title: Toyota LiteAce

text: The TownAce was also sold as the Daihatsu Delta Wide (B10 series) between October 1976 and October 1982. Originally, this series came as a van/wagon supplied with the "3K-J" (KB10) and "2T-J" engines (TB10). The "4K-J" (KB11) replaced "3K-J" in February 1978—updated as the KB12 alongside a revised "2T-J" (TB11) in October 1979. A model with the "13T-U" unit entered production in September 1978 (TB15).


title: Toyota LiteAce

text: The second generation TownAce van/wagon arrived in November 1982. As a response to the growing popularity of one-box vehicles, Toyota released the higher-end MasterAce Surf at the same time sold only at "Toyota Store" locations—although it was mechanically identical to the lesser TownAce with minimal cosmetic changes. The TownAce used a front mid-engine layout where the driver and front passenger sat directly above the front axle; optional four-wheel drive was introduced in December 1985. Much of the vehicle's mechanicals were based on the Toyota Hilux, including suspension components. The leaf spring rear suspension of the R10 was replaced with a four-link coil rigid suspension with a Panhard rod for the first time among Japanese cab-over-engine type van/wagons. The front suspension was of a double wishbone and torsion bar spring design.


title: Toyota LiteAce

text: Stylistically, the R20/R30 featured a sharply sloped front, in contrast to the upright flat found in the larger Toyota HiAce. Three roof heights were available (low, medium, high) and for the latter two, a dual moonroof was optional (the front tilted and rear opened fully). As with the TownAce wagon, the MasterAce Surf came equipped with either the medium- or high-roofed body with dual moonroof options for both. Exterior design differences of the MasterAce Surf when compared to the TownAce included larger US-style bumpers and rectangular quad headlamps. In the Japanese market, a wide range of accessories were available, including a refrigerator with ice maker, a seven-speaker audio system, and a color television. The Catalina package for MasterAce Surf included a removable loft bed that became bunk beds with the second- and third-row seats laid flat.


title: Toyota LiteAce

text: Toyota facelifted the TownAce and MasterAce Surf in August 1985, restyling the headlamps and garnish between them. In addition, the tail-lamps were reshaped and the strip above the license plate was extended to the edges of the back door. A "Skylite" roof model arrived with this update, further increasing model variations. A second, more extensive facelift and full interior update arrived in August 1988 for Japan only which was shared with the MasterAce (although both continued to uphold slight cosmetic differences). This time the option of Toyota Electronic Modulated Suspension (TEMS) was made available.


title: Toyota LiteAce

text: Initially, the only available engine was the 1812 cc "2Y-U" engine outputting in a rear-wheel drive configuration. Transmission choices comprised a five-speed manual and a four-speed automatic with overdrive (the first for this type of vehicle). By 1983, additional gasoline engines: the 1290 cc "4K-J" inline-four engine with , the 1626 cc "1Y-J" inline-four giving , and the 1998 cc "3Y-U" with had been made available. Some markets gained the option of the 1974 cc "2C" diesel engine with in May 1983. In May 1983, the 1998 cc "3Y-EU" engine with electronic fuel injection (EFI) rated at was made available. The following year in May, a high performance specification same engine was released with was made available. A new turbocharged "2C-T" diesel model displacing 1974 cc and proving or was introduced in August 1984, followed by part-time four-wheel drive models with a sub transmission in November 1985 (with the 1998 cc "3Y-EU" gasoline or 82 PS "2C-T" turbo diesel engine). For exports, the 2237 cc "4Y-E" engine arrived with the August 1985 facelift and provided and .


title: Toyota LiteAce

text: Toyota released the Estima in May 1990—a larger vehicle than the TownAce and MasterAce Surf. While the R20/R30 models were typically discontinued in export markets in 1990 with the release of this new model (usually badged Previa overseas), for Japan, production continued until January 1992. This was because unlike the R20/R30, the Estima did not fall under the "number five" tax bracket regarding Japanese vehicle size tax legislation. To comply, dimensions had to remain under for width and in length, plus 2000 cc for engine displacement. It was not until January 1992 that Toyota released smaller, complying versions of the Estima in Japan under the names Estima Emina and Estima Lucida. These cars replaced the high-end MasterAce Surf, with a rebodied version of the R20/R30 TownAce continuing on until 1996.


title: Toyota LiteAce

text: As with the previous generation, the TownAce was sold by Daihatsu as the B20 series Daihatsu Delta Wide van/wagon between November 1982 and January 1992. At launch, the van models were retailed in 1300 and 1600 forms—in-line with their engine displacements. The 1300 model had three-seater bench with cargo payload. The 1600 increased this to , unless a second row of three seats was fitted which reduced this to . Passenger wagon models offered four levels of specification, the entry-level SD, followed by the SG, SE, and flagship SQ. Both gasoline and diesel engines could be specified, with automatic transmission available with the gasoline version. Updates including facelifts were as per the TownAce.


title: Toyota LiteAce

text: Toyota distributed the R20/R30 model worldwide under several names with either TownAce or MasterAce frontal styling depending on market. North American markets called it the "Toyota Van" (VanWagon in early press materials), while Australia referred to the vehicle as the Toyota Tarago (named after Tarago, New South Wales). In parts of Europe it was known as the "Toyota Space Cruiser", but in Germany, Sweden, Norway, China and some countries of Latin America it was sold as the "Toyota Model F". Export models were partially replaced with the Toyota Previa in 1990.


title: Toyota LiteAce

text: North American market sales started in 1983 for the 1984 model year as the "Toyota Van" with styling shared with the MasterAce Surf. The 2.0-liter "3Y-U" EFI () came at launch, but was replaced with the 2.2-liter "4Y-E" engine with for the 1986 model year facelift. Rear-wheel drive versions were sold in the United States between 1983 and 1989, while four-wheel drive models were sold between 1987 and 1989. The four-wheel drive models came with skid plates, with manual transmission models including a transfer case with low and high ranges (automatic models lacked a low range). All trim levels starting in 1986 had a cornering lamp system. Toyota's advertising campaign referred to the passenger vans (DLX and LE trim levels) as the "Wonderwagon" while the CRG trim level was referred to as the "Cargo Van". Deluxe and LE (Limited Edition) versions were offered as well as an ice maker/refrigerator between the front seats. The Van also offered dual air conditioning, captains chairs (LE for the 1986 to 1989 model years), twin sunroofs, digital clock, satellite radio controls (LE for the 1987 to 1989 model years), fog lights (LE for the 1986 to 1989 model years with power window package), tachometer, power locks, power windows, and a tinted glass privacy package. LE models had color matched bumpers and front grille along with power mirrors, chrome headlight bezels, and chrome Toyota emblems. Base models came with black bumpers and grill with white Toyota emblems. Base models have the reverse lights incorporated into the tail light assembly whereas the LE models had them incorporated into the rear hatch. In 1986, a special EXPO86 version was available in Canada only. The 1986 model year Espirit model was finished in a unique light blue color with a white wave pattern on the lower half on the side profile. A unique bronze colored plaque was affixed to the B-pillar behind the drivers and passengers doors that said "Spirit of 86" inside a globe.


title: Toyota LiteAce

text: For the Australian market, the Tarago eight-seater launched in February 1983. Like European models, Tarago frontal styling mirrored the TownAce rather than MasterAce Surf—therefore single-unit headlamps and slimmer bumpers were on offer. At launch, three levels of trim were on offer—base DX, GL and luxury GLS—all fitted with the 1.8-liter "2Y-C" gasoline engine rated at and (designated YR20). The 2.0-liter "2C" diesel giving and arrived in July 1983 as an option for the DX trim (designated CR21RG). Five-speed manual transmission was standard, with four-speed automatic on the GLS model that also added power steering, dual zone air-conditioning, power windows, a moonroof, alloy wheels, an ice box, and from October 1984—cruise control and front seat armrests. Gasoline models received an engine upgrade in March 1984 to the 2.0-liter "3Y-C" rated at and (designated YR21), with the DX and GL now gaining the option of a three-speed automatic. With an October 1985 facelift, the MasterAce Surf styling updates were specified—thus twin headlamps and bulky bumpers now featured alongside trim and equipment upgrades. At the same time, the YR21 GL became the GX, and a series of 2.2-liter "4Y-E" gasoline models with and appeared in the new manual-only GLi and updated automatic GLS (YR22). The GLS also gained a high-roof skylight and individual second row chairs, which reduced its carrying capacity to seven people. A new GLi Xtra Trak four-wheel drive also arrived in October 1985 with the 2.2 gasoline engine (YR31). By early 1987, escalating sales led to the introduction of a budget-conscious RV 2.2-liter gasoline manual (rear-wheel drive). By 1988, the optional three-speed automatic had completely made way for the four-speed unit on the DX (YR21), GLi (YR22) and GLi Xtra Trak (YR31). In late 1988 the GX gained the 2.2-liter engine to become the GXi; at the same time a series of refinements were implemented across the range.


title: Toyota LiteAce

text: The rebodied R20/R30 was introduced in January 1992 and produced until September 1996. For this series, the mechanicals were largely carried over (hence the retention of the R20/R30 chassis codes), but the styling fully refreshed. At this time, the LiteAce van became a derivative of the TownAce line, sharing the latter's body work. Thus, from this time, the entire LiteAce and TownAce range (van and truck) were unified. The rebodied R20/R30 had a much more streamlined design. The LiteAce and TownAce commercial vans were very similar, differing by the TownAce receiving extra headlamps adjacent inside to the main units and a small air intake slit. The LiteAce did not have this intake, but instead had additional grilles where the extra lamps in the TownAce were. Passenger wagons of both models had different styling again. Here, the LiteAce front end featured two separate headlamp units that tapered inwards towards the Toyota logo. TownAce wagons had headlamps that sat flush with a translucent garnish that gave the appearance of a large, single headlamp. Rear styling also differed between the commercial vans and passenger wagons, although both models used the same rear-end regardless if badged LiteAce or TownAce.


title: Toyota LiteAce

text: Toyota Australia released the TownAce commercial van in April 1992. Then in October 1993, the eight-seater model arrived as the Toyota Spacia. The powertrain fitted comprised the 2.2-liter "4Y-E" with and paired to a five-speed manual or four-speed automatic transmission. Equipment levels were sparse, although basic amenities like power steering, cloth trim and a radio/cassette player were fitted.


title: Toyota LiteAce

text: As with the original B20 series, Daihatsu Delta Wide van/wagon versions continued to use TownAce body work (and front-end styling). This B20/B30 update was strictly badge engineering, with no other material detail changes. Wagon trim levels were the basic SE and better equipped SQ.


title: Toyota LiteAce

text: Fully redesigned for the first time since 1982, the R40 and R50 LiteAce and TownAce appeared in October 1996. Offered in van/wagon configurations only, the van sold as the LiteAce and TownAce, with wagons now designated LiteAce Noah and TownAce Noah and fitted with a different, more luxurious interior. As with previous generation, LiteAce and TownAce were differentiated by their front grille designs. Vans were badged DX (for cargo purposes) and GL (dual purpose). Noah models received standard anti-lock brakes and optional twin moonroofs (the Skylite roof was discontinued).


title: Toyota LiteAce

text: To meet new occupant safety regulations, the cab-over, mid-mounted engine was moved in front of the passenger compartment (semi-cab-over), giving the car an all-new look, although a move inline with the vehicle's competitors. Despite the trend among its Japanese competitors of switching to the front-wheel drive layout, the R40/R50 maintained its rear-wheel drive. Full-time four-wheel drive was optional, replacing the part-time configuration from the previous series. Body dimensions remained complaint within the limits of the "number five" category, and standard- and high-roof heights were on offer. Noah passenger models had three-row seating with either six, seven, or eight occupant positions—made up by having either three rows of two bucket seats, two rows of buckets and third-row bench seat, or buckets up front and benches for the two back rows. A flat floor allowed for walk-through access between the rows.


title: Toyota LiteAce

text: Vans were supplied with several gasoline engines, including the 1486 cc "5K" (discontinued in July 2002) and two 1781 cc units, the "7K" and "7K-E". Diesel options were the 1974 cc "2C" until June 1999 and after this, the 2184 cc "3C-E". Powertrain options for the Noah twins comprised either the gasoline 1998 cc "3S-FE" good for or turbocharged diesel 2184 cc "3C-T" (KD-CR40/50G) with or the "3C-TE" (KH-CR40/50G) with . Transmission were either a five-speed manual with a floor shifter or a column-mounted four-speed automatic.


title: Toyota LiteAce

text: In January 1998, there were minor improvements, including a navigation system that became optional for the Noah, and an increase in performance of diesel engines. In December 1998, the Noah passenger models were facelifted with reshaped headlamps, new grilles and front bumpers, plus clear turn signal lamps for the tail-lamps and revised wheel trims. Vans were facelifted in June 1999 with new grilles and clear turn signal new tail-lamps. In November 2001, production of the LiteAce Noah and TownAce Noah models ended in favor of the new Toyota Noah/Voxy. Diesel engines were discontinued in August 2004 as they did not comply with emissions standards. Vans were again facelifted in July 2005, with fender mirrors added in conjunction with the existing door-mounted wing mirrors. This series was manufactured at the Honsha plant Toyota, Aichi until December 2001, before switching to a Toyota Auto Body plant in January 2002 until end of manufacture in July 2007.


title: Toyota LiteAce

text: Toyota Australia offered the KR42R series TownAce commercial vans from January 1997 to 2003, with a 1999 facelift. TownAces featured the "7K" engine with and and five-speed manual or four-speed automatic.


title: Toyota LiteAce

text: Eight-seater passenger vans were released in Australia as the single-grade Spacia in January 1998. With the "3S-FE" rated at and and five-speed manual or four-speed automatic, the Spacia offered standard dual front airbags, power door locks, power steering, windows and mirrors. Anti-lock brakes and second-row air-conditioning were optional. Facelifted models arrived in January 1999 and the Value Pack of 2000 and 2001 added dual air-conditioning, a CD player, and parking sensors. The model line was discontinued during August 2002.


title: Toyota LiteAce

text: This generation was also sold as the Daihatsu Delta Van/Wagon between October 1996 and November 2001. The grille treatments were as per the TownAce (van) and TownAce Noah (wagon) styles.


title: Toyota LiteAce

text: The latest S400 series of LiteAce and TownAce van (S402M/S412M) and truck (S402U/S412U) was released to the market in Japan in February 2008. Now a badge engineered model, the S400 series derived from the Daihatsu Gran Max manufactured in Indonesia. A semi-cab-over-engine body continued, but now with the engine mounted underneath the front seats. The van offers only a standard roof (low roof), and the truck comes with a high deck. Toyota imports models fitted with the 1,495 cc "3SZ-VE" engine and five-speed manual or optional four-speed automatic. Rear-wheel drive is standard (S402), with the option of full-time four-wheel drive (S412) arrived in July 2010.


title: Toyota LiteAce

text: The TownAce received a facelift in June 2020 with a newer 1,496 cc "2NR-VE" engine along with the discontinuation of the "LiteAce" nameplate due to integration of Japanese Toyota dealers. The pickup has also been marketed and produced in Taiwan since November 2021 under the name, and has also been marketed in the Philippines since July 2022 under the name.


title: Sumalatha

text: Sumalatha (born 27 August 1963) is an Indian actress, politician who is the current Member of Parliament in the Lok Sabha from Mandya, Karnataka. She has acted in more than 220 films in Telugu, Malayalam, Kannada, Tamil and Hindi. She gained popularity in Telugu cinema and Malayalam cinema and later married Kannada actor-politician Ambareesh and has a son Abhishek Gowda.


title: Sumalatha

text: In March 2019, Sumalatha announced that she would seek election for Lok Sabha from Mandya constituency of Karnataka as an independent candidate. On 23 May 2019, Sumalatha won against Nikhil Kumaraswamy by a margin of more than 1.25 lakh votes in the Lok Sabha election.


title: Sumalatha

text: Sumalatha did her schooling at St. Joseph's Convent School, Brodipet, Guntur. She began acting at age 15, after winning an Andhra Pradesh beauty contest in 1979. After her pictures began circulating in the magazines, film producer D. Ramanaidu expressed interest in casting her in his film and offered her a signining amount of 1,001 in 1979. However, she made her film debut in Tamil with "Thisai Maariya Paravaigal" (1979). She was named the Best New Face following the film. Her Kannada entry was through "Ravichandra" opposite to Rajkumar. She entered Telugu through "Samajaniki Saval" (1979), and Malayalam through "Moorkhan" (1980). She appeared in films in many languages Kannada, Tamil, Malayalam and Telugu early in her career. She was Rajinikanth's second heroine besides Rati Agnihotri in films like "Murattu Kaalai" and "Kazhugu". She was the heroine of legendary Malayalam actor Jayan's last film "Kolilakkam" (1981). In her Malayalam entry film "Moorkhan", she acted as Jayan's second heroine. Her most memorable Malayalam films include "Thazhvaram", "Isabella", "Nirakkoottu", "Dhinarathrangal", "Thoovanathumbikal", "Parampara" and "New Delhi". She has acted in many Kannada movies like "Aahuti", "Avatara Purusha", "Tayi Kanasu", "Karna", "Hong Kong nalli Agent Amar" "Tayiya Hone", "Kallarali Hoovagi" with "Ravichandra" being her Kannada debut in which she acted with actor Rajkumar. Telugu is the language in which she acted the most followed by Malayalam and Kannada.


title: Sumalatha

text: She received the best actress Nandi Award for her role in "Shrutilayalu" in 1987. She is a close friend of actress Suhasini Maniratnam, her co-star in a Telugu movie. The friendship between the two provided the material for a candid scene in the film, when director Kodandarami Reddy noticed Suhasini combing Sumalatha's long hair on the train journey to the film set. Reddy asked his cameraman, Ashok Reddy, to film the two and added the scene to the movie's final cut.


title: Sumalatha

text: Sumalatha married Kannada actor and politician Ambareesh on 8 December 1991 and their son Abhishek Gowda was born in the year 1993. She starred alongside Ambareesh in movies like "Aahuti", "Avatara Purusha", "Kallarali Hoovagi", "New Delhi" and "Sri Manjunatha. Kallarali Hoovagi" went on to win a National Film Award.


title: Sumalatha

text: In an interview with TV9 Kannada, the couple revealed that they first met each other on the sets of the movie "Aahuti". In the course of the interview, Sumalatha expressed that Ambareesh was extroverted and gregarious in nature where as she leaned more towards having an introverted and conscientious personality on the sets. She shared memories of Ambareesh giving her friendly advice to mingle with other co-stars in the set by involving herself in group activities; else it could lead to misunderstandings. She revealed that it was Ambareesh's bold, genuine, carefree, down to earth personality that made him memorable and attractive to her.


title: Sumalatha

text: On 24 November 2018 Ambareesh died due to a cardiac arrest. Few days after Sumalatha shared an emotional letter addressed to late Ambareesh on 8 December 2018 the eve of their 27th marriage anniversary.


title: Sumalatha

text: On 6 July 2020 It was reported that Sumalatha tested positive for COVID-19 and placed herself in home quarantine.


title: Sumalatha

text: In March 2019, Sumalatha announced that she would be contesting as an independent candidate in the 2019 Indian general election in Karnataka (Lok Sabha) from Mandya. She was backed by big stars from the Kannada film industry like Darshan, Yash, Rockline Venkatesh, Doddanna. Bharatiya Janata Party decided not to field a candidate in Mandya in efforts to support her. Some of the Congress Party workers supported her indirectly due to the history of traditional rivalry between JDS - Congress rivalry in Mandya which was a tricky situation for congress. She won, defeating Nikhil with a margin of 128,876 votes. She is the first Independent woman Member of parliament from Karnataka.


title: Troy weight

text: Troy weight is a system of units of mass that originated in 15th-century England, and is primarily used in the precious metals industry. The troy weight units are the grain, the pennyweight (24 grains), the troy ounce (20 pennyweights), and the troy pound (12 troy ounces). The troy grain is equal to the grain unit of the avoirdupois system, but the troy ounce is heavier than the avoirdupois ounce, and the troy pound is lighter than the avoirdupois pound. One troy ounce (oz t) equals exactly 31.1034768 grams.


title: Troy weight

text: Troy weight probably takes its name from the French market town of Troyes where English merchants traded at least as early as the early 9th century. The name "troy" is first attested in 1390, describing the weight of a platter, in an account of the travels in Europe of the Earl of Derby.


title: Troy weight

text: Charles Moore Watson (1844–1916) proposes an alternative etymology: "The Assize of Weights and Measures" (also known as ), one of the statutes of uncertain date from the reign of either Henry III or Edward I, thus before 1307, specifies ""—which the Public Record Commissioners translate as "troy weight". The word refers to markets. Watson finds the dialect word "troi", meaning a balance in Wright's "The English Dialect Dictionary". Troy weight referred to the tower system; the earliest reference to the modern troy weights is in 1414.


title: Troy weight

text: Many aspects of the troy weight system were indirectly derived from the Roman monetary system. The Romans used bronze bars of varying weights as currency. An ("heavy bronze") weighed one pound. One twelfth of an was called an , or in English, an "ounce". Before the adoption of the metric system, many systems of troy weights were in use in various parts of Europe, among them Holland troy, Paris troy, etc. Their values varied from one another by up to several percentage points. Troy weights were first used in England in the 15th century, and were made official for gold and silver in 1527. The British Imperial system of weights and measures (also known as Imperial units) was established in 1824, prior to which the troy weight system was a subset of pre-Imperial English units.


title: Troy weight

text: The troy ounce in use today is essentially the same as the British Imperial troy ounce (1824–1971), adopted as an official weight standard for United States coinage by Act of Congress on May 19, 1828.


title: Troy weight

text: The British Imperial troy ounce (known more commonly simply as the imperial troy ounce) was based on, and virtually identical with, the pre-1824 British troy ounce and the pre-1707 English troy ounce. (1824 was the year the British Imperial system of weights and measures was adopted, 1707 was the year of the Act of Union which created the Kingdom of Great Britain.) Troy ounces have been used in England since about 1400 and the English troy ounce was officially adopted for coinage in 1527. Before that time, various sorts of troy ounces were in use on the continent.


title: Troy weight

text: The troy ounce and grain were also part of the apothecaries' system. This was long used in medicine, but has now been largely replaced by the metric system (milligrams).


title: Troy weight

text: The only troy weight in widespread use today is the British Imperial troy ounce and its American counterpart. Both are currently based on a grain of 0.06479891 gram (exact, by definition), with 480 grains to a troy ounce (compared with grains for an ounce avoirdupois).


title: Troy weight

text: The British Empire abolished the 12-ounce troy pound in the 19th century, though it has been retained (although rarely used) in the American system. Larger amounts of precious metals are conventionally counted in hundreds or thousands of troy ounces (or in kilograms).


title: Troy weight

text: The origin of the troy weight system is unknown. Although the name probably comes from the Champagne fairs at Troyes, in northeastern France, the units themselves may be of more northern origin. English troy weights were nearly identical to the troy weight system of Bremen. (The Bremen troy ounce had a mass of 480.8 British Imperial grains.)


title: Troy weight

text: An alternative suggestion is that the weights come from the Muslim domains by way of the Gold Dirhem (47.966 British Imperial grains), in the manner that King Offa's weights were derived from the silver Dirhem (about 45.0 British grains).


title: Troy weight

text: According to Watson, troy relates to a dialect word troi (balance). Then troy weight is a style of weighing, like auncel or bismar weights, or other kindred methods. The troy weight then refers to weighing of small precious or potent goods, such as bullion and medicines.


title: Troy weight

text: Troy ounces have been and are still often used in precious metal markets in countries that otherwise use International System of Units (SI), except in East Asia. However, the People's Bank of China has previously used troy measurements in minting Gold Pandas beginning in 1982; since 2016, the use of troy ounces has been replaced by integer numbers of grams.


title: Troy weight

text: The troy pound (lb t) consists of twelve troy ounces and thus is . (An avoirdupois pound is approximately 21.53% heavier at 7000 grains, and consists of sixteen avoirdupois ounces).


title: Troy weight

text: A troy ounce weighs 480 grains. Since the implementation of the international yard and pound agreement of 1 July 1959, the grain measure is defined as precisely . Thus one troy ounce = × /grain = . Since the ounce avoirdupois is defined as 437.5 grains, a troy ounce is exactly = or about 1.09714 ounces avoirdupois or about 9.7% more.


title: Troy weight

text: The Troy ounce for trading precious metals is considered to be sufficiently approximated by 31.10 g in EU directive 80/181/EEC<ref name="80/181/EER"></ref>


title: Troy weight

text: The pennyweight symbol is "dwt". One pennyweight weighs 24 grains and 20 pennyweights make one troy ounce. Because there were 12 troy ounces in the old troy pound, there would have been 240 pennyweights to the pound (mass) just as there were 240 pennies in the original pound-sterling. However, prior to 1526, English pound sterling was based on the tower pound, which is of a troy pound. The "d" in "dwt" stands for "denarius", the ancient Roman coin that equates loosely to a penny. The symbol "d" for penny can be recognized in the form of British pre-decimal pennies, in which pounds, shillings, and pence were indicated using the symbols "£", "s", and "d", respectively.


title: Troy weight

text: There is no specific 'troy grain'. All Imperial systems use the same measure of mass called a grain (historically of barley), weighing exactly 64.79891 milligrams.


title: Troy weight

text: Mint masses, also known as "moneyers' masses" were legalized by Act of Parliament dated 17 July 1649 entitled "An Act touching the monies and coins of England". A grain is 20 mites, a mite is 24 droits, a droit is 20 perits, a perit is 24 blanks.


title: Troy weight

text: In Scotland, the Incorporation of Goldsmiths of the City of Edinburgh used a system in multiples of sixteen. ("See Assay-Master's Accounts, 1681–1702, on loan from the Incorporation to the National Archives of Scotland".) There were 16 drops to the troy ounce, 16 ounces to the Scottish troy pound, and 16 pounds to the stone. The Scots had several other ways of measuring precious metals and gems, but this was the common usage for gold and silver.


title: Troy weight

text: The Scottish pound was 7,716 grains, but after the union of Scotland with England, was reduced to 7,680 grains. This divides to 16 ounces, each of 16 drops, each of 30 grains. The reduction made the ounce and grain equal in mass to the English standard.


title: Troy weight

text: The Dutch troy system is based on a mark of 8 ounces, the ounce of 20 engels (pennyweights), the Engel of 32 as. The mark was rated as 3,798 troy grains or 246.084 grammes. The divisions are identical to the tower system.


title: Troy weight

text: King Offa's 8th century currency reform replaced the sceat with the silver penny. This coin was derived from half of a silver dirhem. The masses were then derived by a count of coins, by a mix of Charlemagne and Roman systems. An ounce was set as twenty pence, and a pound to twelve ounces or 240 silver pence. In practice, the weights of the coins was not consistent and 240 of them seldom added up to a full pound; there were no shilling or pound coins and the pound as used only as an accounting convenience.


title: Troy weight

text: Later kings debased the coin, both in weight and fineness. The original pound divided was the tower pound of 5,400 grains, but a later pound of 5,760 grains displaced it. Where once 240 pence made a tower pound (and 256 make a troy pound), by the time of the United Kingdom Weights and Measures Act of 1824, a troy pound gives 792 silver pence, still minted as such as Maundy Money.


title: Searx

text: Searx (; stylized as searX) is a free and open-source metasearch engine, available under the GNU Affero General Public License version 3, with the aim of protecting the privacy of its users. To this end, Searx does not share users' IP addresses or search history with the search engines from which it gathers results. Tracking cookies served by the search engines are blocked, preventing user-profiling-based results modification. By default, Searx queries are submitted via HTTP POST, to prevent users' query keywords from appearing in webserver logs. Searx was inspired by the Seeks project, though it does not implement Seeks' peer-to-peer user-sourced results ranking.


title: Searx

text: Each search result is given as a direct link to the respective site, rather than a tracked redirect link as used by Google. In addition, when available, these direct links are accompanied by cached and/or proxied links that allow viewing results pages without actually visiting the sites in question. The cached links point to saved versions of a page on the Wayback Machine, while the proxied links allow viewing the current live page via a Searx-based web proxy. In addition to the general search, the engine also features tabs to search within specific domains: files, images, IT, maps, music, news, science, social media, and videos.


title: Searx

text: Users can run private instances of Searx on their own computer, but there are also many public, user-run, Searx instances, some of which are available as Tor hidden services. Meta-Searx instances can also be used to forward the search query to a random public instance. A public API is available for Searx, as well as Firefox search provider plugins.


title: Searx

text: Across all categories, Searx can fetch search results from about 82 different engines. This includes major search engines and site-specific searches like Bing, Google, Reddit, Wikipedia, Yahoo, and Yandex. The engines used for each search category can be set via a "preferences" interface, and these settings will be saved in a cookie in the user's web browser, rather than on the server side, since for privacy reasons, Searx does not implement a user login model. Other settings such as the search interface language and the search results language (over 20 languages are available) can be set the same way.


title: Searx

text: In addition to the preferences cookie, it is possible on each query to modify the engines used, search categories selected, and/or languages to search in by specifying one or more of the following textual search operators "before" the search keywords.


title: Searx

text: The codice_6 and codice_7 operators can be specified more than once to select multiple categories or engines, for example codice_8.


title: Searx

text: Any user may run their own instance of Searx, which can be done to maximize privacy, to avoid congestion on public instances, to preserve customized settings even if browser cookies are cleared, to allow auditing of the source code being run, etc. Users may include their Searx instances on the editable list of all public instances, or keep them private. It is also possible to add custom search engines to a self-hosted instance that are not available on the public instances.


title: Searx

text: Another reason to use different Searx instances, and/or to run one's own, is that as of 2019, Google has begun to block some instances, including some of the IP addresses used by searx.me (former instance run by the developer), from querying it, resulting in a "google (unexpected crash: CAPTCHA required)" error. In response, some instances have been modified to silently skip trying to search with Google, even when it's the only engine specified.


title: Sadie Stanley

text: Sadie Anne Stanley (born November 15, 2001) is an American actress and singer, who began her career as the titular role in the 2019 Disney Channel original movie, "Kim Possible". She stars in "The Sleepover" on Netflix and recent film "Let Us In". She is also known for her recurring role as Brea Bee on "The Goldbergs".


title: Sadie Stanley

text: Stanley was born in Columbia, South Carolina to Tracy and Matt Stanley. She has a twin sister, Sophie. Stanley became interested in acting when she was 13.


title: Sadie Stanley

text: She was an actor for Columbia Children’s Theatre. One of her notable performances was as Young Princess Fiona in Shrek.


title: Sadie Stanley

text: Stanley sang an updated version of the "Kim Possible" theme song "Call Me, Beep Me!" for the live-action movie, in which she also played the titular character. She has also appeared in several shows, including "Game Shakers" and "The Goldbergs". Since 2020, Stanley has appeared on ABC sitcom "The Goldbergs" as Brea Bee, love interest and girlfriend of the show's main character, Adam Goldberg (played by her "Kim Possible" co-star Sean Giambrone). She played Parker, girlfriend of Jen's (played by Christina Applegate) oldest son, Charlie, on the second season of Netflix's "Dead to Me".


title: Mersenne Twister

text: The Mersenne Twister is a general-purpose pseudorandom number generator (PRNG) developed in 1997 by and . Its name derives from the fact that its period length is chosen to be a Mersenne prime.


title: Mersenne Twister

text: The most commonly used version of the Mersenne Twister algorithm is based on the Mersenne prime formula_1. The standard implementation of that, MT19937, uses a 32-bit word length. There is another implementation (with five variants) that uses a 64-bit word length, MT19937-64; it generates a different sequence.


title: Mersenne Twister

text: It is also available in Apache Commons, in the standard C++ library (since C++11), and in Mathematica. Add-on implementations are provided in many program libraries, including the Boost C++ Libraries, the CUDA Library, and the NAG Numerical Library.


title: Mersenne Twister

text: The Mersenne Twister is one of two PRNGs in SPSS: the other generator is kept only for compatibility with older programs, and the Mersenne Twister is stated to be "more reliable". The Mersenne Twister is similarly one of the PRNGs in SAS: the other generators are older and deprecated. The Mersenne Twister is the default PRNG in Stata, the other one is KISS, for compatibility with older versions of Stata.


title: Mersenne Twister

text: An alternative generator, WELL ("Well Equidistributed Long-period Linear"), offers quicker recovery, and equal randomness, and nearly equal speed.


title: Mersenne Twister

text: 64-bit MELGs ("64-bit Maximally Equidistributed formula_5-Linear Generators with Mersenne Prime Period") are completely optimized in terms of the "k"-distribution properties.


title: Mersenne Twister

text: The ACORN family (published 1989) is another "k"-distributed PRNG, which shows similar computational speed to MT, and better statistical properties as it satisfies all the current (2019) TestU01 criteria; when used with appropriate choices of parameters, ACORN can have arbitrarily long period and precision.


title: Mersenne Twister

text: The PCG family is a more modern long-period generator, with better cache locality, and less detectable bias using modern analysis methods.


title: Mersenne Twister

text: A pseudorandom sequence formula_7 of "w"-bit integers of period "P" is said to be "k-distributed" to "v"-bit accuracy if the following holds.


title: Mersenne Twister

text: The Mersenne Twister algorithm is based on a matrix linear recurrence over a finite binary field formula_5. The algorithm is a twisted generalised feedback shift register (twisted GFSR, or TGFSR) of rational normal form (TGFSR(R)), with state bit reflection and tempering. The basic idea is to define a series formula_7 through a simple recurrence relation, and then output numbers of the form formula_13, where "T" is an invertible formula_5-matrix called a tempering matrix.


title: Mersenne Twister

text: The general algorithm is characterized by the following quantities (some of these explanations make sense only after reading the rest of the algorithm):


title: Mersenne Twister

text: with the restriction that formula_18 is a Mersenne prime. This choice simplifies the primitivity test and "k"-distribution test that are needed in the parameter search.


title: Mersenne Twister

text: where formula_21 denotes concatenation of bit vectors (with upper bits on the left), formula_22 the bitwise exclusive or (XOR), formula_23 means the upper bits of formula_24, and formula_25 means the lower "r" bits of formula_26. The twist transformation "A" is defined in rational normal form as:formula_27with formula_28 as the formula_29 identity matrix. The rational normal form has the benefit that multiplication by "A" can be efficiently expressed as: (remember that here matrix multiplication is being done in formula_30, and therefore bitwise XOR takes the place of addition)formula_31where formula_32 is the lowest order bit of formula_33.


title: Mersenne Twister

text: As like TGFSR(R), the Mersenne Twister is cascaded with a tempering transform to compensate for the reduced dimensionality of equidistribution (because of the choice of "A" being in the rational normal form). Note that this is equivalent to using the matrix "A" where formula_34 for "T" an invertible matrix, and therefore the analysis of characteristic polynomial mentioned below still holds.


title: Mersenne Twister

text: As with "A", we choose a tempering transform to be easily computable, and so do not actually construct "T" itself. The tempering is defined in the case of Mersenne Twister as


title: Mersenne Twister

text: where formula_15 is the next value from the series, formula_37 is a temporary intermediate value, and formula_38 is the value returned from the algorithm, with formula_39and formula_40 as the bitwise left and right shifts, and formula_41 as the bitwise AND. The first and last transforms are added in order to improve lower-bit equidistribution. From the property of TGFSR, formula_42 is required to reach the upper bound of equidistribution for the upper bits.


title: Mersenne Twister

text: Note that 32-bit implementations of the Mersenne Twister generally have "d" = FFFFFFFF. As a result, the "d" is occasionally omitted from the algorithm description, since the bitwise and with "d" in that case has no effect.


title: Mersenne Twister

text: The state needed for a Mersenne Twister implementation is an array of "n" values of "w" bits each. To initialize the array, a "w"-bit seed value is used to supply formula_45 through formula_46 by setting formula_45 to the seed value and thereafter setting


title: Mersenne Twister

text: In order to achieve the formula_18 theoretical upper limit of the period in a TGFSR, formula_55 must be a primitive polynomial, formula_55 being the characteristic polynomial of


title: Mersenne Twister

text: The following pseudocode implements the general Mersenne Twister algorithm. The constants w, n, m, r, a, u, d, s, b, t, c, l, and f are as in the algorithm description above. It is assumed that int represents a type sufficient to hold values with w bits:


title: Mersenne Twister

text: CryptMT is a stream cipher and cryptographically secure pseudorandom number generator which uses Mersenne Twister internally. It was developed by Matsumoto and Nishimura alongside Mariko Hagita and Mutsuo Saito. It has been submitted to the eSTREAM project of the eCRYPT network. Unlike Mersenne Twister or its other derivatives, CryptMT is patented.


title: Mersenne Twister

text: MTGP is a variant of Mersenne Twister optimised for graphics processing units published by Mutsuo Saito and Makoto Matsumoto. The basic linear recurrence operations are extended from MT and parameters are chosen to allow many threads to compute the recursion in parallel, while sharing their state space to reduce memory load. The paper claims improved equidistribution over MT and performance on a very old GPU (Nvidia GTX260 with 192 cores) of 4.7 ms for 5×10 random 32-bit integers.


title: Mersenne Twister

text: The SFMT (SIMD-oriented Fast Mersenne Twister) is a variant of Mersenne Twister, introduced in 2006, designed to be fast when it runs on 128-bit SIMD.


title: Mersenne Twister

text: Intel SSE2 and PowerPC AltiVec are supported by SFMT. It is also used for games with the Cell BE in the PlayStation 3.


title: Mersenne Twister

text: TinyMT is a variant of Mersenne Twister, proposed by Saito and Matsumoto in 2011. TinyMT uses just 127 bits of state space, a significant decrease compared to the original's 2.5 KiB of state. However, it has a period of formula_60, far shorter than the original, so it is only recommended by the authors in cases where memory is at a premium.


title: Saniya Iyappan

text: Saniya Iyappan (born 20 April 2002) an Indian actress who works in Malayalam films and television shows. She is best known for her roles in the films "Queen" (2018) and "Lucifer" (2019).


title: Saniya Iyappan

text: Saniya started her career in television, as a contestant in the dance reality show "D2 - D 4 Dance" on Mazhavil Manorama. She emerged as the second runner-up of the show.


title: Saniya Iyappan

text: Saniya made her film acting debut with "Baalyakaalasakhi" in 2014, portraying the childhood of Isha Talwar. She also acted in "Apothecary" in the same year, as the daughter of Suresh Gopi. After playing brief roles in various films, Saniya played her first lead role in the 2018 film "Queen". Her performance earned her several accolades including the Filmfare Award for Best Female Debut - South. She next starred in Prithviraj Sukumaran's directorial debut "Lucifer". Then she starred in Mammootty starred film "The Priest" in a cameo. She next played the lead role in a rape and revenge horror thriller film titled Krishnankutty Pani Thudangi, opposing Vishnu Unnikrishnan, where her performance was critically acclaimed.


title: Hawker 800

text: The Hawker 800 is a mid-size twinjet corporate aircraft. It is a development of the British Aerospace BAe 125, and was assembled by Hawker Beechcraft.


title: Hawker 800

text: In April 1981, the British Aerospace board sanctioned the programme to improve the British Aerospace 125-700 series. By May 1983 the new aircraft was ready for its first test flight.


title: Hawker 800

text: The BAe 125-800 series has a number of modifications and changes over the 700, the most noticeable being the redesigned cockpit windscreen. Accompanying this are a modified rear fuselage fairing, as well as a glass cockpit and uprated (from 3,700 to 4,300 lb thrust) Garrett TFE731-5R-1H engines. British Aerospace also improved the wing by incorporating new outer wing sections. This helped to reduce drag and improve aerodynamic efficiency.


title: Hawker 800

text: The 125-800 series would become a sales success. From the first BAe 125 flight in August 1961 it took nineteen years until the 500th airframe was sold. In a little over five years, British Aerospace were registering the 200th sale of the 800 series.


title: Hawker 800

text: In 1994 Raytheon (which bought Beech Aircraft Corporation in 1980) acquired Corporate Jets. The new entity being known as Raytheon Aircraft. In March 2007, Raytheon divested its aircraft manufacturing business to Hawker Beechcraft Corp., a company formed and controlled by GS Capital Partners and Onex Partners of Canada.


title: Hawker 800

text: The last version was the Hawker 850XP, which was certified for operation in March 2006. The 850XP is identical to the 800XP except that it includes winglets, which have extended its operating range by . This version also incorporates upgraded avionics and a redesigned interior. The Hawker 850XP essentially fills the gap left behind by the Hawker 1000 when production of that aircraft ceased.


title: Hawker 800

text: After the 2013 bankruptcy of Hawker Beechcraft, the surviving company, Beechcraft, discontinued its business jet range, including the 800 series, although the designs are still supported for parts.


title: Hawker 800

text: By 2018, a 1980s-era 700s was priced for less than $500,000, a 1995 800A at $1.02 million and a 2012 900XP at $6 million.


title: Hawker 800

text: The Hawker 800 was similar to most modern airframes in requiring sub-assemblies to be constructed away from the final point of manufacture. The fuselage sections, wings and control surfaces were manufactured and assembled in the United Kingdom in a combination of Hawker Beechcraft's own facility and those owned by Airbus UK, which inherited much of BAE Systems's civil aircraft manufacturing capacity. These sections are partially fitted out and installed with control surfacing and major systems before being shipped to Hawker Beechcraft's main manufacturing site in Wichita, Kansas for final assembly, fitting out and testing.


title: Hawker 800

text: Japan uses a maritime search and rescue variant of the Hawker 800. It is designated the U-125A in Japan Air Self-Defense Force service. This variant has large observation windows, a flare and marker-buoy dispenser system, life-raft and emergency equipment dropping system and enhanced salt water corrosion prevention. The aircraft also has a Toshiba 360-degree search radar, Melco thermal imaging equipment and other military communications equipment for its mission.


title: Hawker 800

text: A military version of the Hawker 800XP is in use by South Korea for tactical aerial reconnaissance, surveillance and SIGINT (SIGnals INTelligence) tasks, and 8 specially equipped aircraft were delivered in 2000. The Republic of Korea Air Force calls them RC-800s, and they are based at Seoul Air Base.


title: Hawker 800

text: With 48 built, this lower-cost, lighter-weight and shorter-range version of the 800XP competes with the Citation XLS and Learjet 60.


title: Hawker 800

text: In November 2017, used prices range from $2.2 million for early 2008 models to 3.8 million for late 2011 models.


title: Hawker 800

text: Its larger cabin is typically configured with eight seats in double club or a four chair club followed by a three-place divan facing a single seat, and is pressurized by to provides a cabin altitude at FL 410.


title: Hawker 800

text: Its ventral fuel tank is replaced with a external baggage compartment, leaving of fuel in the wet wings.


title: Hawker 800

text: With a 20° quarter chord wing sweep, its maximum speed is Mach 0.80, it cruises at Mach 0.74 to 0.78 and long-range cruise is Mach 0.70 at per hour midweight.


title: Hawker 800

text: B-checks are every 800 h, C-checks every 1,600 h and D-checks every 3,200 h and there are yearly maintenance checks.


title: Hawker 800

text: Its Honeywell TFE731-5BR have 2,100 h and 4,200 h inspection intervals, extendable to 2,500 h / 5,000 h with optional service bulletins, and MSP per engine.


title: Hawker 800

text: Able to fly nine passengers over 2,400 nmi, 475 Hawker 800XP have been sold for $10–13.5 million between 1995 and 2005. By July 2018, 467 were still in service, valued $1.4–2.4 million.


title: Hawker 800

text: The aircraft is operated by private individuals, companies and executive charter operators, and in fractional ownership programs.


title: AC power

text: In an electric circuit, instantaneous power is the time rate of flow of energy past a given point of the circuit. In alternating current circuits, energy storage elements such as inductors and capacitors may result in periodic reversals of the direction of energy flow. Its SI unit is the watt.


title: AC power

text: The portion of instantaneous power that, averaged over a complete cycle of the AC waveform, results in net transfer of energy in one direction is known as instantaneous active power, and its time average is known as active power or real power. The portion of instantaneous power that results in no net transfer of energy but instead oscillates between the source and load in each cycle due to stored energy, is known as instantaneous reactive power, and its amplitude is the absolute value of reactive power.


title: AC power

text: In a simple alternating current (AC) circuit consisting of a source and a linear time-invariant load, both the current and voltage are sinusoidal at the same frequency. If the load is purely resistive, the two quantities reverse their polarity at the same time. At every instant the product of voltage and current is positive or zero, the result being that the direction of energy flow does not reverse. In this case, only active power is transferred.


title: AC power

text: If the load is purely "reactive", then the voltage and current are 90 degrees out of phase. For two quarters of each cycle, the product of voltage and current is positive, but for the other two quarters, the product is negative, indicating that on average, exactly as much energy flows into the load as flows back out. There is no net energy flow over each half cycle. In this case, only reactive power flows: There is no net transfer of energy to the load; however, electrical power does flow along the wires and returns by flowing in reverse along the same wires. The current required for this reactive power flow dissipates energy in the line resistance, even if the ideal load device consumes no energy itself. Practical loads have resistance as well as inductance, or capacitance, so both active and reactive powers will flow to normal loads.


title: AC power

text: Apparent power is the product of the RMS values of voltage and current. Apparent power is taken into account when designing and operating power systems, because although the current associated with reactive power does no work at the load, it still must be supplied by the power source. Conductors, transformers and generators must be sized to carry the total current, not just the current that does useful work. Failure to provide for the supply of sufficient reactive power in electrical grids can lead to lowered voltage levels and, under certain operating conditions, to the complete collapse of the network or blackout. Another consequence is that adding the apparent power for two loads will not accurately give the total power unless they have the same phase difference between current and voltage (the same power factor).


title: AC power

text: Conventionally, capacitors are treated as if they generate reactive power, and inductors are treated as if they consume it. If a capacitor and an inductor are placed in parallel, then the currents flowing through the capacitor and the inductor tend to cancel rather than add. This is the fundamental mechanism for controlling the power factor in electric power transmission; capacitors (or inductors) are inserted in a circuit to partially compensate for reactive power 'consumed' ('generated') by the load. Purely capacitive circuits supply reactive power with the current waveform leading the voltage waveform by 90 degrees, while purely inductive circuits absorb reactive power with the current waveform lagging the voltage waveform by 90 degrees. The result of this is that capacitive and inductive circuit elements tend to cancel each other out.


title: AC power

text: Engineers use the following terms to describe energy flow in a system (and assign each of them a different unit to differentiate between them):


title: AC power

text: In the diagram, "P" is the active power, "Q" is the reactive power (in this case positive), "S" is the complex power and the length of "S" is the apparent power. Reactive power does not do any work, so it is represented as the imaginary axis of the vector diagram. Active power does do work, so it is the real axis.


title: AC power

text: The unit for power is the watt (symbol: W). Apparent power is often expressed in volt-amperes (VA) since it is the product of RMS voltage and RMS current. The unit for reactive power is var, which stands for volt-ampere reactive. Since reactive power transfers no net energy to the load, it is sometimes called "wattless" power. It does, however, serve an important function in electrical grids and its lack has been cited as a significant factor in the Northeast blackout of 2003. Understanding the relationship among these three quantities lies at the heart of understanding power engineering. The mathematical relationship among them can be represented by vectors or expressed using complex numbers, "S" = "P" + "j Q" (where "j" is the imaginary unit).


title: AC power

text: where "V" denotes voltage in phasor form, with the amplitude as RMS, and "I" denotes current in phasor form, with the amplitude as RMS. Also by convention, the complex conjugate of "I" is used, which is denoted formula_3 (or formula_4), rather than "I" itself. This is done because otherwise using the product V I to define S would result in a quantity that depends on the reference angle chosen for V or I, but defining S as V I* results in a quantity that doesn't depend on the reference angle and allows to relate S to P and Q.


title: AC power

text: Other forms of complex power (units in volt-amps, VA) are derived from "Z", the load impedance (units in ohms, Ω).


title: AC power

text: If formula_6 is defined as being positive for an inductor and negative for a capacitor, then the modulus signs can be removed from S and X and get


title: AC power

text: This definition is useful because it applies to all waveforms, whether they are sinusoidal or not. This is particularly useful in power electronics, where non-sinusoidal waveforms are common.


title: AC power

text: In general, engineers are interested in the active power averaged over a period of time, whether it is a low frequency line cycle or a high frequency power converter switching period. The simplest way to get that result is to take the integral of the instantaneous calculation over the desired period:


title: AC power

text: This method of calculating the average power gives the active power regardless of harmonic content of the waveform. In practical applications, this would be done in the digital domain, where the calculation becomes trivial when compared to the use of rms and phase to determine active power:


title: AC power

text: Since an RMS value can be calculated for any waveform, apparent power can be calculated from this. For active power it would at first appear that it would be necessary to calculate many product terms and average all of them. However, looking at one of these product terms in more detail produces a very interesting result.


title: AC power

text: However, the time average of a function of the form is zero provided that "ω" is nonzero. Therefore, the only product terms that have a nonzero average are those where the frequency of voltage and current match. In other words, it is possible to calculate active (average) power by simply treating each frequency separately and adding up the answers. Furthermore, if voltage of the mains supply is assumed to be a single frequency (which it usually is), this shows that harmonic currents are a bad thing. They will increase the RMS current (since there will be non-zero terms added) and therefore apparent power, but they will have no effect on the active power transferred. Hence, harmonic currents will reduce the power factor. Harmonic currents can be reduced by a filter placed at the input of the device. Typically this will consist of either just a capacitor (relying on parasitic resistance and inductance in the supply) or a capacitor-inductor network. An active power factor correction circuit at the input would generally reduce the harmonic currents further and maintain the power factor closer to unity.


title: Mughal painting

text: Mughal painting is a style of painting on paper confined to miniatures either as book illustrations or as single works to be kept in albums (muraqqa), from the territory of the Mughal Empire in South Asia. It emerged from Persian miniature painting (itself partly of Chinese origin) and developed in the court of the Mughal Empire of the 16th to 18th centuries. Battles, legendary stories, hunting scenes, wildlife, royal life, mythology, as well as other subjects have all been frequently depicted in paintings.


title: Mughal painting

text: The Mughal emperors were Muslims and they are credited with consolidating Islam in South Asia, and spreading Muslim (and particularly Persian) arts and culture as well as the faith.


title: Mughal painting

text: Mughal painting immediately took a much greater interest in realistic portraiture than was typical of Persian miniatures. Animals and plants were the main subject of many miniatures for albums, and were more realistically depicted. Although many classic works of Persian literature continued to be illustrated, as well as Indian works, the taste of the Mughal emperors for writing memoirs or diaries, begun by Babur, provided some of the most lavishly decorated texts, such as the Padshahnama genre of official histories. Subjects are rich in variety and include portraits, events and scenes from court life, wild life and hunting scenes, and illustrations of battles. The Persian tradition of richly decorated borders framing the central image (mostly trimmed in the images shown here) was continued, as was a modified form of the Persian convention of an elevated viewpoint.


title: Mughal painting

text: The Mughal painting style later spread to other Indian courts, both Muslim and Hindu, and later Sikh, and was often used to depict Hindu subjects. This was mostly in northern India. It developed many regional styles in these courts, tending to become bolder but less refined. These are often described as "post-Mughal", "sub-Mughal" or "provincial Mughal". The mingling of foreign Persian and indigenous Indian elements was a continuation of the patronage of other aspects of foreign culture as initiated by the earlier Turko-Afghan Delhi Sultanate, and the introduction of it into the subcontinent by various Central Asian Turkish dynasties, such as the Ghaznavids.


title: Mughal painting

text: From fairly early the Mughal style made a strong feature of realistic portraiture, normally in profile, and influenced by Western prints, which were available at the Mughal court. This had never been a feature of either Persian miniature or earlier Indian painting. The pose, rarely varied in portraits, was to have the head in strict profile, but the rest of the body half turned towards the viewer. For a long time portraits were always of men, often accompanied by generalized female servants or concubines; but there is scholarly debate about the representation of female court members in portraiture. Some scholars claim there are no known extant likenesses of figures like Jahanara Begum and Mumtaz Mahal, and others attribute miniatures, for example from the Dara Shikoh album or the Freer Gallery of Art mirror portrait, to these famous noblewomen. The single idealized figure of the Riza Abbasi type was less popular, but fully painted scenes of lovers in a palace setting became popular later. Drawings of genre scenes, especially showing holy men, whether Muslim or Hindu, were also popular.


title: Mughal painting

text: Akbar had an album, now dispersed, consisting entirely of portraits of figures at his enormous court which had a practical purpose; according to chroniclers he used to consult it when discussing appointments and the like with his advisors, apparently to jog his memory of who the people being discussed were. Many of them, like medieval European images of saints, carried objects associated with them to help identification, but otherwise the figures stand on a plain background. There are a number of fine portraits of Akbar, but it was under his successors Jahangir and Shah Jahan that the portrait of the ruler became firmly established as a leading subject in Indian miniature painting, which was to spread to both Muslim and Hindu princely courts across India.


title: Mughal painting

text: From the 17th century equestrian portraits, mostly of rulers, became another popular borrowing from the West. Another new type of image showed the Jharokha Darshan (literally "balcony view/worship"), or public display of the emperor to the court, or the public, which became a daily ceremonial under Akbar, Jahangir and Shah Jahan, before being stopped as un-Islamic by Aurangzeb. In these scenes, the emperor is shown at top on a balcony or at a window, with a crowd of courtiers below, sometimes including many portraits. Like the increasingly large halos these emperors were given in single portraits, the iconography reflects the aspiration of the later Mughals to project an image as the representative of Allah on earth, or even as having a quasi-divine status themselves. Other images show the enthroned emperor having meetings, receiving visitors, or in durbar, or formal council. These and royal portraits incorporated in hunting scenes became highly popular types in later Rajput painting and other post-Mughal styles.


title: Mughal painting

text: Another popular subject area was realistic studies of animals and plants, mostly flowers; the text of the "Baburnama" includes a number of descriptions of such subjects, which were illustrated in the copies made for Akbar. These subjects also had specialist artists, including Ustad Mansur. Milo C. Beach argues that "Mughal naturalism has been greatly overstressed. Early animal imagery consists of variations on a theme, rather than new, innovative observations". He sees considerable borrowings from Chinese animal paintings on paper, which seem not to have been highly valued by Chinese collectors, and so reached India.


title: Mughal painting

text: In the formative period of the style, under Akbar, the imperial workshop produced a number of heavily illustrated copies of established books in Persian. One of the first, probably from the 1550s and now mostly in the Cleveland Museum of Art, was a "Tutinama" with some 250 rather simple and rather small miniatures, most with only a few figures. In contrast the "Hamzanama" Akbar commissioned had unusually large pages, of densely woven cotton rather than the usual paper, and the images were very often crowded with figures. The work was "a continuous series of romantic interludes, threatening events, narrow escapes, and violent acts", supposedly telling the life of an uncle of Muhammad. Akbar's manuscript had a remarkable total of some 1400 miniatures, one on every opening, with the relevant text written on the back of the page, presumably to be read to the emperor as he looked at each image. This colossal project took most of the 1560s, and probably beyond. These and a few other early works saw a fairly unified Mughal workshop style emerge by around 1580.


title: Mughal painting

text: Other large projects included biographies or memoirs of the Mughal dynasty. Babur, its founder, had written classic memoirs, which his grandson Akbar had translated into Persian, as the "Baburnama" (1589), and then produced in four lavishly illustrated copies, with up to 183 miniatures each. The "Akbarnama" was Akbar's own commissioned biography or chronicle, produced in many versions, and the tradition continued with Jahangir's autobiography "Tuzk-e-Jahangiri" (or "Jahangirnama") and a celebratory biography of Shah Jahan, called the "Padshahnama", which brought the era of the large illustrated imperial biography to an end, around 1650. Akbar commissioned a copy of the "Zafarnama", a biography of his distant ancestor Timur, but though he had his aunt write a biography of his father Humayun, no illustrated manuscript survives.


title: Mughal painting

text: Volumes of the classics of Persian poetry usually had rather fewer miniatures, often around twenty, but often these were of the highest quality. Akbar also had the Hindu epic poems translated into Persian, and produced in illustrated versions. Four are known of the "Razmnama", a "Mahabharata" in Persian, from between 1585 and c. 1617. Akbar had at least one copy of the Persian version of the "Ramayana".


title: Mughal painting

text: Mughal court painting, as opposed to looser variants of the Mughal style produced in regional courts and cities, drew little from indigenous non-Muslim traditions of painting. These were Hindu and Jain, and earlier Buddhist, and almost entirely religious. They existed mainly in relatively small illustrations to texts, but also mural paintings, and paintings in folk styles on cloth, in particular ones on scrolls made to be displayed by popular singers or reciters of the Hindu epics and other stories, performed by travelling specialists; very few early examples of these last survive. A vivid Kashmiri tradition of mural paintings flourished between the 9th and 17th centuries, as seen in the murals of Alchi Monastery or Tsaparang: a number of Kashimiri painters were employed by Akbar and some influence of their art can be seen in various Mughal works, such as the "Hamzanama".


title: Mughal painting

text: In contrast Mughal painting was "almost entirely secular", although religious figures were sometimes portrayed. Realism, especially in portraits of both people and animals, became a key aim, far more than in Persian painting, let alone the Indian traditions. There was already a Muslim tradition of miniature painting under the Turko-Afghan Sultanate of Delhi which the Mughals overthrew, and like the Mughals, and the very earliest of Central Asian invaders into the subcontinent, patronized foreign culture. These paintings were painted on loose-leaf paper, and were usually placed between decorated wooden covers. Although the first surviving manuscripts are from Mandu in the years either side of 1500, there were very likely earlier ones which are either lost, or perhaps now attributed to southern Persia, as later manuscripts can be hard to distinguish from these by style alone, and some remain the subject of debate among specialists. By the time of the Mughal invasion, the tradition had abandoned the high viewpoint typical of the Persian style, and adopted a more realistic style for animals and plants.


title: Mughal painting

text: No miniatures survive from the reign of the founder of the dynasty, Babur, nor does he mention commissioning any in his memoirs, the "Baburnama". Copies of this were illustrated by his descendents, Akbar in particular, with many portraits of the many new animals Babur encountered when he invaded India, which are carefully described. However some surviving un-illustrated manuscripts may have been commissioned by him, and he comments on the style of some famous past Persian masters. Some older illustrated manuscripts have his seal on them; the Mughals came from a long line stretching back to Timur and were fully assimilated into Persianate culture, and expected to patronize literature and the arts.


title: Mughal painting

text: The style of the Mughal school developed within the royal atelier. Knowledge was primarily transmitted through familial and apprenticeship relationships, and the system of joint manuscript production which brought multiple artists together for single works. In some cases, senior artists would draw the illustrations in outline, and more junior ones would usually apply the colours, especially for background areas. Where no artist names are inscribed, it is very difficult to trace Imperial Mughal paintings back to specific artists.


title: Mughal painting

text: After a tentative start under Humayun, the great period of Mughal painting was during the next three reigns, of Akbar, Jahangir and Shah Jahan, which covered just over a century between them.


title: Mughal painting

text: When the second Mughal emperor, Humayun was in exile in Tabriz in the Safavid court of Shah Tahmasp I of Persia, he was exposed to Persian miniature painting, and commissioned at least one work there (or in Kabul), an unusually large painting on cloth of "Princes of the House of Timur", now in the British Museum. Originally a group portrait with his sons, in the next century Jahangir had it added to make it a dynastic group including dead ancestors. When Humayun returned to India, he brought two accomplished Persian artists Abd al-Samad and Mir Sayyid Ali with him. His usurping brother Kamran Mirza had maintained a workshop in Kabul, which Humayan perhaps took over into his own. Humayan's major known commission was a "Khamsa of Nizami" with 36 illuminated pages, in which the different styles of the various artists are mostly still apparent. Apart from the London painting, he also commissioned at least two miniatures showing himself with family members, a type of subject that was rare in Persia but common among the Mughals.


title: Mughal painting

text: During the reign of Humayun's son Akbar (r. 1556–1605), the imperial court, apart from being the centre of administrative authority to manage and rule the vast Mughal empire, also emerged as a centre of cultural excellence. Akbar inherited and expanded his father's library and atelier of court painters, and paid close personal attention to its output. He had studied painting in his youth under Abd as-Samad, though it is not clear how far these studies went.


title: Mughal painting

text: Between 1560 and 1566 the "Tutinama" ("Tales of a Parrot"), now in the Cleveland Museum of Art was illustrated, showing "the stylistic components of the imperial Mughal style at a formative stage".


title: Mughal painting

text: Among other manuscripts, between 1562 and 1577 the atelier worked on an illustrated manuscript of the "Hamzanama" consisting of 1,400 cotton folios, unusually large at 69 cm x 54 cm (approx. 27 x 20 inches) in size. This huge project "served as a means of moulding the disparate styles of his artists, from Iran and from different parts of India, into one unified style". By the end, the style reached maturity, and "the flat and decorative compositions of Persian painting have been transformed by creating a believable space in which characters painted in the round can perform".


title: Mughal painting

text: Sa'di's masterpiece The "Gulistan" was produced at Fatehpur Sikri in 1582, a "Darab Nama" around 1585; the Khamsa of Nizami (British Library, Or. 12208) followed in the 1590s and Jami's "Baharistan" around 1595 in Lahore. As Mughal-derived painting spread to Hindu courts the texts illustrated included the Hindu epics including the Ramayana and the Mahabharata; themes with animal fables; individual portraits; and paintings on scores of different themes. Mughal style during this period continued to refine itself with elements of realism and naturalism coming to the fore. Between 1570–1585, Akbar hired over one hundred painters to practice Mughal style painting.


title: Mughal painting

text: Akbar's rule established a celebratory theme among the Mughal Empire. In this new period, Akbar persuaded artist to focus on showing off spectacles and including grand symbols like elephants in their work to create the sense of a prospering empire. Along with this new mindset, Akbar also encouraged his people to write down and find a way to record what they remembered from earlier times to ensure that others would be able to remember the greatness of the Mughal empire.


title: Mughal painting

text: Jahangir had an artistic inclination and during his reign Mughal painting developed further. Brushwork became finer and the colours lighter. Jahangir was also deeply influenced by European painting. During his reign he came into direct contact with the English Crown and was sent gifts of oil paintings, which included portraits of the King and Queen. He encouraged his royal atelier to take up the single point perspective favoured by European artists, unlike the flattened multi-layered style used in traditional miniatures. He particularly encouraged paintings depicting events of his own life, individual portraits, and studies of birds, flowers and animals. The "Tuzk-e-Jahangiri" (or "Jahangirnama"), written during his lifetime, which is an autobiographical account of Jahangir's reign, has several paintings, including some unusual subjects such as the union of a saint with a tigress, and fights between spiders. Mughal paintings made during Jahangir's reign continued the trend of Naturalism and were influenced by the resurgence of Persian styles and subjects over more traditional Hindu.


title: Mughal painting

text: During the reign of Shah Jahan (1628–58), Mughal paintings continued to develop, but court paintings became more rigid and formal. The illustrations from the "Padshanama" (chronicle of the King of the world), one of the finest Islamic manuscripts from the Royal Collection, at Windsor, were painted during the reign of Shah Jahan. Written in Persian on paper that is flecked with gold, has exquisitely rendered paintings. The "Padshahnama" has portraits of the courtiers and servants of the King painted with great detail and individuality. In keeping with the strict formality at court, however the portraits of the King and important nobles was rendered in strict profile, whereas servants and common people, depicted with individual features have been portrayed in the three-quarter view or the frontal view.


title: Mughal painting

text: Themes including musical parties; lovers, sometimes in intimate positions, on terraces and gardens; and ascetics gathered around a fire, abound in the Mughal paintings of this period. Even though this period was titled the most prosperous, artists during this time were expected to adhere to representing life in court as organized and unified. For this reason, most art created under his rule focused mainly on the emperor and aided in establishing his authority. The purpose of this art was to leave behind an image of what the Mughal's believed to be the ideal ruler and state.


title: Mughal painting

text: Aurangzeb (1658–1707) was never an enthusiastic patron of painting, largely for religious reasons , and took a turn away from the pomp and ceremonial of the court around 1668, after which he probably commissioned no more paintings. After 1681 he moved to the Deccan to pursue his slow conquest of the Deccan Sultanates, never returning to live in the north.


title: Mughal painting

text: Mughal paintings continued to survive, but the decline had set in. Some sources however note that a few of the best Mughal paintings were made for Aurangzeb, speculating that they believed that he was about to close the workshops and thus exceeded themselves in his behalf. There was a brief revival during the reign of Muhammad Shah 'Rangeela' (1719–48), but by the time of Shah Alam II (1759–1806), the art of Mughal painting had lost its glory. By that time, other schools of Indian painting had developed, including, in the royal courts of the Rajput kingdoms of Rajputana, Rajput painting and in the cities ruled by the British East India Company, the Company style under Western influence. Late Mughal style often shows increased use of perspective and recession under Western influence.


title: Mughal painting

text: Many museums have collections, with that of the Victoria and Albert Museum in London especially large.


title: Mughal painting

text: The Persian master artists Abd al-Samad and Mir Sayyid Ali, who had accompanied Humayun to India in the 16th century, were in charge of the imperial atelier during the formative stages of Mughal painting. Many artists worked on large commissions, the majority of them apparently Hindu, to judge by the names recorded. Mughal painting generally involved a group of artists, one (generally the most senior) to decide and outline the composition, the second to actually paint, and perhaps a third who specialized in portraiture, executing individual faces.


title: Mughal painting

text: This was especially the case with the large historical book projects that dominated production during Akbar's reign, the "Tutinama", "Baburnama", "Hamzanama", "Razmnama", and "Akbarnama". For manuscripts of Persian poetry there was a different way of working, with the best masters apparently expected to produce exquisitely finished miniatures all or largely their own work. An influence on the evolution of style during Akbar's reign was Kesu Das, who understood and developed "European techniques of rendering space and volume".


title: Mughal painting

text: Conveniently for modern scholars, Akbar liked to see the names of the artists written below each miniature. Analysis of manuscripts shows that individual miniatures were assigned to many painters. For example, the incomplete "Razmnama" in the British Library contains 24 miniatures, with 21 different names, though this may be an especially large number.


title: Mughal painting

text: The sub-imperial school of Mughal painting included artists such as Mushfiq, Kamal, and Fazl. During the first half of the 18th century, many Mughal-trained artists left the imperial workshop to work at Rajput courts. These include artists such as Bhawanidas and his son Dalchand.


title: Mughal painting

text: Mughal-style miniature paintings are still being created today by a small number of artists in Lahore concentrated mainly in the National College of Arts. Although many of these miniatures are skillful copies of the originals, some artists have produced contemporary works using classic methods with, at times, remarkable artistic effect.


title: Mughal painting

text: The skills needed to produce these modern versions of Mughal miniatures are still passed on from generation to generation, although many artisans also employ dozens of workers, often painting under trying working conditions, to produce works sold under the signature of their modern masters.


title: Lumbar vertebrae

text: The lumbar vertebrae are, in human anatomy, the five vertebrae between the rib cage and the pelvis. They are the largest segments of the vertebral column and are characterized by the absence of the foramen transversarium within the transverse process (since it is only found in the cervical region) and by the absence of facets on the sides of the body (as found only in the thoracic region). They are designated L1 to L5, starting at the top. The lumbar vertebrae help support the weight of the body, and permit movement.


title: Lumbar vertebrae

text: The adjacent figure depicts the general characteristics of the first through fourth lumbar vertebrae. The fifth vertebra contains certain peculiarities, which are detailed below.


title: Lumbar vertebrae

text: As with other vertebrae, each lumbar vertebra consists of a "vertebral body" and a "vertebral arch". The vertebral arch, consisting of a pair of "pedicles" and a pair of "laminae", encloses the "vertebral foramen" (opening) and supports seven processes.


title: Lumbar vertebrae

text: The vertebral body of each lumbar vertebra is kidney shaped, wider from side to side than from front to back, and a little thicker in front than in back. It is flattened or slightly concave above and below, concave behind, and deeply constricted in front and at the sides.


title: Lumbar vertebrae

text: The pedicles are very strong, directed backward from the upper part of the vertebral body; consequently, the inferior vertebral notches are of considerable depth. The pedicles change in morphology from the upper lumbar to the lower lumbar. They increase in sagittal width from 9 mm to up to 18 mm at L5. They increase in angulation in the axial plane from 10 degrees to 20 degrees by L5. The pedicle is sometimes used as a portal of entrance into the vertebral body for fixation with pedicle screws or for placement of bone cement as with kyphoplasty or vertebroplasty.


title: Lumbar vertebrae

text: The laminae are broad, short, and strong. They form the posterior portion of the vertebral arch. In the upper lumbar region the lamina are taller than wide but in the lower lumbar vertebra the lamina are wider than tall. The lamina connects the spinous process to the pedicles.


title: Lumbar vertebrae

text: The vertebral foramen within the arch is triangular, larger than the thoracic vertebrae, but smaller than in the cervical vertebrae.


title: Lumbar vertebrae

text: The "spinous process" is thick, broad, and somewhat quadrilateral; it projects backward and ends in a rough, uneven border, thickest below where it is occasionally notched.


title: Lumbar vertebrae

text: The superior and inferior "articular processes" are well-defined, projecting respectively upward and downward from the junctions of pedicles and laminae. The facets on the superior processes are concave, and look backward and medialward; those on the inferior are convex, and are directed forward and lateralward. The former are wider apart than the latter since in the articulated column, the inferior articular processes are embraced by the superior processes of the subjacent vertebra.


title: Lumbar vertebrae

text: The "transverse processes" are long and slender. They are horizontal in the upper three lumbar vertebrae and incline a little upward in the lower two. In the upper three vertebrae they arise from the junctions of the pedicles and laminae, but in the lower two they are set farther forward and spring from the pedicles and posterior parts of the vertebral bodies. They are situated in front of the articular processes instead of behind them as in the thoracic vertebrae, and are homologous with the ribs.


title: Lumbar vertebrae

text: Three portions or "tubercles" can be noticed in a transverse process of a lower lumbar vertebrae: the lateral or "costiform process", the "mammillary process", and the "accessory process". The costiform is lateral, the mammillary is superior (cranial), and the accessory is inferior (caudal). The mammillary is connected in the lumbar region with the back part of the superior articular process. The accessory process is situated at the back part of the base of the transverse process. The tallest and thickest costiform process is usually that of L5.


title: Lumbar vertebrae

text: The first lumbar vertebra is level with the anterior end of the ninth rib. This level is also called the important transpyloric plane, since the pylorus of the stomach is at this level. Other important structures are also located at this level, they include; fundus of the gall bladder, celiac trunk, superior mesenteric artery, termination of spinal cord, beginning of filum terminale, renal vessels, middle suprarenal arteries, and hila of kidneys.


title: Lumbar vertebrae

text: The fifth lumbar vertebra is characterized by its body being much deeper in front than behind, which accords with the prominence of the sacrovertebral articulation; by the smaller size of its spinous process; by the wide interval between the inferior articular processes, and by the thickness of its transverse processes, which spring from the body as well as from the pedicles.


title: Lumbar vertebrae

text: Most individuals have five lumbar vertebrae, while some have four or six. Lumbar disorders that normally affect L5 will affect L4 or L6 in these latter individuals.


title: Lumbar vertebrae

text: The range of segmental movements in a single segment is difficult to measure clinically, not only because of variations between individuals, but also because it is age and sex dependent. Furthermore, flexion and extension in the lumbal spine is the product of a combination of rotation and translation in the sagittal plane between each vertebra.


title: Lumbar vertebrae

text: Congenital vertebral anomalies can cause compression of the spinal cord by deforming the vertebral canal or causing instability.


title: Lumbar vertebrae

text: African apes have three and four lumbar vertebrae, (bonobos have longer spines with an additional vertebra) and humans normally five. This difference, and because the lumbar spines of the extinct "Nacholapithecus" (a Miocene hominoid with six lumbar vertebrae and no tail) are similar to those of early "Australopithecus" and early "Homo", it is assumed that the Chimpanzee-human last common ancestor also had a long vertebral column with a long lumbar region and that the reduction in the number of lumbar vertebrae evolved independently in each ape clade.


title: Lumbar vertebrae

text: The limited number of lumbar vertebrae in chimpanzees and gorillas result in an inability to lordose (curve) their lumbar spines, in contrast to the spines of Old World monkeys and "Nacholapithecus" and "Proconsul", which suggests that the last common ancestor was not "short-backed" as previously believed.


title: Ryan Reaves

text: Ryan Reaves (born January 20, 1987) is a Canadian professional ice hockey right winger for the Minnesota Wild of the National Hockey League (NHL). He has previously played for the St. Louis Blues, Pittsburgh Penguins, Vegas Golden Knights, and New York Rangers. He is the son of former gridiron football player, Willard Reaves, who played in the Canadian Football League (CFL) and National Football League (NFL).


title: Ryan Reaves

text: Reaves began playing hockey at age five and football at age eight. As a youth, Reaves played in the 2000 Quebec International Pee-Wee Hockey Tournament with the Winnipeg South Monarchs minor ice hockey team. Although he played both football and hockey growing up, after tearing his posterior cruciate ligament during a hockey tournament, he was forced to forfeit football as a sport. His torn ligament made him unable to compete in the football season prior to his Western Hockey League draft year. Reaves was eventually drafted 36th overall by the Brandon Wheat Kings in the 2002 WHL bantam draft. Despite his draft selection, Reaves continued to play for the St. John's-Ravenscourt School hockey team where he led them to the 2004 McDonald's Provincial High School Hockey Championship. Reaves joined the Wheat Kings for his rookie campaign during the 2004–05 season. Prior to the 2005–06 season, Reaves was named an alternate captain alongside Mark Derlago, Riley Day, and Derek LeBlanc.


title: Ryan Reaves

text: Reaves was drafted by the St. Louis Blues 156th overall in the 2005 NHL Entry Draft. On May 15, 2007, Reaves signed a three year entry level contract with the St. Louis Blues. At the conclusion of his major junior season, Reaves attended the Blues 2007 training camp and was reassigned to their American Hockey League affiliate, the Peoria Rivermen. While playing with the Rivermen during the 2007–08 season, he suffered an injury in a game against the Rockford IceHogs and was reassigned to the Blues ECHL affiliate, the Alaska Aces.


title: Ryan Reaves

text: Reaves was recalled from the Peoria Rivermen by the Blues on October 10, 2010, after Cam Janssen suffered a concussion from a hit to the head in the Blues season opener on October 9. Reaves made his NHL debut on October 11, 2010, where he served 15 penalty minutes in the Blues' 5–1 win over the Anaheim Ducks. He was returned to Peoria after two games with the Blues as Vladimír Sobotka returned from the Injured reserve list. He later scored his first NHL goal on January 12, 2011, again against the Ducks, on goaltender Jonas Hiller.


title: Ryan Reaves

text: Reaves' 2015–16 season was cut short due to a knee injury and he returned to the Blues' lineup weighing 225 instead of his usual 230. During the offseason, he trained with Blues assistant coach/video coach Sean Ferrell.


title: Ryan Reaves

text: On June 23, 2017, after seven seasons with the Blues, Reaves was traded to the Pittsburgh Penguins along with a second-round pick (51st overall) in the 2017 NHL Entry Draft in exchange for Oskar Sundqvist and the Penguins' first-round pick (31st overall) in the 2017 draft. In the 2017–18 season, Reaves added muscle to the Penguins lower lines, providing 4 goals and 8 points in 58 games.


title: Ryan Reaves

text: On February 23, 2018, Reaves was involved in a trade with the Vegas Golden Knights. The Penguins received Tobias Lindberg from the Golden Knights in exchange for Reaves as part of a three-way trade also involving the Ottawa Senators. Reaves scored the series-winning goal over the Winnipeg Jets that qualified the Golden Knights for the 2018 Stanley Cup Finals. He also scored in Game 1 of the Stanley Cup Finals in a 6–4 Golden Knights victory, though Washington would come back and win the next four games.


title: Ryan Reaves

text: On July 1, 2018, Reaves signed a two-year contract with the Golden Knights. He recorded a career-high nine goals and 20 points the subsequent season.


title: Ryan Reaves

text: On May 31, 2021, Reaves was suspended for two games in the second round of the 2021 Stanley Cup playoffs for an injury on Colorado Avalanche skater Ryan Graves.


title: Ryan Reaves

text: On July 29, 2021, the Golden Knights traded Reaves to the New York Rangers for a 2022 third-round draft pick, and on July 31, he signed a one-year contract extension with the team.


title: Ryan Reaves

text: After going scoreless in 12 games with the Rangers to open the 2022–23 season, Reaves was traded by New York to the Minnesota Wild in exchange for a fifth-round pick in the 2025 NHL Entry Draft on November 23, 2022.


title: Ryan Reaves

text: Reaves has been described in the NHL as an enforcer, a player who is known for fighting, protecting his players and intimidating the opposition. Despite being known specifically for that role, he is often used on checking lines for aggressive forechecking sequences.


title: Ryan Reaves

text: Reaves' playstyle has often led to run-ins with the NHL Department of Player Safety. He has been suspended three times during his NHL career for a total of six games (including three playoff games), and has been fined an additional three times. During the second round of the 2021 Stanley Cup playoffs, Reaves received a match penalty for attempting to injure Colorado Avalanche's Ryan Graves, after kneeling on his neck and pulling parts of his hair out. This incident resulted in a 2 game suspension from the NHL. Reaves was suspended for Game 7 of the Golden Knights' second round against the Vancouver Canucks in the 2020 Stanley Cup playoffs for an illegal hit to the head of Vancouver Canucks forward Tyler Motte, and was also suspended three games after boarding San Jose Sharks defenseman Matt Tennyson in 2016.


title: Ryan Reaves

text: Reaves is the son of Willard Reaves, a former professional football player in the Canadian Football League and National Football League. At the time of his birth in Winnipeg, his father was a member of the Winnipeg Blue Bombers. His brother Jordan Reaves is a player with the Edmonton Elks. He also has an older sister named Regina.


title: Ryan Reaves

text: Reaves is the great-great-great-grandson of Bass Reeves, the first black lawman west of the Mississippi River. Bass served as a deputy U.S. marshal in Fort Smith, Arkansas under the direction of judge Isaac Parker, known as the "Hanging Judge".


title: Choo Ja-hyun

text: Chu Eun-ju (born January 20, 1979), known by her stage name Choo Ja-hyun, is a South Korean actress. Best known in Korea for the films "Bloody Tie" (2006) and "Portrait of a Beauty" (2008), Choo has also actively worked in China since 2007, notably in television drama "The Temptation to Go Home" (2011, remake of "Temptation of Wife").


title: Choo Ja-hyun

text: Chu Eun-ju was born and raised in Daegu, the then-capital of North Gyeongsang Province. The only daughter of a cosmetologist and a white-collar worker, her parents divorced when she was 18 years old. She also revealed on a Chinese TV show that she had a little sister who died by drowning when they were younger. Choo graduated from Dankook University in 1997, with a bachelor's degree in Theater and Film.


title: Choo Ja-hyun

text: Using the stage name Choo Ja-hyun, she began her entertainment career as a model at age 17. She made her acting debut in 1996, and went on to appear in several television series, among them "Successful Story of a Bright Girl" (2002), "Sunrise House" (2002), and "Apgujeong House" (2003).


title: Choo Ja-hyun

text: Then after a decade in relative obscurity, Choo drew critical acclaim in 2006 for her portrayal of a ravaged drug addict in "Bloody Tie", a film noir about the meth trade in 1990s Busan. She won acting recognition from the Grand Bell Awards, the Korean Film Awards, and the Director's Cut Awards, as well as nominations from the Blue Dragon Film Awards and the Baeksang Arts Awards.


title: Choo Ja-hyun

text: She was then cast in the erotic period drama "Portrait of a Beauty", based on Lee Jung-myung's novel "Painter of the Wind" which reimagined Joseon artist Shin Yun-bok as a woman disguised as a man. "Portrait of a Beauty" became the 8th best-selling Korean film of 2008, and Choo again received supporting actress nominations for playing a gisaeng who entertains noblemen by performing dances and poetry readings.


title: Choo Ja-hyun

text: This was followed by "Missing" (2009), a slasher film in which Choo's character is determined to find her younger sister, who's been abducted by a psychopath farmer who rapes and murders young women.


title: Choo Ja-hyun

text: She starred in "Loveholic" in 2010, a character-driven romance drama directed by Kwon Chil-in. Choo played a self-destructive woman with a drinking problem and professional crises; she goes to stay at her friend's house until she sorts out her life, then has an affair with the latter's cuckolded husband.


title: Choo Ja-hyun

text: Choo next appeared in "The Famished", a 27-minute short film about stage actors who eat their own memories to satisfy their hunger; it was included in the omnibus "Short! Short! Short! 2010: Fantastic Theater".


title: Choo Ja-hyun

text: Choo had begun building her pan-Asian profile when she appeared in the 2003 Taiwanese drama "Scent of Love", which ranked number one in the ratings when it aired in Taiwan.


title: Choo Ja-hyun

text: Despite almost a decade of acting experience in her homeland, Choo later said she decided to launch her career in China for practical reasons, "I did not have a choice (but to debut in China). Acting is my trade, and I have to act to make a living, but in Korea the work was not steady enough for a stable income." She was cast as Du Chun's leading lady in "The Legend of the Banner Hero" (also known as "Clan Feuds"), adapted from Taiwanese novelist Gu Long's wuxia novel of the same title. It was filmed in 2005, and aired in 2007. In late 2007, Choo was part of the main cast of another Gu Long adaptation, "The Legend of Chu Liuxiang".


title: Choo Ja-hyun

text: But it was her leading role as a betrayed wife in revenge melodrama "The Temptation to Go Home" (also known as "Temptation of Going Home" or "Lure of Homecoming"), a 2011 remake of Korea's "Temptation of Wife" (the original and remake both received high ratings), that catapulted Choo into stardom in Mainland China and made her one of the most sought-after Hallyu stars there. Fluent in Chinese and English, Choo has since relocated to Beijing and concentrated on her acting career in China, with occasional forays in Korean cinema. Her name is rendered in Chinese as Qiu Cixuan.


title: Choo Ja-hyun

text: When Choo appeared in a semi-nude hanbok photo shoot for a Chinese magazine in 2011, she was criticized by Korean netizens for "damaging the national costume's image." Because of the controversy, she closed down her Twitter account and is instead active on the Chinese microblogging platform Weibo. Choo's old nude photos were also leaked to Chinese websites that year; her Chinese agency said the photos had been taken for personal reasons and threatened legal action against those circulating them.


title: Choo Ja-hyun

text: She continued playing lead roles in Chinese television dramas of various genres (epic, fantasy, period drama, contemporary romance), such as "Wipe Out the Bandits of Wulong Mountain" (2012), "Turbulence of the Mu Clan" (2012), "Hu Xian" (2013), "Legend of Southwest Dance and Music" (2013), "Xiu Xiu's Men" (2014), and "Gorgeous Workers" (2014).


title: Choo Ja-hyun

text: Choo announced on November 30, 2016 that she would be marrying Chinese actor and singer Yu Xiaoguang in 2017.


title: Choo Ja-hyun

text: Her management agency said that the families of the two recently met and discussed how to prepare for the wedding.