album, assembled from soundboard tapes from the two prior tours and given quick touch-ups by Edu Meyer at Hansa, was released as "TV Eye Live" in May 1978. It earned him a decent payout from RCA. Prior to its release, recordings Pop had made with former Stooges member James Williamson in 1975 were released in November 1977 through Bomp! Records as "Kill City", credited jointly to Pop and Williamson. After leaving RCA, Pop signed with Arista Records; his first album for them, "New Values", was produced by Williamson and released in the fall of 1979.


title: Lust for Life (Iggy Pop album)

text: Although Bowie had told interviewers that he planned to do a third collaboration with Pop in 1978, "Lust for Life" would be the two's last official collaboration until the mid-1980s. Pop co-wrote tracks with Bowie for the latter's 1984 album "Tonight", while Bowie would co-write and co-produce Pop's 1986 album "Blah-Blah-Blah". For "Tonight", Bowie covered three of Pop's tracks, including two off "Lust for Life": "Neighborhood Threat" and "Tonight", which he dueted with singer Tina Turner and removed the opening drug-related lines, and "Don't Look Down" from "New Values". Siouxsie and the Banshees recorded a cover of "The Passenger" with brass instruments on their 1987 album "Through the Looking Glass". Pop praised it, commenting: "She threw a little note in when she sings it that I wish I had thought of, it's kind of improved it [...] The horn thing is good."


title: Lust for Life (Iggy Pop album)

text: The title track gained renewed popularity in the late 1990s after being featured in the 1996 British comedy film "Trainspotting". The song was heavily featured in the film's marketing campaign and subsequent soundtrack album, resulting in a new UK chart peak of number 26 after being reissued as a single. The single's success inspired Pop's then-label Virgin Records to issue a greatest hits compilation titled "". Ambrose writes that it gained the same level of resurgence as the Doors' "The End" (1967) after the latter's inclusion in Francis Ford Coppola's 1979 film "Apocalypse Now". In 1999, Pop reflected on the song's renewed popularity:


title: Lust for Life (Iggy Pop album)

text: "Lust for Life" has appeared on several best-of lists by multiple publications. "Sounds" and "Mojo" ranked the album 21st and 44th in their lists of the 100 greatest albums of all time in 1986 and 1995, respectively. "Pitchfork" ranked "Lust for Life" number 64 in its list of the 100 Best Albums of the 1970s in 2004. In 2013, "NME" ranked the album 217th in their list of the 500 Greatest Albums of All Time. It was also included in the 2018 edition of Robert Dimery's book "1001 Albums You Must Hear Before You Die". The aggregate website Acclaimed Music lists "Lust for Life" as the 15th most acclaimed album of 1977, the 104th most acclaimed album of the 1970s, and the 375th most acclaimed album in history.


title: Lust for Life (Iggy Pop album)

text: On April 10, 2020, Pop released an alternate mix of "China Girl" from "The Idiot" in promotion of then-upcoming album "The Bowie Years", a seven-disc deluxe box set featuring expanded remastered versions of "The Idiot" and "Lust for Life". The box set, released on May 29, includes remastered versions of both albums along with outtakes, alternate mixes, and a 40-page book. The two original albums were also re-released individually, each paired with an additional album of live material to create separate stand-alone two-disc deluxe editions.


title: Skirt

text: A skirt is the lower part of a dress or a separate outer garment that covers a person from the waist downwards.


title: Skirt

text: At its simplest, a skirt can be a draped garment made out of a single piece of fabric (such as pareos). However, most skirts are fitted to the body at the waist or hips and fuller below, with the fullness introduced by means of darts, gores, pleats, or panels. Modern skirts are usually made of light to mid-weight fabrics, such as denim, jersey, worsted, or poplin. Skirts of thin or clingy fabrics are often worn with slips to make the material of the skirt drape better and for modesty.


title: Skirt

text: In modern times, skirts are very commonly worn by women and girls. Some exceptions include the izaar, worn by many Muslim cultures, and the kilt, a traditional men's garment in Scotland, Ireland, and sometimes England. Fashion designers such as Jean Paul Gaultier, Vivienne Westwood, Kenzo and Marc Jacobs have also shown men's skirts. Transgressing social codes, Gaultier frequently introduces the skirt into his men's wear collections as a means of injecting novelty into male attire, most famously the sarong seen on David Beckham.


title: Skirt

text: The hemline of skirts can vary from micro to floor-length and can vary according to cultural conceptions of modesty and aesthetics as well as the wearer's personal taste, which can be influenced by such factors as fashion and social context. Most skirts are complete garments, but some skirt-looking panels may be part of another garment such as leggings, shorts, and swimsuits.


title: Skirt

text: Skirts have been worn since prehistoric times as the simplest way to cover the lower body. Figurines produced by the Vinča culture (c. 5700–4500 BC) located on the territory of present-day Serbia and neighboring Balkan nations from the start of the copper age show women in skirt-like garments.


title: Skirt

text: A straw-woven skirt dating to 3900 BC was discovered in Armenia at the Areni-1 cave complex. Skirts were the standard attire for men and women in all ancient cultures in the Near East and Egypt. The Sumerians in Mesopotamia wore kaunakes, a type of fur skirt tied to a belt. The term "kaunakes" originally referred to a sheep's fleece, but eventually came to be applied to the garment itself. Eventually, the animal pelts were replaced by kaunakes cloth, a textile that imitated fleecy sheep skin. Kaunakes cloth also served as a symbol in religious iconography, such as in the fleecy cloak of St. John the Baptist.


title: Skirt

text: Ancient Egyptian garments were mainly made of linen. For the upper classes, they were beautifully woven and intricately pleated. Around 2130 BC, during the Old Kingdom of Egypt, men wore wraparound skirts (kilts) known as the shendyt. They were made of a rectangular piece of cloth wrapped around the lower body and tied in front. By the Middle Kingdom of Egypt, longer skirts, reaching from the waist to ankles and sometimes hanging from the armpits, became fashionable. During the New Kingdom of Egypt, kilts with a pleated triangular section became fashionable for men. Beneath these, a shente, or triangular loincloth whose ends were fastened with cord ties, were worn.


title: Skirt

text: During the Bronze Age, in the Southern parts of Western and Central Europe, wraparound dress-like garments were preferred. However, in Northern Europe, people also wore skirts and blouses.


title: Skirt

text: In the Middle Ages, men and women preferred dress-like garments. The lower part of men's dresses were much shorter in length compared to those for women. They were wide cut and often pleated or gored so that horse riding was more comfortable. Even a knight's armor had a short metal skirt below the breastplate. It covered the straps attaching the upper legs iron cuisse to the breastplate. Technological advances in weaving in the 13th–15th century, like foot-treadle floor looms and scissors with pivoted blades and handles, improved tailoring trousers and tights. They became fashionable for men and henceforth became standard male attire whilst becoming taboo for women.


title: Skirt

text: Skirts are still worn by men and women from many cultures, such as the lungi, lehnga, kanga and sarong worn in South Asia and Southeast Asia, and the kilt worn in Scotland and Ireland.


title: Skirt

text: One of the earliest known cultures to have females wear clothing resembling miniskirts were the Duan Qun Miao (短裙苗), which literally meant "short skirt Miao" in Chinese. This was in reference to the short miniskirts "that barely cover the buttocks" worn by women of the tribe, and which were probably shocking to observers in medieval and early modern times.


title: Skirt

text: In the Middle Ages, some upper-class women wore skirts over three meters in diameter at the bottom. At the other extreme, the miniskirts of the 1960s were minimal garments that may have barely covered the underwear when the woman was seated. Costume historians typically use the word "petticoat" to describe skirt-like garments of the 18th century or earlier.


title: Skirt

text: During the 19th century, the cut of women's dresses in western culture varied more widely than in any other century. Waistlines started just below the bust (the Empire silhouette) and gradually sank to the natural waist. Skirts started fairly narrow and increased dramatically to the hoopskirt and crinoline-supported styles of the 1860s; then fullness was draped and drawn to the back by means of bustles. In the 1890s, the rainy daisy skirt was introduced for walking or sportswear. It had a significantly shorter hemline measuring as much as six inches off the ground and would eventually influence the wider introduction of shorter hemlines in the early 20th century.


title: Skirt

text: In the 19th century, in the United States and United Kingdom, there was a movement against skirts as part of the Victorian dress reform movement, and in the United States, the National Dress Reform Association. There were also different ways to wear skirts being created. For example, in 1851, early women's rights advocate Elizabeth Smith Miller introduced Amelia Bloomer to a garment initially known as the "Turkish dress", which featured a knee-length skirt over Turkish-style pantaloons. Bloomer came to advocate and promote the dress, including instructions for making it, in "The Lily", a newspaper dedicated to the "Emancipation of Woman from Intemperance, Injustice, Prejudice, and Bigotry". This inspired a craze for the dress, which came to be known as bloomers. Elizabeth Cady Stanton, Susan B. Anthony, and Lucy Stone, other early advocates for women's rights, also adopted this style of dress in the 1850s, referring to it as the "freedom dress". Concurrently, some female labourers, notably the pit brow women working at coal pits in the Wigan area, began wearing trousers beneath a short skirt as a practical component of their uniform. This attracted the attention of the public, and various photographers produced records of the women's unconventional manner of dress through the mid- to late 19th century.


title: Skirt

text: After 1915, ankle-length skirts were not generally worn in the daytime. For the next fifty years fashionable skirts became short (1920s), then long (1930s), then shorter (in the War Years with their restrictions on fabric), then long (the "New Look"), then shortest of all from 1967 to 1970, when skirts became as short as possible while avoiding exposure of underwear, which was considered taboo.


title: Skirt

text: Since the 1970s and the rise of pants/trousers for women as an option for all but the most formal of occasions, no one skirt length has dominated fashion for long, with short and ankle-length styles often appearing side by side in fashion magazines and catalogs.


title: Skirt

text: Many forms of dancing require females to wear skirts or dresses, either by convention or competition rules. In Scottish highland dancing, for example, women wear the Aboyne dress, which actually involves a skirt, for the national dances, and wear a kilt-based outfit for the Highland dances. However, tartan trews can be worn by women in the United States.


title: Skirt

text: Since 2004 the International Skating Union has allowed women to wear trousers instead of skirts in competition if they wish.


title: Skirt

text: In the 1980s in Puerto Rico, Ana Irma Rivera Lassén was not allowed to enter court in trousers and was told to wear a skirt. She sued the judge and won.


title: Skirt

text: In 2022, the United States Court of Appeals for the Fourth Circuit ruled against the Charter Day School in North Carolina, which had required girls to wear skirts due to the idea that girls are "fragile vessels" deserving "gentle" treatment from boys. The court ruled the requirement was unconstitutional.


title: Skirt

text: The skirt is a part of uniforms for girls in many schools around the world, with lengths varying depending on local culture. The pleated tartan skirt began as a component of girls' school uniforms in the early twentieth century in the United Kingdom. Most UK schools now allow girls to wear trousers, but many girls still wear skirts in primary and secondary schools, even where the choice of trousers is given. In the late 20th and early 21st century, many schools began changing their uniform rules to allow trousers for girls amidst opposition to skirts-only policies - the most publicised possibly being Jo Hale vs Whickam Comprehensive in 2000. Although it is commonly accepted that girls may wear trousers to school, no test case is known to have been brought before the courts, making the legal position uncertain on requiring skirts as part of girls' uniforms. The rule is still enforced in many schools, particularly independent and selective state schools. In fact, United Kingdom government guidelines expressly state the decision of allowing girls to wear trousers is with individual schools.


title: Skirt

text: There are a number of garments marketed to men which fall under the category of "skirt" or "dress". These go by a variety of names and form part of the traditional dress for men from various cultures. Usage varies – the dhoti is part of everyday dress on the Indian subcontinent while the kilt is more usually restricted to occasional wear and the fustanella is used almost exclusively as costume. Robes, which are a type of dress for men, have existed in many cultures, including the Japanese kimono, the Chinese cheongsam, the Arabic thobe, and the African Senegalese kaftan. Robes are also used in some religious orders, such as the cassock in Christianity and various robes and cloaks that may be used in pagan rituals. Examples of men's skirts and skirt-like garments from various cultures include:


title: Skirt

text: Aside from the wearing of kilts, in the Western world skirts, dresses, and similar garments are generally viewed exclusively as women's clothing which, historically, was not always the case. However, some Western men have taken up skirts as forms of civil protest. Other Western men advocate skirts as a measure of co-equality between women and men.


title: Fedorov Avtomat

text: The Fedorov Avtomat (also anglicized as Federov, ) or FA is a select-fire infantry rifle and also one of the world's first operational automatic rifles, designed by Vladimir Grigoryevich Fyodorov in 1915 and produced in the Russian Empire and later in the Russian Soviet Federative Socialist Republic. A total of 3,200 Fedorov rifles were manufactured between 1915 and 1924 in the city of Kovrov; the vast majority of them were made after 1920. The weapon saw limited combat in World War I, but was used more substantially in the Russian Civil War and in the Winter War. Some consider it to be an "early predecessor" or "ancestor" of the modern assault rifle.


title: Fedorov Avtomat

text: The Fedorov Avtomat is a short-recoil operated, locked-breech weapon which fires from a closed bolt. The bolt locking is achieved by a pair of symmetrical plates mounted to either side of the breech and held in place by a sheet metal cover, each with two lugs, one square and one round, mounted at either side of the breech, latching barrel and bolt together through recesses on the bolt. Those plates are allowed to tilt slightly down after about 10 mm of free recoil, unlocking the bolt. A bolt hold-open device is fitted and the firing mechanism is of hammer type.


title: Fedorov Avtomat

text: Captain V. Fedorov began a prototype of a semi-automatic rifle in 1906, working with future small arms designer Vasily Degtyaryov as his assistant. A model was submitted to the Rifle Commission of the Russian army in 1911, which eventually ordered 150 more rifles for testing. In 1913, Fedorov submitted a prototype automatic rifle with a stripper clip-fed fixed magazine, chambered for his own experimental rimless 6.5 mm cartridge, called the 6.5mm Fedorov. This new rimless ammunition was more compact than the rimmed Russian 7.62×54mmR, better suited for automatic weapons and produced less recoil, however, the round was prone to occasional jamming. When fired from an 800 mm barrel, this experimental cartridge propelled a pointed jacketed bullet weighing 8.5 grams at an initial velocity of 860 m/s with a muzzle energy of 3,140 J as opposed to the 3,550 J muzzle energy of 7.62×54mmR ammunition from a barrel of the same length. 6.5 mm Fedorov rifles were tested late in 1913 with somewhat favorable results.


title: Fedorov Avtomat

text: In the autumn of 1915, Fedorov was posted as a military observer to France, in the Mont-Saint-Éloi sector. Here he was impressed by the ubiquity of the French Chauchat and by the firepower it brought, but less so about its mobility. According to Fedorov's memoirs, it is here he came up with the idea of introducing into Russian service a weapon with firepower intermediate between the rifle and the light machine gun, but with mobility comparable to a rifle. His decision to adapt his semi-automatic rifle design for this purpose was one of wartime expediency. Fedorov set to the task upon his return to Russia in January 1916. He retained the mechanism of his semi-automatic rifle, with the major addition of a selective fire switch. The fixed magazine was replaced by a curved 25-round detachable box magazine. Due to limited trial nature of its production, most of its parts were custom fitted and not interchangeable, including the magazine. Therefore, in practice, the Fedorov was issued to the troops with only three magazines, which would be reloaded through the breech via standard 5-round Arisaka stripper clips.


title: Fedorov Avtomat

text: Production of the new cartridge was out of question so it was decided to convert 6.5 mm Fedorov rifles to use the Japanese 6.5×50mmSR Arisaka ammunition which was in abundance, having been purchased from Japan and the United Kingdom along with Arisaka rifles. (About 763,000 Arisaka-type rifles were imported to Russia, along with approximately 400 million cartridges for them; domestic production of the Arisaka cartridge remained insignificant though.) The change of ammunition involved only minimal changes to the rifle, including a chamber insert and a new range scale for the rear sights. The somewhat less powerful Japanese cartridge meant that the muzzle velocity was only about 654–660 m/s because of constrained barrel length.


title: Fedorov Avtomat

text: A US Army analysis from the early 1950s considered that the Fedorov Avtomat was unreasonably complex to manufacture and that it suffered from rapid overheating of the barrel on automatic fire. Russian tests indicated that the gun could fire about 300 rounds continuously before heat buildup rendered it inoperable. This was still an improvement compared to the Mosin–Nagant M1891 rifles, which would begin to smolder after 100 rounds. The main factor in the increased heat dissipation was the metal shroud over the barrel at the end of the forearm, which acted as a radiator. In terms of accuracy, Russian data indicates that when fired in short bursts the Fedorov Avtomat could reliably hit targets having a profile of 0.6×0.5 m at a distance of 200 m. At 400 m the dispersion increased to 1.1×0.9 m and at 800 m it was 2.1×1.85 m. Consequently, burst fire was only considered effective up to about 500 m.


title: Fedorov Avtomat

text: In 1916, the Weapons Committee of the Russian Army decided to order no less than 25,000 Fedorov automatic rifles. In the summer of 1916, a company from the 189th Izmail Regiment was equipped with eight Fedorov Avtomats. Trained in tactics with the new weapon, they concluded that the Fedorov worked best as a crew-served weapon: the gunner armed with the Fedorov, and an ammo bearer armed with an Arisaka rifle. As both weapons used the same ammo and same 5-round stripper clips, this allowed for the greatest flexibility. It also allowed for the ammo bearer to fire defensively, while the gunner reloaded. It was also recommended that the primary mode of fire be in semi-automatic, as the Fedorov would rapidly overheat in full-automatic. After completing their training, the company was deployed to the Romanian front in early 1917. It was supposed to report back valuable combat experience with the new weapon, but this did not happen because the company disintegrated during the Kerensky Offensive. About 10 other Avtomats were given to the Russian naval aviation; Grand Duke Alexander Mikhailovich of Russia telegraphed back that his pilots found it more suitable than the Chauchat in light aircraft.


title: Fedorov Avtomat

text: In early 1917, the order for Fedorov rifles was limited to 5,000 weapons. However, only about 100 Fedorov Avtomats had been produced before the collapse of the Russian Empire in 1917, when production was halted. The gun's cost estimated in 1918 was 1,090 rubles; in comparison the cost of a Madsen light machine gun was around 1,730 rubles at that time.


title: Fedorov Avtomat

text: In 1920, Lev Kamenev found the Fedorov Avtomat to be a promising design and authorized a limited production run. The Avtomat was used to equip Red Army units in the Karelian sector during the Karelian Uprising, particularly the ski battalion of Toivo Antikainen. Reports from combat experiences with the gun during 1921–1922 were very positive as long as spare parts were available. In 1923, 10,000 copies of a 46-page manual for the gun were printed.


title: Fedorov Avtomat

text: Despite some noted reliability issues and performance issues, the Fedorov Avtomat was deemed acceptable for Red Army use in a 1924 review. However, due to supply problems, Soviet leaders decided to abandon all weapons using foreign ammunition. As a consequence, production of the Fedorov Avtomat was halted in October 1925. Only 3,200 Fedorovs were manufactured between 1915 and 1925.


title: Fedorov Avtomat

text: At the time of its use, the Fedorov Avtomat was one of only three practical fully automatic rifles in service, the other two being the American M1918 Browning Automatic Rifle and the French Chauchat. Although these alternative rifles were initially intended for mobile assault fire, both models became more or less exclusively used as stationary light machine guns due to their higher weight and caliber. However, the lighter, lower recoil Fedorov Avtomat, which was less than half the weight of the BAR and CSRG, retained a unique niche role as a mobile assault rifle. Despite this pioneering status, the Fedorov Avtomat was not without its flaws, and was notoriously difficult to clean, maintain, and repair.


title: Fedorov Avtomat

text: After 1925, the rifle was withdrawn from service and put in storage; the last unit to give it up was the Moscow Proletariat Red Banner Rifle Division in 1928. During the 1939–1940 Soviet–Finnish war, an acute lack of individual automatic weapons led to the reintroduction of the stockpiled Fedorovs into service. They were sent to the Karelian front, mostly to military intelligence units. It is presumed that most of the Fedorov Avtomats were expended or destroyed during that war.


title: Fedorov Avtomat

text: Initially Fedorov wanted to call the class of weapons to which his new gun belonged ручное ружьё-пулемет (lit. "handheld light-machine-gun", i.e. a lighter class than ружьё-пулемет which denoted light machine guns like the Madsen), which reflected his tactical thinking behind the development of the weapon. This designation appeared in a September 1916 article in the journal of the Artillery Commission. Fedorov's superior, General Nikolai Filatov is credited for introducing the much shorter term "avtomat" for the gun—a neologism derived from the Greek word 'automaton' and synonymous with the English word "automatic", this is the one that stuck. Written records of this new term being applied to the gun date to 1919.


title: Fedorov Avtomat

text: In contemporary Russian terminology, the word "avtomat" (literally translating to "automatic") typically denotes the equivalent of the English-language terminology "assault rifle", such as the Avtomat Kalashnikova for example. This differs from the terminology typically used when referring to automatic full-power cartridge rifles, such as the AVS-36 and AVT-40, which instead use the separate terminology "avtomaticheskaya". Contemporary Western writers have struggled to classify the Fedorov Avtomat. Some consider it to be an "early predecessor" or "ancestor" to the modern assault rifle, while others believe that the Fedorov Avtomat was the world's first assault rifle. The dispute centers on whether the cartridge, which was "one of the least powerful rifle-caliber cartridges then in use", counts as a full-power or intermediate-power cartridge, and whether or not official doctrine and combat practice also contributes to such designation. This raises the question of whether it is necessary at all to apply modern nomenclature to weapons that precede it and are clearly defined in the terms of the time. Still other writers argue that the Cei-Rigotti (which predates the Fedorov by 20 years) was the world's first assault rifle because it was also select-fire and chambered for an intermediate-power cartridge; however, its 25-round magazine was fed by stripper clips rather than being detachable, although prototypes with magazines up to a capacity of 50 rounds reportedly existed.


title: Durrës

text: Durrës ( , ; ) is the second most populous city of the Republic of Albania and seat of Durrës County and Durrës Municipality. It is located on a flat plain along the Albanian Adriatic Sea Coast between the mouths of the Erzen and Ishëm at the southeastern corner of the Adriatic Sea. Durrës' climate is profoundly influenced by a seasonal Mediterranean climate.


title: Durrës

text: Durrës was founded by Ancient Greek colonists from Corinth and Corcyra under the name of Epidamnos around the 7th century BC in cooperation with the local Illyrian Taulantii. Also known as Dyrrachium, Durrës essentially developed as it became an integral part of the Roman Empire and its successor the Byzantine Empire. The Via Egnatia, the continuation of the Via Appia, started in the city and led across the interior of the Balkan Peninsula to Constantinople in the east.


title: Durrës

text: In the Middle Ages, Durrës was contested between Bulgarian, Venetian and Ottoman dominions. The Ottomans ultimately prevailed, ruling the city for more than 400 years from 1501 until 1912. Following the Albanian Declaration of Independence, the city served as the capital of the Principality of Albania for a short period of time. Subsequently, it was annexed by the Kingdom of Italy in the interwar period and was occupied by Nazi Germany during World War II. Durrës experienced a strong expansion in its demography and economic activity during the Communism in Albania.


title: Durrës

text: The transport connections, concentration of economic institutions and industrial tradition underlie Durrës' leading economic position in Albania. It is served by the Port of Durrës, one of the largest on the Adriatic Sea, which connects the city to other neighbouring countries. Its most considerable attraction is the Amphitheatre of Durrës that is included on the Albanian tentative list for designation as a UNESCO World Heritage Site. Once having a capacity for 20,000 people, it is the largest amphitheatre in the Balkan Peninsula.


title: Durrës

text: In antiquity, the city was known as () and () in classical Greek and then and in classical Latin. "Epidamnos" is the older known of the two Greek toponyms; it is widely considered to be of Illyrian origin, as first proposed by linguist Hans Krahe, and is attested in Thucydides (5th century BC), Aristotle (4th century BC), and Polybius (2nd century BC). Etymologically, "Epidamnos" may be related to Proto-Albanian *dami (cub, young animal, young bull) > dem (modern Albanian) as proposed by linguist Eqrem Çabej. Although the name "Epidamnos/Epidamnus" was more commonly used among Ancient Greek authors, the coinage of the city only used the abbreviations for the name "Dyrrhachion/Dyrrhachium". "Dyrrachium" was chosen as the sole name of the city after the Roman Republic got control of the region after the Illyrian Wars in 229 BC. The Latin spelling of /y/ retained the form of Doric Greek Dyrrhachion, which was pronounced as /Durrakhion/. This change of the name is already attested in classical literature. Titus Livius, at the end of the first century BC, writes in Ab Urbe Condita Libri that at the time of the Illyrian Wars (roughly 200 years earlier) the city was not known as Dyrrachium, but as Epidamnus. Pomponius Mela, about 70 years later than Titus Livius, attributed the change of the name to the fact that the name Epidamnos reminded the Romans of the Latin word , which signified evil and bad luck; Pliny the Elder, who lived in the same period, repeated this explanation in his own works. However, the Romans may have adopted the new name because it was already in more frequent use by citizens of the city.


title: Durrës

text: The name "Dyrrhachion" is usually explained as a Greek compound from 'bad' and 'rocky shore, flood, roaring waves', an explanation already hinted at in antiquity by Cassius Dio, who writes it referred to the difficulties of the rocky coastline, while also reporting that other Roman authors linked it to the name of an eponymous hero "Dyrrachius". The mythological construction of the city's name was recorded by Appian (2nd century AD) who wrote that "the king of the barbarians of this country, Epidamnus gave the name to the city. His daughter's son Dyrrachius, built a port near the town that he called Dyrrachium". Stephanus of Byzantium repeated this mythological construction in his work. It is unclear whether the two toponyms referred originally to different areas of the territory of the city or whether they referred to the same territory. Classical literature indicates that they more probably referred to different neighbouring areas originally. Gradually, the name Epidamnus fell out of use and Dyrrachium became the sole name for the city.


title: Durrës

text: Archaeological research has shown that at the time of the foundation of Durrës, two distinct settlements existed on its territory. The first one is a hill site with no direct contact with the sea. It predates the colony and might represent the settlement which held the toponym known as "Epidamnos" in ancient literature. The hill site overlooks to its south the second site which is the territory of the port of Durrës, where the colony was founded. Its location on a rocky shore struck by waves on all sides reflects the description of the toponym Dyrrhachion. The distinction between these two districts of the city remained in place even much later. In the 19th century, "Durrës proper" was the district of the port, while the hill north of it was a separate settlement, Stani (Kodra e Stanit).


title: Durrës

text: The modern names of the city in Albanian () and Italian (, ) are derived from "Dyrrachium"/"Dyrrachion". An intermediate, palatalized antecedent is found in the form "Dyrratio", attested in the early centuries AD. The palatalized /-tio/ ending probably represents a phonetic change in the way the inhabitants of the city pronounced its name. The preservation of old Doric /u/ indicates that the modern name derives from populations to whom the toponym was known in its original Doric pronunciation. By contrast, in Byzantine Greek, the name of the city is pronounced with the much later evolution of /u/ as /i/. The modern Italian name evolved in the sub-dialects that emerged from Colloquial Latin in northern Italy. The modern Albanian name evolved independently from the parent language of Albanian around the same period of the post-Roman era in the first centuries AD as the difference in stress in the two toponyms (first syllable in Albanian, second in Italian) highlights. In Aromanian, the city is known as .


title: Durrës

text: In English usage, the Italian form "Durazzo" used to be widespread, but the local Albanian name "Durrës" has gradually replaced it in recent decades.


title: Durrës

text: The territory of Durrës was populated at least starting from the Eneolithic and then, from protohistoric times, it was inhabited by Illyrian peoples.


title: Durrës

text: Though surviving remains are minimal, Durrës is one of the oldest cities in Albania. In terms of mythology, the genealogy of the foundation of Dyrrhachium includes among the founders Illyrian men (the Illyrian king Epidamnos and his grandson Dyrrachos), Greek men (the Corinthian Falio, descendant of Heracles), heroes (Heracles who was given part of the lands) and gods (Poseidon, as father of Dyrrachos).


title: Durrës

text: Several ancient people held the site: the presence of the Brygi appears to be confirmed by several ancient writers, the Illyrian Taulantii (their arrival has been estimated to have happened not later than the 10th century BC), probably the Liburni who expanded southwards in the 9th century BC. The city was founded by Greek colonists in 627 BC on the coast of the Taulantii. According to ancient authors, the Greek colonists helped the Taulantii to expel Liburnians and mixed with the local population establishing the Greek element to the port. A flourishing commercial centre emerged and the city grew rapidly. The fact that about the 6th century BC the citizens of Epidamnus constructed a Doric-style treasury at Olympia confirms that the city was among the richest of the Ancient Greek world. An ancient account describes Epidamnos as 'a great power and very populated' city.


title: Durrës

text: After 323 BC Epidamnus-Dyrrhachium was involved in the intervention in Illyria of the Macedonians under Cassander, who clashed with the Illyrians under Glaukias. In 314 BC the Macedonian king seized the city but the garrison he established there was in turn besieged and driven out by the Illyrian king and the Corcyrans. In 312 BC, after another unsuccessful attack of Cassander in the region, the city came under the protection of Glaukias. Those events marked the end of Macedonian presence on the Adriatic coast for almost one century. The city probably came under the control of Pyrrhus of Epirus at the beginning of the 3rd century BC. From about 280 BC the Illyrian king Monunius, and his successor Mytilos minted in Dyrrhachion silver and bronze coins respectively, bearing the king's name and the symbol of the city. The fact that their coins were struck in the city mint of Dyrrhachion stresses that they exercised to some extent their authority over the city.


title: Durrës

text: Epidamnus came under the control of the Illyrian Ardiaei under Agron, who fortified the city (c. 250–231 BC). When the Romans defeated the Illyrians, they replaced the rule of queen Teuta with that of Demetrius of Pharos, one of her generals. He lost his kingdom, including Epidamnus, to the Romans in 219 BC at the Second Illyrian War. In the Third Illyrian War Epidamnus was attacked by Gentius but he was defeated by the Romans at the same year.