title: South Caucasus

text: After two wars in the first half of the 19th century, namely the Russo-Persian War (1804-1813) and the Russo-Persian War (1826-1828), the Russian Empire conquered most of the South Caucasus (and Dagestan in the North Caucasus) from the Iranian Qajar dynasty, severing historic regional ties with Iran. By the Treaty of Gulistan that followed after the 1804-1813 war, Iran was forced to cede modern-day Dagestan, Eastern Georgia, and most of the Azerbaijan Republic to Russia. By the Treaty of Turkmenchay that followed after the 1826-1828 war, Iran lost all of what is modern-day Armenia and the remainder of the contemporary Azerbaijani Republic that remained in Iranian hands. After the 1828-1829 war, the Ottomans ceded Western Georgia (except Adjaria, which was known as Sanjak of Batum), to the Russians.


title: South Caucasus

text: In 1844, what comprises present-day Georgia, Armenia and the Azerbaijan Republic were combined into a single czarist government-general, which was termed a vice-royalty in 1844-1881 and 1905–1917. Following the 1877-78 Russo-Turkish War, Russia annexed Kars, Ardahan, Agri and Batumi from the Ottomans, joined to this unit, and established the province of Kars Oblast as its most southwesterly territory in the South Caucasus.


title: South Caucasus

text: After the fall of the Russian Empire in 1918, the South Caucasus region was unified into a single political entity twice, as Transcaucasian Democratic Federative Republic from 9 April 1918 to 26 May 1918, and as Transcaucasian Socialist Federative Soviet Republic from 12 March 1922 to 5 December 1936, each time to be dissolved into three Soviet Socialist Republics of Armenia, Azerbaijan and Georgia. All three regained independence in 1991 when the Soviet Union dissolved.


title: South Caucasus

text: The Russo-Georgian War took place in 2008 across the South Caucasus, contributing to further instability in the region, which is as intricate as the Middle East, due to the complex mix of religions (mainly Muslim and Orthodox Christian) and ethno-linguistic groups.


title: South Caucasus

text: Since their independence, the three countries have had varying degrees of success in their relations with Russia and other countries. In Georgia, after the Rose Revolution in 2004, the country, like the Baltic states, began integrating into Western Europe by opening up relations with NATO and the European Union. Armenia continues to foster relations with Russia while Azerbaijan relies less on Russia, strategically partnering with Turkey and other NATO states.


title: South Caucasus

text: The South Caucasus, in particular where modern-day Turkey, Georgia, Armenia and Iran are located, is one of the native areas of the wine-producing vine "Vitis vinifera". Some experts speculate that the South Caucasus may be the birthplace of wine production. Archaeological excavations and carbon dating of grape seeds from the area have dated back to 8000–5000 BC. Wine found in Iran has been dated to BC and BC, while wine found in Georgia has been dated to BC. The earliest winery, dated to BC, was found in Armenia.


title: Calabi–Yau manifold

text: In algebraic geometry, a Calabi–Yau manifold, also known as a Calabi–Yau space, is a particular type of manifold which has properties, such as Ricci flatness, yielding applications in theoretical physics. Particularly in superstring theory, the extra dimensions of spacetime are sometimes conjectured to take the form of a 6-dimensional Calabi–Yau manifold, which led to the idea of mirror symmetry. Their name was coined by , after who first conjectured that such surfaces might exist, and who proved the Calabi conjecture.


title: Calabi–Yau manifold

text: Calabi–Yau manifolds are complex manifolds that are generalizations of K3 surfaces in any number of complex dimensions (i.e. any even number of real dimensions). They were originally defined as compact Kähler manifolds with a vanishing first Chern class and a Ricci-flat metric, though many other similar but inequivalent definitions are sometimes used.


title: Calabi–Yau manifold

text: The motivational definition given by Shing-Tung Yau is of a compact Kähler manifold with a vanishing first Chern class, that is also Ricci flat.


title: Calabi–Yau manifold

text: There are many other definitions of a Calabi–Yau manifold used by different authors, some inequivalent. This section summarizes some of the more common definitions and the relations between them.


title: Calabi–Yau manifold

text: A Calabi–Yau formula_1-fold or Calabi–Yau manifold of (complex) dimension formula_1 is sometimes defined as a compact formula_1-dimensional Kähler manifold formula_4 satisfying one of the following equivalent conditions:


title: Calabi–Yau manifold

text: These conditions imply that the first integral Chern class formula_13 of formula_4 vanishes. Nevertheless, the converse is not true. The simplest examples where this happens are hyperelliptic surfaces, finite quotients of a complex torus of complex dimension 2, which have vanishing first integral Chern class but non-trivial canonical bundle.


title: Calabi–Yau manifold

text: For a compact formula_1-dimensional Kähler manifold formula_4 the following conditions are equivalent to each other, but are weaker than the conditions above, though they are sometimes used as the definition of a Calabi–Yau manifold:


title: Calabi–Yau manifold

text: If a compact Kähler manifold is simply connected, then the weak definition above is equivalent to the stronger definition. Enriques surfaces give examples of complex manifolds that have Ricci-flat metrics, but their canonical bundles are not trivial, so they are Calabi–Yau manifolds according to the second but not the first definition above. On the other hand, their double covers are Calabi–Yau manifolds for both definitions (in fact, K3 surfaces).


title: Calabi–Yau manifold

text: By far the hardest part of proving the equivalences between the various properties above is proving the existence of Ricci-flat metrics. This follows from Yau's proof of the Calabi conjecture, which implies that a compact Kähler manifold with a vanishing first real Chern class has a Kähler metric in the same class with vanishing Ricci curvature. (The class of a Kähler metric is the cohomology class of its associated 2-form.) Calabi showed such a metric is unique.


title: Calabi–Yau manifold

text: There are many other inequivalent definitions of Calabi–Yau manifolds that are sometimes used, which differ in the following ways (among others):


title: Calabi–Yau manifold

text: The most important fundamental fact is that any smooth algebraic variety embedded in a projective space is a Kähler manifold, because there is a natural Fubini–Study metric on a projective space which one can restrict to the algebraic variety. By definition, if ω is the Kähler metric on the algebraic variety X and the canonical bundle K is trivial, then X is Calabi–Yau. Moreover, there is unique Kähler metric ω on X such that ["ω"] = ["ω"] ∈ "H"("X",R), a fact which was conjectured by Eugenio Calabi and proved by Shing-Tung Yau (see Calabi conjecture).


title: Calabi–Yau manifold

text: In one complex dimension, the only compact examples are tori, which form a one-parameter family. The Ricci-flat metric on a torus is actually a flat metric, so that the holonomy is the trivial group SU(1). A one-dimensional Calabi–Yau manifold is a complex elliptic curve, and in particular, algebraic.


title: Calabi–Yau manifold

text: In two complex dimensions, the K3 surfaces furnish the only compact simply connected Calabi–Yau manifolds. These can be constructed as quartic surfaces in formula_31, such as the complex algebraic variety defined by the vanishing locus of


title: Calabi–Yau manifold

text: Other examples can be constructed as elliptic fibrations, as quotients of abelian surfaces, or as complete intersections.


title: Calabi–Yau manifold

text: Non simply-connected examples are given by abelian surfaces, which are real four tori formula_34 equipped with a complex manifold structure. Enriques surfaces and hyperelliptic surfaces have first Chern class that vanishes as an element of the real cohomology group, but not as an element of the integral cohomology group, so Yau's theorem about the existence of a Ricci-flat metric still applies to them but they are sometimes not considered to be Calabi–Yau manifolds. Abelian surfaces are sometimes excluded from the classification of being Calabi–Yau, as their holonomy (again the trivial group) is a proper subgroup of SU(2), instead of being isomorphic to SU(2). However, the Enriques surface subset do not conform entirely to the SU(2) subgroup in the String theory landscape.


title: Calabi–Yau manifold

text: In three complex dimensions, classification of the possible Calabi–Yau manifolds is an open problem, although Yau suspects that there is a finite number of families (albeit a much bigger number than his estimate from 20 years ago). In turn, it has also been conjectured by Miles Reid that the number of topological types of Calabi–Yau 3-folds is infinite, and that they can all be transformed continuously (through certain mild singularizations such as conifolds) one into another—much as Riemann surfaces can. One example of a three-dimensional Calabi–Yau manifold is a non-singular quintic threefold in CP, which is the algebraic variety consisting of all of the zeros of a homogeneous quintic polynomial in the homogeneous coordinates of the CP. Another example is a smooth model of the Barth–Nieto quintic. Some discrete quotients of the quintic by various Z actions are also Calabi–Yau and have received a lot of attention in the literature. One of these is related to the original quintic by mirror symmetry.


title: Calabi–Yau manifold

text: For every positive integer "n", the zero set, in the homogeneous coordinates of the complex projective space CP, of a non-singular homogeneous degree "n" + 2 polynomial in "n" + 2 variables is a compact Calabi–Yau "n"-fold. The case "n" = 1 describes an elliptic curve, while for "n" = 2 one obtains a K3 surface.


title: Calabi–Yau manifold

text: More generally, Calabi–Yau varieties/orbifolds can be found as weighted complete intersections in a weighted projective space. The main tool for finding such spaces is the adjunction formula.


title: Calabi–Yau manifold

text: For an algebraic curve formula_35 a quasi-projective Calabi-Yau threefold can be constructed as the total space formula_36 where formula_37. For the canonical projection formula_38 we can find the relative tangent bundle formula_39 is formula_40 using the relative tangent sequence


title: Calabi–Yau manifold

text: and observing the only tangent vectors in the fiber which are not in the pre-image of formula_42 are canonically associated with the fibers of the vector bundle. Using this, we can use the relative cotangent sequence


title: Calabi–Yau manifold

text: Using a similar argument as for curves, the total space formula_47 of the canonical sheaf formula_48 for an algebraic surface formula_49 forms a Calabi-Yau threefold. A simple example is formula_50 over projective space.


title: Calabi–Yau manifold

text: Calabi–Yau manifolds are important in superstring theory. Essentially, Calabi–Yau manifolds are shapes that satisfy the requirement of space for the six "unseen" spatial dimensions of string theory, which may be smaller than our currently observable lengths as they have not yet been detected. A popular alternative known as large extra dimensions, which often occurs in braneworld models, is that the Calabi–Yau is large but we are confined to a small subset on which it intersects a D-brane. Further extensions into higher dimensions are currently being explored with additional ramifications for general relativity.


title: Calabi–Yau manifold

text: In the most conventional superstring models, ten conjectural dimensions in string theory are supposed to come as four of which we are aware, carrying some kind of fibration with fiber dimension six. Compactification on Calabi–Yau "n"-folds are important because they leave some of the original supersymmetry unbroken. More precisely, in the absence of fluxes, compactification on a Calabi–Yau 3-fold (real dimension 6) leaves one quarter of the original supersymmetry unbroken if the holonomy is the full SU(3).


title: Calabi–Yau manifold

text: More generally, a flux-free compactification on an "n"-manifold with holonomy SU("n") leaves 2 of the original supersymmetry unbroken, corresponding to 2 supercharges in a compactification of type II supergravity or 2 supercharges in a compactification of type I. When fluxes are included the supersymmetry condition instead implies that the compactification manifold be a generalized Calabi–Yau, a notion introduced by . These models are known as flux compactifications.


title: Calabi–Yau manifold

text: F-theory compactifications on various Calabi–Yau four-folds provide physicists with a method to find a large number of classical solutions in the so-called string theory landscape.


title: Calabi–Yau manifold

text: Connected with each hole in the Calabi–Yau space is a group of low-energy string vibrational patterns. Since string theory states that our familiar elementary particles correspond to low-energy string vibrations, the presence of multiple holes causes the string patterns to fall into multiple groups, or families. Although the following statement has been simplified, it conveys the logic of the argument: if the Calabi–Yau has three holes, then three families of vibrational patterns and thus three families of particles will be observed experimentally.


title: Calabi–Yau manifold

text: Logically, since strings vibrate through all the dimensions, the shape of the curled-up ones will affect their vibrations and thus the properties of the elementary particles observed. For example, Andrew Strominger and Edward Witten have shown that the masses of particles depend on the manner of the intersection of the various holes in a Calabi–Yau. In other words, the positions of the holes relative to one another and to the substance of the Calabi–Yau space was found by Strominger and Witten to affect the masses of particles in a certain way. This is true of all particle properties.


title: More Than Friends (TV series)

text: More Than Friends () is a South Korean television series starring Ong Seong-wu, Shin Ye-eun, and Kim Dong-jun. It aired on JTBC from September 25 to November 28, 2020.


title: More Than Friends (TV series)

text: Ten years ago, Kyung Woo Yeon (Shin Ye-eun) was as innocent and carefree as any eighteen year old might be. With dreams and ambitions and a heart ready to love, it was only a matter of time before she fell for someone. And fall she did... for her friend, Lee Soo (Ong Seong-wu). Little did she know that at the time, Lee Soo also had a crush on her. Unfortunately, a simple misunderstanding kept them from confessing their feelings.


title: More Than Friends (TV series)

text: A decade later, Woo Yeon still harbors a crush on Lee Soo. Working as a calligrapher, she still keeps in touch with her friend but has never confessed her feelings for him. Oddly enough, the same could be said for Lee Soo, who is now working as a professional photographer. Though the two have taken turns having a crush on each other for over ten years, misunderstandings and missed timings have continued to keep them from becoming anything more than friends.


title: More Than Friends (TV series)

text: With feelings ten years in the making, Woo Yeon and Lee Soo begin to realize their feelings for each other are becoming too strong to keep hidden. Has the time for their confessions finally come or will yet another misunderstanding keep them apart...


title: More Than Friends (TV series)

text: On February 18, 2020, news outlet "Osen" reported that Ong Seong-wu would play the lead role of the series. The same day, another news outlet revealed that Shin Ye-eun would be Ong's co-star. Fantagio and NPIO Entertainment (respectively Ong and Shin's agencies) confirmed that they were both positively reviewing the offer but that nothing had been decided yet. On March 25, Kim Dong-jun's agency confirmed that the actor had joined the main cast. The final lineup was confirmed on April 9.


title: More Than Friends (TV series)

text: Part of filming took place in Jeju Island. Production was halted during the last week of August 2020 after Kim Hee-jung came in contact with Kim Won-hae, who tested positive for COVID-19, on another filming set. Filming resumed after the tests came back negative.


title: More Than Friends (TV series)

text: The first trailer for the series was released on August 7, 2020. The second trailer was released in August 20 and revealed that the series would premiere on September 18. On September 4, the premiere was postponed by a week after filming was halted at the end of August.


title: More Than Friends (TV series)

text: The series is available on iQIYI with multi-languages subtitles in South East Asia, Taiwan, Hong Kong and Macau on its first run. The series also available in VIU in South East Asia and in Viki labeled as an original in selected territories. It's available on Indian subcontinent in Disney+Hotstar


title: Jojo Moyes

text: Pauline Sara Jo Moyes (born 4 August 1969), known professionally as Jojo Moyes, is an English journalist and, since 2002, an award-winning romance novelist, #1 New York Times best selling author and screenwriter. She is one of only a few authors to have twice won the Romantic Novel of the Year Award by the Romantic Novelists' Association and her works have been translated into twenty-eight languages and have sold over 40 million copies worldwide.


title: Jojo Moyes

text: Before attending university, Moyes held several jobs: she was a typist at NatWest typing statements in braille for blind people, a brochure writer for Club 18-30, and a minicab controller for a brief time. While an undergraduate at Royal Holloway, University of London, Moyes worked for the "Egham and Staines News".


title: Jojo Moyes

text: She earned a journalism degree from City University as well as a degree at Royal Holloway and Bedford New College, London University.


title: Jojo Moyes

text: Moyes won a bursary financed by "The Independent" newspaper which allowed her to attend the postgraduate newspaper journalism course at City University in 1992.<ref name="http://www.freshfiction.com"></ref> She subsequently worked for "The Independent" for the next 10 years (except for one year, when she worked in Hong Kong for the "Sunday Morning Post") in various roles, becoming Assistant News Editor in 1998. In 2002 she became the newspaper's Arts and Media Correspondent.


title: Jojo Moyes

text: Early in her writing career, Moyes wrote three manuscripts that were all initially rejected. With one child, another baby on the way, and a career as a journalist, Moyes committed to herself that if her fourth book was rejected, she would stop her efforts. After submitting the first three chapters of her fourth book to various publishers, six of them began a bidding war for the rights.


title: Jojo Moyes

text: Moyes became a full-time novelist in 2002, when her first book "Sheltering Rain" was published. She continues to write articles for "The Daily Telegraph".


title: Jojo Moyes

text: Moyes' publisher, Hodder & Stoughton, did not take up the 2012 novel "Me Before You" and Moyes sold it to Penguin. It sold six million copies, went to number one in nine countries, and reinvigorated her back catalogue resulting in three of her novels being on the "New York Times" bestseller list at the same time. Moyes would later write two sequels to "Me Before You": "After You" in 2015 and "Still Me" in 2018.


title: Jojo Moyes

text: In 2013, it was announced that Michael H. Weber and Scott Neustadter had been hired to write an adaptation of "Me Before You". In 2016 the film adaptation "Me Before You" was released and the screenplay was written by Moyes.


title: Jojo Moyes

text: In 2018, Moyes invested £120,000 in the Quick Reads Initiative, an adult literacy project. Her investment gave the program three additional years of funding. Her book, "Paris for One and Other Stories", is part of the 2015 Quick Reads collection, and she contributed a short story to "A Fresh Start", from the 2020 Quick Reads collection.


title: Jojo Moyes

text: Moyes' favorite book in childhood was "National Velvet" by Enid Bagnold. She cites "Behind the Scenes at the Museum" by Kate Atkinson as a book that made her want to be a better writer, and she is inspired by authors such as Nora Ephron, Marian Keyes, Lisa Jewell, Jonathan Tropper, and Jane Austen.


title: Jojo Moyes

text: Moyes lives on a farm in Great Sampford, Essex, with her husband, journalist Charles Arthur, and their three children. Her animals include an ex-racehorse, Brian, and a rescued 58 kg female Pyrenean mountain dog.


title: Balance of trade

text: The balance of trade, commercial balance, or net exports (sometimes symbolized as NX), is the difference between the monetary value of a nation's exports and imports over a certain time period. Sometimes a distinction is made between a balance of trade for goods versus one for services. The balance of trade measures a flow of exports and imports over a given period of time. The notion of the balance of trade does not mean that exports and imports are "in balance" with each other.


title: Balance of trade

text: If a country exports a greater value than it imports, it has a trade surplus or positive trade balance, and conversely, if a country imports a greater value than it exports, it has a trade deficit or negative trade balance. As of 2016, about 60 out of 200 countries have a trade surplus. The notion that bilateral trade deficits are bad in and of themselves is overwhelmingly rejected by trade experts and economists.


title: Balance of trade

text: The balance of trade forms part of the current account, which includes other transactions such as income from the net international investment position as well as international aid. If the current account is in surplus, the country's net international asset position increases correspondingly. Equally, a deficit decreases the net international asset position.


title: Balance of trade

text: The trade balance is identical to the difference between a country's output and its domestic demand (the difference between what goods a country produces and how many goods it buys from abroad; this does not include money re-spent on foreign stock, nor does it factor in the concept of importing goods to produce for the domestic market).


title: Balance of trade

text: Measuring the balance of trade can be problematic because of problems with recording and collecting data. As an illustration of this problem, when official data for all the world's countries are added up, exports exceed imports by almost 1%; it appears the world is running a positive balance of trade with itself. This cannot be true, because all transactions involve an equal credit or debit in the account of each nation. The discrepancy is widely believed to be explained by transactions intended to launder money or evade taxes, smuggling and other visibility problems. While the accuracy of developing countries' statistics would be suspicious, most of the discrepancy actually occurs between developed countries of trusted statistics.


title: Balance of trade

text: In addition, the trade balance is likely to differ across the business cycle. In export-led growth (such as oil and early industrial goods), the balance of trade will shift towards exports during an economic expansion. However, with domestic demand-led growth (as in the United States and Australia) the trade balance will shift towards imports at the same stage in the business cycle.


title: Balance of trade

text: The monetary balance of trade is different from the physical balance of trade (which is expressed in amount of raw materials, known also as Total Material Consumption). Developed countries usually import a substantial amount of raw materials from developing countries. Typically, these imported materials are transformed into finished products and might be exported after adding value. Financial trade balance statistics conceal material flow. Most developed countries have a large physical trade deficit because they consume more raw materials than they produce.


title: Balance of trade

text: Many countries in early modern Europe adopted a policy of mercantilism, which theorized that a trade surplus was beneficial to a country. Mercantilist ideas also influenced how European nations regulated trade policies with their colonies, promoting the idea that natural resources and cash crops should be exported to Europe, with processed goods being exported back to the colonies in return. Ideas such as bullionism spurred the popularity of mercantilism in European governments.


title: Balance of trade

text: An early statement concerning the balance of trade appeared in "Discourse of the Common Wealth of this Realm of England", 1549: "We must always take heed that we buy no more from strangers than we sell them, for so should we impoverish ourselves and enrich them." Similarly, a systematic and coherent explanation of balance of trade was made public through Thomas Mun's 1630 "England's treasure by foreign trade, or, The balance of our foreign trade is the rule of our treasure".


title: Balance of trade

text: Since the mid-1980s, the United States has had a growing deficit in tradeable goods, especially with Asian nations (China and Japan) which now hold large sums of U.S debt that has in part funded the consumption. The U.S. has a trade surplus with nations such as Australia. The issue of trade deficits can be complex. Trade deficits generated in tradeable goods such as manufactured goods or software may impact domestic employment to different degrees than do trade deficits in raw materials.


title: Balance of trade

text: Economies that have savings surpluses, such as Japan and Germany, typically run trade surpluses. China, a high-growth economy, has tended to run trade surpluses. A higher savings rate generally corresponds to a trade surplus. Correspondingly, the U.S. with its lower savings rate has tended to run high trade deficits, especially with Asian nations.


title: Balance of trade

text: Some have said that China pursues a mercantilist economic policy. Russia pursues a policy based on protectionism, according to which international trade is not a "win-win" game but a zero-sum game: surplus countries get richer at the expense of deficit countries.


title: Balance of trade

text: For the last two decades, the Armenian trade balance has been negative, reaching 203.9 USD million in March 2019, which was considered the highest by then, however the most recent ratio of the same indicator is -273,5 USD million in Oct 2021, which is evidently one of the consequences of 6 weeks war between Armenia and Azerbaijan in autumn of 2020. The reason for the trade deficit is that Armenia's foreign trade is limited by its landlocked location and border disputes with Turkey and Azerbaijan, to the west and east respectively. The situation results in the country's typically reporting large trade deficits.


title: Balance of trade

text: The notion that bilateral trade deficits are bad in and of themselves is overwhelmingly rejected by trade experts and economists. According to the IMF trade deficits can cause a balance of payments problem, which can affect foreign exchange shortages and hurt countries. On the other hand, Joseph Stiglitz points out that countries running surpluses exert a "negative externality" on trading partners, and pose a threat to global prosperity, far more than those in deficit. Ben Bernanke argues that "persistent imbalances within the euro zone are... unhealthy, as they lead to financial imbalances as well as to unbalanced growth. The fact that Germany is selling so much more than it is buying redirects demand from its neighbors (as well as from other countries around the world), reducing output and employment outside Germany." According to Carla Norrlöf, there are three main benefits to trade deficits for the United States:


title: Balance of trade

text: A 2018 National Bureau of Economic Research paper by economists at the International Monetary Fund and University of California, Berkeley, found in a study of 151 countries over 1963-2014 that the imposition of tariffs had little effect on the trade balance.


title: Balance of trade

text: In the last few years of his life, John Maynard Keynes was much preoccupied with the question of balance in international trade. He was the leader of the British delegation to the United Nations Monetary and Financial Conference in 1944 that established the Bretton Woods system of international currency management.


title: Balance of trade

text: He was the principal author of a proposal – the so-called Keynes Plan – for an International Clearing Union. The two governing principles of the plan were that the problem of settling outstanding balances should be solved by 'creating' additional 'international money', and that debtor and creditor should be treated almost alike as disturbers of equilibrium. In the event, though, the plans were rejected, in part because "American opinion was naturally reluctant to accept the principle of equality of treatment so novel in debtor-creditor relationships".


title: Balance of trade

text: The new system is not founded on free-trade (liberalisation of foreign trade) but rather on the regulation of international trade, in order to eliminate trade imbalances: the nations with a surplus would have a powerful incentive to get rid of it, and in doing so they would automatically clear other nations deficits. He proposed a global bank that would issue its own currency – the bancor – which was exchangeable with national currencies at fixed rates of exchange and would become the unit of account between nations, which means it would be used to measure a country's trade deficit or trade surplus. Every country would have an overdraft facility in its bancor account at the International Clearing Union. He pointed out that surpluses lead to weak global aggregate demand – countries running surpluses exert a "negative externality" on trading partners, and posed far more than those in deficit, a threat to global prosperity.


title: Balance of trade

text: In ""National Self-Sufficiency" The Yale Review, Vol. 22, no. 4 (June 1933)", he already highlighted the problems created by free trade.


title: Balance of trade

text: His view, supported by many economists and commentators at the time, was that creditor nations may be just as responsible as debtor nations for disequilibrium in exchanges and that both should be under an obligation to bring trade back into a state of balance. Failure for them to do so could have serious consequences. In the words of Geoffrey Crowther, then editor of "The Economist", "If the economic relationships between nations are not, by one means or another, brought fairly close to balance, then there is no set of financial arrangements that can rescue the world from the impoverishing results of chaos."


title: Balance of trade

text: These ideas were informed by events prior to the Great Depression when – in the opinion of Keynes and others – international lending, primarily by the U.S., exceeded the capacity of sound investment and so got diverted into non-productive and speculative uses, which in turn invited default and a sudden stop to the process of lending.


title: Balance of trade

text: Influenced by Keynes, economics texts in the immediate post-war period put a significant emphasis on balance in trade. For example, the second edition of the popular introductory textbook, "An Outline of Money", devoted the last three of its ten chapters to questions of foreign exchange management and in particular the 'problem of balance'. However, in more recent years, since the end of the Bretton Woods system in 1971, with the increasing influence of monetarist schools of thought in the 1980s, and particularly in the face of large sustained trade imbalances, these concerns – and particularly concerns about the destabilising effects of large trade surpluses – have largely disappeared from mainstream economics discourse and Keynes' insights have slipped from view. They are receiving some attention again in the wake of the financial crisis of 2007–08.


title: Balance of trade

text: Prior to 20th-century monetarist theory, the 19th-century economist and philosopher Frédéric Bastiat expressed the idea that trade deficits actually were a manifestation of profit, rather than a loss. He proposed as an example to suppose that he, a Frenchman, exported French wine and imported British coal, turning a profit. He supposed he was in France and sent a cask of wine which was worth 50 francs to England. The customhouse would record an export of 50 francs. If in England, the wine sold for 70 francs (or the pound equivalent), which he then used to buy coal, which he imported into France, and was found to be worth 90 francs in France, he would have made a profit of 40 francs. But the customhouse would say that the value of imports exceeded that of exports and was trade deficit against the ledger of France.


title: Balance of trade

text: By "reductio ad absurdum", Bastiat argued that the national trade deficit was an indicator of a successful economy, rather than a failing one. Bastiat predicted that a successful, growing economy would result in greater trade deficits, and an unsuccessful, shrinking economy would result in lower trade deficits. This was later, in the 20th century, echoed by economist Milton Friedman.


title: Balance of trade

text: In the 1980s, Friedman, a Nobel Memorial Prize-winning economist and a proponent of monetarism, contended that some of the concerns of trade deficits are unfair criticisms in an attempt to push macroeconomic policies favorable to exporting industries.


title: Balance of trade

text: Friedman argued that trade deficits are not necessarily important, as high exports raise the value of the currency, reducing aforementioned exports, and vice versa for imports, thus naturally removing trade deficits "not due to investment". Since 1971, when the Nixon administration decided to abolish fixed exchange rates, America's Current Account accumulated trade deficits have totaled $7.75 trillion as of 2010. This deficit exists as it is matched by investment coming into the United States – purely by the definition of the balance of payments, any current account deficit that exists is matched by an inflow of foreign investment.


title: Balance of trade

text: In the late 1970s and early 1980s, the U.S. had experienced high inflation and Friedman's policy positions tended to defend the stronger dollar at that time. He stated his belief that these trade deficits were not necessarily harmful to the economy at the time since the currency comes back to the country (country A sells to country B, country B sells to country C who buys from country A, but the trade deficit only includes A and B). However, it may be in one form or another including the possible tradeoff of foreign control of assets. In his view, the "worst-case scenario" of the currency never returning to the country of origin was actually the best possible outcome: the country actually purchased its goods by exchanging them for pieces of cheaply made paper. As Friedman put it, this would be the same result as if the exporting country burned the dollars it earned, never returning it to market circulation.


title: Balance of trade

text: This position is a more refined version of the theorem first discovered by David Hume. Hume argued that England could not permanently gain from exports, because hoarding gold (i.e., currency) would make gold more plentiful in England; therefore, the prices of English goods would rise, making them less attractive exports and making foreign goods more attractive imports. In this way, countries' trade balances would balance out.


title: Balance of trade

text: Friedman presented his analysis of the balance of trade in "Free to Choose", widely considered his most significant popular work.


title: Balance of trade

text: Exports directly increase and imports directly reduce a nation's balance of trade (i.e. net exports). A trade surplus is a positive net balance of trade, and a trade deficit is a negative net balance of trade. Due to the balance of trade being explicitly added to the calculation of the nation's gross domestic product using the expenditure method of calculating gross domestic product (i.e. GDP), trade surpluses are contributions and trade deficits are "drags" upon their nation's GDP; however, foreign made goods sold (e.g., retail) contribute to total GDP.


title: Glenn Stearns

text: Glenn Bryant Stearns (born 1963) is an American businessman, and the founder of Stearns Lending. He is the star of the Discovery Channel's show Undercover Billionaire, and subsequent founder of Underdog BBQ in Erie, Pennsylvania.


title: Glenn Stearns

text: Stearns was born in 1963 in Silver Spring, Maryland. His father was a printer and his mother was a grocery store clerk and house cleaner. The family lived in a low-income apartment complex in the suburbs of Washington D.C. Stearns was a socially adept child but struggled in school. He was diagnosed with dyslexia, but his parents kept this from him. He was humiliated when he failed the fourth grade. Stearns' parents divorced when he was 17.


title: Glenn Stearns

text: Stearns founded Stearns Lending in 1989. He was chief executive officer (CEO) from its founding until May 2012 when Stearns named Brian Hale, former president and national production executive of MetLife Home Loans, as his successor. Stearns Lending was the fifth-largest privately held mortgage lender in the US in 2013.


title: Glenn Stearns

text: When Stearns was 14 years old, Stearns' eldest child, Charlene, was born. Charlene's mother is a woman named Kathy who was 17 at that time. Charlene now manages Glenn's escrow company.


title: Glenn Stearns

text: In October 2003, Stearns married Mindy Burbano, who was an entertainment reporter for Entertainment Tonight and KTLA in Los Angeles. They live in Jackson Hole, Wyoming.


title: Glenn Stearns

text: Apart from his eldest daughter Charlene, Stearns has three sons named Skyler, Colby, and Trevor and two daughters who often appear on Mindy's Instagram. Stearns also has two grandchildren.


title: Glenn Stearns

text: In 2004, Stearns and Burbano appeared on the TBS reality TV show, "The Real Gilligan's Island" as "the millionaire and his wife", and he "won" the competition. In 2014, he was diagnosed with cancer, which inspired him to do reality TV. In 2019, the Discovery Channel TV show, "Undercover Billionaire" followed Stearns as he built a startup company from scratch. During filming of the show he had a recurrence of cancer.


title: Manchester City F.C. EDS and Academy

text: Manchester City is represented at Reserve level for football by the Elite Development Squad, also referred to as just the Elite Squad, or EDS, a predominantly Under-23 side that replaced the previous (more senior) Reserve team in a move to focus on youth development post-academy. The club is represented at the Under-18 level by the Manchester City Academy team.


title: Manchester City F.C. EDS and Academy

text: City currently hold a treble of 2021–22 Premier League titles at Senior, U-23 and U-18 level. All three titles were successfully retained for the second consecutive season.


title: Manchester City F.C. EDS and Academy

text: previously played in the Premier Reserve League North. Starting with the 2011–12 season, the EDS competed in the NextGen Series competition,


title: Manchester City F.C. EDS and Academy

text: a Champions League format tournament only open to a select group of 'Under-19' teams located in western Europe.


title: Manchester City F.C. EDS and Academy

text: The NextGen Series organisers invited the 16 teams competing in the inaugural season of this new competition based on which clubs were considered to have the best academies in Europe.


title: Manchester City F.C. EDS and Academy

text: At the time, the EDS continued to play fixtures in both the Manchester Senior Cup and Lancashire Senior Cup plus several other matches and tournaments such as the Central League Cup.


title: Manchester City F.C. EDS and Academy

text: In 2016-17 the U-21 Premier League was renamed as Premier League 2 and the age limit was raised to U-23. City won their first title at this level in the 2020–21 season, and retained their title in 2021–22.


title: Manchester City F.C. EDS and Academy

text: The UEFA Youth League launched in 2013–14, replacing the NextGen seriex, as an U-19 competition for the youth teams of Champions League participants and national champions at U-18 level. Teams fielded by City in this competition were therefore a hybrid of their EDS and academy squads. Their best performance to date has been a semi-final appearance in 2017–18.


title: Manchester City F.C. EDS and Academy

text: Manchester City have fielded a reserve team since 1892, when the reserves played in the Lancashire Combination. The reserves were champions of the Lancashire Combination in 1901–02.


title: Manchester City F.C. EDS and Academy

text: The club left the Lancashire Combination in 1911 to join the Central League upon its formation. The City reserve team then played in the Central League until 2000, winning it on three occasions in the 1977–78, 1986–87 and 1999–2000 seasons. In 2006 the club re-entered the Central League – now the Pontin's League (West) – but this time in order to provide games for the 'Under-17' age group of players.


title: Manchester City F.C. EDS and Academy

text: In recent seasons, Manchester City have purchased, registered and loaned young international players as part of their development strategy for the City Football Group. Although these players are officially Manchester City players, they have never made competitive appearances for City's senior or youth teams and may in future be transferred out before doing so. In 2022, FIFA have implemented new rules which will now restrict loans of this nature.


title: Manchester City F.C. EDS and Academy

text: The squad numbers depicted for the EDS players in this article are the MCFC first team squad numbers – which means that these are the shirt numbers that the EDS players will wear if and when team-sheeted to play for the MCFC first team in either a friendly or competitive game. The current MCFC official first team squad consists of only about 20 players, however, the EDS players' squad numbers traditionally start in the region of the middle forties. For the Premier League 2, players use the 1–11 numbering system whilst squad numbers (including player names) are used for the EFL Trophy.


title: Manchester City F.C. EDS and Academy

text: The MCFC first team squad numbers are normally assigned and published in late July during the close season and they remain constant for the entire duration of the upcoming season (meaning that a squad number that is assigned to a player in the close season who subsequently wears that number in a competitive match, but who later leaves the club during that same season, will not be assigned to another player during the remainder of that season).


title: Manchester City F.C. EDS and Academy

text: These are EDS players who have previously made competitive appearances for the Manchester City Academy, EDS or First Team, or have been brought with the explicit intention to join the first team in future.


title: Manchester City F.C. EDS and Academy

text: These are Manchester City players who are usually on loan as part of the CFG development strategy, are yet to make a competitive appearance for the club's Academy, EDS or First Team, or are over the age of 23.


title: Manchester City F.C. EDS and Academy

text: Manchester City's Academy is responsible for youth development at the club, with the goal of developing young players for the future. The academy is one of the most revered in the country and since its new incarnation in 1998 it has produced more professional players than any other Premier League club.


title: Manchester City F.C. EDS and Academy

text: The club's first youth team was set up by Albert Alexander in the 1920s, known as the 'A' Team. From 1951 the 'A' team competed in the Lancashire League against reserve and youth teams of other clubs from North West England. From 1955 a second youth team, the 'B' team, typically comprising younger players than the 'A' team, competed in Division Two of the Lancashire League.


title: Manchester City F.C. EDS and Academy

text: Youth football in England was restructured by the Football Association in 1997, with the introduction of the Academy system. Current International Youth Academy Director Jim Cassell joined from Oldham Athletic in July 1997 and was responsible for building Manchester City's youth structure, which gained Academy accreditation in 1998.


title: Manchester City F.C. EDS and Academy

text: In its new incarnation, the 'A' and 'B' teams were replaced with 'Under-19' and 'Under-17' teams, which competed in the FA Premier Youth League. Since gaining FA approval in 1998 the academy has produced 78 players for Manchester City's first team, 28 of whom have gained full international honours, including England internationals Shaun Wright-Phillips, Micah Richards, Joey Barton, Daniel Sturridge and Phil Foden. The academy not only produces players for Manchester City but also players that have the talent to make the grade elsewhere, with players such as Ben Mee who's had a successful career at Burnley and Brentford, Jadon Sancho at Borussia Dortmund and Manchester United, Kelechi Iheanacho at Leicester and Kieran Trippier formerly at Burnley, Spurs, Atlético Madrid and now at Newcastle United.


title: Manchester City F.C. EDS and Academy

text: Since the club was taken over in September 2008, with extra capital and increased ambitions the club looked to expand their successful academy further afield and City in the Community programme in Manchester. In 2010, the Platt Lane complex was upgraded to include new facilities, such as a gym, changing rooms, as well as office and seminar space The club also launched an instructional video website aimed at helping the new skills of prospective footballers


title: Manchester City F.C. EDS and Academy

text: City announced on 19 September 2011 that they would build an 80-acre training facility, known since as the City Football Academy to cater for around 400 youth players at a time, the campus was opened on 8 December 2014, and has since become the base for all senior and youth Manchester City men's and women's teams.


title: Manchester City F.C. EDS and Academy

text: The squad numbers (if any) depicted for the academy players in this article are MCFC first team squad numbers – which means that these are the shirt numbers that the academy players will wear if and when they are selected to play for the MCFC first team in either a friendly or competitive game.


title: Christopher Pettiet

text: Christopher Lee Pettiet (February 12, 1976 – April 12, 2000) was an American television and film actor best known for his role as Jesse James in the Western TV series "The Young Riders" and as Zach Crandell in the cult comedy film "Don't Tell Mom the Babysitter's Dead" (1991).


title: Christopher Pettiet

text: Pettiet began his career as a child actor making appearances in television series such as "", "L.A. Law", "Empty Nest", and "Doogie Howser, M.D". He played the middle brother in the 1991 comedy film "Don't Tell Mom the Babysitter's Dead". Also in 1991, Pettiet appeared in the hit film Point Break alongside actors Patrick Swayze and Keanu Reeves, and in the same year joined the final season of "The Young Riders" as a teenage version of Jesse James.


title: Christopher Pettiet

text: Most of his subsequent career was in episodic television and independent films, including "Boys" and "Carried Away", both released in 1996. He had a brief recurring role on the first season of "MTV's Undressed". Pettiet's last appearance was in a 1999 episode of "Judging Amy".


title: Christopher Pettiet

text: Pettiet died of an accidental drug overdose on April 12, 2000 in Los Angeles at the age of 24. His autopsy report listed that the probable combined effect of cocaine, propoxyphene, and diazepam had caused his death. His autopsy also attributed his death to "probable cardiomyopathy" but it was only a contributing condition and not an immediate cause. He was cremated and his ashes were scattered at sea off of Topanga Canyon Road in Santa Monica, California. After his death, his acting coach, Kevin McDermott, founded a scholarship fund in his name to help young actors to attend Center Stage LA where he had trained.


title: Sydney Penny

text: Sydney Margaret Penny (born August 7, 1971) is an American actress. She is known for the range of her roles in film and television, including her portrayal of Julia Santos Keefer on the soap opera "All My Children" and Samantha "Sam" Kelly on the CBS soap opera "The Bold and the Beautiful". She also starred in the 1998 WB television drama series "Hyperion Bay". As a teenager she appeared in the 1985 Clint Eastwood film "Pale Rider", and at age 10, she played the young Meggie in the popular TV mini-series "The Thorn Birds".


title: Sydney Penny

text: She was born in Nashville, Tennessee, and raised in Chatsworth, California, the daughter of former Western Swing bandleader and comedian Hank Penny and his wife, Shari. An early acting appearance was on the miniseries "The Thorn Birds" when she was only 11 years old as young Meggie. She also appeared as Dani in "The New Gidget" and as a pigeon-obsessed youngster in an episode of the police series "T. J. Hooker". At the age of 13, Penny played Megan Wheeler in the Clint Eastwood western "Pale Rider", released on June 26, 1985. For this performance she was awarded a Young Artist Award at the 7th Youth in Film Awards in December 1985.


title: Sydney Penny

text: She played the role of Julia Santos Keefer on the soap opera "All My Children", from 1993 to 1996, with guest appearances in 1997 and 2002 and returned to the show in 2005. Penny left the show in May 2008 when Julia was killed off.


title: Sydney Penny

text: Penny has also appeared on the serials "Santa Barbara" as B.J. Walker during 1992-1993, "Sunset Beach" as Meg Cummings (filling in for Susan Ward in 1999), "Beverly Hills, 90210" and "Hyperion Bay" as Jennifer.


title: Sydney Penny

text: In August 2003, she was cast as Samantha Kelly on "The Bold and the Beautiful". The character never caught on and Penny was bumped to recurring status in late 2004. She last appeared on April 26, 2005, and rejoined "All My Children" a few months later. She stayed with the show for an additional three years.


title: Bisphosphonate

text: Bisphosphonates are a class of drugs that prevent the loss of bone density, used to treat osteoporosis and similar diseases. They are the most commonly prescribed drugs used to treat osteoporosis. They are called bisphosphonates because they have two phosphonate () groups. They are thus also called diphosphonates ("bis-" or "di-" + "phosphonate").


title: Bisphosphonate

text: Bone tissue undergoes constant remodeling and is kept in balance (homeostasis) by osteoblasts creating bone and osteoclasts destroying bone. Bisphosphonates inhibit the digestion of bone by encouraging osteoclasts to undergo apoptosis, or cell death, thereby slowing bone loss.


title: Bisphosphonate

text: The uses of bisphosphonates include the prevention and treatment of osteoporosis, Paget's disease of bone, bone metastasis (with or without hypercalcemia), multiple myeloma, primary hyperparathyroidism, osteogenesis imperfecta, fibrous dysplasia, and other conditions that exhibit bone fragility.


title: Bisphosphonate

text: Bisphosphonates are used to treat osteoporosis, osteitis deformans (Paget's disease of the bone), bone metastasis (with or without hypercalcemia), multiple myeloma, and other conditions involving fragile, breakable bone.


title: Bisphosphonate

text: In osteoporosis and Paget's, the most popular first-line bisphosphonate drugs are alendronate and risedronate. If these are ineffective or if the person develops digestive tract problems, intravenous pamidronate may be used. Strontium ranelate or teriparatide are used for refractory disease. The use of strontium ranelate is restricted because of increased risk of venous thromboembolism, pulmonary embolism and serious cardiovascular disorders, including myocardial infarction. In postmenopausal women, the selective estrogen receptor modulator raloxifene is occasionally administered instead of bisphosphonates. Bisphosphonates are beneficial in reducing the risk of vertebral fracture in steroid induced osteoporosis.


title: Bisphosphonate

text: Long-term treatment with bisphosphonates produces anti-fracture and bone mineral density effects that persist for 3–5 years after an initial 3–5 years of treatment. The bisphosphonate alendronate reduces the risk of hip, vertebral, and wrist fractures by 35-39%; zoledronate reduces the risk of hip fractures by 38% and of vertebral fractures by 62%. Risedronate has also been shown to reduce the risk of hip fractures.


title: Bisphosphonate

text: After five years of medications by mouth or three years of intravenous medication among those at low risk, bisphosphonate treatment can be stopped. In those at higher risk ten years of medication by mouth or six years of intravenous treatment may be used.


title: Bisphosphonate

text: Bisphosphonates reduce the risk of fracture and bone pain in people with breast, lung, and other metastatic cancers as well as in people with multiple myeloma. In breast cancer there is mixed evidence regarding whether bisphosphonates improve survival. A 2017 Cochrane review found that for people with early breast cancer, bisphosphonate treatment may reduce the risk of the cancer spreading to the person's bone, however, for people who had advanced breast cancer bisphosphonate treatment did not appear to reduce the risk of the cancer spreading to the bone. Side effects associated with bisphosphonate treatment for people with breast cancer are mild and rare.


title: Bisphosphonate

text: Evidence suggests that the use of bisphosphonates would be useful in the treatment of complex regional pain syndrome, a neuro-immune problem with high MPQ scores, low treatment efficacy and symptoms which can include regional osteoporosis. In 2009 bisphosphonates were "among the only class of medications that has survived placebo-controlled studies showing statistically significant improvement (in CRPS) with therapy."


title: Bisphosphonate

text: Bisphosphonates have been used to reduce fracture rates in children with the disease osteogenesis imperfecta and to treat otosclerosis by minimizing bone loss.


title: Bisphosphonate

text: Other bisphosphonates, including medronate (R=H, R=H) and oxidronate (R=H, R=OH), are mixed with radioactive technetium and injected, as a way to image bone and detect bone disease.


title: Bisphosphonate

text: Oral bisphosphonates can cause upset stomach and inflammation and erosions of the esophagus, which is the main problem of oral "N"-containing preparations, that is ones containing "normal" unbranched chains. This can be prevented by remaining seated upright for 30 to 60 minutes after taking the medication. Intravenous bisphosphonates can give fever and flu-like symptoms after the first infusion, which is thought to occur because of their potential to activate human γδ T cells.


title: Bisphosphonate

text: Bisphosphonates, when administered intravenously for the treatment of cancer, have been associated with osteonecrosis of the jaw (ONJ), with the mandible twice as frequently affected as the maxilla and most cases occurring following high-dose intravenous administration used for some cancer patients. Some 60% of cases are preceded by a dental surgical procedure (that involves the bone), and it has been suggested that bisphosphonate treatment should be postponed until after any dental work to eliminate potential sites of infection (the use of antibiotics may otherwise be indicated prior to any surgery).


title: Bisphosphonate

text: A number of cases of severe bone, joint, or musculoskeletal pain have been reported, prompting labeling changes.


title: Bisphosphonate

text: Some studies have identified bisphosphonate use as a risk factor for atrial fibrillation (AF), though meta-analysis of them finds conflicting reports. , the US Food and Drug Administration did not recommend any alteration in prescribing of bisphosphonates based on AF concerns. More recent meta-analyses have found strong correlations between bisphosphonate use and development of AF, especially when administered intravenously, but that a significantly increased risk of AF that required hospitalization did not have an attendant increased risk of stroke or cardiovascular mortality.


title: Bisphosphonate

text: In large studies, women taking bisphosphonates for osteoporosis have had unusual fractures ("bisphosphonate fractures") in the femur (thigh bone) in the shaft (diaphysis or sub-trochanteric region) of the bone, rather than at the femoral neck, which is the most common site of fracture. However, these fractures are rare (12 in 14,195 women) compared to the common hip fractures (272 in 14,195 women), and the overall reduction in hip fractures caused by bisphosphonate is more than the increase in unusual shaft fractures. There are concerns that long-term bisphosphonate use can result in over-suppression of bone turnover. It is hypothesized that micro-cracks in the bone are unable to heal and eventually unite and propagate, resulting in atypical fractures. Such fractures tend to heal poorly and often require some form of bone stimulation, for example bone grafting as a secondary procedure. This complication is not common, and the benefit of overall fracture reduction still holds. In cases where there is concern of such fractures occurring, teriparatide is potentially a good alternative because it does not cause as much damage as a bisphosphonate does by suppressing bone turnover.


title: Bisphosphonate

text: Three meta analyses have evaluated whether bisphosphonate use is associated with an increased risk of esophageal cancer. Two studies concluded that there was no evidence of increased risk.


title: Bisphosphonate

text: The two (phosphonate) groups covalently linked to carbon determine both the name "bis"phospho"nate" and the function of the drugs. "Bis" refers to the fact that there are two such groups in the molecule.


title: Bisphosphonate

text: The long side-chain (R in the diagram) determines the chemical properties, the mode of action and the strength of bisphosphonate drugs. The short side-chain (R), often called the 'hook', mainly influences chemical properties and pharmacokinetics.


title: Bisphosphonate

text: Of the bisphosphonate that is resorbed (from oral preparation) or infused (for intravenous drugs), about 50% is excreted unchanged by the kidney. The remainder has a very high affinity for bone tissue, and is rapidly adsorbed onto the bone surface. Once bisphosphonates are in bone, they have a very long elimination half-life that can exceed ten years.


title: Bisphosphonate

text: Bisphosphonates are structurally similar to pyrophosphate, but with a central carbon that can have up to two substituents (R and R) instead of an oxygen atom. Because a bisphosphonate group mimics the structure of pyrophosphate, it can inhibit activation of enzymes that utilize pyrophosphate.


title: Bisphosphonate

text: The specificity of bisphosphonate-based drugs comes from the two phosphonate groups (and possibly a hydroxyl at R) that work together to coordinate calcium ions. Bisphosphonate molecules preferentially bind to calcium ions. The largest store of calcium in the human body is in bones, so bisphosphonates accumulate to a high concentration only in bones.


title: Bisphosphonate

text: Bisphosphonates, when attached to bone tissue, are released by osteoclasts, the bone cells that break down bone tissue. Bisphosphonate molecules then attach to and enter osteoclasts where they disrupt intracellular enzymatic functions needed for bone resorption.


title: Bisphosphonate

text: There are two classes of bisphosphonate compounds: non-nitrogenous (no nitrogen in R) and nitrogenous (R contains nitrogen). The two types of bisphosphonates work differently in killing osteoclasts.


title: Bisphosphonate

text: The non-nitrogenous bisphosphonates (diphosphonates) are metabolised in the cell to compounds that replace the terminal pyrophosphate moiety of ATP, forming a non-functional molecule that competes with adenosine triphosphate (ATP) in the cellular energy metabolism. The osteoclast initiates apoptosis and dies, leading to an overall decrease in the breakdown of bone. This type of bisphosphonate has overall more negative effects than the nitrogen containing group, and is prescribed far less often.


title: Bisphosphonate

text: Nitrogenous bisphosphonates act on bone metabolism by binding and blocking the enzyme farnesyl diphosphate synthase (FPPS) in the HMG-CoA reductase pathway (also known as the mevalonate pathway).


title: Bisphosphonate

text: Bisphosphonates that contain isoprene chains at the R or R position can impart specificity for inhibition of GGPS1.


title: Bisphosphonate

text: Disruption of the HMG CoA-reductase pathway at the level of FPPS prevents the formation of two metabolites (farnesol and geranylgeraniol) that are essential for connecting some small proteins to the cell membrane. This phenomenon is known as prenylation, and is important for proper sub-cellular protein trafficking (see ""lipid-anchored protein"" for the principles of this phenomenon).


title: Bisphosphonate

text: While inhibition of protein prenylation may affect many proteins found in an osteoclast, disruption to the lipid modification of Ras, Rho, Rac proteins has been speculated to underlie the effects of bisphosphonates. These proteins can affect both osteoclastogenesis, cell survival, and cytoskeletal dynamics. In particular, the cytoskeleton is vital for maintaining the "ruffled border" that is required for contact between a resorbing osteoclast and a bone surface.


title: Bisphosphonate

text: Statins are another class of drugs that inhibit the HMG-CoA reductase pathway. Unlike bisphosphonates, statins do not bind to bone surfaces with high affinity, and thus are not specific for bone. Nevertheless, some studies have reported a decreased rate of fracture (an indicator of osteoporosis) and/or an increased bone mineral density in statin users. The overall efficacy of statins in the treatment of osteoporosis remains controversial.


title: Bisphosphonate

text: Bisphosphonates were developed in the 19th century but were first investigated in the 1960s for use in disorders of bone metabolism. Their non-medical use was to soften water in irrigation systems used in orange groves. The initial rationale for their use in humans was their potential in preventing the dissolution of hydroxylapatite, the principal bone mineral, thus arresting bone loss. In the 1990s their actual mechanism of action was demonstrated with the initial launch of alendronate by Merck & Co.


title: John Dehner

text: John Dehner (DAY-ner) (born John Dehner Forkum, also credited Dehner Forkum; November 23, 1915February 4, 1992) was an American stage, radio, film, and television actor. From the late 1930s to the late 1980s, he amassed a long list of performance credits, often in roles as sophisticated con men, shady authority figures, and other smooth-talking villains. His credits just in feature films, televised series, and in made-for-TV movies number almost 300 productions. Dehner worked extensively as an actor radio during the latter half of that medium's "golden age", accumulating hundreds of additional credits on nationally broadcast series. His most notable starring role was as Paladin on the radio version of the television Western "Have Gun – Will Travel", which aired for 106 episodes on CBS from 1958 to 1960. He continued to work as a voice actor in film, such as narrating the film "The Hallelujah Trail". Earlier in his career, Dehner also worked briefly for Walt Disney Studios, serving as an assistant animator from 1940 to March 1941 at the company's facilities in Burbank, California.


title: John Dehner

text: Born in 1915 in New York City on Staten Island, John Dehner was the middle child of three children of Ella Susana (née Dehner) and Ralph LeRoy Forkum. John's father was an accomplished artist who was widely recognized in the United States as a landscape painter, illustrator, and a specialist in painting "highly realistic" backgrounds for stage productions and later for animated features and shorts. John's mother was a gifted musician with artistic talents as well. Prior to the 1920s, Ella Forkum even collaborated with her husband on art projects and in some instances was co-credited for helping him to compose content for his drawings and paintings widely used in newspaper and magazine advertising. One example is a full-page advertisement in the March 18, 1917 issue of the Washington, D.C. newspaper "Evening Star". That ad is for "Djer-Kiss", a very exclusive line of French perfumes and soaps. It depicts a highly stylized, fairytale-like scene of young women bathing beneath a waterfall. The artwork itself bears the attribution to both of John's parents, to "R.L. + E.D. Forkum".


title: John Dehner

text: By the early 1920s, R. L. or "Roy" Forkum's growing artistic reputation earned him a commission that allowed him to take young John and the rest of his family to live in Oslo, Norway while he produced illustrations for an elaborate publication celebrating the music of Norwegian composer Edvard Grieg. It was in Oslo where John gained his first experiences performing publicly in musicales and school plays. Following the completion of his work on the Grieg project, Roy took Ella and the children for extended stays in Stockholm, Copenhagen, London, and finally in Paris, where for two and a half years in the French capital's suburb of Asnières-sur-Seine, John and his two sisters, Amy and Alice, continued their education in public schools.


title: John Dehner

text: John's studies in France expanded his interests in art, music, and theatre, as well as in the sport of fencing, in which he demonstrated sufficient skills by his early teens to qualify as a "champion" competitor. In her interview with Dehner in 1959, Marcia Minnette, a reporter for the New York trade magazine "TV-Radio Mirror", quotes the actor's recollections of attending French schools three decades earlier, in particular his reactions to the rigorous study and strict discipline demanded by his teachers:


title: John Dehner

text: Living and studying in Europe "at a formative age" certainly expanded Dehner's knowledge of different cultures and languages. In addition to becoming fluent in Norwegian and French, he also spoke "some" Swedish, Spanish, German, and Italian. That broad knowledge of languages would prove to be very helpful later during his acting career, when Dehner's characters were required to speak with accents or to sprinkle their English dialogue with various foreign words and phrases.


title: John Dehner

text: While in France, John's parents separated in Paris and on November 15, 1929 were granted a divorce there. Ella Forkum soon returned to the United States with 14-year-old John and his sisters and resettled in the Riverview Manor section of Hastings-on-Hudson, a village located approximately 20 miles north of midtown Manhattan, where John's father resided separately. Between 1930 and 1932, "Dehner Forkum", his mother, and sisters were cited periodically in society columns in the "New York Herald Tribune", which reported their attendance and personal performances at charity events, dances, music recitals, and plays presented in Hastings. In February 1932, as part of their high school's bicentennial celebration of George Washington's birthday, Dehner and his older sister Amy performed in "Conway Cabal", a historical play written by one of their classmates. The siblings then acted the next month in an adaptation of the 1900 novel "Monsieur Beaucaire", a production that won Hastings High School first prize in a regional competition for student plays.


title: John Dehner

text: After graduating from Hastings High School in June 1932, Dehner enrolled in the Grand Central School of Art in Manhattan, evidently with intentions to pursue a career in art like his father, who soon relocated to California to continue painting and to work in set design and later drawing backgrounds and storyboards for animation projects being made by Walter Lantz, Walt Disney, and other producers. Despite Dehner's early work in amateur stage productions and his natural talents and training as a painter and sculptor, he did not immediately embrace acting or studio art as a long-term profession.


title: John Dehner

text: By the fall of 1934, Dehner and his sisters left New York with their mother and relocated to the West Coast, where Amy enrolled at the University of California, Berkeley. The next year John enrolled as well at Berkeley to continue his formal studies in fine arts. While at the university, he also gained more practical experience acting in campus stage productions and refining his musical talents by playing piano and composing arrangements for three local dance bands. Later school and military records indicate that he decided to leave Berkeley in the summer of 1937 after completing two years of study.


title: John Dehner

text: Dehner left Berkeley at the end of his sophomore year to return to New York City to try acting in professional stage productions. There he joined a troupe associated with the Moscow Art Theatre (MAT), where he obtained intensive training in the "system" of method acting established by Soviet theatre practitioner Konstantin Stanislavski. Years later, long after Dehner had established himself as a popular actor in films and on radio and television, he credited MAT for profoundly influencing his performance style, although it was a style that over time required him to adjust substantially his acting techniques in order to achieve widespread success with American audiences. In particular, he recognized Mikhail Chekov, a former student of Stanislavski and the leading consultant to the New York troupe, as being professionally "'the most important man in my career.'" The "Los Angeles Times" in a 1971 interview with Dehner recounted how his approach to acting evolved with his MAT training:


title: John Dehner

text: One of the notable stage productions in which Dehner was cast in New York is "The Bridal Crown" (1901) by Swedish playwright August Strindberg. Premiering on Broadway at the Vanderbilt Theatre on February 5, 1938, the play was presented under the auspices of the Experimental Theatre of Manhattan. Brooks Atkinson, then a critic for "The New York Times", reviewed the stage work by "The New York Players", whom he characterized as "serious-minded" and composed of "young people with a passion for the theatre and in most cases slim pocketbooks". While citing "Dehner Forkum" among the principal actors and serving in the role of "Mats", Atkinson deemed the troupe's overall effort to be only "a respectable student performance".


title: John Dehner

text: Dehner continued to perform, although sporadically, in other plays in New York and with a few nearby stock companies. He did receive some financial support from his mother, but the lack of consistent, paid acting work required Dehner to find employment elsewhere in the city to support himself, including taking daytime jobs as a sales clerk in a tobacco shop and parking cars at the 1939 New York World's Fair. Frustrated by his meager lifestyle and the limited prospects of establishing a livable stage career in the city, he decided by the end of 1939 to return, as he described it, to the "life-line" of California.


title: John Dehner

text: Upon his return to California, Dehner did not resettle in Berkeley to resume his university studies or to find an off-campus job there. His mother, who by then was living on Arch Street in Berkeley and managing a "variety store", chose to remain in the city while John relocated to Southern California, to Los Angeles County, where in Hollywood there were greater opportunities for trained actors and artists to find employment in the film industry. An added advantage to moving there was that John's father was already working regularly for different studios. One was Walt Disney Studios, where Roy Forkum served as a "story artist" at new facilities being constructed by Disney in Burbank, just a short distance from Hollywood. Dehner moved in with his father and new stepmother, Eileen, who were living in a house that Roy owned in Burbank at 454 South Fairview Street.


title: John Dehner

text: The 1940 federal census also documents that both father and son were employed that year at "motion picture studios"; Roy Forkum, as an "artist"; and 24-year-old John, as a "new worker & student" (apprentice). Other period records, however, provide some details about John's work at that time, more specifically that he, like his father, was working at Disney, where as an animator he assisted in producing drawings for Disney's 1940 animated classic "Fantasia" as well as for "The Reluctant Dragon" (1941) and for the early development of "Bambi" (1942).


title: John Dehner

text: Dehner worked for a year at Disney, and in the previously cited 1959 interview with "TV-Radio Mirror" he describes his job there as an "'in-betweener'", as an assistant artist "'who draws everything that goes in between bits of action as sketched by the animators'" "'Sometimes'", he states in that interview, "'I spent days merely drawing curly lines to simulate waves, or leaf outlines, or horizons.'" A Disney film distributed by RKO Pictures in 1941 actually shows Dehner working at the studio. Titled "The Reluctant Dragon", the first part of the film follows American actor and humorist Robert Benchley taking a behind-the-scenes tour of various production departments at Disney's facilities in Burbank. Benchley in one segment visits a storyboard room for Disney animators who are portrayed composing and drawing a future cartoon short featuring the character "Baby Weems". Dehner is briefly shown among fellow staff greeting Benchley and later doing a sketch of Baby Weems.


title: John Dehner

text: After registering with the military draft in Los Angeles County in October 1940, John left Disney's animation department in early March 1941 to volunteer for the United States Army, a full nine months before Japan attacked Pearl Harbor and officially drew the United States into World War II. In his enlistment papers, he identifies his civilian occupation as an artist and art teacher specializing in sculpture. John's initial army training prepared him to serve as a gunnery instructor, although he was soon selected for officer candidate school. Additional physical exams during routine screening for his candidacy revealed that Dehner had a stomach ulcer, one so severe that it prompted army physicians by the end of 1941 to honorably discharge him from military service on medical grounds.


title: John Dehner

text: After Dehner was medically discharged from the army, he did not resume his job at Disney; instead, he embarked on a radio career, working initially as an announcer. "Broadcasting and Broadcast Advertising", a widely read radio publication based in Washington, D.C., reported in March 1942 that "John Dehner Forkum...has joined the KFAC, Los Angeles, announcing staff, replacing Jack Little". By September that year, Dehner was working in Beverly Hills at KMPC, where he was promoted from serving as a "relief announcer" to a full-time position at the station. It was at that time too when he began to identify himself professionally and consistently as "John Dehner", dropping his surname. KMPC soon promoted the "announcer-writer" and occasional disc jockey yet again, elevating him to news editor. Dehner then moved to radio station KFWB, also broadcasting from Los Angeles, where he was part of a news team that won a Peabody Award for its reporting on the first United Nations conference held in San Francisco in 1945.


title: John Dehner

text: Dehner in the early 1940s also began performing as an actor on radio, and he continued to do so throughout the 1950s and into the 1960s. Among his earliest radio-based acting jobs was while he was employed at station KMPC, where from late 1942 to 1944 he voiced the title character and narrated the syndicated horror anthology "The Hermit's Cave", which was produced by William Conrad. For the rest of the 1940s and for the remaining years of the "Golden Age of Radio", into the early 1960s, Dehner served as a guest star, a recurring character, or lead on some of the greatest nationally broadcast series of that period, all while working as well in films and on television. A few of those major radio productions are "Escape", "Yours Truly, Johnny Dollar", "Let George Do It", "California Caravan", "The Count of Monte Cristo"; "Crime Classics"; "Lassie", "NBC University Theater", "The Adventures of Philip Marlowe", "Rogers of the Gazette", "Suspense", "The Man Called X", "The Silent Men", "Smilin' Ed's Buster Brown Gang", "Voyage of the Scarlet Queen", "The Whistler", "Family Skeleton", "The Black Book", and "The Adventures of Sam Spade".


title: John Dehner

text: Dehner was also one of three actors to perform as Scotland Yard inspector Peter Black on the radio crime drama "Pursuit", which aired on CBS Radio between 1949 and 1952. Between 1950 and 1951, he co-starred as Elmer in the radio comedy "The Truitts". In 1952, he played the title character on "The Judge", a single episode audition (equivalent to a television pilot), but it never went to series.


title: John Dehner

text: Articulate and possessing a rich baritone voice, Dehner during the 1950s was recognized by "Radio Life Magazine" for having the entertainment industry's "best radio voice", an asset that continued to provide him many more opportunities in broadcasting. Much of his work in that period was performing as an array of characters in radio Westerns such as "The Cisco Kid", "Wild Bill Hickok", "Gunsmoke", and "Fort Laramie". He also starred in two Western series on CBS Radio in 1958. In February that year, he began voicing the title character for "Frontier Gentleman", a weekly series that followed the "action-filled" exploits of J. B. Kendall, a British Army veteran who as a newspaper reporter traveled throughout the Old West gathering stories for "The London Times". Although that series lasted only nine months, Dehner's representation of Kendall in 42 episodes was well received by period reviewers, one of whom described the actor's portrayal of the main character as "elegant and icily effective". Only a week after the final broadcast of "Frontier Gentleman" in November 1958, Dehner premiered as the gunfighter-private detective Paladin on the radio version of "Have Gun Will Travel". That series, which totaled 106 episodes, continued for two full years, ending in November 1960.


title: John Dehner

text: Dehner during his 50-year entertainment career performed in over 125 feature films and shorts. He made his first "big screen" appearances in the early 1940s after he was discharged from the army, performing in uncredited bit parts while still working predominantly in radio. For several years he worked picture-to-picture as a modern journeyman, visiting casting offices, auditioning, and building screen time and experience at Republic, RKO, Warner Bros., Paramount, Metro-Goldwyn-Mayer, and Twentieth Century-Fox. Among Dehner's initial film appearances are his uncredited role in a Republic Western in which he broke his right hand in a fight scene and as "Sheik Ameer" in the 1943 Sol Lesser production "Tarzan's Desert Mystery".


title: John Dehner

text: Other roles in which he was cast include a military officer, radio announcer, miner, medical intern, and state trooper in films such as "Thirty Seconds Over Tokyo" (1944), "Lake Placid Serenade" (1944), "The Corn Is Green" (1945), "Twice Blessed" (1945), "Captain Eddie" (1945), "Christmas in Connecticut " (1945), "State Fair" (1945), "She Went to the Races" (1945), and "Club Havana" (1945). Although Dehner's early performances in these motion pictures were not actually credited on screen, his name began to appear in cast credits published in leading film-industry publications. For instance, his name and roles in both "Captain Eddie" and "State Fair" are cited in the nation's top movie-fan magazine in 1945, "Photoplay", as well as in "The Film Daily" and the "Showmen's Trade Review".


title: John Dehner

text: For the rest of the 1940s, Dehner continued to perform in assorted film genres: crime dramas, mysteries, seafaring and jungle adventures, espionage stories, and a growing number of Westerns. Steadily during his early years of film acting, Dehner established a reputation among casting directors and theater audience as a reliable performer who could portray a myriad of characters, although most often in villainous roles as crooked gamblers, evil bankers, distinguished foreign spies, grifters, edgy gunfighters, and other "heavies". In fact, a news item titled "John Dehner Turns to Right of Law" and published in Ohio in the July 21, 1950 issue of the "Toledo Union Journal" underscores how entrenched that reputation was. The newspaper describes for movie fans the actor's role in an upcoming picture:


title: John Dehner

text: The 1950s were Dehner's busiest years performing in theatrical films. He was cast in at least 63 features released during that decade and fully half of those pictures are Westerns, several of which offered Dehner the most substantial parts of his screen career. After getting good notices for his supporting role in the 1956 RKO production "Tension at Table Rock", Dehner was chosen by Howard W. Koch and Aubrey Schenck of Bel-Air Productions to be the lead in "Revolt at Fort Laramie" (1957), playing cavalry officer Major Seth Bradner. The actor, though a very familiar face to motion picture audiences, was still not considered by most producers to have significant drawing power at the box office. The film-industry publication "Motion Picture Exhibitor", which had a large readership of theater owners in 1957, commends the overall quality of "Revolt at Fort Laramie" in its March 20 review but alludes to the film's lack of star power. The journal describes the 73-minute Western as a "Good programmer" with "competent” performances by Dehner and other cast and a "sufficient" number of action scenes that "holds interest despite lack of name values." The next year, in 1958, Dehner received second billing in "The Left Handed Gun", playing opposite Paul Newman who stars as the title character, the outlaw Billy the Kid. Dehner in that film portrays Sheriff Pat Garrett, who tracks down and kills Billy.


title: John Dehner

text: Moving into the 1960s, Dehner began that decade co-starring in "The Canadians" (1961), yet another Western, although it was not a United States production. It was instead an Anglo-Canadian project filmed entirely in Canada by a predominantly English and Canadian cast and crew. Dehner, once again playing the villain as an "Indian-hating rancher", shared top billing with fellow American actor Robert Ryan and British actor Torin Thatcher. For Dehner's next three motion pictures, however, he accepted three supporting roles outside the realm of Westerns and set in contemporary times: the drama "The Chapman Report" (1962); another contemporary drama, "Youngblood Hawke" (1962); and a comedy starring Bob Hope and Lucille Ball, "Critics Choice" (1963).


title: John Dehner

text: In 1964, Dehner co-starred with Wally Cox in "Invitation to Ohio", a film sponsored by the Ohio Bell Telephone Company. Cox portrays Doc Hutton, the owner of a small popcorn and peanut wagon, who is seeking to relocate his tiny business to a more profitable area. After reading an advertisement in "The Wall Street Journal" about the economic advantages of working in Ohio, Hutton calls the state's Director of Development, a role played by Dehner. Comedy ensues when the Director, mistaking the popcorn-peanut vendor as the president of a large industrial corporation, invites Hutton to tour the state with him.


title: John Dehner

text: By 1966, Dehner's success in films had been almost exclusively in supporting roles, so in an effort to obtain more leading parts, he decided to establish that year his own production company. "Motion Picture Exhibitor" reports in its July 6, 1966 issue that Dehner had recently formed "J. D. Productions", an enterprise with "one of its primary functions" being to purchase story ideas and scripts to develop into projects in which Dehner "would star in the film versions". To what extent Dehner's company developed projects or directed him to parts in future screen productions is unknown, but Dehner continued to act in films for the next 20 years, although not in roles for which he received top billing. His first feature after the establishment of J. D. Productions is the crime drama "Stiletto" (1969) starring Alex Cord, Britt Ekland, and Patrick O'Neal. Dehner once again plays in a supporting role but on the "right side" of the law, portraying a district attorney.


title: John Dehner

text: After appearing in three consecutive Westerns in 1970 and 1971, including "Support Your Local Sheriff", Dehner completed his film career performing almost exclusively in productions outside the genre of "cowboy pictures". He was cast in historic dramas like "The Lincoln Conspiracy" (1977) and "The Right Stuff" (1983), in science-fiction features such as "Slaughterhouse-Five" (1972) and "The Boys From Brazil" (1978); in comedies like "Fun with Dick and Jane" (1977) and "" (1982); and in neo-noir thrillers such as "The Killer Inside Me" (1976) and "Jagged Edge" (1985). Dehner in this period did star in one film as the title character, in the 1977 production "Guardian of the Wilderness" in which he portrays the early American naturalist and "Father of the National Parks" John Muir.


title: John Dehner

text: As Dehner's radio and film careers continued to progress in the 1950s, he also began working increasingly in the rapidly expanding medium of television, and over more than 35 years he performed on a wide range of Western series, situation comedies, science-fiction anthologies, crime dramas, made-for-TV movies, and in guest appearances on variety shows. Among his early performances on televised series are in two 1952 episodes"The Parachute Story" and "The Dead General Story"on NBC's "Dangerous Assignment" starring Brian Donlevy. While Dehner in those cited episodes and in many other series was identified foremost as a dramatic actor, he was cast too on assorted sitcoms throughout his career. Some of the televised series on which he performed in the 1950s and 1960s are "The Soldiers", "The Real McCoys", "The Andy Griffith Show", "The Beverly Hillbillies", "F Troop", "The Flying Nun", "Get Smart", and "Hogan's Heroes".


title: John Dehner

text: Dehner is featured as well on the classic science-fiction series "The Twilight Zone", appearing in three episodes between 1959 and 1964: as Captain Allenby, a spaceship pilot, in "The Lonely"; as Alan Richards in "The Jungle", a story about a construction-company owner who is terrorized by African spiritual forces; and as a con man, who in "Mr. Garrity and the Graves" arrives in the small 1890 town of "Happiness", Arizona claiming he can raise the dead. Dehner's performance in the latter episode showcases one example of his talent for projecting subtle humor. Marc Scott Zicree in the 1989 edition of his book "The Twilight Zone Companion" highlights that quality in Dehner's portrayal of Garrity, describing the actor as "marvelously dry as a con man".


title: John Dehner

text: For most of Dehner's television career, the genre he performed most often in was the Western, especially during the 1950s and 1960s. He was cast, at times repeatedly, as a guest star or major supporting character in over 40 Western series. These include "The Adventures of Kit Carson", "Cheyenne" with Clint Walker, "Zorro" with Guy Williams, "Maverick" (including the episode "Shady Deal at Sunny Acres") with James Garner, "Zane Gray Theatre", "Tales of Wells Fargo" with Dale Robertson, "Bat Masterson" with Gene Barry, "Rawhide" with Clint Eastwood, "Bonanza", "Law of the Plainsman", "The Rebel" with Nick Adams, "Cimarron City", "The Alaskans" with Roger Moore, "The Restless Gun" with John Payne,"The Rifleman" with Chuck Connors, "Stagecoach West", "The Texan" with Rory Calhoun, "Black Saddle", "Wagon Train", "Wanted: Dead or Alive" with Steve McQueen, "Wichita Town" with Joel McCrea, "Stoney Burke", "A Man Called Shenandoah" with Robert Horton, "Branded" with Chuck Connors, "The Virginian", "The Wild Wild West", "The Big Valley" with Barbara Stanwyck, and "The High Chaparral".


title: John Dehner

text: In the September 1960 issue of the "TV-Radio Mirror", staff reporter Sam Campbell commented about Dehner's frequent appearances on television in a feature article and highlights the actor's ongoing reputation as one of the American television industry's top villains in weekly Westerns. Campbell also observes that being a frequently working supporting actor like Dehner has distinct advantages over the higher pressures and role requirements of stardom:


title: John Dehner

text: Dehner in the 1950s and 1960s was cast too in numerous roles on both the radio and television versions of the long-running Western "Gunsmoke". His performances as different characters in 12 televised episodes of that series demonstrate the range of his acting talents. He portrays an unlikable drifter in the televised series' second episode, "Hot Spell" (1955); an old gold miner named Nip Cullers, who is desperate to find a wife in "Tap Day for Kitty" (1956); the long-lost, devious father of Dodge City bar owner Kitty Russell in "Daddy-O" (1957); a psychotic gunman in the episode "Crack Up" (1957); a pathetic town drunk—yet a desperately protective father—in "Bottleman" (1958); a sadistic bandit in "The Badge" (1960); a lonely widower who in "The Squaw" (1961) marries a much-younger Arapaho woman and must cope with the resulting hostility of his only son; as a nomadic and lazy would-be farmer traveling with two scheming older children in "Root Down" (1962); a brain-damaged freight operator who undergoes a drastic personality change in "Ash" (1963); a dejected and childless homesteader in "Caleb" (1964); a timid resident of Dodge City who gains fleeting celebrity after killing an outlaw in "The Pariah" (1965); and as Sam Wall, a ruthlessly exploitive businessman in "Dead Man's Law" (1968).


title: John Dehner

text: By 1970, the number of Western series on American television had substantially declined, a development that offered Dehner opportunities during the final years of his career to play once again more parts outside that genre. Those opportunities, however, coincided with his expressed dissatisfaction with the state of acting in the entertainment industry. In a one-on-one interview with Dehner, which was published in "The Atlanta Constitution" and other newspapers in October 1971, syndicated Hollywood columnist Dick Kleiner quoted the actor's views about his profession at that time:


title: John Dehner

text: Despite Dehner's changing attitudes regarding the state of his profession, he continued to perform regularly on television series and in made-for-TV movies until just a few years before his death. He played the part of veteran magazine editor Cy Bennett for two seasons (1971–1973) on the weekly sitcom "The Doris Day Show" and was cast in multiple episodes as a recurring character on other weekly series such as in the second season of the black comedy "The New Temperatures Rising Show" (1973), as Barrett Fears in "Big Hawaii" (1977), in the soap operas "Bare Essence" (1983) and "The Colbys" (1986–1987), and a return to a Western role as the "humorless, businesslike" Marshal Edge Troy in the series "Young Maverick" (1979–1980). Some of his other roles in that closing period of his career are in docudramas, miniseries, and in movies produced specifically for television. Dehner portrays, for example, former U.S. Secretary of State Dean Acheson in the 1974 ABC presentation "The Missiles of October"; and for his final role on television, which originally aired on November 23, 1988, he appears as Admiral Ernest King in part seven of the 12-part World War II dramatic miniseries "War and Remembrance".


title: John Dehner

text: Dehner's decades of overlapping commitments to perform on radio, films, and television left him relatively little time during his career to participate regularly in stage productions as well. He did not, though, leave behind entirely theatre work. Over the years, particularly during the 1960s, Dehner enjoyed returning to the stage to direct and to act in roles ranging from leads to minor parts in a variety of plays, usually productions offered at small venues by local theatre groups located near Dehner's home in California. In its "On Stage" section in August 1961, the "Los Angeles Times" announced a presentation at the Santa Monica Women's Club of George Bernard Shaw's play "Major Barbara", starring Jocelyn Brando and supported by John Dehner, Lee Marvin, Marvin Miller, Robert Middleton, and other experienced performers. The next year, in September, Dehner directed fellow prominent actors in performances of John Mortimer's comedy "I Spy" at the "Rustic Canyon Playground clubhouse". Two months later, in November 1962 at the El Capitan Theatre in Hollywood, Dehner joined Lee Marvin again, along with James Whitmore, Louis Nye, and Paul Fix, to play pirates in a production of "Peter Pan" with Peggy Webber in the title role.


title: John Dehner

text: Dehner married twice, the first time in 1941 to Roma Leonore Meyers, a California native who was five years older than John. The couple had two daughters, Kirsten and Sheila, and remained together for nearly 30 years, until divorcing in October 1970. Three years later, in Los Angeles, Dehner wed Evelyn (née Severance) Elliott, also a native of California. They remained together until his death.


title: John Dehner

text: In 1992, a little over three years after performing in the televised miniseries "War and Remembrance", Dehner died at age 76 in Santa Barbara, California due to complications from emphysema and diabetes. His body was cremated and the ashes interred at the city cemetery in Carpinteria, a small seaside community situated a short distance east of Santa Barbara.


title: Artists Rifles

text: The 21 Special Air Service Regiment (Artists) (Reserve), historically known as The Artists Rifles is a regiment of the Army Reserve. Its name is abbreviated to 21 SAS(R).


title: Artists Rifles

text: Raised in London in 1859 as a volunteer light infantry unit, the regiment saw active service during the Second Boer War and the First World War, earning a number of battle honours. During the Second World War, it was used as an officer training unit. The regiment was disbanded in 1945, but in 1947 it was re-established to resurrect the Special Air Service Regiment. Together with 23 Special Air Service Regiment (Reserve) (23 SAS(R)), it forms the Special Air Service (Reserve) (SAS(R)) part of the United Kingdom Special Forces (UKSF) directorate.


title: Artists Rifles

text: The regiment was established in 1859, part of the widespread volunteer movement which developed in the face of potential French invasion after Felice Orsini's attack on Napoleon III was linked to Britain. The group was organised in London by Edward Sterling, an art student, and comprised various professional painters, musicians, actors, architects and others involved in creative endeavours; a profile it strove to maintain for some years. It was established on 28 February 1860 as the 38th Middlesex (Artists') Rifle Volunteer Corps, with headquarters at Burlington House. Its first commanders were the painters Henry Wyndham Phillips and Frederic Leighton. The unit's badge, designed by J. W. Wyon, shows the heads of the Roman gods Mars and Minerva in profile. Until 1914 the regimental full dress uniform was light grey with white facings, silver buttons and braid. This distinctive uniform dated from the regiment's foundation as a volunteer unit. After the First World War, standard khaki was the normal dress.


title: Artists Rifles

text: In September 1880, the corps became the 20th Middlesex (Artists') Rifle Volunteer Corps, with headquarters at Duke's Road, off Euston Road, London (now The Place, home of the Contemporary Dance Trust). The drill hall was designed by Robert William Edis, the commanding officer. It was officially opened by the Prince of Wales.


title: Artists Rifles

text: It formed the 7th Volunteer Battalion of the Rifle Brigade from 1881 until 1891 and the 6th Volunteer Battalion from 1892 to 1908. During this period, The Artists Rifles fought in the Second Boer War as part of the City Imperial Volunteers.


title: Artists Rifles

text: After the 1860s the voluntary recruitment basis of the regiment gradually broadened to include professions other than artistic ones. By 1893 lawyers and architects made up 24% of the unit, doctors followed with 10% and civil engineers 6%. Sculptors and painters totaled about 5%.


title: Artists Rifles

text: Following the formation of the Territorial Force, the Artists Rifles was one of 26 volunteer battalions in the London and Middlesex areas that combined to form the new London Regiment. It became the 28th (County of London) Battalion of The London Regiment on 1 April 1908.