title: Dordogne

text: During the calmer periods of the late 15th and early 16th centuries, the Castillon plain on the banks of the Dordogne saw a development in urban architecture. The finest Gothic and Renaissance residences were built in Périgueux, Bergerac, and Sarlat. In the countryside, the nobility erected the majority of the more than 1200 chateaux, manors and country houses. In the second half of the 16th century, however, war was waged in the area, as the attacks, pillaging, and fires of the Wars of Religion reached a rare degree of violence in Périgord. At the time, Bergerac was one of the most powerful Huguenot strongholds, along with La Rochelle. Following these wars, Périgord, fief of Henry of Navarre, was to return to the Crown for good and would continue to suffer from the sudden political changes of the French nation, from the Revolution to the tragic hours of the Resistance.


title: Dordogne

text: We also encounter the memory of the region's most important literary figures: Arnaut Daniel, Bertran de Born, Michel de Montaigne, Étienne de La Boétie, Brantôme, Fenelon, Maine de Biran, Eugene Le Roy, and André Maurois; its great captains: Talleyrand, Saint-Exupéry, Biron; and even entertainer and activist Josephine Baker. A number of ruins (La Chapelle-Faucher, I'Herm) have retained the memory of the tragedies that took place within their walls. Several of the castles and châteaux are open to visitors; some of them, such as Bourdeilles and Mareuil, house noteworthy collections.


title: Dordogne

text: In addition to its castles, chateaux, churches, bastides, and cave fortresses, the Périgord region has preserved since centuries past a number of villages that still have their market halls, dovecotes, bories (stone huts)Les bories du Périgord, churches, abbeys, and castles. Saint-Léon-sur-Vézère, Connezac, Saint-Jean-de-Côle, La Roque-Gageac, and many others contain important and visually interesting architectural examples. The old quarters of Périgueux or Bergerac have been restored and developed into pedestrian areas. A number of small towns, such as Brantôme, Issigeac, Eymet and Mareuil, have withstood the changes of modern times. A special mention should be made in this respect to Sarlat and its Black Périgord area.


title: Dordogne

text: Dordogne is one of the original 83 departments created on 4 March 1790 during the French Revolution. It was created from the former province of Périgord, the county of Périgord. Its borders continued to change over subsequent decades.


title: Dordogne

text: In 1870, shortly after France fought against Prussia in a war that the enemy was winning, a young aristocrat called Alain de Monéys was savagely tortured and then burned by a crowd of between 300 and 800 people for two hours on 16 August in a public square in the village of Hautefaye in the north-west of the department. Details of the incident remain unclear: the leading participants appear to have been drunk, and before the introduction of mass education most of the witnesses would have been unable (and possibly unwilling) to write down what they saw. But at some stage the victim died, and following a trial four individuals identified as culpable were in turn condemned to die by guillotine. The sentence was carried out in the same public square on 13 February 1885.


title: Dordogne

text: It was suggested that the victim had reported the (bad) news of the war in a way that implied support for the enemy, although subsequently it became clear that his patriotic credentials were beyond reproach. It was also suggested that the mob had been antagonized when he called out, "Vive la République!" (Long live the republic) at a time when the patriotic villagers valued the imperial regime, which Parisian revolutionaries were in the process of destroying. This incident has been studied by historian Alain Corbin, among others.


title: Dordogne

text: The department is part of the region of Nouvelle-Aquitaine and is surrounded by the six départements of Haute-Vienne, Corrèze, Lot, Lot-et-Garonne, Gironde, Charente-Maritime, and Charente. Dordogne is the third-largest department of metropolitan France. It is slightly comparable in size to Cyprus or just under half the size of Slovenia.


title: Dordogne

text: The most populous commune is Périgueux, the prefecture. As of 2019, there are 9 communes with more than 5,000 inhabitants:


title: Dordogne

text: The population peaked at 505,789 in 1851 according to that year's census. After that the population declined to 373,000 by 1975. This reflected the long term population decline observed in many of the rural departments resulting from changes in agriculture and the lure of higher industrial wages available in more urbanized regions. Between 1975 and 2010, the population increased again, reaching 415,000.


title: Dordogne

text: Dordogne has a British immigrant community. The region has between 5,000 and 10,000 British residents and 800 British entrepreneurs, drawn by the French lifestyle, warm climate, and lower cost of living. The village of Eymet is at the heart of the trend, with 200 British families among 2,600 inhabitants.


title: Dordogne

text: The famous caves of Lascaux have been closed to the public, but a replica of Lascaux II is open to visitors and is a major tourist attraction. Périgueux has important Roman ruins, including an arena which is still visible inside a public park located near the town centre.


title: Censorship of TikTok

text: Multiple governmental agencies and private business have imposed or attempted impose bans on the social media service TikTok. Countries like India and the United States have expressed concerns about the app's ownership by the Chinese company, ByteDance, attempting to ban it from app stores. Countries such as Indonesia and Bangladesh have banned it on the basis of pornography-related concerns, while others like Armenia and Azerbaijan have implemented restrictions to mitigate the spread of information which could lead to conflict. Syria has banned it allegedly due to human trafficking into Europe and other countries via its shared border with Turkey.


title: Censorship of TikTok

text: On 3 April 2019, the Madras High Court, while hearing a PIL, asked the Government of India to ban the app, citing that it "encourages pornography" and shows "inappropriate content". The court also noted that minors using the app were at risk of being targeted by sexual predators. The court further asked broadcast media not to telecast any of those videos from the app. The spokesperson for TikTok stated that they were abiding by local laws and were awaiting the copy of the court order before they take action. On 17 April, both Google and Apple removed TikTok from Google Play and the App Store. As the court refused to reconsider the ban, the company stated that they had removed over 6 million videos that violated their content policy and guidelines.


title: Censorship of TikTok

text: On 25 April 2019, the ban was lifted after the Madras High Court reversed its order, following a plea from TikTok developer ByteDance Technology. "We are committed to continuously enhancing our safety features as a testament to our ongoing commitment to our users in India," said TikTok in an official media statement. India's TikTok ban might have cost the app 15 million new users.


title: Censorship of TikTok

text: TikTok, along with 58 other Chinese-created apps, was banned completely in India by the Ministry of Electronics and Information Technology on 29 June 2020, with a statement saying they were "prejudicial to sovereignty and integrity of India, defence of India, security of state and public order". The ban was in response to a military clash between Indian and Chinese troops in disputed territory along their shared border between Ladakh and Western China. After an earlier skirmish in 2017 between the militaries of the two most populous countries in the world, the Indian military demanded that its troops delete dozens of Chinese applications from their devices over national security concerns. Applications like Weibo, UC Browser, and Shareit are among the apps that were deleted at that time and have now been completely banned.


title: Censorship of TikTok

text: The Indian government said the decision to ban the apps was "to protect the data and privacy of its 1.3 billion citizens" and to put a stop to technology that was "stealing and surreptitiously transmitting users' data in unauthorized servers outside India". Dev Khare, a partner at the venture firm Lightspeed India said that although India's app ban was a populist "feel-good" step, he did not see it as a bad thing because "it's something that China did a long time ago" and "the rest of the world has the right to do it to China."


title: Censorship of TikTok

text: In 2020, the U.S. government announced that it was considering banning the Chinese social media platform TikTok upon a request from then-U.S. president Donald Trump, who viewed the app as a national security threat. The result was that TikTok owner ByteDance—which initially planned on selling a small portion of TikTok to an American company—agreed to divest TikTok to prevent a ban in the United States and in other countries where restrictions are also being considered due to privacy concerns, which themselves are mostly related to its ownership by a firm based in China.


title: Censorship of TikTok

text: TikTok would later announce plans to file legal action challenging the order's transactional prohibitions with U.S. companies. The lawsuit against the Trump administration's order was filed on August 24, and contended that the administration's order was motivated by Trump's efforts to boost re-election support through protectionist trade policies aimed at China. A separate suit filed the same day by TikTok's U.S. technical program manager Patrick Ryan against Trump and Secretary of Commerce Wilbur Ross sought a temporary restraining order (TRO), arguing that his due process rights were violated and the ban was an "unconstitutional taking" of Ryan's property under the Fifth Amendment; the suit also claimed Trump's action was likely a retaliation because of the TikTok pranks targeting the June 20 campaign rally.


title: Censorship of TikTok

text: American technology company Microsoft had previously proposed an idea to acquire TikTok's algorithm and other artificial intelligence technology, but this was declined by ByteDance, as its executives expressed concern that it would likely be opposed by the Chinese government, which criticized the Trump administration's order previously as a "smash and grab" forced sale and (on September 13, 2021) suggested it would prefer the shuttering of U.S. operations over such a sale.


title: Censorship of TikTok

text: On 9 June 2021, the Biden Administration issued Executive Order 14034, "Protecting Americans' Sensitive Data from Foreign Adversaries" ("EO 14034").  EO 14034 overturned three Executive Orders signed by Former President Donald Trump; Executive Order 13942, Executive Order 13943, and Executive Order 13971. Despite these Executive Orders now being revoked, the Biden Administration's EO 14304 has called upon additional federal agencies to continue a broad review of foreign owned applications which are set to continuously inform the President on the risk that the applications pose to personal data and national security. The White House said in a statement that, "The Biden Administration is committed to promoting an open, interoperable, reliable and secure Internet; protecting human rights online and offline; and supporting a vibrant, global digital economy."


title: Censorship of TikTok

text: In April 2022, a spokesman for the Taliban government stated that the app will be banned for 'misleading the younger generation' and that TikTok's content was 'not consistent with Islamic laws'.


title: Censorship of TikTok

text: In October 2020, TikTok users in Armenia reported a loss of app functionality, although it has not been confirmed whether this was the result of any intervention by the Armenian government in response to the use of the app by Azerbaijani sources to spread misinformation during the 2020 Nagorno-Karabakh conflict.


title: Censorship of TikTok

text: On 27 September 2020, citizens of Azerbaijan noticed social media restrictions across an array of platforms, including TikTok, Facebook, Twitter, LinkedIn, YouTube, and others. NetBlocks confirmed the restrictions on social media and communication platforms through Twitter. According to Azerbaijan's Ministry of Transport, Communications and Technology, these restriction were issued in attempt to "prevent large-scale provocations from Armenia," during the longstanding Nagorno-Karabakh conflict.


title: Censorship of TikTok

text: In November 2018, the Bangladeshi government blocked the TikTok app's Internet access as part of Bangladesh's crackdown on the removal of pornography and gambling sites. "I want to create a safe and secure internet for all Bangladeshis, including children. And this is my war against pornography. And this will be a continuous war," said Mustafa Jabbar, Posts and Communications Officer of Bangladesh.


title: Censorship of TikTok

text: In August 2020, the government of Bangladesh requested that TikTok remove 10 videos from the platform that were uploaded from the country. "The TikTok authorities have told the government they will take down 'offensive' videos uploaded from Bangladesh," said the Minister of Post and Telecommunication of Bangladesh. As a result, the Bangladeshi government cleared the TikTok ban.


title: Censorship of TikTok

text: In June 2021, Law and Life Foundation, a human rights organization, issued a legal notice to the Bangladeshi government that sought the prohibition of "dangerous and harmful" applications such as TikTok, "PUBG", and "Free Fire", but failed to obtain a response. Soon thereafter, Law and Life Foundation's lawyers filed a petition with the High Court, sharing the organization's concerns. In August 2020, the High Court encouraged the Bangladeshi government to prohibit "dangerous and harmful" applications such as TikTok, "PUBG", and "Free Fire" to "save children and adolescents from moral and social degradation."


title: Censorship of TikTok

text: On 3 July 2018, TikTok was temporarily banned in Indonesia after the Indonesian government accused it of promulgating "pornography, inappropriate content and blasphemy." Rudiantra, Indonesia's Minister of Communications and Information said, "The app has a lot of negative and harmful content, especially for children," and added that "Once TikTok can give us guarantees they can maintain clean content, it can re-open." TikTok quickly responded by promising to enlist 20 staff to censor TikTok content in Indonesia, and the ban was lifted eight days later.


title: Censorship of TikTok

text: On December 17, 2022, Jordan announced a temporary ban against TikTok, following the death of a police officer during clashes with protesters.


title: Censorship of TikTok

text: Over the 15 months up to November 2021, the Pakistan Telecommunication Authority (PTA) imposed and lifted four bans on TikTok.


title: Censorship of TikTok

text: In October 2020, Pakistan ordered a ban of TikTok over "immoral, obscene, and vulgar" content. The ban was reversed ten days later, after ByteDance stated that they would remove objectionable TikTok content and block users who upload "pornography and paedo content".


title: Censorship of TikTok

text: In March 2021, a provincial court, the Peshawar High Court Order responded to a petition made by a resident of Punjab. The petition stated that TikTok's platform was being used to promote crime and glorified the use of drugs and weapons in its short videos and called on the PTA to ban the app once again. According to Sara Ali Khan, legal representative of the Punjab resident, the PTA announced that TikTok had not adequately proven their ability to moderate "immoral" and "indecent" content. Even with the removal of over 6 million videos between January 2021 and March 2021, the PTA remained unsatisfied and banned the app outright. The PTA lifted the ban in April 2021 after TikTok assured them it would "filter and moderate content".


title: Censorship of TikTok

text: On 28 June 2021, the Sindh High Court Order urged the PTA to restore the ban on TikTok for the alleged "spreading of immorality and obscenity". On 30 June 2021, the PTA announced that it had once more blocked citizen's access to the video-sharing application. Three days later, the court withdrew its decision.


title: Censorship of TikTok

text: On 20 July 2021, the PTA instituted a ban on TikTok by reason of the "continuous presence of inappropriate content on the platform and its failure to take such content down." According to a statement by the PTA, "As a result of continuous engagement, senior management of the platform assured (the) PTA of its commitment to take necessary measure to control unlawful content in accordance with local laws and societal norms." Consequently, on 19 November 2021, the PTA agreed to act promptly and once again backtrack and eliminate Pakistan's fourth ban on TikTok. The PTA said in a tweet that they "will continue to monitor the platform in order to ensure that unlawful content contrary to Pakistan's law and societal values is not disseminated."


title: Censorship of TikTok

text: Syria has banned the app over allegations of accounts created with the aim of smuggling people over to Turkey, across the Syrian-Turkish border and Beirut across the Syrian-Lebanese border, making Syrians able to go to Europe, North America, and other Asian and Middle Eastern countries.


title: Portico

text: A portico is a porch leading to the entrance of a building, or extended as a colonnade, with a roof structure over a walkway, supported by columns or enclosed by walls. This idea was widely used in ancient Greece and has influenced many cultures, including most Western cultures.


title: Portico

text: Some noteworthy examples of porticos are the East Portico of the United States Capitol, the portico adorning the Pantheon in Rome and the portico of University College London. Porticos are sometimes topped with pediments.


title: Portico

text: Palladio was a pioneer of using temple-fronts for secular buildings. In the UK, the temple-front applied to The Vyne, Hampshire, was the first portico applied to an English country house.


title: Portico

text: A pronaos ( or ) is the inner area of the portico of a Greek or Roman temple, situated between the portico's colonnade or walls and the entrance to the "cella", or shrine. Roman temples commonly had an open pronaos, usually with only columns and no walls, and the pronaos could be as long as the "cella". The word "pronaos" () is Greek for "before a temple". In Latin, a pronaos is also referred to as an "anticum" or "prodomus".


title: Portico

text: The different variants of porticos are named by the number of columns they have. The "style" suffix comes from the Greek , "column".


title: Portico

text: The tetrastyle has four columns; it was commonly employed by the Greeks and the Etruscans for small structures such as public buildings and amphiprostyles.


title: Portico

text: The Romans favoured the four columned portico for their pseudoperipteral temples like the Temple of Portunus, and for amphiprostyle temples such as the Temple of Venus and Roma, and for the prostyle entrance porticos of large public buildings like the Basilica of Maxentius and Constantine. Roman provincial capitals also manifested tetrastyle construction, such as the Capitoline Temple in Volubilis.


title: Portico

text: The North Portico of the White House is perhaps the most notable four-columned portico in the United States.


title: Portico

text: Hexastyle buildings had six columns and were the standard façade in canonical Greek Doric architecture between the archaic period 600–550 BCE up to the Age of Pericles 450–430 BCE.


title: Portico

text: Hexastyle was also applied to Ionic temples, such as the prostyle porch of the sanctuary of Athena on the Erechtheum, at the Acropolis of Athens.


title: Portico

text: With the colonization by the Greeks of Southern Italy, hexastyle was adopted by the Etruscans and subsequently acquired by the ancient Romans. Roman taste favoured narrow pseudoperipteral and amphiprostyle buildings with tall columns, raised on podiums for the added pomp and grandeur conferred by considerable height. The Maison Carrée at Nîmes, France, is the best-preserved Roman hexastyle temple surviving from antiquity.


title: Portico

text: Octastyle buildings had eight columns; they were considerably rarer than the hexastyle ones in the classical Greek architectural canon. The best-known octastyle buildings surviving from antiquity are the Parthenon in Athens, built during the Age of Pericles (450–430 BCE), and the Pantheon in Rome (125 CE). The destroyed Temple of Divus Augustus in Rome, the centre of the Augustan cult, is shown on Roman coins of the 2nd century CE as having been built in octastyle.


title: Portico

text: The decastyle has ten columns; as in the temple of Apollo Didymaeus at Miletus, and the portico of University College London.


title: Portico

text: The only known Roman decastyle portico is on the Temple of Venus and Roma, built by Hadrian in about 130 CE.


title: Hawker Siddeley Trident

text: The Hawker Siddeley HS-121 Trident (originally the de Havilland DH.121 and briefly the Airco DH.121) is a British airliner produced by Hawker Siddeley.


title: Hawker Siddeley Trident

text: The Trident's maiden flight happened on 9 January 1962, and it was introduced on 1 April 1964, two months after its main competitor, the Boeing 727.


title: Hawker Siddeley Trident

text: By the end of the programme in 1978, 117 Tridents had been produced. The Trident was withdrawn from service in 1995.


title: Hawker Siddeley Trident

text: The jetliner is powered by three rear-mounted Rolls-Royce Spey low-bypass turbofans, it has a low swept wing and a T-tail.


title: Hawker Siddeley Trident

text: Advanced avionics allowed it to be the first airliner to make a blind landing in revenue service in 1965.


title: Hawker Siddeley Trident

text: The Trident 3 was stretched by to seat 180 over , and had an additional RB.162 booster engine in the tail.


title: Hawker Siddeley Trident

text: In 1953, as British European Airways (BEA) introduced the world's first turboprop-powered civil airliner – the Vickers Viscount – into passenger service, the operator was already considering what would be required of a potential successor. Following the entry into service of jet airliners in 1952, many airline managers and economists remained sceptical, and advocated turboprop airliners as replacements of piston-engined airliners. In 1953, while several manufacturers across the world were investing in pure jet-powered aircraft, BEA chose to favour turboprops on the basis of their superior economics and produced a specification that called for an aircraft capable of seating 100 passengers and attaining a maximum speed of 370 knots. As a result of the BEA specification, Vickers developed an enlarged derivative of the Viscount for BEA, the Vickers Vanguard, which was ordered by the airline on 20 July 1956. By this point, however, the French-built Sud Aviation Caravelle had conducted its maiden flight during the previous year, and BEA was beginning to recognise that jet aircraft could soon be providing stiff competition.


title: Hawker Siddeley Trident

text: In April 1956, Anthony Milward, chief executive of BEA, stated that he "would rather do without [jet airliners]". Nevertheless, in December of that same year Lord Douglas of Kirtleside, BEA's chairman, stated that a number of jet-powered short haul aircraft might need to be introduced while retaining turboprop aircraft as the mainstay of the company's inventory for the foreseeable future. In July 1956, BEA had announced what it called "outline requirements" for a short-haul "second-generation jet airliner", to work alongside its turboprop fleet. It would carry a payload of some or some 70 passengers up to , weigh about , use runways, cruise at a very high speed of , and have "more than two engines". According to aviation author Derek Woods, BEA "wanted something that was faster than the Caravelle which was threatening to be highly competitive". While they were not intended as an express requirement, commentators ever since have taken these figures to constitute a definite call to industry.


title: Hawker Siddeley Trident

text: Four companies prepared projects to match the BEA outline. Bristol proposed the initially four-engined Bristol Type 200. Avro proposed the futuristic Avro 740 trijet before shelving it and joining forces with Bristol and Hawker Siddeley. Vickers proposed the VC11 four-engined airliner, derived from its in-development VC10. The company considered three possible contenders for the specification; two of these were four-engined developments of the early Comet, the world's first jet-powered airliner: the D.H.119 and the D.H.120, the latter being also intended to be offered to British Overseas Airways Corporation (BOAC). In July 1957, de Havilland made another submission in the form of the DH.121; this proposal was furnished with three turbojets, Rolls-Royce Avon engines, and greatly resembled the eventual production aircraft. By August 1957, the DH.121 proposal had been revised; differences included the adoption of the in-development turbofan, the Rolls-Royce Medway, and an expansion to accommodate a maximum of 98 passengers.


title: Hawker Siddeley Trident

text: The DH.121 was to be the world's first trijet airliner. Its designers felt this configuration offered a trade-off between cruising economy and take-off safety in case of an engine failure; moreover, the BEA specification had called for "more than two engines". Each of the three engines would drive its own hydraulic system, offering triple redundancy in case of any of the other systems failing. The engines were to be 13,790 lbf (61.34 kN) Medway engines. The DH.121 was to have a gross weight of or optionally, up to , a range of , and seating for 111 in a two-class layout (or for over 140 in a high-density, single-class layout as typical from the 1960s onwards on inclusive-tour charter flights). The design initially included a cruciform tail layout similar to that of the Caravelle. The engines were clustered at the rear, with the centre engine situated in the extreme rear of the fuselage fed by air ducted through a large oval intake at the front of the fin, a configuration similar to the later Boeing 727; the design eventually settled on a variable-incidence T-tail.


title: Hawker Siddeley Trident

text: From the outset, the DH.121 was planned to employ avionics that were very advanced for the period. Among other capabilities, they would offer automatic approach and landing within a few years of service entry. The avionics were also to have triplicated components for reliability and to allow "majority 2:1 voting" for aircraft guidance during automatic approach and landing. The physical dimensions of most avionics of the period required them to be housed in a large compartment beneath the Trident's flightdeck; the compartment's size was among the factors dictating a distinctive nose undercarriage design, with the nose landing gear offset by to the port side and retracting sideways to stow across the DH.121's longitudinal axis.


title: Hawker Siddeley Trident

text: BEA soon selected the DH.121 as the basis for detailed negotiations, but these talks were protracted due to multiple factors, including wider policy decisions of the British government and indecision within BEA itself. During the time that the DH.121 had emerged in the late 1950s, the British government came to view the airframe and aeroengine industries as too fragmented into small companies; accordingly, a policy favouring mergers into a few large groups was adopted. De Havilland was keen to retain their independence and leadership of the DH.121, so approached the government with a proposal to form a consortium under which de Havilland would produce the fuselage, Bristol would manufacture the wings, and various other companies, including Hunting Aircraft and Fairey Aviation, would be responsible for other elements; however, Bristol strongly opposed this arrangement and chose to work with Hawker Siddeley in competition against de Havilland.


title: Hawker Siddeley Trident

text: Companies vigorously competed to be selected by BEA due to the lure of its £30 million contract (), as well as the likelihood of lucrative overseas export sales. On 4 February 1958, de Havilland, along with Hunting and Fairey, announced that they had agreed to form a partnership for the purpose of manufacturing and marketing the DH.121; the consortium adopted the corporate name of the defunct Airco company, which had been Geoffrey de Havilland's employer during the First World War. The Minister of Supply stated of the Airco consortium that "this is not quite what [he] had in mind". Nevertheless, both Airco and the rival Bristol-Hawker Siddeley team proceeded to conduct their own approaches to various overseas airlines; sufficiently interested, American Pan American World Airways invited both teams to present their proposed airliners in January 1958. Sir Matthew Slattery, chairman of Bristol and Short Brothers, appealed for BEA to delay any decision until after one of the competing firms had already secured an export order for their airliner. In response, Lord Douglas stated that BEA wished to order the DH.121 and was awaiting approval from the government; Douglas's reply has been viewed as the death knell for the rival Type 200 proposal.


title: Hawker Siddeley Trident

text: Meanwhile, a rival airliner emerged, this time from Boeing in the United States, in the form of the 727, which also had a trijet configuration. Boeing had begun its studies into this sector of the market in 1956, and elected to launch its own trijet programme in 1959. Airco executives, who were at the time intensely exploring various alternatives and further partnerships with other aircraft companies, considered the possibility that Boeing might choose to drop the 727 project and instead co-manufacture the DH.121 in the USA; Lord Douglas was one of the proponents of this initiative. As a result, Airco invited a team of Boeing engineers and executives to Hatfield; (Boeing later permitted a return visit by de Havilland representatives to Seattle); however, Boeing revealed few details of their plans for the 727, while virtually all information on the DH.121 had been shared with Boeing, an openness that had allegedly "amazed" them. British commentators have tended to interpret this episode as involving the acquisition of sensitive proprietary data on the DH.121 by a direct competitor. Woods remarked that "de Havilland solemnly handed all its research over to its rivals...the crowning piece of stupidity".


title: Hawker Siddeley Trident

text: On 12 February 1958, the British government authorised BEA to commence contractual negotiations along with the issuing of a letter of intent for 24 aircraft. Accordingly, that same month, BEA announced that the DH.121 had come closest to its requirements and that it would proceed to order 24 with options on 12 more. A further six months were needed for the government to approve a formal BEA order for the DH.121; the government had favoured the Bristol 200 for industrial policy reasons. Reportedly, BEA had a considerable interest in the Caravelle itself, but this would have been a politically unacceptable choice. BEA also favoured , and therefore the Trident submission, due to the firm's established experience with jet airliners with its prior development of the Comet.


title: Hawker Siddeley Trident

text: In April 1958, de Havilland firmed the general configuration of the DH.121 and established a development timetable, including a projected date for the type's maiden flight to be conducted during mid-1961. The company's market research department was forecasting that as many as 550 airliners in its category would be sold by 1965. Noting that a greater preference for the seating dimensions of what would become economy class was emerging amongst airlines, design alterations were made to adopt a slightly larger diameter fuselage to accommodate six-abreast seating, providing for a maximum configuration of 111 seats. According to Woods, this enlarged version of the DH.121 was "on the verge of building the right aeroplane for the market and the success of the Viscount looked like being repeated".


title: Hawker Siddeley Trident

text: In March 1959, BEA, which had become concerned by a recent decline in passenger growth, concluded that the DH.121's payload-range capacity could be too great for their needs and petitioned de Havilland to reduce the scale of the design to suit their revised projections. Fearing that the proposed scale of the Trident was too large, the airline had elected to effectively tear up the programme for its redesigning for their immediate situation. In 1959, BEA had a large fleet in operation and on order, and the issue of overcapacity was a critical concern. The airline's concerns reflected three factors - a short-lived airline recession in the late 1950s; the imminent arrival into service of a large fleet of turboprop Vickers Vanguards, which duplicated the DH.121's general payload-range area; and the growing trend to higher-density seating.


title: Hawker Siddeley Trident

text: Although de Havilland stated that they generally concurred with BEA, its management also stated that they had worked "under terms more onerous than anything D.H. had previously undertaken". Industry observers at the time felt that the British aircraft industry had again stumbled "into the pitfall of having designed exclusively for one customer an aeroplane that has potentially a much wider scope": a sentiment which would be echoed throughout the Trident's subsequent history. The de Havilland board elected to submit to BEA's demand, over-riding input from its own sales and market research departments, which indicated that other airlines sought the larger model, instead. Notably, de Havilland had not yet secured a formal and final BEA order and its competitor Bristol was actively promoting their 200 project, which was significantly smaller than the DH.121. At the time Boeing and Douglas were also downsizing their 727 and DC-9 projects. It was felt the original large DH.121 would have to compete against the Convair 880 and Boeing 720 some four years after their service entries, whereas a cut-back design would be more competitive against the then-projected 75–100 seat, twin-engined DC-9.


title: Hawker Siddeley Trident

text: Downsizing the Trident involved substantial changes to the design being made, including a powerplant change from the Medway to a scaled-down derivative, the 40% less powerful 9,850 lb (43.8 kN) Rolls-Royce Spey 505. The gross weight was cut by about a third to 105,000 pounds (48,000 kilograms), while the range was cut by more than half to , and mixed-class seating was cut by about a quarter to 75 or 80 (97 in a single-class layout). Wing span was reduced by roughly , wing area by 30%, and overall length by . The revised design retained some features of the original one, notably its fuselage diameter. It had a smaller flightdeck and single-axis, two-wheel, four-tyre main undercarriage legs in place of four-wheel bogies. Woods summarised the BEA-mandated redesign as: "At one blow the 121 was emasculated in terms of size, power and range".


title: Hawker Siddeley Trident

text: Six months following BEA's request, de Havilland and the airline came to an agreement on the downsized DH.121. Details of the emerging aircraft, including its pioneering avionics, were announced to the public in early 1960. It was this revised aircraft that BEA ultimately ordered on 24 August 1959, initially in 24 examples with 12 options. In September 1960, the future airliner's name, Trident, was announced at the Farnborough Airshow; this name had been chosen as a reflection of its then-unique three-jet, triple-hydraulic configuration.


title: Hawker Siddeley Trident

text: By 1960, de Havilland had been acquired by the Hawker Siddeley group. After the de Havilland takeover, Airco was disbanded. Hunting was marshalled into the competing newly formed British Aircraft Corporation (BAC); their departure removed any putative possibility of the Hunting 107 (later the BAC One-Eleven) being marketed alongside the DH.121 as a complementary, smaller member of the same airliner family. Fairey Aviation, partially incorporated into Westland Aircraft, also left the DH.121 project. With the move to Hawker Siddeley Aviation, the designation was eventually revised to the HS 121. The reorganisation of the industry had compounded upon the delays caused by BEA's changes to the specification, which had in turn harmed the Trident's competitiveness against the Boeing 727.


title: Hawker Siddeley Trident

text: The rival Boeing 727 had quickly established a lead over the Trident. The 727's early lead only strengthened it in subsequent competitions; one such example is Trans Australia Airlines, which had determined the Trident to be superior to the Boeing 727 from an operational standpoint, but it was also viewed as having been commercially risky to choose a different fleet from rival airlines such as Ansett Australia, which had already selected the 727. In 1972, its unit cost was US$7.8M. By 1975, only 117 Tridents had been sold against over 1,000 727s.


title: Hawker Siddeley Trident

text: According to Woods, a significant opportunity that may have enabled the Trident to catch up with the 727 was lost during the 1960s in the form of two competitions for a maritime patrol aircraft; a NATO design competition to replace the Lockheed P-2 Neptune, and Air Staff Requirement 381, which sought a replacement for the Royal Air Force's piston-engined Avro Shackleton. Amongst the various submissions that had been produced in response was a bid by Avro, part of the Hawker Siddeley Group, which was designated as the Avro 776. The proposed Avro 776 mated the Trident's fuselage with a redesigned and enlarged wing along with more powerful Rolls-Royce RB178 engines capable of 16,300 lb of thrust. In addition to the maritime patrol requirement, Avro envisioned that the aircraft could be used in various military roles, including as a 103-seat troop transport and as being armed with up to four GAM-87 Skybolt air-launched ballistic missiles as a nuclear-armed bomber. In addition to Avro's proposals, Armstrong Whitworth had also proposed their own military variants of the Trident.


title: Hawker Siddeley Trident

text: Later revisions of the Avro 776 substituted the RB.178 engine for the newer turbofan, the Rolls-Royce RB211, the development of the latter being supported by the 776's procurement if selected. Rolls-Royce Limited, having shelved development of the Medway following the Trident's redesign, was keen to develop an engine to slot between the 10,000 lb Spey engine and the 20,000 lb Rolls-Royce Conway engine; if such an engine had been produced, it could have equipped new versions of the civil Trident, as well. Furnished with a more capable engine that could provide more thrust than the Spey could, an extended fuselage could also have been adopted and existing landing restrictions could have been discarded; overall, the Trident would have been a far closer match to the 727. Wood summarised the importance of this prospective development as: "For the Trident programme, the RB.177 would have been a God-send".


title: Hawker Siddeley Trident

text: At one point, the Avro 776 looked set to win the competition to be selected as the RAF's new maritime patrol aircraft. Due to a desire to cut costs, though, the RAF decided to issue an entirely new operational requirement, under which the demands for speed, endurance, and capacity had all been diminished. As a result of the changes, the design team was recalled and the Avro 776 was entirely sidelined for a new proposal. This new proposal, based upon the de Havilland Comet's fuselage, had little to do with the Trident save for the use of its existing Spey engines; this would go on to be selected and procured as the Hawker Siddeley Nimrod. As a result of this loss, prospects for an enlarged, higher-power Trident effectively evaporated.


title: Hawker Siddeley Trident

text: Hawker Siddeley Aviation, which had absorbed de Havilland, needed additional customers for the Trident, so entered into discussions with American Airlines (AA) in 1960. AA requested greater range than what the aircraft initially had, which meant that the original DH121 design would have fulfilled its requirements almost perfectly. In response, design began on a new Trident 1A, powered with up-rated Rolls-Royce Spey 510 engines of 10,700 lbf (47.6 kN) thrust, and a larger wing with more fuel, raising gross weight to and range to , but AA eventually declined the aircraft in favour of the Boeing 727.


title: Hawker Siddeley Trident

text: Some of these changes were added into the original prototype, and it was renamed the Trident 1C. The main difference was a larger fuel tank in the centre section of the wing, raising weights to , and range to . The first Trident 1, "G-ARPA", made its maiden flight on 9 January 1962 from Hatfield Aerodrome.


title: Hawker Siddeley Trident

text: The Trident was a jet airliner of all-metal construction with a T-tail and a low-mounted wing with a quarter-chord sweepback of 35 degrees. It had three rear-mounted engines: two in side-fuselage pods, and the third in the fuselage tailcone, with an S-shaped intake duct. One version, the 3B, had a fourth "boost" engine with a separate intake duct above the main S-duct. All versions were powered by versions of the Rolls-Royce Spey, while the boost engine was a Rolls-Royce RB162, originally intended as a lift engine for VTOL applications.


title: Hawker Siddeley Trident

text: The Trident was one of the fastest subsonic commercial airliners, cruising at over . At introduction into service its cruise Mach Number was 0.88/ 380 kn IAS. Designed for high speed, with a critical Mach number of 0.93, the wing produced relatively limited lift at lower speeds. This, and the aircraft's low thrust-to-weight ratio, called for prolonged takeoff runs. Nevertheless, the Trident fulfilled BEA's field length criterion and its relatively staid airfield performance was deemed adequate before the arrival into service of the Boeing 727 and later jet airliners built to field length criteria. The aerodynamics and wing was developed by a team led by Richard Clarkson, who would later use the Trident wing design as the basis for the wing of the Airbus A300; for the Trident he won the Mullard Award in 1969.


title: Hawker Siddeley Trident

text: The Trident normal descent rate was up to 4500 ft/min (23 m/s). In emergency descents of up to 10,000 ft/min, it was permissible to use reverse thrust. Below 280 kn IAS, it was also possible to extend the main landing gear for use as an airbrake. The Trident's first version, Trident 1C, had the unusual capability of using reverse thrust prior to touchdown. The throttles could be closed in the flare and reverse idle set to open the reverser buckets. At pilot discretion, up to full reverse thrust could then be used prior to touchdown. This was helpful to reduce hydroplaning and give very short landing runs on wet or slippery runways while preserving wheel brake efficiency and keeping wheel brake temperatures low. Brakes were fitted with the Dunlop Maxaret anti-skid system.


title: Hawker Siddeley Trident

text: The Trident had a complex, sophisticated and comprehensive avionics fit which was successful in service. This comprised a completely automatic blind landing system developed by Hawker Siddeley and Smiths Aircraft Instruments. It was capable of guiding the aircraft automatically during airfield approach, flare, touchdown and even roll-out from the landing runway. The system was intended to offer autoland by 1970. In the event, it enabled the Trident to perform the first automatic landing by a civil airliner in scheduled passenger service on 10 June 1965 and the first genuinely "blind" landing in scheduled passenger service on 4 November 1966.


title: Hawker Siddeley Trident

text: The ability to land in fog solved a major problem at London Heathrow and other British airports. Delays were commonplace when Category 1 (Cat 1 = decision height and 600 metre runway visual range RVR) instrument landing system (ILS) was in use. The Trident's autoland system pioneered the use of lower landing minima, initially with Category 2 (100 ft decision height and 400 metres RVR) and soon after "zero-zero" (Category 3C) conditions. Since Tridents could operate safely to airfields equipped with suitable ILS installations, they could operate schedules regardless of weather, while other aircraft were forced to divert.


title: Hawker Siddeley Trident

text: The Trident's advanced avionics displayed the aircraft's momentary position relative to the ground on a moving map display on the centre instrument panel. This electro-mechanical device also recorded the aircraft's track using a stylus plotting on a motor-driven paper map. Positional information was given by a Doppler navigation system which read groundspeed and drift data which, alongside heading data, drove the stylus.


title: Hawker Siddeley Trident

text: The Trident was the first airliner fitted with a quick access flight data recorder. This sampled 13 variables, converted them into a digital format, and stored them on magnetic tape for ground analysis.


title: Hawker Siddeley Trident

text: The first Trident entered service on 1 April 1964. By 1965, 15 Tridents were in BEA's fleet, and by March 1966, the fleet had increased to 21.


title: Hawker Siddeley Trident

text: Hawker Siddeley then proposed an improved 1C, the Trident 1E. This would be powered by 11,400 lbf (50.7 kN) Spey 511s, have a gross weight of , an increased wing area by extending the chord, and the same fuselage, but with up to 140 seats in a six-abreast configuration. This specification took the 1C closer to the larger concept of the original DH121, but with 7,000 lbf (31 kN) less thrust. Only a few sales of the new design were made, three each for Kuwait Airways and Iraqi Airways, four for Pakistan International Airlines (later sold to CAAC), two each for Channel Airways and Northeast Airlines, and one for Air Ceylon. Channel Airways' aircraft were equipped with cramped, seat pitch, seven-abreast seating in the forward section, seating 149 passengers.


title: Hawker Siddeley Trident

text: At this point, BEA decided that the Trident was too short-legged for its ever-expanding routes, and that an even longer-ranged version was needed. responded with another upgrade designated Trident 1F. It would have the Spey 511 engines, a 2.8 m fuselage stretch, a gross weight of and up to 128 seats in the original five-abreast configuration. BEA planned to buy 10 1Fs, plus an option for 14 further aircraft.


title: Hawker Siddeley Trident

text: As work continued on the 1F the changes became so widespread that it was renamed the Trident 2E, E for "Extended Range". Now powered by newer Spey 512s with 11,930 lbf (53.1 kN) thrust, it also replaced wing leading-edge droop flaps with slats, and extended the span with Küchemann-style tips. It had a gross weight of and a range.


title: Hawker Siddeley Trident

text: BEA bought 15, while two were bought by Cyprus Airways. CAAC, the Chinese national airline, bought 33. The first flight of this version was made on 27 July 1967 and it entered service with BEA in April 1968.


title: Hawker Siddeley Trident

text: Subsequently, the Trident was becoming the backbone of BEA's fleet and BEA wanted an even larger aircraft. offered two new designs in 1965: a larger 158-seat two-engine aircraft otherwise similar to the Trident known as the HS132; and the 185-seat HS134, which moved the engines under the wings, a design very similar to the Boeing 737. Both were to be powered by a new high-bypass engine under development at the time, the Rolls-Royce RB178. BEA instead opted for Boeing 727s and 737s to fill the roles of both the BAC 1–11 and Trident, but this plan was vetoed by the British government.


title: Hawker Siddeley Trident

text: BEA returned to Hawker Siddeley and chose a stretched version of the basic Trident, the Trident 3. A fuselage stretch of made room for up to 180 passengers; raised the gross weight to and made modifications to the wing to increase its chord; the engines remained the same. BEA rejected the design as being unable to perform adequately in "hot and high" conditions, in light of such issues experienced with the Trident 2E. Since the Spey 512 was the last of the Spey line, extra thrust would be difficult to obtain. Instead of attempting to replace the three engines with a completely different type, which would have been difficult with one engine buried in the tail, 's engineers decided to add a fourth engine in the tail, the tiny Rolls-Royce RB162 turbojet, fed from its own intake behind a pair of movable doors. The engine added 15% more thrust for takeoff, while adding only 5% more weight, and it would only be used when needed. BEA accepted this design as the Trident 3B, and ordered 26. The first flight was on 11 December 1969 and the aircraft entered service on 1 April 1971. Addition of extra fuel capacity resulted in the Super Trident 3B.


title: Hawker Siddeley Trident

text: The Trident experienced some key export sales, particularly to China. Following a thawing of relations between Britain and the People's Republic of China, China completed several purchase deals and more than 35 Tridents were eventually sold.


title: Hawker Siddeley Trident

text: In 1977, fatigue cracks were discovered in the wings of British Airways' Tridents. The aircraft were ferried back to the manufacturer and repaired, then returned to service.


title: Hawker Siddeley Trident

text: The beginning of the Trident's end came in the early 1980s, since ICAO began drafting noise regulations that would require first- and second-generation jet airliners to fit hush kits to the engines. These regulations would go into effect on 1 January 1986. British Airways, the type's main operator, saw the required refits as not viable and instead chose to phase the Trident out of their fleet in 1985. The Trident's services in China ended in 1995, marking its permanent retirement from service.


title: Hawker Siddeley Trident

text: Only 117 Tridents were produced, and are no longer in service. In contrast, 1832 Boeing 727 aircraft (designed to the Trident's original specification) were built and the last continued in passenger service until 2019.


title: Orecchiette

text: Orecchiette (; singular ; ) are a pasta typical of Apulia, a region of Southern Italy. Their name comes from their shape, which resembles a small ear.


title: Orecchiette

text: An orecchietta has the shape of a small dome, with its center thinner than its edge, and with a rough surface. Like other kinds of pasta, orecchiette are made with durum wheat and water. Eggs are rarely used. In traditional Southern Italian home cooking, the dough is rolled, then cut into cubes. Each cube is pressed with a knife, dragging it on the board and making it curl (making a "cavatello"). The shape is then inverted over the thumb.


title: Orecchiette

text: In Cisternino "orecchiette" are made with durum wheat; they are larger and take on a different shape, with deep internal ribs, very similar to an ear. They are defined — that is, "priest's ears". The typical dish of holidays is orecchiette with rabbit ragout.


title: Orecchiette

text: "Cavatelli", "strascinati" (, in the vernacular of Bari) and "cencioni" are made like orecchiette, without the final step of forming a concave shape. Strascinati and cencioni are typically larger than orecchiette.


title: Orecchiette

text: The traditional dish from Apulia is "orecchiette alle cime di rapa", a dish of orecchiette and rapini, also called turnip tops. Broccoli or cauliflower are also widely used as an alternative. Particularly around Capitanata and Salento, orecchiette are traditionally also dressed with tomato sauce (), sometimes with miniature meatballs or a sprinkling of "ricotta" or "ricotta forte".


title: Orecchiette

text: The Italian cookbook "Il cucchiaio d'argento" (with an English translation "The Silver Spoon") suggests that orecchiette are ideal for vegetable sauces.


title: Photo Booth

text: Photo Booth is a software application for taking photos and videos with an iSight camera. It is published by Apple Inc. as part of macOS and iPadOS (on the iPad and iPad Mini available starting with the iPad 2).


title: Photo Booth

text: Photo Booth was released in October 2005 and was originally available only on Macintosh computers that had a built-in iSight camera running Mac OS X Tiger (version 10.4).


title: Photo Booth

text: Photo Booth displays a preview showing the camera's view in real time. Thumbnails of saved photos and videos are displayed along the bottom of this window, obscuring the bottom of the video preview. These can be shown or played by clicking on the thumbnails.


title: Photo Booth

text: By default, Photo Booth's live preview and captured images are reversed horizontally, to simulate the user looking into a mirror; an option provides unreversed images.


title: Photo Booth

text: After the picture is taken effects can be applied by clicking on the "Effects" button. Photo Booth has two sets of image effects that can be applied when taking a picture. The first set contains photographic filters similar to those in Adobe Photoshop; additional effects may be downloaded from websites. Another set allows replacing the background with a custom backdrop.


title: Photo Booth

text: From Mac OS X 10.5 Leopard till macOS 10.15 Catalina, the user could apply backdrops to provide an effect similar to a green screen. When a backdrop was selected, a message appeared telling the user to step away from the camera. Once the background was analyzed, the user stepped back in front of the camera and was shown in front of the chosen backdrop.


title: Alex (parrot)

text: Alex (May 1976 – 6 September 2007) was a grey parrot and the subject of a thirty-year experiment by animal psychologist Irene Pepperberg, initially at the University of Arizona and later at Harvard University and Brandeis University. When Alex was about one year old, Pepperberg bought him at a pet shop. In her book "Alex & Me", Pepperberg describes her unique relationship with Alex and how Alex helped her understand animal minds. Alex was an acronym for avian language experiment, or avian learning experiment. He was compared to Albert Einstein and at two years old was correctly answering questions made for six-year-olds.


title: Alex (parrot)

text: Before Pepperberg's work with Alex, it was widely believed in the scientific community that a large primate brain was needed to handle complex problems related to language and understanding; birds were not considered to be intelligent, as their only common use of communication was mimicking and repeating sounds to interact with each other. However, Alex's accomplishments supported the idea that birds may be able to reason on a basic level and use words creatively. Pepperberg wrote that Alex's intelligence was on a level similar to dolphins and great apes. She also reported that Alex seemed to show the intelligence of a five-year-old human in some respects, and had not reached his full potential by the time he died. She believed that he possessed the emotional level of a two-year-old human at the time of his death.


title: Alex (parrot)

text: Animal psychologist Irene Pepperberg bought Alex at a pet store while working as a researcher at Purdue University. She believes that Alex may have had his wings clipped when he was young, which could have prevented him from learning to fly.


title: Alex (parrot)

text: Alex's training used a model/rival technique, in which the student (Alex) observes trainers interacting. One of the trainers models the desired student behavior, and is seen by the student as a rival for the other trainer's attention. The trainer and model/rival exchange roles so the student can see that the process is interactive. Pepperberg reported that during times when she and an assistant were having a conversation and made mistakes, Alex would correct them.


title: Alex (parrot)

text: This technique helped Pepperberg succeed with Alex where other scientists had failed in facilitating two-way communication with parrots. In later years, Alex sometimes assumed the role of one of Pepperberg's assistants by acting as the "model" and "rival" in helping to teach a fellow parrot in the lab. Alex sometimes practiced words when he was alone.


title: Alex (parrot)

text: Pepperberg did not claim that Alex could use "language", instead saying that he used a two-way communications code. Listing Alex's accomplishments in 1999, Pepperberg said he could identify 50 different objects and recognize quantities up to six; that he could distinguish seven colors and five shapes, and understand the concepts of "bigger", "smaller", "same", and "different", and that he was learning "over" and "under". Alex passed increasingly difficult tests measuring whether humans have achieved Piaget's Substage 6 object permanence. Alex showed surprise and anger when confronted with a nonexistent object or one different from what he had been led to believe was hidden during the tests.


title: Alex (parrot)

text: Alex had a vocabulary of over 100 words, but was exceptional in that he appeared to have understanding of what he said. For example, when Alex was shown an object and asked about its shape, color, or material, he could label it correctly. He could describe a key as a key no matter what its size or color, and could determine how the key was different from others. Looking at a mirror, he said "what color", and learned the word "grey" after being told "grey" six times. This made him the first and only non-human animal to have ever asked a question, let alone an existential one (Apes who have been trained to use sign-language have so far failed to ever ask a single question). Alex's ability to ask questions, as well as to answer to Pepperberg's questions with his own questions, is documented in numerous articles and interviews.


title: Alex (parrot)

text: Alex was said to have understood the turn-taking of communication and sometimes the syntax used in language. He called an apple a "banerry" (pronounced as rhyming with some pronunciations of "canary"), which a linguist friend of Pepperberg's thought to be a combination of "banana" and "cherry", two fruits he was more familiar with.


title: Alex (parrot)

text: Alex could add, to a limited extent, correctly giving the number of similar objects on a tray. Pepperberg said that if he could not count, the data could be interpreted as his being able to estimate quickly and accurately the number of something, better than humans can. When he was tired of being tested, he would say "Wanna go back", meaning he wanted to go back to his cage, and in general, he would request where he wanted to be taken by saying "Wanna go ...", protest if he was taken to a different place, and sit quietly when taken to his preferred spot. He was not trained to say where he wanted to go, but picked it up from being asked where he would like to be taken.


title: Alex (parrot)

text: If the researcher displayed irritation, Alex tried to defuse it with the phrase, "I'm sorry." If he said "Wanna banana", but was offered a nut instead, he stared in silence, asked for the banana again, or took the nut and threw it at the researcher or otherwise displayed annoyance, before requesting the item again. When asked questions in the context of research testing, he gave the correct answer approximately 80 percent of the time.


title: Alex (parrot)

text: Once, Alex was given several different colored blocks (two red, three blue, and four green—similar to the picture above). Pepperberg asked him, "What color three?" expecting him to say blue. However, as Alex had been asked this question before, he seemed to have become bored. He answered "five!" This kept occurring until Pepperberg said "Fine, what color five?" Alex replied "none". This was said to suggest that parrots, like humans, get bored. Sometimes, Alex answered the questions incorrectly, despite knowing the correct answer.


title: Alex (parrot)

text: Preliminary research also seems to indicate that Alex could carry over the concept of four blue balls of wool on a tray to four notes from a piano. Pepperberg was also training him to recognize the symbol "4" as "four". Alex also showed some comprehension of personal pronouns; he used different language when referring to himself or others, indicating a concept of "I" and "you".


title: Alex (parrot)

text: In July 2005, Pepperberg reported that Alex understood the concept of zero. If asked the difference between two objects, he also answered that; but if there was no difference between the objects, he said "none", which meant that he understood the concept of nothing or zero. In July 2006, Pepperberg discovered that Alex's perception of optical illusions was similar to human perception.


title: Alex (parrot)

text: Pepperberg was training Alex to recognize English graphemes, in the hope that he would conceptually relate an English written word with the spoken word. He could identify sounds made by two-letter combinations such as SH and OR.


title: Alex (parrot)

text: Alex's death on 6 September 2007, at age 31, came as a surprise, as the average life span for a grey parrot in captivity is 45 years. His last words ("You be good, I love you. See you tomorrow.") were the same words that he would say every night when Pepperberg left the lab.


title: Alex (parrot)

text: Some academics are skeptical of Pepperberg's findings, asserting without data or peer-reviewed publication concerning Alex's data, that Alex's communications is operant conditioning. Nim Chimpsky, a chimpanzee, was thought to be using language, but there is some debate over whether he simply imitated his teacher. Herbert Terrace, who worked with Nim Chimpsky, says he thinks Alex performed by rote rather than by using language; without peer-reviewed publication he claims Alex's responses are "a complex discriminating performance", adding that he believes that in every situation, "there is an external stimulus that guides his response."


title: One in a Million (Aaliyah album)

text: One in a Million is the second studio album by American singer Aaliyah. It was released on August 13, 1996, by Blackground Records and Atlantic Records. Recorded from August 1995 to July 1996, the album features collaborations with a variety of producers and writers, including Timbaland, Missy Elliott, Carl-So-Lowe, J. Dibbs, Jermaine Dupri, Kay Gee, Vincent Herbert, Rodney Jerkins, Craig King, Darren Lighty and Darryl Simmons, as well as several guest appearances, including those from Elliott, Timbaland, Treach and Slick Rick.


title: One in a Million (Aaliyah album)

text: "One in a Million" garnered generally positive reviews from music critics. It debuted at number 20 on the US "Billboard" 200 chart, selling 40,500 copies during its first week and later peaked at number 18; following its 2021 reissue, it reached a new peak at number 10. Within several months, the album was certified double platinum by the Recording Industry Association of America (RIAA). It has sold over three million copies in the United States and eight million worldwide.


title: One in a Million (Aaliyah album)

text: "One in a Million" produced six singles—"If Your Girl Only Knew", "Got to Give It Up", "One in a Million", "4 Page Letter", "The One I Gave My Heart To" and "Hot Like Fire"—with "The One I Gave My Heart To" becoming the album's highest-charting single, peaking at number nine on the US "Billboard" Hot 100. Retrospectively, the album has been listed among the best albums of its era by numerous critics and has been credited for elevating careers of Timbaland and Elliott.


title: One in a Million (Aaliyah album)

text: After Aaliyah's uncle Barry Hankerson obtained a distribution deal with Jive Records, he signed her to his label Blackground Records when she was 12 years old. He introduced her to R. Kelly, who became her mentor, as well as the lead songwriter and producer for her debut studio album "Age Ain't Nothing but a Number" (1994). A commercial success, the album was certified double platinum by the Recording Industry Association of America (RIAA), selling three million copies in the United States and six million worldwide. To promote the album, Aaliyah embarked on a 1994–1995 world tour throughout the US, Europe, Japan and South Africa.


title: One in a Million (Aaliyah album)

text: After facing allegations of an illegal marriage with Kelly, Aaliyah ended her contract with Jive and signed with Atlantic Records. According to Aaliyah's cousin and Blackground Records executive Jomo Hankerson, the music industry "villainized" Aaliyah for her scandal with Kelly and it was hard to get producers for "One in a Million". In an interview, he said: "We were coming off of a multi-platinum debut album and except for a couple of relationships with Jermaine Dupri and Puffy, it was hard for us to get producers on the album." Aaliyah commented on the situation by saying: "I faced the adversity, I could've broken down, I could've gone and hid in the closet and said, 'I'm not going to do this anymore.' But I love singing, and I wasn't going to let that mess stop me. I got a lot of support from my fans and that inspired me to put that behind me, be a stronger person, and put my all into making "One in a Million"."


title: One in a Million (Aaliyah album)

text: In a press release accompanying "One in a Million", Aaliyah admitted to being "a little anxious about jumping from Jive to Atlantic and changing up her sound, but that uncertainty never filters into the music." However, with a new distributing deal with Atlantic and a new team of producers, "One in a Million" was going to re-establish Aaliyah's fanbase and broaden her mainstream appeal, as the album featured a wide range of producers, unlike "Age Ain't Nothing but a Number", which was produced solely by Kelly. Additionally, with the release of "One in a Million", Aaliyah adapted a sexier image, which was quickly noticed by the public. In a 1997 article discussing the music video for "One in a Million", MTV staff felt that Aaliyah was getting "all grown up and steamy in the video", to which Aaliyah responded by saying "as far as it being sexy, I would prefer to say sensual. Sensual is being in tune with your sensual self. Sexy, I mean that's in the eye of the beholder, such as beauty is in the eye of the beholder. So if people term it sexy, it's different. So I just think it's being sensual, I would rather term it as that."


title: One in a Million (Aaliyah album)

text: "One in a Million" was recorded from August 1995 until July 1996, with Craig Kallman, Barry Hankerson and Jomo Hankerson serving as executive producers. Other producers involved in crafting the album include Rodney Jerkins, Jermaine Dupri, Daryl Simmons, Vincent Herbert, Craig King, Carl-So-Low, KayGee from Naughty by Nature, Missy Elliott and Timbaland. While speaking with "Billboard" about the development of the album, Atlantic Records' product-development director Eddie Santiago mentioned: "We wanted Aaliyah to keep growing, so we didn't want to have the same suspects on her new project". In the same interview, Aaliyah discussed the direction of the album: "I wanted to maintain my smooth street musical image but wanted to be funky and hot yet sophisticated". With "One in a Million", Aaliyah was more involved with crafting the album's material by taking co-writing credits and assisting in the creative direction of the project. She co-wrote and was involved with the vocal arrangement of the song "No Days Go By", which was produced by Herbert and King along with Rheji Burrell. Initially, Sean Combs was to helm the production of "One in a Million" but the songs in which he collaborated with Aaliyah were never finished. According to Aaliyah, "I went to [Combs'] studio in Trinidad for a week, we started working together but we couldn't finish the songs on time. I had to leave, because I had to go to Atlanta to record with Jermaine Dupri."


title: One in a Million (Aaliyah album)

text: After plans to have Combs produce the album fell through, Herbert and King were the first producers asked to work on the album. King stated: "We came in right as she got her budget ready to go. Vincent and I were the first people she called, we were the first group. That's why we had so much freedom to go in and create a sound because we didn't have to do a song here or there. They wanted us to go in and build a sound. We built a sound and it was a departure from R. Kelly." Aaliyah recorded about eight songs with King at the Vanguard Studios. King stated: "We did about eight songs and out of the eight, four made it", including a cover of "Got to Give It Up" by Marvin Gaye and "Never Givin' Up". Aaliyah decided to cover "Got to Give It Up" because she "wanted some real party songs, so when my uncle played me that [original track], I thought of how I could make it different. Slick Rick [who had been in jail] was on work release at the time, so Vincent got him on the song", adding: "I don't know how Marvin Gaye fans will react, but I hope they like it, I always think it's a great compliment when people remake songs. I hope one day after I'm not here that people will cover my songs".


title: One in a Million (Aaliyah album)

text: "Never Givin' Up" was written by King and Monica Payne, and according to King, "We started to work on the track, writing lyrics. She sat on the floor and the first line, 'Sitting here in this empty room,' because the room was fairly empty because I had just moved into that house". The song was King's way of showing love to The Isley Brothers; it was also an ode to the gospel group The Clark Sisters. Originally, the song was meant to be a solo song but after Aaliyah heard an earlier demo with singer Tavarius Polk, she loved his voice and the producers decided to keep him on the song, which turned it into a duet. The song was recorded in one session, with Aaliyah recording the song with the lights turned completely off in the recording booth so people could not see her face. After recording songs with King and Herbert, Aaliyah then went to Atlanta to meet with Carl-So-Lowe and Dupri, with whom she ended up collaborating with for three to four days. In an interview, Lowe mentioned: "I believe Jomo, Barry Hankerson's son, reached out to So So Def and I think it happened from there. I knew she was coming to Atlanta, and we had nothing prepared at the time". Meanwhile, Aaliyah wanted to record songs that were "simplified" and "really good".


title: One in a Million (Aaliyah album)

text: Once Aaliyah signed with Atlantic, she and Kallman discussed that it was important to find innovative producers who were not widely known to produce the album, as the ultimate goal was to find Aaliyah her own new sound which would define her as an artist. Eventually, Kallman started meeting with multiple unknown songwriters and producers, stating: "I really just started meeting with tons and tons of new songwriters and producers, just looking for someone creative that had their own spin on things. And one day, this young kid came in. His name was Tim Mosley. He started playing me beats and it was a really obvious meeting of, 'This doesn't sound like anything that's out there and really had its own super exciting and electric, just dynamic properties." According to Kallman, "I called up Aaliyah, and I said, 'You need to meet this guy. His name's Timbaland, and he's new. He's out of the Devonte [Swing] camp.' I said 'I think this could be your muse to really create something special.' And they hit it off".


title: One in a Million (Aaliyah album)

text: Prior to meeting Timbaland and Elliott Aaliyah's label received a demo from them, of a song called "Sugar and Spice". The label felt that the song was too childish content-wise but they liked both its structure and melody so they sent it to Aaliyah. After hearing the song, she thought that record was the best thing that she had ever heard. Consequently, Timbaland and Elliott were flown to Detroit to work with her. Aaliyah stated: "At first, Tim and Missy were skeptical if I would like their work, but I thought it was tight, just ridiculous. Their sound was different and unique, and that's what appealed to me", adding: "Before we got together, I talked to them on the phone and told them what I wanted. I said, 'You guys know I have a street image, but there is a sexiness to it, and I want my songs to complement that'; I told them that before I even met them. Once I said that, I didn't have to say anything else. Everything they brought me was the bomb." Subsequently, Aaliyah began recording with Timbaland and Elliott at the Vanguard Studios in Detroit; the first songs she recorded for the album with the duo were "One in a Million" and "If Your Girl Only Knew". After spending a week recording songs at the Vanguard Studios, the trio flew to Ithaca, New York, to work on more songs at the Pyramid Studios.


title: One in a Million (Aaliyah album)

text: The song "The One I Gave My Heart To" came into fruition when Diane Warren expressed interest in working with Aaliyah; Warren said: "I remember really liking Aaliyah and wanting to work with her." Warren reached out to Kallman to express her wish to work with Aaliyah and Kallman agreed to the collaboration. Warren's goal in working with Aaliyah was to have her perform a certain song that she would not have normally performed to showcase a different side of her, which included displaying her vocal range in a different way than what she was used to doing. Once Warren was on board, producer Babyface was chosen to produce the song. Due to unforeseen circumstances, he was unable to complete the work, so he enlisted producer Daryl Simmons to replace him instead.


title: One in a Million (Aaliyah album)

text: Simmons would go on to produce the album version of the song, while producer Guy Roche would go on to produce the single version.


title: One in a Million (Aaliyah album)

text: According to Micha Frazer-Carroll from "The Independent", "One in a Million" "had a bold, expansive vision, with tracks effortlessly bouncing from trip-hop to sensual slow jams to jungle beats". The album opens with an "alarm call" from the jungle-inspired intro "Beats 4 Da Streets", featuring commentary from Missy Elliott. Throughout the intro, Elliott repeatedly calls Aaliyah's name and tells her to wake up, while various sounds such as echoing amid bells, blippy synths, and heavy bass are playing in the background.


title: One in a Million (Aaliyah album)

text: The second track "Hot Like Fire" is a "fine" trip hop song and it is described as a "panting minimalist controlled-blaze baby-maker" with suggestive lyrics. On "Hot Like Fire", Aaliyah "hums and moans promises to her new bae that his patience will be rewarded". The album's title track is an ethereal club ballad with "seductive" trip hop, funk, electronica, and drum and bass influences; it features "shimmering" synths and crickets within its production. On "One in a Million", Aaliyah "communicates love and commitment to her man."


title: One in a Million (Aaliyah album)

text: The fourth track "A Girl Like You" is a hip hop-inspired track with a "standard 90s boom-bap beat", where Aaliyah "holds her own" against featured rapper Treach from Naughty by Nature. During the chorus, both Aaliyah and Treach engage in a "cute back-and-forth". The fifth track "If Your Girl Only Knew" is a "bouncing" funk, pop and hip hop song described by critics as "teasingly witchy". On "If Your Girl Only Knew", Aaliyah "chides a man for hitting on her when he already has a girlfriend". The song features heavy keyboard and organ work along with live drums and a thumping bassline. The sixth and seventh tracks "Choosey Lover (Old School/New School)" and "Got to Give It Up" are both covers, of songs originally performed by The Isley Brothers and Marvin Gaye, respectively, with the latter featuring a guest appearance from rapper Slick Rick. "Choosey Lover (Old School/New School", "mimics the 1983 original faithfully for the first four minutes before departing into a more modern extended outro". While, on "Got to Give It Up", Aaliyah places her falsetto "toe to toe against the liquid overlapping rhyme scheme of hip hop's ultimate storyteller Slick Rick". On the eighth track "4 Page Letter", Aaliyah tells her "crush to keep an eye out for the mailman" because she has sent him a love letter, while recalling and following her parents' advice.


title: One in a Million (Aaliyah album)

text: The ninth track "Everything's Gonna Be Alright" has been described as a "carefree anthem for the summertime block party", while the tenth track "Giving You More" was described as being a suggestive song with Aaliyah playing a "reassuring lover". The eleventh track "I Gotcha' Back" has been described as a "jeep-friendly" mid-tempo G-funk song and contains an interpolation from the song "Lean on Me" performed by Bill Withers. On "I Gotcha' Back", Aaliyah is promising devotion to her potential boyfriend: "When no one else is there, with me you can chill". The twelfth track "Never Givin' Up" is a duet with singer Tavarius Polk, as Aaliyah "plays reassuring lover" on the song. While the jungle-inspired thirteenth track "Heartbroken" has been described as being a "beautifully composed ballad" in which, "drums fill out the space surrounding the low, shifting two-tone synth hum that serves as the song's backbone". On "Heartbroken", Aaliyah is "tired of being the more loving one in a lousy relationship and she's tired of having her heart broken".


title: One in a Million (Aaliyah album)

text: The fourteenth track "Never Comin' Back" features "Timbaland aping the sound of a live band vamping on a laid back groove, while Aaliyah does a call-and-response harmony routine with an imaginary concert audience over canned crowd noise". On the song, Aaliyah is "Feeling used in a relationship, she stands up for herself and dumps the bum". The fifteenth track "Ladies in da House" features guest appearances from both Missy Elliott and Timbaland. The sixteenth track "The One I Gave My Heart To" is a Pop and R&B power ballad, where Aaliyah is "highlighting a broken heart and sense of betrayal". In a review by "Billboard", the production of the song was described as having a "careful balance of straight ahead pop and R&B sensibilities in producer Guy Roche's instrumental arrangement". The final track on the album is the outro "Came to Give Love", featuring Timbaland.


title: One in a Million (Aaliyah album)

text: The cover artwork and overall packaging for "One in a Million" were photographed by Marc Baptiste, who had previously photographed Aaliyah's cover shoot for "Seventeen". After the "Seventeen" cover shoot, Baptiste and Aaliyah crossed paths again through mutual friend Kidada Jones. Baptiste stated: "I ran into my friend Kidada Jones who is Quincy Jones' daughter. They were really good friends back then. She introduced us at The Mercer Hotel. We got along great and the next thing I know, 'I'm going to put my album out. Let's meet.'" A month later, the two met to discuss possible concepts for the artwork and after hearing his ideas, Aaliyah decided that she wanted to work with him.


title: One in a Million (Aaliyah album)

text: The photo shoot for "One in a Million" lasted from 9 a.m. until 11 p.m. at various locations in New York City, with the album cover itself being photographed at the Canal Street station late into the session, between 10:30 p.m. and 11 p.m. On the concept for the artwork, Baptiste said: "I wanted to keep her real. The fact that she grew up in Detroit and was born in Brooklyn, I wanted to give the album cover a street-chic vibe so that she's more approachable to an audience. I didn't want to bring her in a Bentley or anything like that. That wasn't her. She was a down to Earth person. I wanted to keep it street chic and play off her beauty".


title: One in a Million (Aaliyah album)

text: In an effort to generate visual awareness for "One in a Million", Aaliyah's record label Blackground Records ran advertisements from June 24 to July 8, 1996 on cable channels such as BET and The Box. The music video for the album's lead single "If Your Girl Only Knew" was serviced to both local and national video shows on July 8. Immediately after "If Your Girl Only Knew" and its accompanying video were released, the label went on a heavy print-ad campaign featuring Aaliyah in "Seventeen", "The Source" and other media publications. Due to Aaliyah's outstanding academic performance in school, Blackground planned to run advertisements in "React", an educational teen publication inserted in various daily and weekly papers across the United States. Since Aaliyah was an advocate for breast-cancer screenings and crusades against Alzheimer's disease, Blackground also planned for her to do a series of public service announcements on those subjects. "One in a Million" was first released in European countries starting August 13, and was released in the US two weeks later. An international promotional tour was planned in support of the album, in which she would tour from late summer until the early fall of 1996 in the US and towards the end of September in the United Kingdom, Germany, South Africa and Japan.


title: One in a Million (Aaliyah album)

text: In September, Aaliyah made an appearance at MTV's sixth annual "Rock N' Jock" event, which aired on October 26. During the event, she participated in a celebrity basketball game and performed her song "If Your Girl Only Knew" during the halftime show. On October 11, 1996 Aaliyah performed on "Soul Train" ; at the end of the month on October 24, she made an appearance on the British show The O-Zone. Aaliyah made an appearance on the Fox television series "New York Undercover"s January 16, 1997 episode as a musical guest, performing "Choosey Lover (Old School/New School)". On February 14, Aaliyah performed "One in a Million" on "Live with Regis and Kathie Lee" ; Four days later on February 18, she performed the song on "The Tonight Show with Jay Leno". On February 21, 1997 Aaliyah Performed "If Your girl Only Knew" and "One in a Million", on "Showtime at the Apollo". In March, Aaliyah made an appearance at the annual "MTV Spring Break" event in Panama City, Florida. During the event, Aaliyah performed "One in a Million" and hosted a segment from "The Grind", where she interviewed the Spice Girls before their performance. Aaliyah was also planning a 1997 tour with Az Yet and Foxy Brown, but the plans never materialized.


title: One in a Million (Aaliyah album)

text: On July 25, 1997 it was announced that Aaliyah was performing at KUBE 93 FM's Summer Jam '97 concert at The Gorge Amphitheatre in Grant County, Washington. In August, "MTV News" reported that she was going on a nationwide tour with Dru Hill, Ginuwine, Bone Thugs-n-Harmony and Mary J. Blige. The tour started on August 28 in Buffalo, New York and ended on October 5 in Phoenix, Arizona. In August, Aaliyah made a televised appearance on the short-lived talk show "Vibe", where she performed "Hot Like Fire" and gave the show's host a gift basket filled with promotional items. She also performed at KKBT's annual Summer Jam concert at the Irvine Meadows Amphitheatre in Irvine, California the same month. In September, Aaliyah performed "One in a Million" on the Nickelodeon sketch comedy show "All That". On October 6, 1997 Aaliyah performed "The One I Gave My Heart To", on "The Keenen Ivory Wayans Show". Thirteen days later, she performed "The One I Gave My Heart To" at Nickelodeon's fourth annual The Big Help event in Santa Monica, California. On November 26, 1997 she performed "The One I Gave My Heart To" on the "BET" show "Planet Groove". On December 10, Aaliyah performed "The One I Gave My Heart To" at the UNICEF Gift of Song benefit gala, which aired live on TNT. Also in December, she performed on the annual "Christmas in Washington" television special. Aaliyah also co-headlined the B-96 B-Bash, hosted by the Chicago radio station B96.


title: One in a Million (Aaliyah album)

text: In August 2021, it was reported that the album and Aaliyah's other recorded work for Blackground (since rebranded as Blackground Records 2.0) would be re-released on physical, digital, and streaming services in a deal between the label and Empire Distribution. "One in a Million" was reissued on August 20, 2021, despite Aaliyah's estate issuing a statement in response to Blackground 2.0's announcement, denouncing the "unscrupulous endeavor to release Aaliyah's music without any transparency or full accounting to the estate".


title: One in a Million (Aaliyah album)

text: "If Your Girl Only Knew" was released as the lead single from "One in a Million" on July 15, 1996. It peaked at number 11 on the US "Billboard" Hot 100, and has sold over 600,000 copies in the United States. The song peaked atop the Hot R&B/Hip-Hop Songs, staying at the summit for two consecutive weeks. It was a moderate success in the United Kingdom, peaking at number 21 on the UK Singles Chart when it was originally released as a standalone single. In 1997, it was re-released with "One in a Million" as a double A-side single and reached a new peak position of number 15. The song also peaked within the top ten on both the UK Dance Chart and the UK R&B Chart at numbers six and four, respectively.


title: One in a Million (Aaliyah album)

text: "Got to Give It Up" was released as the second single in select international markets on November 4, 1996. It peaked at numbers 37 and 34 in New Zealand and the UK, respectively. "Got to Give It Up" peaked at numbers ten and four on the UK Dance Chart and the UK R&B Chart, respectively.


title: One in a Million (Aaliyah album)

text: "One in a Million" was released as the second single in the United States and third overall on November 26. In the US, the song was ineligible to enter the "Billboard" Hot 100 and Hot R&B/Hip-Hop Songs due to its airplay-only release, as "Billboard"s rules at the time allowed only commercially-available singles to chart. Consequently, it peaked at number 25 on the Radio Songs chart and atop R&B/Hip-Hop Airplay. The song peaked at number 15 on the UK Singles Chart and reached numbers five and four on the UK Dance Chart and the UK R&B Chart, respectively.


title: One in a Million (Aaliyah album)

text: "4 Page Letter" was released as the fourth single on March 18, 1997. Like its predecessor, the song was released as an airplay-only single in the US, therefore was able to enter only airplay charts. It peaked at number 59 on the Radio Songs and at number 12 on the R&B/Hip-Hop Airplay charts. Internationally, it peaked at number 24 on the UK Singles Chart and numbers 14 and nine on the UK Dance Chart and the UK R&B Chart, respectively.


title: One in a Million (Aaliyah album)

text: "The One I Gave My Heart To" was released as the fifth single on August 25. It debuted at number 24 on the "Billboard" Hot 100 and went on to peak at number nine, becoming the highest-peaking single from "One in a Million". On the US Hot R&B/Hip-Hop Songs, it debuted at number 18 and peaked at number seven. The single was certified gold by the Recording Industry Association of America (RIAA) on October 21, and sold 900,000 copies in the US by the end of 1997. Internationally, the song peaked at number 28 in New Zealand.


title: One in a Million (Aaliyah album)

text: "Hot Like Fire" was released as the sixth and final single on September 16, as a double A-side single with "The One I Gave My Heart To". "Hot Like Fire" was ineligible to enter both "Billboard" Hot 100 and Hot R&B/Hip-Hop Songs, peaking at number 31 on the R&B/Hip-Hop Airplay chart. The double single peaked at number 30 on the UK Singles Chart, as well as at numbers 25 and three on the UK Dance Chart and the UK R&B Chart, respectively.


title: One in a Million (Aaliyah album)

text: "One in a Million" received generally favorable reviews from music critics. In her review for "Vibe", Dream Hampton said that Aaliyah's "deliciously feline" voice had the same "pop appeal" as Janet Jackson's and is complemented by the producers' funky, coherent tracks. Connie Johnson of the "Los Angeles Times" found the album's material exceptional, including the "teasingly witchy" "If Your Girl Only Knew". "The Source" felt that "One in a Million" "resides on a different plane than the legion of sophomore attempts that produce only one or two gold singles, Aaliyah is ready to showcase her mature side, her best songs are about relationship woes". "Q" stated: "With her smooth, sweetly seductive vocal firmly to the fore, [Aaliyah] works through a set of predominantly slow and steamy swingbeat numbers, all clipped beats, luxurious melodies and dreamy harmonies". Robert Christgau, writing in "The Village Voice", was less enthusiastic and cited only "Got to Give It Up" as a "choice cut", calling it "a good song on an album that isn't worth your time or money".


title: One in a Million (Aaliyah album)

text: Sputnikmusic's Nick Butler deemed it a "strange" record with an overemphasis on "unusually good" and "occasionally brilliant" ballads but plagued by upbeat tracks that were not on-par, except for "Hot Like Fire". "People" felt that the album offered more variety in content as opposed to Aaliyah's debut studio album "Age Ain't Nothing but a Number" (1994), saying: "At least she's keeping good company. While R. Kelly produced Aaliyah's debut with a one-dimensional musical vision, "One in a Million"s production posse (which includes Jermaine Dupri and Timbaland) dips into a languid and seductive trip hop on the title track; then stutters jungle rhythm on 'Beats 4 da Streets' and 'Heartbroken.'" Bob Waliszewski from "Plugged In" gave the album a mixed review as he felt that Aaliyah had positive things to say on the album but the message got lost in certain songs, stating: "Sexually suggestive lyrics spoil whatever good this disc has going for it". Writing for AllMusic, Leo Stanley viewed the album as a significant improvement over "Age Ain't Nothing but a Number", noting a larger variety of material and producers, and described Aaliyah's voice as "smoother, more seductive, and stronger than before".


title: One in a Million (Aaliyah album)

text: "One in a Million" debuted at number 20 on the US "Billboard" 200 chart dated September 14, 1996, selling 40,500 copies during its first week. The album achieved its highest single-week sales during the Christmas week of 1996, when it sold 71,000 copies. It reached its peak of number 18 on February 1, 1997, and has spent a total of 68 weeks on the "Billboard" 200. On the US Top R&B/Hip-Hop Albums chart, the album debuted at number 4. In its 22nd week on the chart it peaked at number two on February 8, 1997, spending a total of 72 weeks on the chart. "One in a Million" was certified gold by the Recording Industry Association of America (RIAA) on October 23, 1996, platinum on February 5, 1997, and double platinum on June 16, 1997. By the end of 1997, the album had sold an additional 1.1 million copies in the United States according to "Billboard". By July 2001, it had sold over three million copies according to Nielsen SoundScan. By February 2003, the album had sold an additional 756,000 units through BMG Music Club.


title: One in a Million (Aaliyah album)

text: In Canada, "One in a Million" debuted at number 35 on "RPM"' s Top Albums/CDs chart on September 9, 1996, reaching its peak of number 33 the following week. In total the album has spent 9 consecutive weeks on the Top Albums/CDs chart. On May 28, 1997, it was certified gold by Music Canada for shipments of 50,000 copies in the country. In the United Kingdom, the album debuted and peaked at numbers 33 and three on the UK Albums Chart and the UK R&B Chart, respectively, on September 7, 1996. It was eventually certified gold by the British Phonographic Industry (BPI) for 100,000 copies shipped in the UK. In Japan, the album peaked at number 36 on the Oricon Albums Chart and received a gold certification from the Recording Industry Association of Japan (RIAJ). As of August 2011, the album has sold over eight million copies worldwide.


title: One in a Million (Aaliyah album)

text: After Aaliyah's August 25, 2001 death, "One in a Million" returned to the "Billboard" 200 and Top R&B/Hip-Hop Albums, as well as topping the US Top Catalog Albums chart for four weeks. It also re-entered the UK Albums Chart on two separate occasions–at number 106 on February 2, 2002, and at number 169 on April 26, 2003. Following its 2021 reissue, the album reached the top ten on the "Billboard" 200 for the first time ever, peaking at number ten with 26,000 album-equivalent units, including pure album sales of 13,000 units, streaming-equivalent albums (SEA) of 11,000 units (equaling 14.29 million on-demand streams of the album's tracks), and track-equivalent albums (TEA) of 2,000 units. Additionally, the album re-entered the UK R&B Chart at number eight. On September 4, 2021, its singles "If Your Girl Only Knew", "One in a Million" and "4 Page Letter" debuted at numbers 15, seven and 26 on the US Digital Song Sales, respectively.


title: One in a Million (Aaliyah album)

text: In a retrospective review of "One in a Million", Sal Cinquemani from "Slant Magazine" said it was "undoubtedly one of the most influential R&B albums of the '90s", and credited it for establishing "Aaliyah and the Timbo family as undeniable hip-hop forces." According to Jon Caramanica from "Spin", the album "found Aaliyah at the nexus of street savvy R&B and elegant pop." According to Aisha Harris from NPR, "One In A Million took Aaliyah's air of mystery and the laid-back vibes, and reworked them to help pioneer a new way forward in pop and R&B". In an article commemorating the 20th anniversary of the album's release and the 15th anniversary of Aaliyah's death, Dean Van Nguyen from "The Independent" stated: "Its handprints can be seen all over the two decades of pop music that followed." "One in a Million" was credited with elevating Missy Elliott and Timbaland's respective careers in a "The Guardian" article published upon the album's 2021 reissue; in the same article, Kathy Iandoli–the author of Aaliyah's biography "Baby Girl: Better Known as Aaliyah" (2021)–stated: "That sound is still the blueprint for all of R&B and pop music today."


title: One in a Million (Aaliyah album)

text: "One in a Million" was ranked at number 90 on "Rolling Stone"s "100 Best Albums of the '90s". It was also listed as one of 33 urban albums on the magazine's list "The Essential Recordings of the '90s". In 2007, "Vibe" included the album on "The 150 Albums That Define the "Vibe" Era", stating: "As seductive as an R&B vocalist, Aaliyah is insouciantly sexy on her second album the songwriting isn't quite polished yet, but the early signs are like gleaming flares." In November 2017, the album was ranked seventh on "Complex"s list "The 50 Best R&B Albums of the '90's"; editor Ross Scarano stated "One in a Million" "is the definitive account of Aaliyah and Timbaland's collective brilliance" and that the album's singles "If Your Girl Only Knew", "One in a Million", "4 Page Letter" and "Hot Like Fire" "are the songs that modern R&B, rap, and EDM could not do without". In 2020, the album was ranked at number 314 on "Rolling Stone"s list "The 500 Greatest Albums of All Time".


title: Sizzler

text: Sizzler USA Restaurants, Inc., doing business as Sizzler, is a United States-based restaurant chain with headquarters in Mission Viejo, California, with locations mainly in California, plus some in the nearby states of Washington, Arizona, Nevada, New Mexico, Idaho, Utah, Oregon, Alaska and Puerto Rico. It is known for steak, seafood, and salad bar items.


title: Sizzler

text: Since 2011, Sizzler restaurants outside of the United States are currently owned by Australia-based Collins Foods and are no longer related to the American firm.


title: Sizzler

text: In September 2020, Sizzler USA, filed for Chapter 11 bankruptcy due to the COVID-19 pandemic hurting sales. The bankruptcy filing does not affect the similarly named Collins Foods affiliated restaurants that are located outside of the United States.


title: Sizzler

text: The chain was founded in 1958 as Sizzler Family Steak House by Del and Helen Johnson in Culver City, California. At its peak, the chain was composed of more than 270 locations throughout the U.S. Most of Sizzler's U.S. locations are in the West.


title: Sizzler

text: In the late 1970s and early 1980s, Sizzler promoted steak and combination steak dinners with an optional salad bar. The restaurant wanted to give customers the feel of a full-service restaurant at a price slightly more than a fast food chain. To control costs, many restaurants had in-house meat cutters that would cut steaks and grind beef.


title: Sizzler

text: Into the early to mid 1980s, competition appeared: Ponderosa Steakhouse and Bonanza Steakhouse. After promotions, such as all-you-can-eat fried shrimp, the chain expanded its salad bar into a full buffet promoted as the "Buffet Court." Patrons began to use the buffet as a meal instead of an add-on to an entree. In response, Sizzler lowered the quality in other menu areas. Sizzler also introduced a free grilled cheese bread roll at the start of the experience which was intended to line the stomach, curbing appetite. Customers took notice, and Sizzler's reputation suffered.


title: Sizzler

text: Sizzler filed for Chapter 11 bankruptcy in 1996 ("to escape costly leases on unprofitable restaurants"), and closed over 130 of its locations. The company reemerged from Chapter 11 in 1997. During the late 1990s, new management upgraded the quality of food and increased prices. Twenty one locations closed in 2001. Sizzler began an image makeover circa 2002. A new restaurant concept was created, featuring a lighter and more open dining room. The changes were accompanied by a new menu. In an effort to return to its roots, Sizzler emphasized steaks, seafood, and the salad bar. While the all-you-can-eat buffet was phased out in some locations, it remained in many others.


title: Sizzler

text: Sizzler was sold to Pacific Equity Partners, an Australian-based investment firm, in 2005. In January 2008, Sizzler announced it was planning to take action against the Multi-State Lottery Association (MUSL) of Urbandale, Iowa, over the use of the name "The Sizzler (Hot Lotto)".