title: Pablo Larraín

text: Pablo Larraín Matte (; born 19 August 1976) is a Chilean filmmaker. He has directed nine feature films and co-directed one television series, including the Academy Award-nominated films "No" (2012), "Neruda" (2016), "Jackie" (2016) and "Spencer" (2021). In 2017, Larraín and his brother Juan de Dios were the producers of Sebastián Lelio's "A Fantastic Woman", which was the first Chilean film to win the Academy Award for Best Foreign Language Film. In 2021, he directed all eight episodes of the psychological romance horror miniseries "Lisey's Story".


title: Pablo Larraín

text: Pablo Larraín Matte was born on 19 August 1976 in Santiago, Chile, the son of law professor (and later Independent Democrat Union senator) Hernán Larraín, and Magdalena Matte, Sebastián Piñera's former minister of Housing and Urbanism. He studied audiovisual communication at the University for the Arts, Sciences, and Communication in Santiago.


title: Pablo Larraín

text: In 2003, Larraín co-founded with his brother, Juan de Dios Larraín, the production company Fábula, through which he develops his cinematic and advertising projects and supports the work of emerging international directors.


title: Pablo Larraín

text: Larraín directed his first feature film "Fuga" in 2005. It was released in March 2006 and achieved international acclaim with several prizes at international film festivals, including the Cartagena Film Festival and the Málaga Film Festival. In 2008, he released his second feature-length film, "Tony Manero", about a serial killer with an obsession for John Travolta's character in "Saturday Night Fever", the film premiered at the 2008 Cannes Film Festival, where it was part of the Directors' Fortnight section. His next film, "Post Mortem", was released in 2010 and centers on a coroner's assistant during the days of 1973 coup that brought Pinochet to power. The movie premiered at the 67th Venice International Film Festival, where it competed for the Golden Lion in the official competition section.


title: Pablo Larraín

text: In 2011, Larraín directed the television series "Prófugos", which was the first series produced in Chile by HBO Latin America. The series was nominated for Best Drama Series at the 42nd International Emmy Awards.


title: Pablo Larraín

text: In 2012, he released "No", in which Gael García Bernal plays an advertising company executive who runs the "No" campaign in the 1988 plebiscite that ultimately voted Augusto Pinochet out of power. "No" premiered in the Directors' Fortnight section at the 2012 Cannes Film Festival where it won the Art Cinema Award for Best Director. The film was nominated for Best Foreign Language Film at the 85th Academy Awards, being the first Chilean nomination in the category. Alongside "Tony Manero" and "Post Mortem", "No" has been considered a part of an "unintentional trilogy" by Larraín, with all three films being centered around stories set during Augusto Pinochet's dictatorship. Larraín has said, "In Chile, the right, as part of the Pinochet government, is directly responsible for what happened to culture during those years, not only by destroying it or restricting its spread, but also through its persecution of writers and artists." He stated that "Chile found itself unable to express itself artistically for nearly twenty years" and also felt that "the right wing throughout the world is not very interested in culture and this reveals the ignorance that is probably theirs, because it is difficult for someone to make the most of something or to enjoy it if you have no knowledge of it".


title: Pablo Larraín

text: In 2013, Larraín served as a member of the jury for the official competition at the 70th Venice International Film Festival. On 24 March 2014, The Wrap reported that Larraín was in negotiations to direct a new film version of "Scarface" for Universal Studios, with Paul Attanasio writing the script. The new version will be set in modern-day Los Angeles and would revolve around a Mexican immigrant rising in the criminal underworld. However, Larraín left the project.


title: Pablo Larraín

text: Larraín's next film, "The Club", centers around four Catholic priests who live in a secluded Chilean beach town, the film premiered at the 65th Berlin International Film Festival where it won the Silver Bear Grand Jury Prize. The film received a nomination for Best Foreigh Language Film at the 73rd Golden Globe Awards.


title: Pablo Larraín

text: In 2016, Larrain reteamed with Bernal for "Neruda", about the famous Chilean poet and politician Pablo Neruda during his years of exile. "Neruda" was also nominated for the Golden Globe Award for Best Foreign Language Film. That same year, Larrain made his English-language debut with the Jacqueline Kennedy Onassis biopic "Jackie", starring Natalie Portman, Peter Sarsgaard, Greta Gerwig, Richard E. Grant, Billy Crudup, and John Hurt. The film received critical acclaim, with "Jackie" scoring numerous accolades, including Academy Award, Golden Globe, and SAG Award nominations for Portman, and winning the Platform Prize at the 2016 Toronto International Film Festival. In 2019, Larraín directed "Ema", starring Mariana Di Girolamo and Gael García Bernal., The film premiered at the 76th Venice International Film Festival.


title: Pablo Larraín

text: In 2020, Larraín participated in the anthology series "Homemade", the series was released on Netflix and consists of several short films following stories during the COVID-19 pandemic, directed by various directors of the world such as Ladj Ly, Sebastián Lelio and Rachel Morrison, among others, Larraín directed the short film "Last Call", starring Chilean actors Jaime Vadell, Mercedes Morán, Delfina Guzmán and Coca Guazzini.


title: Pablo Larraín

text: In 2021, Larraín directed his second English-language film, "Spencer", a Princess Diana biopic starring Kristen Stewart in the titular role. The film premiered at the 78th Venice Film Festival and received critical acclaim, with Stewart’s performance being lauded by critics and received nominations for the Golden Globe, Critics Choice and Academy Award for Best Actress, apart from receiving several other accolades from regional critics’ groups.


title: Pablo Larraín

text: His next project on final days of Maria Callas, titled "Maria," starring Angelina Jolie will be released in late 2023.


title: Pablo Larraín

text: He was married to the Chilean actress Antonia Zegers from 2008 to 2014. They have two children together, Juana Larraín Zegers and Pascual Larraín Zegers. In the 2013 Chilean elections, Larraín supported Michelle Bachelet's center-left presidential candidacy, despite the fact that his parents are members of the conservative right-wing party, the Independent Democratic Union.


title: Pablo Larraín

text: In 2012, Larraín participated in the "Sight & Sound" film polls of that year. Held every ten years to select the greatest films of all time, contemporary directors were asked to select ten films of their choice.


title: Mortal Kombat 3

text: Mortal Kombat 3 is a 1995 arcade fighting game developed by Midway Games and first released into arcades in 1995. It is the third main installment in the "Mortal Kombat" franchise and a sequel to 1993's "Mortal Kombat II". As in the previous games, it has a cast of characters that players choose from and guide through a series of battles against other opponents. The game avoids the tournament storyline of its predecessors, as various warriors instead fight against the returning Shao Kahn, who has resurrected his bride Sindel and started an invasion of Earthrealm.


title: Mortal Kombat 3

text: The third installment of "Mortal Kombat" retains the blood and gory attacks that defined the series. It introduces new types of Fatality finishing moves, including Animalities. Other features new to the series were combos, predefined sequences used to perform a series of consecutive attacks. The new "Run" button allows players to briefly dash toward the opponent, and the new "Kombat Kodes" system allows players to enter various symbols before two-player matches to unlock certain additional features of the game.


title: Mortal Kombat 3

text: "Mortal Kombat 3" was a commercial success and received generally positive reviews, but drew criticism for omitting several popular characters from previous games. It is the only main installment to not feature franchise mascot Scorpion. Characters omitted from this game were included in the two titles produced to update it, "Ultimate Mortal Kombat 3" (1995) and "Mortal Kombat Trilogy" (1996).


title: Mortal Kombat 3

text: "Mortal Kombat 3" builds further on the gameplay of the previous game. A "Run" button, accompanied by a corresponding meter, was introduced. This was primarily to address concern from fans who thought that the previous games gave too much of an advantage to the defending player. The Run meter is drained both by running (the character cannot run backward, only forwards) and by performing combos.


title: Mortal Kombat 3

text: "Chain combos", also known as pre-programmed combos (labeled "dial-a-combos") were also introduced. Chain combos are button sequences that cannot be interrupted once one hit connects; some chain combos end with an uppercut or another move that knocks the opponent into the air so that more damage can be dealt via a traditional juggle combo. To please players of various skill levels, a "Choose Your Destiny" screen appears in the single-player mode to allow player-selectable difficulty.


title: Mortal Kombat 3

text: For the first time, certain levels were interactive by allowing characters to uppercut each other through the ceiling where both characters would continue the battle in a different stage. This could alter the game's level cycle. Both normal uppercuts and uppercuts that are part of a ground combo would result in a level change. Kung Lao's "Whirl Wind Spin" move would also have the same effect. However, if the character is defeated by an uppercut, there is no level change.


title: Mortal Kombat 3

text: All of the different styles of finishing moves featured in "Mortal Kombat II" (Fatalities, including the non-lethal Babality and Friendship moves) return in "MK3". Additionally, the rumored Animality, where the character transforms into an animal in order to kill their opponent, is featured for the first time. To perform an Animality, the player must first perform a Mercy, another new feature where the character can restore a tiny amount of their opponent's health bar after winning two rounds. Finally, three new Stage Fatalities can be performed in the Subway, the Bell Tower and the Pit 3.


title: Mortal Kombat 3

text: Another concept introduced in this game is the "Kombat Kode", a six-symbol code entered at the VS screen in a two-player game to modify gameplay, fight hidden characters or display certain messages. Also introduced in this game was the "Ultimate Kombat Kode", a 10-character code using symbols, that could be entered on the game over screen after the continue screen disappears in single player mode. It was used to unlock a robotic version of the character Smoke; it can be done by either the player or the arcade operator. The arcade owner could reset this code by accessing the game's diagnostic menu and resetting the game to the factory settings within the "MK3" cabinet (except in version 2.1, which can only be done by accessing the EJB menu). The codes were revealed through gaming magazines, promotional material, and other "Mortal Kombat" media; two pinball machines released around this time by Williams/Bally/Midway, "Jack-Bot" and "", also provided codes, and some of the text messages in this game were intended to lead players to the hidden codes in those games.


title: Mortal Kombat 3

text: Weary of continuous losses in tournament battle, Shao Kahn, who lost to Liu Kang in the Outworld tournament in the previous game, enacts a 10,000-year-old plan. He would have his Shadow Priests, led by Shang Tsung, revive his former Queen Sindel, who unexpectedly died at a young age. However, she would not be revived in the Outworld, but in Earthrealm. This would allow Shao Kahn to cross the boundary lines and reclaim his queen. When Sindel is reincarnated in Earthrealm, Shao Kahn reaches across the dimensions to reclaim her, and as a result, Earthrealm gradually becomes a part of Outworld, stripping billions of their souls. Only a few are spared, protected by Raiden. He tells them that Shao Kahn must be stopped, but he cannot interfere; due to his status, he has no power in Outworld, and Earthrealm is partially merged with Outworld. Shao Kahn has unleashed extermination squads to kill any Earthrealm survivors. Also, Raiden's protection only extends to the soul, not to the body, so his chosen warriors have to fight the extermination squads and repel Shao Kahn. With his final defeat, every human on Earthrealm is restored.


title: Mortal Kombat 3

text: The development team considered making "Mortal Kombat 3" using 3D graphics, but opted to stick with the sprite graphics of the previous games. Its overall style was envisioned differently from in the previous "Mortal Kombat" games. Instead of the heavily-Oriental themes of "Mortal Kombat" and "Mortal Kombat II", the theme of "MK3" is more Western-contemporary. The game's stages are set in modern locations (such as urban highways, churches, and bank rooftops), three of the characters are cyborgs, and traditional character designs (such as Sub-Zero's or Kano's) have been dropped or modified in favor of modern replacements. This change is also reflected in the soundtrack, in which all Oriental motifs have been dropped in favor of modern instrumentation.


title: Mortal Kombat 3

text: Some of the characters from previous "Mortal Kombat" games who returned in "Mortal Kombat 3" were portrayed by new actors since their original portrayers left Midway due to royalty disputes over the use of their likenesses in console versions. Ho Sung Pak (Liu Kang in the first two games, as well as Shang Tsung in the first "Mortal Kombat"), Phillip Ahn (Shang Tsung in "Mortal Kombat II"), Elizabeth Malecki (Sonya Blade), Katalin Zamiar (Kitana/Mileena/Jade) and Daniel Pesina (Johnny Cage and Scorpion/Sub-Zero/Reptile/Smoke/Noob Saibot) were not involved in the production of "MK3". Prior to the release of "Mortal Kombat 3", Daniel appeared in an advertisement for another fighting game, "BloodStorm", which resulted in a false rumor that it got him fired by Midway. All this led to the use of new actors for Liu Kang (Eddie Wong), Sonya Blade (Kerri Hoskins), Shang Tsung and Sub-Zero (both played by John Turk) in "MK3". Richard Divizio (Kano) also took over the role of Noob Saibot (as the character was a recolored Kano in this version). Carlos Pesina, who played Raiden in the first two games, did not appear in "MK3" as a penalty for his involvement in the rival game "Tattoo Assassins", but was still employed by Midway and his character would return in "Mortal Kombat Trilogy", although through the use of recycled sprites from "MKII" and new sprites performed by Sal Divita.


title: Mortal Kombat 3

text: The game has a different tone overall than its predecessors and uses a noticeably more muted and less-vibrant color palette. Characters were heavily digitized, as opposed to the hybrid digitized/hand-drawn style of "MKII". Many of the game's backgrounds were created using pre-rendered 3D graphics for the first time.


title: Mortal Kombat 3

text: Accompanied by a massive promotional campaign (given the world record for the "largest promotional campaign for a video game" in the 2011 "Guinness World Records Gamer's Edition"), "Mortal Kombat 3" was originally released to the North American arcades on April 1995. The game was soon ported to three home consoles, namely the Genesis, Super NES, and PlayStation. The PlayStation version was described as identical to the arcade original by Ed Boon. As part of a deal with Midway, Sony Computer Entertainment gained exclusive worldwide rights for the 32-bit version of the game up through the end of the first quarter of 1996 (hence why the Sega Saturn, 3DO Interactive Multiplayer, and Atari Jaguar versions were all slated for release in the second quarter of 1996). According to a Sega spokesperson, Sony paid Midway $12 million for these timed exclusive rights. Continuing a tradition of simultaneous home version releases from the first two games in the series, it was announced that the Genesis, Super NES, Game Boy, and Game Gear versions would all be released on "Mortal Friday", October 13, 1995. However, not all of the versions made the planned date, and the Game Gear version was never released in North America at all. The publishing for the 16-bit console ports and portable versions in North America was handled by Williams Entertainment, rather than Acclaim Entertainment (who handled the console ports of the previous titles), although Acclaim still handled the publishing for "Mortal Kombat 3" in Europe.


title: Mortal Kombat 3

text: On the Game Boy, only nine of the original 15 fighters (Kano, Sonya, Sub-Zero, Cyrax, Sektor, Sheeva, Sindel, Kabal, and Smoke) are available, only five stages exist, there are no button-link combos, and no finishers outside of Fatalities and Babalities. Shao Kahn uses his moves from "Mortal Kombat II", and Motaro is not included. The sole Game Boy game to be rated M by the ESRB, this version does not include much of the overt gore and violence seen in its parent systems but kept some of the "burning" Fatalities (immolating a defeated opponent down to a burnt skeleton).


title: Mortal Kombat 3

text: A scaled-down Game Gear version of "Mortal Kombat 3" was released only in Europe. It is almost the same as the Game Boy version, although it is in color and features Noob Saibot as a hidden character. It is the only Game Gear "Mortal Kombat" game to not have blood and gore. There is also a port for the Master System, which is nearly identical to the Game Gear version with the addition of blood and a scaled back view of the stage and fighters, although it was only released in Brazil by Tectoy, distributor of Sega's products in that country.


title: Mortal Kombat 3

text: There are two different versions of "Mortal Kombat 3" for the PC. The first was a DOS version, which does not closely resemble any of the other ports. This version contains a hidden redbook audio track () with a narration of a story in reverse. The second version was a Windows version, which was a direct port of the PlayStation version of the game, featuring the same menus, sprite sizes and qualities, and gameplay.


title: Mortal Kombat 3

text: "Mortal Kombat 3" was originally slated to be released for the Atari Jaguar in the second quarter of 1996, according to a joint press release issued by Atari and Williams Entertainment on March 13, 1995, but was never released. A port for the 3DO Interactive Multiplayer was also announced for an early 1996 release, touted on magazine covers, and reportedly complete, but was also never released. A port for the Sega Saturn was also announced for early 1996, but was canceled in favor of a port of "Ultimate Mortal Kombat 3".


title: Mortal Kombat 3

text: "Mortal Kombat 3" is also included in "Midway Arcade Treasures 2" for the Nintendo GameCube, PlayStation 2 and Xbox; "Midway Arcade Treasures Deluxe Edition" for the PC (this title includes a 'making of' documentary about the game); and "" for the PlayStation Portable.


title: Mortal Kombat 3

text: In 2021, Mortal Kombat 3 was re-released by Arcade1Up along with Mortal Kombat, Mortal Kombat II, and Ultimate Mortal Kombat 3 on one of their Countercades.


title: Mortal Kombat 3

text: To celebrate the 30th anniversary of the first Mortal Kombat game, Arcade1Up released in 2022 an arcade machine with Mortal Kombat 3 along with Mortal Kombat, Mortal Kombat II, Ultimate Mortal Kombat 3, Toobin', Rampage, Joust, Tapper, Wizard of Wor, Gauntlet, Defender, Bubbles, Paperboy and Klax.


title: Mortal Kombat 3

text: In the United States, "RePlay" reported "Mortal Kombat 3" to be the most-popular arcade game in May 1995. "Mortal Kombat 3" was one of three 1995 recipients of the American Amusement Machine Association's Diamond Awards (which are based strictly on sales achievements), along with Sega's "Daytona USA" and SNK's Neo Geo MVS. It was the highest-grossing arcade conversion kit of 1995 in the United States.


title: Mortal Kombat 3

text: Williams Entertainment, which published the Super NES and Genesis versions, reported combined sales of 250,000 copies in the first weekend they were available, placing them among the best-selling games of 1995. The Super NES version had sold more than one million copies by November 23, 1995. It went on to be the best-selling home video game of 1995 in the United States. "Mortal Kombat 3" was nominated for the Video Software Dealers Association's "Video Game of the Year" for 1995, losing to "Donkey Kong Country 2".


title: Mortal Kombat 3

text: Although "Mortal Kombat 3" was commercially successful, many disliked the inclusion of arguably less-appealing new characters (especially Stryker) in place of established stalwarts such as Scorpion and Kitana. The new combo system was also often criticized, as were, to a lesser degree, the run mechanics and some finishing moves. According to "PC Gamer" in 1998, "While "Mortal Kombat 2" managed to improve upon the fast-paced, gore-galore formula of the original, the third incarnation didn't fare nearly as well. "MK3" suffered from monkeywrenched gameplay, needlessly stupid finishing moves like 'Animalities,' and unbearably campy character designs." "Next Generation" reviewed the arcade version of the game, and stated that "in an industry which depends on innovation to keep it fresh and interesting, "MK III" just doesn't deliver." A "Retro Gamer" article on the history of the series stated in 2007: "Although many hardcore fans will decree Midway's third "Mortal Kombat" game to be the best in the series, just as many felt it was beginning of the end for the still massively popular franchise ... While Midway had been constantly adding subtle gameplay tweaks to its franchise since the release of "Mortal Kombat", its once exciting series was suddenly looking rather tired."


title: Mortal Kombat 3

text: Nevertheless, the game received largely positive reviews at the time. As of 2014, the review aggregator website GameRankings is giving it the averaged scores of 80.23% for the Super NES, 76.67% for the Genesis, and 70.33% for the Sony PlayStation. "Electronic Gaming Monthly" ("EGM") gave the PlayStation version their "Game of the Month" award. "EGM" and IGN both criticized the heavy lag during Shang Tsung's morphing while assessing the conversion overall as a near-perfect replication of the graphics, content, and controls of the arcade original. However, IGN gave it a negative assessment based on the shortcomings of "Mortal Kombat 3" itself, recommending "Street Fighter" 2D fighting games over it unless one is a "die-hard "MK" fan". According to a later IGN retrospective, "Despite the evolutions in gameplay, "Mortal Kombat 3" was simply not met with same kind of enthusiasm as its predecessor. While the new 'cyber-ninja' characters were popular, the loss of so many favorites from the roster left many players feeling left out. A new "Mortal Kombat" was impossible to ignore, but the response wasn't quite what Midway had hoped for."


title: Mortal Kombat 3

text: Reviewing the Genesis version, a "Next Generation" critic remarked that the game actually looks better on a last-generation console, where it finds company with other 2D games and is better-looking than most of them, than it did in the arcade, where it seemed outdated against the increasingly prevalent polygon-based games. He complimented the game for delivering on the elements most important to the "Mortal Kombat" fanbase, but added as a final note that "as a whole, the "MK" series is getting stale and in dire need of some major reworking." In their review, "GamePro" similarly said that "Mortal Kombat 3" is "just not original enough (like "Tekken") or deep enough (like SF ["Street Fighter"]) to warrant space on the casual Genesis gamer's shelf." They also criticized the Genesis version as being a weak approximation of the arcade version, particularly the character sprites and sound effects. They assessed the PlayStation version as a much more accurate conversion aside from the lag during Shang Tsung's morphing, but concluded it to be "An awesome home version of a game that wasn't so great to begin with." "Next Generation" similarly felt the arcade-perfect quality of the PlayStation version was overshadowed by the game's lack of innovation: "There is little, outside of a few new, conspicuously uninspired characters, a run feature, and a new combo system, which simply mirrors its competition, to differentiate "MK3" from its predecessors." "Maximum" praised the PlayStation version's wealth of customization options and "eerie combat music tracks", but remarked that the game was outdated with "Ultimate Mortal Kombat 3" already out in arcades and slated for release on the Saturn. They also took strong issue with the lack of PAL optimization, saying that as a result "The characters move very slowly as if wading through treacle, and this detracts from the overall feel of the game as well as changing the timing for the special moves and combos."


title: Mortal Kombat 3

text: Reviewing the SNES version, the four reviewers of "Electronic Gaming Monthly" concurred it to be by far the best "16-bit version" of the game. They especially praised the challenging enemy AI, accurate graphics, and high number of special options. While they listed some problems with the AI and sound, "GamePro" had a similar reaction, concluding that "Converting a mammoth arcade game like "MK 3" to the 16-bit Super NES is no easy task, and Williams has done a respectable job of keeping all the key elements intact." "PC Gamer" itself, despite the later negative opinion, gave the PC version of "MK3" a review score of 89% upon the release, calling it "yet another excellent arcade experience from the king of fighting games." "Next Generation" at the time called it "one of the best fighting games ever released for the PC" and "a title you must own" for the fans of the genre, awarding it four out of five stars. "GamePro" panned the Game Boy version in a brief review, venturing that "even portable power players will find the soft controls and eye-straining graphics unbearable." In 1996, GamesMaster ranked the Mega Drive version #1 on their "The GamesMaster Mega Drive Top 10." In the same issue, GamesMaster rated the SNES version 5th in its "The GamesMaster SNES Top 10."


title: Mortal Kombat 3

text: "Ultimate Mortal Kombat 3" ("UMK3") was released to arcades in 1995. It is an update of "Mortal Kombat 3", featuring altered gameplay, additional characters, and new arenas. Various home versions of the game were released soon afterward, although none of these were completely identical to the arcade version. Several more home versions followed between 2002-2010, including "Mortal Kombat Advance" for the Game Boy Advance and "Ultimate Mortal Kombat" for the Nintendo DS (the DS version features the "Puzzle Kombat" minigame originally from "").


title: Mortal Kombat 3

text: "UMK3" itself was updated to include content from previous games in the series to serve as the basis of the console-exclusive title "Mortal Kombat Trilogy" in 1996. It was also later remastered to be released as part of the "Mortal Kombat Arcade Kollection" in 2011.


title: Tagaytay

text: Tagaytay, officially the City of Tagaytay (), is a 2nd class component city in the province of Cavite, Philippines. According to the 2020 census, it has a population of 85,330 people.


title: Tagaytay

text: It is one of the country's most popular destinations for domestic tourism because of its scenery and cooler climate provided by its altitude. Tagaytay overlooks Taal Lake in Batangas and provides views of Taal Volcano Island in the middle of the lake through various vantage points situated in the city.


title: Tagaytay

text: Tagaytay is relatively close to the capital city of Manila, only away via Aguinaldo Highway, providing an easy escape for the locals from the heat of the huge metropolis. It is from Imus.


title: Tagaytay

text: Legend has it that the word Tagaytay came from "tagâ" meaning to cut and "itáy" which means father. A father and son were said to be on a wild boar hunt when the animal they were chasing turned and attacked them. As the boar charged towards the old man, the son cried "Tagâ, Itáy!". The boy's repeated shout reverberated in the alleys of the ridge. Heard by the residents, hunters and wood gatherers, the cries became subject of conversation for several days in the countryside. In time, the place where the shouts came from became known as Tagaytay. The most plausible origin is that city is named after the Tagalog word "tagaytay" which means ridge.


title: Tagaytay

text: During the Philippine revolution of 1896, the ridges and forests of Tagaytay became the sanctuary for revolutionaries including those from nearby provinces. The passage to and from towns via Tagaytay added the word "mananagaytay" to the native's vocabulary. It means "to traverse ridges."


title: Tagaytay

text: On February 23, 1945, the 11th Airborne Division of Lt. Gen. Robert L. Eichelberger's 8th Army performed a combat jump of the 511th Parachute Infantry Regiment and associated elements on the ridge, with a drop zone around the Manila Hotel Annex, which had been cleared of Japanese forces by Filipino soldiers of the 4th, 42nd, 43rd, 45th and 46th Infantry Division of the Philippine Commonwealth Army, 4th Constabulary Regiment of the Philippine Constabulary and recognized guerillas. To commemorate this event, a marker was installed in 1951 at the junction of Silang, Canlubang-Nasugbu roads by the city officials in coordination with the National Historical Institute of the Philippines.


title: Tagaytay

text: Tagaytay became a chartered city with the passing and signing of Commonwealth Act no. 338 by President Manuel L. Quezon on June 21, 1938, as authored by Rep. Justiniano Montano of Cavite. Like Trece Martires, it is a planned city, with segments created from the towns of Mendez, Indang, Silang and Amadeo.


title: Tagaytay

text: Tagaytay has a total land area of which represents about 4.37% of the total area of the Province of Cavite. It lies within 120° 56' longitude and 14° 6' latitude and overlooks Manila Bay to the North, Taal Volcano and Lake to the south and Laguna de Bay to the east.


title: Tagaytay

text: The southern and eastern portions of Tagaytay are covered by hills and mountains which is generally forests, pine trees and open grasslands. The city lies along Tagaytay Ridge, a ridge stretching about from Mount Batulao in the west to Mount Sungay in the east with elevations averaging about above sea level. Mount Sungay, in Tagaytay, is the highest point of the province of Cavite at .


title: Tagaytay

text: The ridge, which overlooks Taal Lake in Batangas province, is the edge of Taal Caldera. The wide cavity is partially filled by Taal Lake. Tagaytay's built-up areas including the urban center is situated in the relatively level top of the caldera rim but beyond the edge are deep ravines that drop steeply to Taal Lake. The portions adjoining the municipalities of Mendez, Indang, Amadeo, Silang and Alfonso are level to nearly level areas interspersed with very gently sloping surface. Across the southern edge of the lake on the opposite side of the city is Mount Macolod, the highest point of the Taal Caldera rim.


title: Tagaytay

text: Tagaytay has a mild tropical monsoon climate (Köppen climate classification: Am) characterized by cooler weather compared to Manila, lower humidity and abundant rainfall. The city has an average temperature of and rarely exceeds . With its high elevation, the city gets foggy, windy, and cooler temperatures during the months of December, January and February. Like most areas in the province of Cavite, the city has two pronounced seasons: dry from November to April and wet during the rest of the year. This climate makes the city ideal for sports, picnics, conferences, honeymoons, country homes, and spiritual retreats.


title: Tagaytay

text: Tagaytay has an average relative humidity of about 78%. Northeasterly winds prevail in the city from October to April. Winds come from southwest from May to September. The cool Tagaytay breeze has made the city popular for casual and competitive kite flying.


title: Tagaytay

text: In the 2010 census, Tagaytay had a population of 62,030 people. Christianity is the majority religion of Tagaytayeños with Roman Catholicism as the most dominant sect compromising of 95.36 percent of the total population. The next prominent Christian denominations among residents of Tagaytay are Protestants have of (3.37%) population including Iglesia ni Cristo have of (1.5%). The Eastern Orthodox Church was a part of the Philippine Orthodox Church here in the Philippines under the jurisdiction of the Patriarchate of Moscow and its own Orthodox Diocese province in Southeast Asia the Diocese of the Philippines and Vietnam, account of (1%) the Tagaytay's population many Orthodox community lives throughout the town. The rest of the population (0.20%) subscribes to other religions.


title: Tagaytay

text: Tagalog is the most dominant language in the city with 93.58% of the population speaking the language. The next prominent Philippine languages are Bicolano (1.52%), Ilocano (1.52%), and Cebuano (1.00%).


title: Tagaytay

text: Despite rapid urbanization of Tagaytay, agriculture remains an important part of the city's economy and development. As of 2009, it is recorded that there is about of agriculture land which is about 20 percent of the city's total land area. The city was once a cogon land after it was discovered during the Taal eruption. The soil was proven to be with rich volcanic components suitable to farming with main agricultural goods produced are pineapple, coffee, banana, root crops, cacao, camote, cassava other fruits and vegetables, and cut flowers which are supplied to both local and international markets. Garden plant shops thrive the Tagaytay Calamba Road. The city was once an abundant Daisy and gladiola farming haven prior to tourism development and residential boom.


title: Tagaytay

text: Tagaytay is considered to be the second Summer capital of the Philippines with the first being Baguio due to its cool climate thus is a favored destination from those relatively more humid areas of the Philippines. Tagaytay is also a destination for tourists seeking views of Taal Volcano and the surrounding lake. In 2015, the Department of Tourism cited Tagaytay as the top tourist destination in the Calabarzon region. Among the most visited sites in Tagaytay are the SM Sky Ranch, Ayala Malls Serin, Robinsons Summit Ridge, Picnic Grove Complex, People's Park in the Sky, Halfway Zoo and different choices of restaurants known for serving the famous "bulalo" and crispy "tawilis". Fresh beef and vegetables are sold at Mahogany Market. The fruits stands are across the Tagaytay City Market where the fresh "tilapia" from Taal Lake are marketed. Tagaytay's proximity to Metro Manila is attributed to the tourism in the city. Tagaytay receives a seasonal influx of tourists during Christmas season and Holy Week, and the city is a pilgrimage destination with churches, shrines, and retreat houses. The Taal Vista Hotel is a symbol of Tagaytay's past.


title: Tagaytay

text: Tagaytay is linked by national highways to the Metro Manila area and to the provinces of Batangas and Laguna. Secondary roads link the city with the adjoining municipalities of Amadeo, Mendez, Indang, Silang and Alfonso in Cavite towards the northwest, and to the cities of Calamba and Santa Rosa in Laguna in the northeast and to the town of Talisay in Batangas in the south.


title: Tagaytay

text: The South Luzon Expressway serves the city via Tagaytay–Santa Rosa Road that passes Santa Rosa and Silang from Santa Rosa and Eton City Exits, and Tagaytay-Calamba Road that passes Tagaytay Highlands and Calamba Premiere International Park from Batino Exit, albeit discontinuously for the public. Governor's Drive to Pala-pala Road from Carmona Exit is also another alternative route to the city that ends at Aguinaldo Highway in Dasmariñas. Manila-Cavite Expressway (CAVITEx or formerly, Coastal Road) also serves Tagaytay via the southbound Aguinaldo Highway. The Cavite–Tagaytay–Batangas Expressway (CTBEx) is a proposed expressway that will connect with the under-construction Cavite–Laguna Expressway (CALAEx) in Silang to Nasugbu, Batangas and will bypass but serve the city. CTBEx and CALAEx also connects with an interchange at Aguinaldo Highway in the future for easier travel of tourists coming from Metro Manila.


title: Tagaytay

text: From Batangas, the main route to Tagaytay is either Tagaytay–Nasugbu Highway, a major thoroughfare from Tagaytay Rotonda to Nasugbu, Ligaya Drive, a winding road that starts near the poblacion of Talisay and ends near the Tagaytay Picnic Grove, or Tagaytay–Talisay Road, a road from Lemery–Agoncillo–Laurel–Talisay Road to Tagaytay Rotunda. From Laguna, the main route is the Tagaytay–Santa Rosa Road from Santa Rosa, Laguna and another route is Tagaytay–Calamba Road (via Tagaytay Highlands) from Calamba Premiere International Park at Calamba, Laguna.


title: Vanniyar

text: The Vanniyar, also spelled Vanniya, formerly known as the Palli, are a Dravidian community or "jāti" found in the northern part of the Indian state of Tamil Nadu. From the 19th century, peasant castes typically classified under Shudra category, such as Vanniyars have made mythical claims that their ancestor was born from the flames of a fire sacrifice. Certain Merchant and Artisan castes have fire born myths as well. Many Lower castes use a process of Sanskritisation to get upward mobility by creating such fire myths. Vanniyars, historically considered a lower caste, have been trying to gain upward mobility since 19th century to move away from lower status using these Agnikula myths.


title: Vanniyar

text: Several etymologies for "Vanniyar" have been suggested, including the Sanskrit "vahni" ("fire"), the Dravidian "val" ("strength"), or the Sanskrit or Pali "vana" ("forest"). The term "Palli" is widely used to describe them, but is considered to be derogatory.


title: Vanniyar

text: Alf Hiltebeitel notes that the Vanniyars derive their caste name from Vahni. Vahni itself is thought to yield the Tamil word Vanni (fire), which is also a Tamil name for an important tree. The connection to the sage leads to further associations with mythological legends.


title: Vanniyar

text: Hiltebeitel, who classifies the Vanniyar as Shudra in the Hindu varna system, notes that South Indian society traditionally recognised neither the "Kshatriya" (warrior) nor "Vaishya" (provider) varnas, being divided instead between Brahmins on the one hand and Shudras and untouchables on the other. Nonetheless, communities in the region frequently sought to prove a historic higher status, based on myth or occasionally probable history. He notes that "traditions of demotion from a once higher rank are a commonplace of South Indian caste mythologies". Edgar Thurston noted that at his time, the Vanniyars, then called Pallis, were mainly agricultural servants of Vellalars, and had only recently started making claims to higher status. Researcher Lloyd I. Rudolph notes that as early as in 1833, the Vanniyar had ceased to accept their "low caste" status, also described as being Shudra by Christophe Jaffrelot and Kathleen Gough. Gough, however, documenting her fieldwork of 1951–53, records the Palli and the Vanniyar as separate but similar cultivating castes.


title: Vanniyar

text: The Pallis tried to get an order in Pondicherry that by descent they were not a low agricultural caste. In preparation for the 1871 Indian census they petitioned to be recognised as being of the Kshatriya varna. They formed a number of caste organisations using their preferred name, with the Vanniyakula Kshatriya Maha Sangam appearing in Madras in 1888 and extending state-wide in 1952. By 1931, due to their successful politicking (a process known as Sanskritisation), the term "Palli" was removed from the Madras census, with the term "Vanniya Kula Kshatriya" appearing instead. The reinvention of their history through Sanskritisation, and thus the change in their status to Vanniyar rather than Palli, was evidenced in the community adopting such practices as vegetarianism and prohibiting the remarriage of widows, and what Rudolph terms a "radically revisionist history" was supported by claims of descent from the ancient Pallava dynasty.


title: Vanniyar

text: According to Hiltebeitel, whilst the mythological claims of origin from the fire lend credence to their demand for being deemed as Kshatriyas, the claims to military origins and Kshatriya identity did not solely rely on myths. He notes that they had historically adopted various titles and terms that signified a self-image of Kshatriya status, including the "Vanniyar" name itself, and that


title: Vanniyar

text: The caste has also been significant in the practices relating to worship of Draupaudi Amman, together with the Konars and Vellalar Mudaliars, and quite possibly were the instigators of it, with the other two communities being later adopters. The Vanniyar practice of polyandry was perhaps related to their adoption of the cult.


title: Vanniyar

text: In addition to domestic slavery, there were a number of agricultural labor relationships. According to Ravi Ahuja, Paraiyar or Vanniyar farmhands sometimes called were collectively bound to their home village soil. Vanniyar's mobility was severely restricted but the powers exercised by their masters were also limited - such slaves cannot be expelled or transferred to another village, even if the masters left the region themselves. As Dharma Kumar, argues the term slavery does not adequately describe the many forms of bondage existing within the traditional agrarian society. Caste involved a number of slavery-like criteria, like restriction of freedom, forced labor and ownership.


title: Vanniyar

text: Rudolph noted that, although "necessarily tentative" because of being based on figures from the 1931 census, the Vanniyars in the 1980s constituted around 10% of the population of Tamil Nadu, being particularly prevalent in the northernmost districts of Chingelput, North Arcot, South Arcot and Salem, where they formed around 25% of the population. Traditionally, most Vanniyars are agricultural labourers but they are increasingly benefiting from political influence and organisation and they now own 50 per cent of the lands of the traditional landowners.


title: Vanniyar

text: Upper castes Reddiars, Naidus, and Mudaliyars transferred their land holdings to Vanniyars as they moved to urban areas. Vanniyars, until then, rarely owned houses in the upper-caste neighborhood. Most Vanniyars remain either marginal farmers cultivating small areas of land or landless labourers. However, they have been hurt significantly by the rising debt crisis engulfing Tamil Nadu agriculture, and many now work as day labourers in Bengaluru and Chennai.


title: Vanniyar

text: Due to their population size and concentration, the Vanniyars wield significant political clout in northern Tamil Nadu. The Pattali Makkal Katchi (PMK) is a political party was formed by S. Ramadoss from the Vanniyar Sangam, a caste association. It has been known on occasion for its violent protests against Dalits and draws its support base from Vanniyars. The Vanniyars who previously were of the Backward Class category, were now designated as a Most Backward Caste after successful agitations by them in the 1980s entitling them to 20% reservations. The reason for the agitation and subsequent re-classification was to avail more government benefits for the community. In 2020, the PMK launched an agitation to obtain 20% reservation solely for Vanniyars and forced the Tamil Nadu government to institute a caste census.


title: Puffy AmiYumi

text: Onuki and Yoshimura were scouted by Sony-affiliated talent agencies and put together in the mid-1990s. Most of their work was produced or co-written by Tamio Okuda and Andy Sturmer, formerly of the bands Unicorn and Jellyfish, respectively.


title: Puffy AmiYumi

text: The pair's first release "Asia no Junshin" (1996) sold a million records. They gained mainstream success in Japan during 1998, following the release of their album "Jet CD" and continued with several more full-length releases (totaling 15 million sales in Japan).


title: Puffy AmiYumi

text: In 2004, an animated series featuring cartoon versions of Onuki and Yoshimura, "Hi Hi Puffy AmiYumi", premiered on the US Cartoon Network. Although their characters were voiced by actresses, the singers portrayed themselves for short live-action segments taped in Japan.


title: Puffy AmiYumi

text: When she was in high school, Ami sang for a band called "Hanoi Sex". In her sophomore year, the band auditioned during the Sony SD Audition and passed, becoming employees of Sony Music Entertainment. Years went by with little action by either the band or the record label, as Ami took vocal lessons and attended a professional school to learn how to become a better performer. Eventually the band dissolved, leaving only Ami under Sony's employment. She was encouraged to stay, despite lacking a band and a clear musical direction.


title: Puffy AmiYumi

text: Separately, Yumi had learned of the Chotto Sokomade talent search underway by Sony Music Artists when she was "around 18". She also auditioned and passed. She moved on her own from Osaka to Tokyo, where she eventually met Ami by chance in the Sony Music offices and then at a concert after-party, when the two hit it off. Both felt alone within the large Sony organization and neither were confident in their abilities as solo artists, so even though Ami had already recorded a solo CD under the guidance of former Unicorn front-man Tamio Okuda (it would later become half of solosolo), they requested Sony pair them as a duo.


title: Puffy AmiYumi

text: Producer and American pop musician Andy Sturmer christened them "Puffy", and is considered by Ami and Yumi as "the godfather of Puffy". Ami had previously met Tamio Okuda at a Sparks Gogo concert, and he had produced her then-unreleased solo CD. He was eventually signed on to produce Puffy's first album "AmiYumi". Their debut single, "Asia no Junshin", launched Puffy-mania. Asked if they were surprised by the attention after its success, Yumi told an interviewer "... everything that was put together for that song all came together and made it happen, but we didn't expect it. It was luck."


title: Puffy AmiYumi

text: As "Puffy-mania" exploded, they became multimedia stars, including hosting their own weekly TV show "Pa-Pa-Pa-Pa-Puffy" with guests such as Lenny Kravitz, Sylvester Stallone, Harrison Ford, and rock band Garbage.


title: Puffy AmiYumi

text: Puffy made their first US appearance as part of Music Japan's "An Evening with Japan's All-Stars" showcase at the 2000 South by Southwest (SXSW) festival in Austin, Texas. After their performance at SXSW, attorneys for Sean "Puffy" Combs sent the band a cease and desist letter asking them to change their name. After changing their name in the US to Puffy AmiYumi, they told "Entertainment Weekly":


title: Puffy AmiYumi

text: After "Pa-Pa-Pa-Pa-Puffy" ended production in 2002, Puffy focused on performing in the United States. Several of their previous Japanese albums were released for the US market and they recorded theme songs for the animated series "Teen Titans" and "SD Gundam Force". They have also done a cover version with Cyndi Lauper of her hit "Girls Just Wanna Have Fun". They were also interviewed on "Jimmy Kimmel Live!" by Jimmy Kimmel and performed their songs "Hi Hi" and "Akai Buranko" (Red Swing) on the show. They came back to the US in 2006 for their Splurge Tour, and also toured with Tally Hall for Super-Ultimate Awesome Exploration America 2006 In January 2017, they announced for the US tour titled Puffy AmiYumi US TOUR 2017: NOT LAZY in April 2017. In the same month, the band made an appearance at Anime Boston for autograph signings. After their appearance at Boston Anime Convention they undertook a three city USA Tour which they called their 'Not Lazy Tour' of the cities of San Francisco, Los Angeles, and Dallas, Texas.


title: Puffy AmiYumi

text: On November 19, 2004, an animated series featuring cartoon versions of Ami and Yumi, "Hi Hi Puffy AmiYumi", premiered on the United States' Cartoon Network. Despite both of them being voiced by American actresses (though Janice Kawaye, who plays Ami, is of Japanese descent), the real Ami and Yumi star in short live-action segments taped in Japan. The show also featured some of Puffy's music. Cartoon Network's Japan service started airing episodes of the series (in English with Japanese subtitles) in 2005. In October of that year, TV Tokyo began airing a Japanese-dubbed version of the series, which eventually also went to CN Japan on January 8, 2006. Hi Hi Puffy AmiYumi also debuted in other countries such as Mexico, dubbed in Spanish, and Brazil, dubbed in Brazilian Portuguese, both transmitted on Cartoon Network.


title: Puffy AmiYumi

text: Puffy AmiYumi made an appearance and performed in the Macy's Thanksgiving Day Parade in 2005 where they were also represented by their own "Hi Hi Puffy AmiYumi" float and balloon.


title: Puffy AmiYumi

text: On January 16, 2006 Ami and Yumi were appointed goodwill ambassadors to the United States as part of the Japanese government's campaign to encourage tourism in Japan. They kicked off their 10th anniversary tour in Japan on April 14, 2006, then toured the East Coast of the United States with the PuffyAmiYumi Tour '06 Splurge! Splurge! Splurge! from July 8 to July 19, 2006, coinciding with the premiere of their new television show, "Hi Hi PUFFY Bu".


title: Puffy AmiYumi

text: Ami and Yumi also performed cameo voice overs in an episode of the 2011 anime series, "Usagi Drop", which aired on July 8, 2011. They also performed the opening theme to the anime.


title: Puffy AmiYumi

text: Their music has been largely a collaboration between producer Tamio Okuda, American singer-songwriter Andy Sturmer, and Ami and Yumi themselves. Ami and Yumi's vocals have been likened to U.S. vocal sister group The Roches. They often sing whole songs together with harmonies and their sound borrows heavily from The Beatles and other artists such as ABBA, The Who, and The Carpenters. Both Ami and Yumi themselves have openly admitted that their music is hard to put into just one genre because of the many different influences.


title: Puffy AmiYumi

text: They have mentioned Okuda, The Blue Hearts, Boom Boom Satellites, and Blankey Jet City as their main influences, and named their album "Jet CD" after Blankey Jet City.


title: Sweet pea

text: The sweet pea, Lathyrus odoratus, is a flowering plant in the genus "Lathyrus" in the family Fabaceae (legumes), native to Sicily, southern Italy and the Aegean Islands.


title: Sweet pea

text: It is an annual climbing plant, growing to a height of , where suitable support is available. The leaves are pinnate with two leaflets and a terminal tendril, which twines around supporting plants and structures, helping the sweet pea to climb. In the wild plant the flowers are purple, broad; they are larger and highly variable in color in the many cultivars. Flowers are usually strongly scented.


title: Sweet pea

text: The annual species, "L. odoratus", may be confused with the everlasting pea, "L. latifolius", a perennial.


title: Sweet pea

text: Scottish nurseryman Henry Eckford (1823–1905) cross-bred and developed the sweet pea, turning it from a rather insignificant if sweetly scented flower into a floral sensation of the 19th century.


title: Sweet pea

text: His initial success and recognition came while serving as head gardener for the Earl of Radnor, raising new cultivars of pelargoniums and dahlias. In 1870 he went to work for one Dr. Sankey of Sandywell near Gloucester. A member of the Royal Horticultural Society, he was awarded a First Class Certificate (the top award) in 1882 for introducing the sweet pea cultivar 'Bronze Prince', marking the start of association with the flower. In 1888 he set up his development and trial fields for sweet peas in Wem in Shropshire. By 1901, he had introduced a total of 115 of the 264 cultivars grown at the time. Eckford was presented with the RHS Victoria Medal of Honour for his work. He died in 1906, but his work was continued for a time by his son John Eckford.


title: Sweet pea

text: More recently, the association between the sweet pea, the Eckfords and Wem has been highlighted again. In the late 1980s, the Sweet Pea Society of Wem started an annual show. Many of the street signs now carry a sweet-pea motif, and an area of the town is known as Eckford Park. There is also a cultivar 'Dorothy Eckford', named after a family member.


title: Sweet pea

text: Sweet peas have been cultivated since the 17th century and a vast number of cultivars are commercially available. They are grown for their flower colour (usually in pastel shades of blue, pink, purple and white, including bi-colours), and for their intense unique fragrance. They are grown by gardeners for private enjoyment or for exhibition, and in the floristry trade. The large, pea-shaped seeds are sown in cold frames in Spring or Autumn. The seeds benefit from pre-soaking or chipping with a sharp blade. The plants are also available later in the season, as young plants or plugs. They are grown up canes, with the new shoots being regularly pinched out to promote a bushy habit and higher flower yields. Plants typically reach heights of 1-2m, with the flowers appearing in midsummer and continuing for many weeks if regularly deadheaded.


title: Sweet pea

text: The sweet pea plant does suffer from some pests, the most common being aphids. These insects suck the sap out of the plants, reducing growth. Mosaic virus is spread by greenfly, causing yellowing of leaves, distortion of new shoots, and inhibited flowering.


title: Sweet pea

text: A pest called the pollen beetle which is small, shiny and black, eats the pollen and disfigures the flowers. Other pests include caterpillars, thrips, slugs and snails. Another problem is mildew; this is a white powdery coating that covers the leaves and slows down growth.


title: Sweet pea

text: The sweet pea is also susceptible to ethylene in quantities produced by senescing plants. Because of this, growers are encouraged to plant sweet peas away from fruit trees among other plants prone to early dieback or senescence.


title: Sweet pea

text: Unlike the edible pea, there is evidence that seeds of members of the genus "Lathyrus" are toxic if ingested in quantity. A related species, "Lathyrus sativus", is grown for human consumption but when it forms a major part of the diet it causes symptoms of toxicity called lathyrism.


title: Sweet pea

text: When sweet peas are planted too close to each other it causes fungal diseases like powdery mildew. Powdery mildew looks like white-silver dust that settles on the plant's leaves, flowers and stems. Fungus suck nutrients from sweet peas and stunt their growth.


title: Sweet pea

text: In studies of rats, animals fed a diet of 50% sweet pea seeds developed enlarged adrenals relative to control animals fed on edible peas. The main effect is thought to be on the formation of collagen. Symptoms are similar to those of scurvy and copper deficiency, which share the common feature of inhibiting proper formation of collagen fibrils. Seeds of the sweet pea contain beta-aminopropionitrile that prevents the cross-linking of collagen by inhibiting lysyl oxidase and thus the formation of allysine, leading to loose skin. Recent experiments have attempted to develop this chemical as a treatment to avoid disfiguring skin contractions after skin grafting.


title: Sweet pea

text: Gregor Mendel is today recognized as the "Father of Modern Genetics" for his work with the cross breeding of pea plants ("Pisum sativum") with different characteristics, and sweet pea has been used in a similar way. The sweet pea is thus a model organism being used in early experimentations in genetics, particularly by the pioneer geneticist Reginald Punnett. It is highly suitable as a genetic subject because of its ability to self-pollinate and its easily observed Mendelian traits such as colour, height and petal form. Many genetic principles were discovered or confirmed in this species. It was used by Punnett in early studies of genetic linkage. Complementary factor inheritance was also elucidated in sweet peas, from the cross of two pure-breeding white strains which gave rise to a blue hybrid, the blue colour requiring two genes derived independently from the two white parents.


title: Sweet pea

text: Like the blue rose, the yellow sweet pea remains elusive. "Lathyrus belinensis" is a related Lathyrus species which has red and yellow flowers. There are ongoing attempts to bring the yellow color into "Lathyrus odoratus" by crossing it with "Lathyrus belinensis". Several new sweet pea cultivars have been created as a result, though not any with the yellow flower color so far.


title: Kylie Minogue singles discography

text: The singles discography of Australian recording artist Kylie Minogue consists of 96 singles (79 as lead artist, nine as a featured artist and seven released to raise money for charity), and 19 promotional recordings.


title: Kylie Minogue singles discography

text: Minogue's music career began as a result of her popularity in "Neighbours", an Australian soap opera. After an impromptu performance with the cast of the show, she signed to Mushroom Records in 1987. That same year, she released a cover of the Little Eva song "Locomotion". It spent seven weeks on top of the ARIA Singles Chart and became the highest-selling single of the 1980s in Australia. "I Should Be So Lucky", her second single, became a worldwide number one, topping the UK Singles Chart for five consecutive weeks. Later, in 1988, she signed with PWL Records for releases in the United Kingdom, and based herself there as a result. Her debut album, "Kylie", produced several singles. A re-recorded version of "The Loco-Motion" saw peaks in the top ten of the charts it entered, while "Got to Be Certain" and "Je ne sais pas pourquoi" peaked in the top twenty in the majority of the charts they entered. Minogue released three additional albums with PWL. The singles "Hand on Your Heart" and "Tears on My Pillow", released from "Enjoy Yourself" (1989), topped the charts in the UK. Minogue took a mature turn in the 1990 release of "Rhythm of Love". All singles from the album peaked within the top twenty in the United Kingdom and Australia. Her next album, 1991's "Let's Get to It", also spawned singles which peaked within the top twenty in the United Kingdom and Australia. By 1992, Minogue had completed her recording contract with PWL Records. She decided not to renew it, after which a "Greatest Hits" was released. The album produced two top thirty singles, "What Kind of Fool (Heard All That Before)" and "Celebration". In 1993, Minogue signed with Deconstruction Records. Three singles were released from the eponymous "Kylie Minogue", with "Confide in Me" topping the Australian singles chart and peaking at number two in the UK. However, none of the singles taken from "Impossible Princess" peaked in the top ten of any of the charts they entered. "Did It Again", the second single, was the most successful from the album, charting at 15 and 14 in Australia and the UK respectively.


title: Kylie Minogue singles discography

text: After being dropped from Deconstruction due to low sales in 1998, Minogue signed with Parlophone Records in April 1999. She released "Spinning Around" in 2000, which debuted at number one in the UK. This earned Minogue a place in the "Guinness Book of World Records", for the first female Australian singer to debut at number one in the UK. The album that followed, "Light Years", spawned singles which achieved the top twenty in the UK and Australia. In 2001, she released the single, "Can't Get You Out of My Head", from the album "Fever". It topped the charts in Australia, New Zealand, UK, and most of Europe. Another single, "Come into My World", gave Minogue her first Grammy Award in 2004 (for Best Dance Recording). In 2003, the single "Slow", from "Body Language", became another number-one single in the UK. In 2004, she released another greatest hits package named "Ultimate Kylie". The single "I Believe in You" reached the top five in the UK. In May 2005, after being diagnosed with breast cancer, she went on medical leave. After returning to full health, Minogue released her tenth studio album "X" in 2007. It produced five singles, including the Australian number one single "2 Hearts", and the top twenty single "Wow". Her eleventh studio album, "Aphrodite" in 2010 spawned the top-three single, "All the Lovers". In 2014, she released the singles, "Into the Blue", and "I Was Gonna Cancel" from her twelfth studio album, "Kiss Me Once".


title: Kylie Minogue singles discography

text: Referred as the “Princess of Pop” by various media outlets, Minogue has sold more than 80 million records worldwide. She has sold over 10.1 million singles in the United Kingdom alone, making her the 12th best-selling singles artist and the 3rd best-selling female artist in UK history. She has 10 Australian and 7 UK number-ones, along with 11 UK number-twos. In total, she has 34 UK top ten hits.


title: A Cyborg Manifesto

text: "A Cyborg Manifesto" is an essay written by Donna Haraway and published in 1985 in the "Socialist Review (US)". In it, the concept of the cyborg represents a rejection of rigid boundaries, notably those separating "human" from "animal" and "human" from "machine." Haraway writes: "The cyborg does not dream of community on the model of the organic family, this time without the oedipal project. The cyborg would not recognize the Garden of Eden; it is not made of mud and cannot dream of returning to dust."


title: A Cyborg Manifesto

text: The "Manifesto" criticizes traditional notions of feminism, particularly feminist focuses on identity politics, and encourages instead coalition through affinity. She uses the figure of the cyborg to urge feminists to move beyond the limitations of traditional gender, feminism, and politics; the "Manifesto" is considered a major milestone in the development of feminist posthumanist theory.


title: A Cyborg Manifesto

text: Haraway begins the "Manifesto" by explaining three boundary breakdowns since the 20th century that have allowed for her hybrid, cyborg myth: those between human and animal, animal-human and machine, and physical and non-physical. Evolution, she claims, has blurred the lines between human and animal; 20th-century machines have blurred the lines between natural and artificial; and microelectronics and the political invisibility of cyborgs have blurred the lines of physicality.


title: A Cyborg Manifesto

text: Haraway’s piece is a novel approach to examining the culture-nature divide. She introduces the potential of a completely new ontology of hybridization of nature and culture through the cyborg, a combination of machine and organism. Haraway’s use of the cyborg illustrates her conceptualizations of socialism and feminism in the examinations of dichotomies such as nature/culture, mind/body, and idealism/materialism. Haraway’s cyborgs are a blending of imagination and material reality. The cyborg is a dualism, as opposed to a dichotomy; there is value perceived in the confusion of the borders of bounded categories. The need for the divide between culture and nature is no longer relevant, and the cyborg emerges from the blending of that boundary.


title: A Cyborg Manifesto

text: Haraway highlights what she sees as the problematic use and justification of historical Western ideologies like patriarchy, colonialism, essentialism, and naturalism (among others). These traditions in turn allow for the problematic formations of taxonomies (and identifications of the Other) and what Haraway explains as "antagonistic dualisms" that order Western discourse. These dualisms, Haraway states, "have all been systematic to the logics and practices of domination of women, people of color, nature, workers, animals... all [those] constituted as others." She highlights specific problematic dualisms of self/other, culture/nature, male/female, civilized/primitive, right/wrong, truth/illusion, total/partial, God/man (among others). She explains that these dualisms are in competition with one another, creating paradoxical relations of domination (especially between the One and the Other). However, high-tech culture provides a challenge to these antagonistic dualisms.


title: A Cyborg Manifesto

text: There is also the idea that cyborgs are beings that have been uncoupled from organic reproduction. Haraway also distinguishes the cyborg from other literary ideas that are lacking in their parentage such as Frankenstein, because that parentage is no longer a relevant or desired connection. Haraway paints the cyborg as the illegitimate offspring of patriarchal capitalism; because that connection isn’t sought or is irrelevant, the cyborg is not beholden unbeholden to its capitalistic, patriarchal, and neoliberal origins. There are social and bodily realities that come about from the joint kinship with both organisms and machines that inform on the identities of cyborgs to be permanently partial identities, incorporating aspects of both. The struggle is to see from both perspectives at once, and can provide an archetype for resistance, as another of Haraway’s premises is about the need for unity of people in the face of what she refers to as “world wide intensification of domination.”


title: A Cyborg Manifesto

text: Haraway's cyborg theory rejects the notions of essentialism, proposing instead a chimeric, monstrous world of fusions between animal and machine. Cyborg theory relies on writing as "the technology of cyborgs," and asserts that "cyborg politics is the struggle for language and the struggle against perfect communication, against the one code that translates all meaning perfectly, the central dogma of phallogocentrism." Instead, Haraway's cyborg calls for a non-essentialized, material-semiotic metaphor capable of uniting diffuse political coalitions along the lines of affinity rather than identity. Following Lacanian feminists such as Luce Irigaray, Haraway's work addresses the chasm between feminist discourses and the dominant language of Western patriarchy. As Haraway explains, "grammar is politics by other means," and effective politics require speaking in the language of domination. Still, as Haraway states, "Feminist cyborg stories have the task of recoding communication and intelligence to subvert command and control." These stories are "communications devices" which "can suggest a way out of the maze of dualisms in which we have explained our bodies," dualisms which engender the illusion of perfect coded communication. Haraway mentions Octavia Butler, John Varley, and Vonda McIntyre as authors/artists whose work constitute a feminist science fiction of cyborg stories.


title: A Cyborg Manifesto

text: As she details in a chart of the paradigmatic shifts from modern to postmodern epistemology within the Manifesto, the unified human subject of identity has shifted to the hybridized posthuman of technoscience, from "representation" to "simulation", "bourgeois novel" to "science fiction", "reproduction" to "replication", and "white capitalist patriarchy" to "informatics of domination". While Haraway's "ironic dream of a common language" is inspired by Irigaray's argument for a discourse other than patriarchy, she rejects Irigaray's essentializing construction of woman-as-not-male to argue for a linguistic community of situated, partial knowledges in which no one is innocent.


title: A Cyborg Manifesto

text: In her discussion of cyborg theory, Haraway describes two possible worlds resulting from embracing cyborg identity. The first future, which aligns with the view point taken by socialist and radical feminism, is that the breaking down of the boundary between the organism and technology will represent the final conquering of the oppressed body. The second future, which Haraway offers as an alternative in her critique of binary thinking, allows for kinship between boundaries and acceptance of fluid and contradictory identities. These futures function within her argument for cyborg theory in that she sees the acknowledgment of both possibilities as necessary for understanding intersecting forces of oppression and preparing for how technological advancement will change the ways that political forces as well as identity and kinship will function in the future.


title: A Cyborg Manifesto

text: Haraway takes issue with some traditional feminists, reflected in statements describing how "women more than men somehow sustain daily life, and so have a privileged epistemological (relating to the theory of knowledge) position potentially." The views of traditional feminism operate under the totalizing assumptions that all men are one way, and women another, whereas "a cyborg theory of wholes and parts," does not desire to explain things in total theory. Haraway suggests that feminists should move beyond naturalism and essentialism, criticizing feminist tactics as "identity politics" that victimize those excluded, and she proposes that it is better strategically to confuse identities. Her criticism mainly focuses on socialist and radical feminism. The former, she writes, achieves "to expand the category of labour to what (some) women did". Socialist feminism does not naturalize but rather builds a unity that was non-existent before - namely the woman worker. On the other hand, radical feminism, according to Catharine MacKinnon, describes a world in which the woman only exists in opposition to the man. The concept of woman is socially constructed within the patriarchal structure of society and women only exist because men have made them exist. The woman as a self does not exist. Haraway criticizes both when writing that "my complaint about socialist/Marxian standpoints is their unintended erasure of polyvocal, unassimilable, radical difference made visible in anti-colonial discourse and practice" and "MacKinnon's intentional erasure of all difference through the device of the 'essential' non-existence of women is not reassuring" (299).


title: A Cyborg Manifesto

text: Haraway also indirectly critiques white feminism by highlighting the struggles of women of color: she suggests that a woman of color "might be understood as a cyborg identity, a potent subjectivity synthesized from fusions of outsider identities and in the complex political-historical layerings of her 'biomythography.'"


title: A Cyborg Manifesto

text: To counteract the essentializing and anachronistic rhetoric of spiritual ecofeminists, who were fighting patriarchy with modernist constructions of female-as-nature and earth mothers, Haraway employs the cyborg to refigure feminism into cybernetic code.


title: A Cyborg Manifesto

text: Haraway calls for a revision of the concept of gender, moving away from Western patriarchal essentialism and toward "the utopian dream of the hope for a monstrous world without gender," stating that "Cyborgs might consider more seriously the partial, fluid, sometimes aspect of sex and sexual embodiment. Gender might not be global identity after all, even if it has profound historical breadth and depth."


title: A Cyborg Manifesto

text: Haraway also calls for a reconstruction of identity, no longer dictated by naturalism and taxonomy but instead by affinity, wherein individuals can construct their own groups by choice. In this way, groups may construct a "post-modernist identity out of otherness, difference, and specificity" as a way to counter Western traditions of exclusive identification.


title: A Cyborg Manifesto

text: Although Haraway's metaphor of the cyborg has been labelled as a post-gender statement, Haraway has clarified her stance on post-genderism in some interviews. She acknowledges that her argument in the "Manifesto" seeks to challenge the necessity for categorization of gender, but does not correlate this argument to post-genderism. She clarifies this distinction because post-genderism is often associated with the discourse of the utopian concept of being beyond masculinity and femininity. Haraway notes that gender constructs are still prevalent and meaningful, but are troublesome and should therefore be eliminated as categories for identity.


title: A Cyborg Manifesto

text: Although Haraway intended her concept of the cyborg to be a feminist critique, she acknowledges that other scholars and popular media have taken her concept and applied it to different contexts. Haraway is aware and receptive of the different uses of her concept of the cyborg, but admits "very few people are taking what I consider all of its parts". "Wired Magazine" overlooked the feminist theory of the cyborg and instead used it to make a more literal commentary about the enmeshment of humans and technology. Despite this, Haraway also recognizes that new feminist scholars "embrace and use the cyborg of the manifesto to do what they want for their own purposes".


title: A Cyborg Manifesto

text: "Patchwork Girl", a hypertext work, makes use of elements from "A Cyborg Manifesto". "Patchwork Girl's" "thematic focus on the connections between monstrosity, subjectivity, and new reproductive technologies is apparent from its very first page, when readers, or users, open the hypertext to find a picture of a scarred and naked female body sewn together with a single dotted line...Readers enter the text by clicking on this body and following its 'limbs' or links to different sections of the text." In Jackson's narrative, the Patchwork Girl is an aborted female monster created by Victor Frankenstein of Mary Shelley's 1818 novel "Frankenstein, or The Modern Prometheus, " an abhorrent and monstrous creature that is "part male, part female, part animal, 175 years old, and 'razed' up through hypertext technology." The monster, following her destruction by Victor, is sewn back together by Mary Shelley herself, while simultaneously becoming Mary's lover; she is thus, "a cyborg who is queer, dis-proportioned, and visibly scarred. She both facilitates and undermines preoccupations with the benefits and dangers of reproductive technologies by embracing all of the monstrosities that reproductive/fetal screenings are imagined to 'catch' and one day prevent." The Patchwork Girl embraces Haraway's conception of a cybernetic posthuman being in both her physical multiplicity and her challenge towards "the images and fantasies sustaining reproductive politics."


title: A Cyborg Manifesto

text: Turkish critical scholar Leman Giresunlu uses Haraway's cyborg as framework to examine current science fiction movies such as "" and "Resident Evil" in her essay "Cyborg Goddesses: The Mainframe Revisited". In this essay, she explores how her new concept of the "cyborg goddess," a female figure "capable of inflicting pain and pleasure simultaneously", can be used to make sense of how female representation is shifting towards a more multidimensional stance. Giresunlu builds from Haraway's cyborg because the "cyborg goddess" goes beyond "offering a way out from [the] duality" and instead provides how spirituality and technology work together to form a complex and more accurate representation of women.


title: A Cyborg Manifesto

text: In her essay "Mind Over Matter: Mental Evolution and Physical Devolution in The Incredible Shrinking Man", American critical scholar Ruthellen Cunnally uses Haraway's cyborg to help make sense of how Robert Scott Carey, the protagonist of "The Incredible Shrinking Man", transforms into a cyborg in the midst of a metaphor of cold war politics in his home. As Robert continues to shrink, the gendered power dynamic between him and his wife Louise shifts from "the realm of husband/wife into the mode of mother/son". When Robert finds himself lost in the feminine space of the basement, an area of the house that was reserved for Louise's domestic duties of sewing and washing, he is forced to fight for his life and reclaim his masculinity. Although he is able to conquer some of his foes and regain his "manhood", the gender lines do not become established again because there is no one to share and implement the gendered power structure with. Robert's transformation presents "an existence in which acceptance and meaning are released from the limitations of patriarchal dualisms", which aligns with Haraway's cyborg.


title: A Cyborg Manifesto

text: Traditional feminists have criticized "A Cyborg Manifesto" as anti-feminist because it denies any commonalities of the female experience. In the "Manifesto""," Haraway writes "there is nothing about being 'female' that naturally binds women", which goes against a defining characteristic of traditional feminism that calls women to join together in order to advocate for members of their gender.


title: A Cyborg Manifesto

text: Criticism and controversy surrounded the essay's publication history: the East Coast Collective of the "Socialist Review" found the piece "a naive embrace of technology" and advocated against its publication, while The Berkeley Collective ultimately insisted that it go to print. The essay has been described as "controversial" and "viral" in its circulation through multiple academic departments and disciplinary boundaries, contributing to the critical discourse on its claims.


title: A Cyborg Manifesto

text: This controversiality was matched by its omnipresence; Jackie Orr, Associate Professor of Sociology at the Maxwell School of Citizenship and Public Affairs Syracuse University, writes, "It is hard to be a feminist graduate student in the U.S. humanities or social sciences after 1985 and not be touched in some way by the Cyborg Manifesto." The rapid adoption of the article in academic circles also increased the pace of the critical conversation surrounding the work, and in 1990, Haraway felt that the essay had "acquired a surprise half life," which made it "impossible to rewrite" and necessitated revisiting the topic in her subsequent publications.


title: A Cyborg Manifesto

text: Many critiques of "A Cyborg Manifesto" focus on a basic level of reader comprehension and writing style, such as Orr's observation that "undergraduate students in a science and technology class find the Cyborg Manifesto curiously relevant but somewhat impenetrable to read." This is corroborated by Helen Merrick and Margret Grebowicz's observation that scientists who reviewed "Primate Visions" had similar issues, particularly as related to Haraway's use of irony. Judy Wajcman, Professor of Sociology at the London School of Economics and Political Science, suggests in "TechnoFeminism" that "the openness of her writing to a variety of readings is intentional," which "can sometimes make Haraway difficult to interpret;" however, it does not seem that Wajcman critiques Haraway's tone for its capability to encompass more possibilities, rather than limit them. Wajcman concludes her chapter "Send in the Cyborgs" on a critical note, claiming that "Certainly, Haraway is much stronger at providing evocative figurations of a new feminist subjectivity than she is at providing guidelines for a practical emancipatory politics."


title: A Cyborg Manifesto

text: Critiques of Haraway have also centered on the accessibility of the thematic topics she discusses in her writing, and according to third-wave feminist readings, her work "assumes a reader who is familiar with North American culture," and posits that "readers without the appropriate cultural capital are...likely to find it infuriatingly obscure and impenetrable." Therefore, Haraway's symbolism is representative of North American culture symbolizing a "non-universalizing vision for feminist strategies" and "has been taken up within cyberfeminism as the symbol of an essential female being." Considering the question of accessibility more broadly, disability studies have focused on Haraway's essay, noting the absence of "any kind of critical engagement with disability...disabled bodies are simply presented as exemplary...requiring neither analysis nor critique"—a gap which Alison Kafer, Professor of Feminist Studies at Southwestern University, attempts to address in "Feminist, Queer, Crip". Wajcman also argues that Haraway's view of technology in "A Cyborg Manifesto" is perhaps too totalizing, and that the binary of "the cyborg solution and the goddess solution" ultimately "caricatures feminism" by focusing too readily on a dichotomy that may in fact be a false one.


title: A Cyborg Manifesto

text: In "Unfinished Work-From Cyborg to Cognisphere", N. Katherine Hayles questions the validity of cyborg as a unit of analysis. She says that because of the complicated situation of technology and media, "cyborg is no longer the individual person – or for that matter, the individual cyborg – is no longer the appropriate unit of analysis, if indeed it ever was."


title: A Cyborg Manifesto

text: As for the relationships between cyborg and religion, Robert A. Campbell argues that "in spite of Haraway's efforts to move beyond traditional Western dualisms and offer a new hope for women, and by extension of humanity and the world, what she in fact offers is a further legitimation for buying into the not so new American civil religion of high technology." He says that "in spite of what some may view as a radical critique of the present and a potentially frightening prescription for the future, the stark reality about Haraway's 'postmodern reality' is that there is no such thing."


title: A Cyborg Manifesto

text: Beyond its presence in academic context, "A Cyborg Manifesto" has also had popular traction including "Wired"s piece by Hari Kunzru and "Mute", BuzzFeed,


title: A Cyborg Manifesto

text: In 2018, the disability rights activist and self-described cyborg Cy argued that "A Cyborg Manifesto" erased disabled people and appropriated the aesthetic of disability.


title: A Cyborg Manifesto

text: Scholar Marilyn Maness Mehaffy writes that the "sonographic fetus is in many ways the ultimate cyborg in that it is 'created' in a space of virtuality that straddles the conventional boundary between an organic body and a digital text." Yet it is this cyborg that presents a limit to Haraway's posthuman theory. The sonographic fetus, as posited by scholar Heather Latimer, "is publicly envisioned as both independent of [its mother's] body and as independent of the sonographic equipment used to read this body. We know that fetal images are depictions, yet the sonogram invokes a documentary-like access to fetuses that makes it easy to ignore this, which in turn can limit the authority and agency of pregnant women." In positioning the fetus as independent, and consequently oppositional, to the pregnant mother, these reproductive technologies "reinscribe stable meanings to the human/machine dualism they supposedly disrupt." Valerie Hartouni argues, "most reproductive technologies have assimilated into the 'order of nature'" which would make Haraway's vision of a regenerative species, unrestricted by heteronormative conceptions of reproduction, unattainable in the sonographic fetus.


title: A Cyborg Manifesto

text: Haraway began writing the "Manifesto" in 1983 to address the "Socialist Review "request for American socialist feminists to ponder over the future of socialist feminism in the context of the early Reagan era and the decline of leftist politics. The first versions of the essay had a strong socialist and European connection that the "Socialist Review "East Coast Collective found too controversial to publish. The Berkeley "Socialist Review" Collective published the essay in 1985 under the editor Jeff Escoffier. The essay was most widely read as part of Haraway's 1991 book "Simians, Cyborgs and Women". In 2006, a variorum edition of the "Manifesto" was published in "The International Handbook of Virtual Learning Environments" integrating variations from the various versions and returning references and some of the scholarly apparatus that had become separated from the text.


title: Musical ensemble

text: A musical ensemble, also known as a music group or musical group, is a group of people who perform instrumental and/or vocal music, with the ensemble typically known by a distinct name. Some music ensembles consist solely of instrumentalists, such as the jazz quartet or the orchestra. Other music ensembles consist solely of singers, such as choirs and doo wop groups. In both popular music and classical music, there are ensembles in which both instrumentalists and singers perform, such as the rock band or the Baroque chamber group for basso continuo (harpsichord and cello) and one or more singers. In classical music, trios or quartets either blend the sounds of musical instrument families (such as piano, strings, and wind instruments) or group together instruments from the same instrument family, such as string ensembles (e.g., string quartet) or wind ensembles (e.g., wind quintet). Some ensembles blend the sounds of a variety of instrument families, such as the orchestra, which uses a string section, brass instruments, woodwinds and percussion instruments, or the concert band, which uses brass, woodwinds and percussion.


title: Musical ensemble

text: In jazz ensembles or combos, the instruments typically include wind instruments (one or more saxophones, trumpets, etc.), one or two chordal "comping" instruments (electric guitar, acoustic guitar, piano, or Hammond organ), a bass instrument (bass guitar or double bass), and a drummer or percussionist. Jazz ensembles may be solely instrumental, or they may consist of a group of instruments accompanying one or more singers. In rock and pop ensembles, usually called rock bands or pop bands, there are usually guitars and keyboards (piano, electric piano, Hammond organ, synthesizer, etc.), one or more singers, and a rhythm section made up of a bass guitar and drum kit.


title: Musical ensemble

text: Music ensembles typically have a leader. In jazz bands, rock and pop groups and similar ensembles, this is the band leader. In classical music, orchestras, concert bands and choirs are led by a conductor. In orchestra, the concertmaster (principal first violin player) is the instrumentalist leader of the orchestra. In orchestras, the individual sections also have leaders, typically called the "principal" of the section (e.g., the leader of the viola section is called the "principal viola"). Conductors are also used in jazz big bands and in some very large rock or pop ensembles (e.g., a rock concert that includes a string section, a horn section and a choir which are accompanying a rock band's performance).


title: Musical ensemble

text: In Western classical music, smaller ensembles are called chamber music ensembles. The terms duo, trio, quartet, quintet, sextet, septet, octet, nonet and decet describe groups of two up to ten musicians, respectively. A group of eleven musicians, such as found in "The Carnival of the Animals", is called an "undecet", and a group of twelve is called a "duodecet" (see Latin numerical prefixes). A soloist playing unaccompanied (e.g., a pianist playing a solo piano piece or a cellist playing a Bach suite for unaccompanied cello) is not an ensemble because it only contains one musician.


title: Musical ensemble

text: A string quartet consists of two violins, a viola and a cello. There is a vast body of music written for string quartets, as it is seen as an important genre in classical music.


title: Musical ensemble

text: A woodwind quartet usually features a flute, an oboe, a clarinet and a bassoon. A brass quartet features two trumpets, a trombone and a tuba (or French horn (or more commonly known as "horn")). A saxophone quartet consists of a soprano saxophone, an alto saxophone, a tenor saxophone, and a baritone saxophone.


title: Musical ensemble

text: The string "quintet" is a common type of group. It is similar to the string quartet, but with an additional viola, cello, or more rarely, the addition of a double bass. Terms such as "piano quintet" or "clarinet quintet" frequently refer to a string quartet "plus" a fifth instrument. Mozart's Clarinet Quintet is similarly a piece written for an ensemble consisting of two violins, a viola, a cello and a clarinet, the last being the exceptional addition to a "normal" string quartet.


title: Musical ensemble

text: Some other quintets in classical music are the wind quintet, usually consisting of flute, oboe, clarinet, bassoon and horn; the brass quintet, consisting of two trumpets, one horn, a trombone and a tuba; and the reed quintet, consisting of an oboe, a soprano clarinet, a saxophone, a bass clarinet, and a bassoon.


title: Musical ensemble

text: Classical chamber ensembles of six (sextet), seven (septet), or eight musicians (octet) are fairly common; use of latinate terms for larger groups is rare, except for the nonet (nine musicians). In most cases, a larger classical group is referred to as an orchestra of some type or a concert band. A small orchestra with fifteen to thirty members (violins, violas, four cellos, two or three double basses, and several woodwind or brass instruments) is called a chamber orchestra. A sinfonietta usually denotes a somewhat smaller orchestra (though still not a chamber orchestra). Larger orchestras are called symphony orchestras (see below) or philharmonic orchestras.


title: Musical ensemble

text: A pops orchestra is an orchestra that mainly performs light classical music (often in abbreviated, simplified arrangements) and orchestral arrangements and medleys of popular jazz, music theater, or pop music songs. A string orchestra has only string instruments, i.e., violins, violas, cellos and double basses.


title: Musical ensemble

text: A symphony orchestra is an ensemble usually comprising at least thirty musicians; the number of players is typically between fifty and ninety-five and may exceed one hundred. A symphony orchestra is divided into families of instruments. In the string family, there are sections of violins (I and II), violas, cellos (often eight), and basses (often from six to eight). The standard woodwind section consists of flutes (one doubling piccolo), oboes (one doubling English horn), soprano clarinets (one doubling bass clarinet), and bassoons (one doubling contrabassoon). The standard brass section consists of horns, trumpets, trombones, and tuba. The percussion section includes the timpani, bass drum, snare drum, and any other percussion instruments called for in a score (e.g., triangle, glockenspiel, chimes, cymbals, wood blocks, etc.). In Baroque music (1600–1750) and music from the early Classical period music (1750–1820), the percussion parts in orchestral works may only include timpani.


title: Musical ensemble

text: A concert band is a large classical ensemble generally made up of between 40 and 70 musicians from the woodwind, brass, and percussion families, along with the double bass. The concert band has a larger number and variety of wind instruments than the symphony orchestra, but does not have a string section (although a single double bass is common in concert bands). The woodwind section of a concert band consists of piccolo, flutes, oboes (one doubling English horn), bassoons (one doubling contrabassoon), soprano clarinets (one doubling E clarinet, one doubling alto clarinet), bass clarinets (one doubling contrabass clarinet or contra-alto clarinet), alto saxophones (one doubling soprano saxophone), tenor saxophone, and baritone saxophone. The brass section consists of horns, trumpets or cornets, trombones, euphoniums, and tubas. The percussion section consists of the timpani, bass drum, snare drum, and any other percussion instruments called for in a score (e.g., triangle, glockenspiel, chimes, cymbals, wood blocks, etc.).


title: Musical ensemble

text: When orchestras perform baroque music (from the 17th century and early 18th century), they may also use a harpsichord or pipe organ, playing the continuo part. When orchestras perform Romantic-era music (from the 19th century), they may also use harps or unusual instruments such as the wind machine or cannons. When orchestras perform music from the 20th century or the 21st century, occasionally instruments such as electric guitar, theremin, or even an electronic synthesizer may be used.


title: Musical ensemble

text: Women have a high prominence in many popular music styles as singers. However, professional women instrumentalists are uncommon in popular music, especially in rock genres such as heavy metal. "[P]laying in a band is largely a male homosocial activity, that is, learning to play in a band is largely a peer-based... experience, shaped by existing sex-segregated friendship networks." As well, rock music "...is often defined as a form of male rebellion vis-à-vis female bedroom culture." In popular music, there has been a gendered "distinction between public (male) and private (female) participation" in music. "[S]everal scholars have argued that men exclude women from bands or from the bands' rehearsals, recordings, performances, and other social activities." "Women are mainly regarded as passive and private consumers of allegedly slick, prefabricated – hence, inferior – pop music..., excluding them from participating as high status rock musicians." One of the reasons that there are rarely mixed gender bands is that "bands operate as tight-knit units in which homosocial solidarity – social bonds between people of the same sex... – plays a crucial role." In the 1960s pop music scene, "[s]inging was sometimes an acceptable pastime for a girl, but playing an instrument...simply wasn't done."


title: Musical ensemble

text: "The rebellion of rock music was largely a male rebellion; the women—often, in the 1950s and '60s, girls in their teens—in rock usually sang songs as personæ utterly dependent on their macho boyfriends..." Philip Auslander says that "Although there were many women in rock by the late 1960s, most performed only as singers, a traditionally feminine position in popular music." Though some women played instruments in American all-female garage rock bands, none of these bands achieved more than regional success. So they "did not provide viable templates for women's on-going participation in rock". In relation to the gender composition of heavy metal bands, it has been said that "[h]eavy metal performers are almost exclusively male" "...[a]t least until the mid-1980s" apart from "...exceptions such as Girlschool". However, "...now [in the 2010s] maybe more than ever–strong metal women have put up their dukes and got down to it," "carv[ing] out a considerable place for [them]selves".


title: Musical ensemble

text: When Suzi Quatro emerged in 1973, "no other prominent female musician worked in rock simultaneously as a singer, instrumentalist, songwriter, and bandleader." According to Auslander, she was "kicking down the male door in rock and roll and proving that a female "musician" ... and this is a point I am extremely concerned about ... could play as well if not better than the boys".


title: Musical ensemble

text: A choir is a group of voices. By analogy, sometimes a group of similar instruments in a symphony orchestra are referred to as a choir. For example, the woodwind instruments of a symphony orchestra could be called the woodwind choir.


title: Musical ensemble

text: A group that plays popular music or military music is usually called a band; a drum and bugle corps is a type of the latter. These bands perform a wide range of music, ranging from arrangements of jazz orchestral, or popular music to military-style marches. Drum corps perform on brass and percussion instruments only. Drum and Bugle Corps incorporate costumes, hats, and pageantry in their performances.


title: Ouzo effect

text: The ouzo effect (also louche effect and spontaneous emulsification) is a milky ("louche") oil-in-water emulsion that is formed when water is added to ouzo and other , such as pastis, rakı, arak, sambuca and absinthe. Such emulsions occur with only minimal mixing and are highly stable.


title: Ouzo effect

text: The ouzo effect occurs when a strongly hydrophobic essential oil such as "trans"-anethole is dissolved in a water-miscible solvent, such as ethanol, and the concentration of ethanol is lowered by addition of small amounts of water.


title: Ouzo effect

text: Oil-in-water emulsions are not normally stable. Oil droplets coalesce until complete phase separation is achieved at macroscopic levels. Addition of a small amount of surfactant or the application of high shear rates (strong stirring) can stabilize the oil droplets.


title: Ouzo effect

text: In a water-rich ouzo mixture the droplet coalescence is dramatically slowed without mechanical agitation, dispersing agents, or surfactants. It forms a stable homogeneous fluid dispersion by liquid–liquid nucleation. The size of the droplets has been measured by small-angle neutron scattering to be on the order of a micron.


title: Ouzo effect

text: Using dynamic light scattering, Sitnikova et al. showed that the droplets of oil in the emulsion grow by Ostwald ripening, and that droplets do not coalesce. The Ostwald ripening rate is observed to diminish with increasing ethanol concentrations until the droplets stabilize in size with an average diameter of .


title: Ouzo effect

text: Based on thermodynamic considerations of the multi-component mixture, the emulsion derives its stability from trapping between the binodal and spinodal curves in the phase diagram. However, the microscopic mechanisms responsible for the observed slowing of Ostwald ripening rates at increasing ethanol concentrations appear not fully understood.