title: Malayalam script

text: An "anusvaram" ( "anusvāram"), or an "anusvara," originally denoted the nasalization where the preceding vowel was changed into a nasalised vowel, and hence is traditionally treated as a kind of vowel sign. In Malayalam, however, it simply represents a consonant after a vowel, though this may be assimilated to another nasal consonant. It is a special consonant letter, different from a "normal" consonant letter, in that it is never followed by an inherent vowel or another vowel. In general, an "anusvara" at the end of a word in an Indian language is transliterated as "ṁ" in ISO 15919, but a Malayalam "anusvara" at the end of a word is transliterated as "m" without a dot.


title: Malayalam script

text: A "visargam" (, "visargam"), or "visarga", represents a consonant after a vowel, and is transliterated as "ḥ". Like the "anusvara", it is a special symbol, and is never followed by an inherent vowel or another vowel.


title: Malayalam script

text: The following tables show the basic consonant letters of the Malayalam script, with romanizations in ISO 15919, transcriptions in IPA, and Unicode . The character names used in the report of the Government of Kerala committee (2001) are shown in "lowercase italics" when different from Unicode character names. Those alternative names are based on the traditional romanization used by the Malayali people. For example, "tha" in “Thiruvanan"tha"puram” is neither ISO tha nor Unicode , but "tha" in this sense (). The ISCII (IS 13194:1991) character names are given in parentheses when different from the above.


title: Malayalam script

text: A "chillu", or a "chillaksharam" (, "cillakṣaram"), is a special consonant letter that represents a pure consonant independently, without help of a virama. Unlike a consonant represented by an ordinary consonant letter, this consonant is never followed by an inherent vowel. Anusvara and visarga fit this definition but are not usually included. ISCII and Unicode 5.0 treat a "chillu" as a glyph variant of a normal (“base”) consonant letter. In Unicode 5.1 and later, however, "chillu" letters are treated as independent characters, encoded atomically.


title: Malayalam script

text: Six independent chillu letters (0D7A..0D7F) had been encoded in Unicode 5.1., three additional chillu letters (0D54..0D56) were encoded with the publication of Unicode 9.0.


title: Malayalam script

text: "Chandrakkala" (, "candrakkala") is a diacritic attached to a consonant letter to show that the consonant is not followed by an inherent vowel or any other vowel (for example, "ka" → "k"). This kind of diacritic is common in Indic scripts, generically called "virama" in Sanskrit, or "halant" in Hindi.


title: Malayalam script

text: At the end of a word, the same symbol sometimes represents a very short vowel, known as “half-u”, or “samvruthokaram” (, '), or ' (). The exact pronunciation of this vowel varies from dialect to dialect, but it is approximately or , and transliterated as ŭ (for example, "na" → "nŭ"). Optionally, a vowel sign "u" is inserted, as in (= + + ). According to one author, this alternative form is historically more correct, though the simplified form without a vowel sign "u" is common nowadays. This means that the same spelling may represent either "n" or "nŭ" depending on the context. Generally, it is "nŭ" at the end of a word, and "n" elsewhere; always represents "nŭ".


title: Malayalam script

text: The virama of Tigalari script behave similarly to Malayalam. Virama has three functions: to suppress the inherent vowel (as the halant of Devanagari); to form conjunct consonants; to represent the half-u. Devanagari supports half-u for Kashmiri; for example is written as .


title: Malayalam script

text: Like in other Indic scripts, a virama is used in the Malayalam script to cancel—or “kill”—the inherent vowel of a consonant letter and represent a consonant without a vowel, so-called a “dead” consonant. For example,


title: Malayalam script

text: If this "n" is further followed by another consonant letter, for example, "ma" , the result may look like , which represents "nma" as "na" + virama + "ma". In this case, two elements "n" and "ma" are simply placed one by one, side by side. Alternatively, "nma" can be also written as a ligature .


title: Malayalam script

text: Generally, when a dead consonant letter C and another consonant letter C are conjoined, the result may be either:


title: Malayalam script

text: If the result is fully or half-conjoined, the (conceptual) virama which made C dead becomes invisible, only logically existing in a character encoding scheme such as Unicode. If the result is non-ligated, a virama is visible, attached to C. The glyphs for "nma" has a visible virama if not ligated (), but if ligated, the virama disappears (). Usually the difference between those forms is superficial and both are semantically identical, just like the meaning of the English word "palaeography" does not change even if it is spelled "palæography", with the ligature æ.


title: Malayalam script

text: The ligature "mpa" was historically derived from "npa" . The ligatures "cca", "bba", "yya", and "vva" are special in that a doubled consonant is denoted by a triangle sign below a consonant letter.


title: Malayalam script

text: In "kya" , a variant form of "ya" () is placed after the full form of "ka" , just like "ki" is written "ka" followed by the vowel sign "i" . In other words, the variant form of "ya" () used after a consonant letter can be considered as a diacritic. Since it is placed after the base character, it is sometimes referred to as a "post-base" form. An exception is "yya" (see above).


title: Malayalam script

text: The ligature "nṯa" is written as "n" + "ṟa" and pronounced . The ligature "ṯṯa" is written as "ṟ" + "ṟa" .


title: Malayalam script

text: In those two ligatures, a small "ṟa" is written below the first letter ("chillu-n" if it is a dead "n"). Alternatively, the letter "ṟa" is sometimes written to the right of the first letter, making a digraph (just like used instead of in Greek). The spelling is therefore read either "nṟa" (two separate letters) or "nṯa" (digraph) depending on the word like in (en̠r̠ōḷ) 'enroll' or (hen̠r̠i) 'Henry' but is always read "nṯa". Similarly, is read either "ṟaṟa" or "ṯṯa".


title: Malayalam script

text: In the traditional orthography, a dead consonant "r" before a consonant sometimes takes an above-base form, known as a "dot reph", which looks like a short vertical line or a dot. Generally, a "chillu-r" is used instead of a dot reph in the reformed orthography.


title: Malayalam script

text: In the pre-1971 orthography, consonant + the vowels u, ū, r̥ were written as ligatures, post-1971 they are written with symbols after the letter. They can be still seen in old signs and used by people who learned to write before 1971.


title: Malayalam script

text: r̥̄ l̥ l̥̄ (which are not part of modern orthography) were also written as ligatures but there were not any words with l̥̄ even in Sanskrit; r̥̄ was only used grammatically instead of r̥ in Sanskrit so it was not used either; there is only one root with l̥ in Sanskrit which was loaned into Malayalam as .


title: Malayalam script

text: Although there are consonant-consonant ligatures used even now like and almost all clusters where written as ligatures before 1971, most of the time the second consonant was written to the bottom right of the first consonant, in consonant + r clusters the was attached to the main consonant, now its detached and placed to the left.


title: Malayalam script

text: was made by A. R. Raja Raja Varma and it was not used as a single letter, in his orthography (ṯṯ) was written as and (ṉḏ) as .


title: Malayalam script

text: Before chandrakkala was made, there were two other viramas used simultaneously, the vertical bar virama and circular virama . The vertical bar virama was used exclusively for loanwords and circular virama just for native words. Before the vertical bar virama used to cut through the main consonant and it led to the creation of the chillu letters. It was sometimes confused with the dot reph since they look similar but both of them are used for different purposes (see above for dot reph).


title: Malayalam script

text: was like the chandrabindu from other scripts and was used to nasalise the vowel, it was only used for writing Sanskrit and Prakrits. It is archaic.


title: Malayalam script

text: was used like the Devanagari and contrasts with the normal anusvara. was not really used in Malayalam but was used in the Grantha script, in it the normal anusvara represents gemination of the next consonant and this anusvara represents an actual linguistic anusvara. Both are archaic.


title: Malayalam script

text: Malayalam numeral system is archaic and no longer commonly used. Instead, the common Hindu-Arabic numeral system is followed.


title: Malayalam script

text: Suppose the number is "2013". It is read in Malayalam as "" (raṇḍāyiratti padimūnnu). It is split into :


title: Malayalam script

text: All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.


title: Malayalam script

text: man̠uṣyarellāvaruṁ tulyāvakāśaṅṅaḷōṭuṁ antassōṭuṁ svātantryattōṭuṅkūṭi jan̠icciṭṭuḷḷavarāṇ‌ŭ. an̠yōn̠yaṁ bhrātr̥bhāvattōṭe perumāṟuvān̠āṇ‌ŭ man̠uṣyan̠ŭ vivēkabuddhiyuṁ man̠asākṣiyuṁ siddhamāyirikkunnatŭ.


title: Malayalam script

text: /manuʂjaɾellaːʋaɾum t̪uljaːʋaɡaːʃaŋŋaɭoːɖum an̪d̪assoːɖum sʋaːd̪an̪d̪rjat̪t̪oːɖuŋguːɖi d͡ʒanit͡ʃt͡ʃiʈʈuɭɭaʋaɾaːɳɨ̆ ǁ anjoːnjam bʱraːt̪ribʱaːʋat̪t̪oːɖe peɾumaːruʋaːnaːɳɨ̆ manuʂjanɨ̆ ʋiʋeːɡabud̪d̪ʱijum manasaːkʂijum sid̪d̪ʱamaːjiɾikkun̪n̪ad̪ɨ̆ ǁ/


title: Malayalam script

text: For example, "avan" (“he”) is written as "a" + "va" + "chillu-n" , where "chillu-n" represents the "n" sound without a vowel. In other Indic scripts, the same word would be possibly written as "a" + "va" + "na" + virama. However, in Malayalam script, that sequence represents a different word, "avanŭ" (“to him”), and is not interchangeable with "avan". This is because in modern Malayalam script, the sign for a virama also works as the sign for a vowel "ŭ" at the end of a word, and is not able to cleanly “kill” the inherent vowel in this case.


title: Malayalam script

text: To differentiate a pure consonant ("chillu") and a consonant with "ŭ", zero-width joiner (ZWJ) and zero-width non-joiner (ZWNJ) were used before Unicode 5.1. However, this system was problematic. Among other things, glyph variants specified by ZWJ or ZWNJ are supposed to be non-semantic, whereas a "chillu" (expressed as letter + virama + ZWJ) and the same consonant followed by a "ŭ" (expressed as letter + virama + ZWNJ) are often semantically different. After a long debate, Nine "chillu letters" now have their own code points since Unicode 9.0 (though only 5 of them are used in modern Malayalam), though applications should also be prepared to handle data in the representation specified in Unicode 5.0. This means, fonts should display chillus in both sequences; while an input method should output standard chillus.


title: Malayalam script

text: The ligature "nṯa" is very common and supported by most Malayalam fonts in one way or another, but exactly how it should be encoded was not clear in Unicode 5.0 and earlier, and two incompatible implementations are currently in use. In Unicode 5.1 (2008), the sequence to represent it was explicitly redefined as "chillu-n" + virama + "ṟa" (). ligature is often considered to be the correct form to represent n̠d̠ as can also represent n̠r̠ but in many computers it is only shown with + + even though a chandrakkala cannot be after a chillu letter, other computers show it with + + . Some computers display ( + + ) and ( + + ) differently.


title: Thiokol

text: Thiokol (variously Thiokol Chemical Corporation(/Company), Morton Thiokol Inc., Cordant Technologies Inc., Thiokol Propulsion, AIC Group, ATK Thiokol, ATK Launch Systems Group; finally Orbital ATK before becoming part of Northrop Grumman) was an American corporation concerned initially with rubber and related chemicals, and later with rocket and missile propulsion systems. Its name is a portmanteau of the Greek words for sulfur (θεῖον ""theion"") and glue (κόλλα ""kolla""), an allusion to the company's initial product, Thiokol polymer.


title: Thiokol

text: The Thiokol Chemical Company was founded in 1929. Its initial business was a range of synthetic rubber and polymer sealants. Thiokol was a major supplier of liquid polymer sealants during World War II. When scientists at the Jet Propulsion Laboratory discovered that Thiokol's polymers made ideal binders for solid rocket fuels, Thiokol moved into the new field, opening laboratories at Elkton, Maryland, and later production facilities at Elkton and at Redstone Arsenal in Huntsville, Alabama. Huntsville produced the XM33 Pollux, TX-18 Falcon, and TX-135 Nike-Zeus systems. It closed in 1996. In the mid-1950s the company bought extensive lands in Utah for its rocket test range.


title: Thiokol

text: During its existence, Thiokol was involved in two notable loss of life incidents. On February 3, 1971, at a Thiokol chemical plant southeast of Woodbine, Georgia, a fire entered a storage facility holding nearly five tons of ignition pellets, flares, and other highly flammable materials. The facility exploded, killing 29 people and severely wounding more than 50 others, including many with severed limbs. Windows were shattered 11 miles (18 km) from the site and the explosion was heard for 50 miles (80 km) around. Georgia law prevented employees from suing their employer because they were covered by workers' compensation insurance.


title: Thiokol

text: On January 28, 1986, the Space Shuttle "Challenger" exploded 73 seconds into its flight, killing all seven crew members aboard. An investigation found the cause was two O-ring seals in the Space Shuttle's right solid rocket booster, which had been manufactured by Morton Thiokol. Test data from as early as 1977 had revealed a potentially catastrophic flaw in the O-rings in low-temperature situations, but neither Morton-Thiokol nor NASA addressed or corrected the issue. Shortly before takeoff, several Morton Thiokol engineers recommended calling off the launch until temperatures at Cape Canaveral increased, but they were overruled by company management.


title: Thiokol

text: Products made by the aerospace divisions of RMI and Thiokol include motors used in Subroc, the Pershing missile, the Peacekeeper missile, Poseidon missile, Minuteman missile, and the Trident I and Trident II missiles. Thiokol produces powerplants for numerous U.S. military missile systems, including AIM-9 Sidewinder, AGM-88 HARM, AGM-65 Maverick, AGM-69 SRAM, and AIR-2 Genie.


title: Thiokol

text: Thiokol also produced a variety of liquid and solid rocket motors for the US space program, including deorbit motors for the Mercury and Gemini programs, rocket stages and separation rocket motors for the Apollo program, motors for the Pioneer, Surveyor, Viking, Voyager, and Magellan missions, updated CASTOR boosters for the Delta rocket, and the Space Shuttle Solid Rocket Booster. Reaction Motors powerplants propelled the X-1 and X-15 aircraft, and later Thiokol technologies were also used in the private Tier One crewed spaceplane. On March 1, 2006, NASA announced that Thiokol will be the prime contractor for the new Crew Launch Vehicle (CLV), to be known as the Ares I, which will put the Orion spacecraft (formerly known as the "Crew Exploration Vehicle") into low Earth orbit, along with the five-segment SRBs for the heavy-lift Cargo Launch Vehicle (CaLV), known as the Ares V.


title: Thiokol

text: In addition to ski lifts, Thiokol produced a range of equipment for ski resorts including snowcats and snow grooming vehicles. These businesses were spun off in 1978 when the company restructured itself to concentrate on its rocket products and related technologies. John Z. DeLorean purchased the Thiokol snowcat operation and renamed it DMC. DMC continued to manufacture snowcats until 1988, when the company was renamed LMC. LMC continued making snowcats for 12 more years but ceased operations in 2000. Thiokol produced snow vehicles with a wide range of capabilities and duties. The company also produced several utility based vehicles based on their snowcat tracked vehicle, in addition to larger snow grooming machines suitable for use on steep ski-slopes. Thiokol machines were used in ski resorts, operated by the USAF in Alaska and other northern regions, and are now popular with private owners as dependable snowcats and for all-terrain transport.


title: Thiokol

text: Thiokol pioneered the short-burn rocket motors used in aircraft ejection seats. The company also produced a number of the earliest practical airbag systems, building the high-speed sodium azide exothermic gas generators used to inflate the bags. Thiokol bags were first used in U.S. military aircraft, before being adapted to space exploration (Mars Pathfinder bounced down on Mars on Thiokol airbags) and automotive airbags. Thiokol's generators form the core of more than 60% of airbags sold worldwide.


title: Oxford shoe

text: An Oxford shoe is characterized by shoelace eyelets tabs that are attached under the vamp, a feature termed "closed lacing". This contrasts with Derbys, or bluchers, which have shoelace eyelets attached to the top of the vamp. Originally, Oxfords were plain, formal shoes, made of leather, but they evolved into a range of styles suitable for formal, uniform, or casual wear. On the basis of function and the dictates of fashion, Oxfords are now made from a variety of materials, including calf leather, faux and genuine patent leather, suede, and canvas. They are normally black or brown, and may be plain or patterned (brogue).


title: Oxford shoe

text: The meaning of "Oxford" and "balmoral" may vary geographically. In the United States and Scotland, "Balmoral" is often synonymous with "Oxford". In the United States, "Oxford" is sometimes used for any more formal lace-up shoe, including the Blucher and Derby. In Britain and other countries, the Balmoral is an Oxford with no seams, apart from the toe cap seam, descending to the welt, a style common on boots. Oxford shoes are also known for their variation or style. The Cap-Toe Oxford is the most well-known, although 'Whole Cut', 'Plain Toe', and a variation of 'Brogue' Oxfords are commonly referred to styles. Shoes with closed lacing (Oxfords/Balmorals) are considered more formal than those with open lacing (Bluchers/Derbys). A particular type of oxford shoe is the wholecut oxford, it's upper made from a single piece of leather with only a single seam at the back or in the rare exception no seams at all.


title: Oxford shoe

text: Oxfords first appeared in Scotland and Ireland, where they are occasionally called Balmorals after Balmoral Castle. However, the shoes were later named Oxfords after Oxford University. This shoe style did not appear in North America until the 1800s. In the United States, Oxfords are called "Bal-type" as opposed to "Blucher-type". In France, Oxfords are known as Richelieu.


title: Oxford shoe

text: Oxfords were derived from the Oxonian, a half-boot with side slits that gained popularity at Oxford University in 1800. Unlike early shoes, Oxfords were cut smaller than the foot. The side slit evolved into a side lace that eventually moved to the instep, as students rebelled against knee-high and ankle-high boots. The toe cap can either be lined with two narrow rows of stitching, perforated holes along the end cap stitching (quarter-brogue), perforated holes along the end cap stitching and on the toe cap (semi-brogue), or a semi-brogue with the classical wingtip design (full-brogue).


title: The Mentalist (season 4)

text: The fourth season of the CBS police procedural series "The Mentalist" premiered on September 22, 2011 and concluded on May 17, 2012. The season picks up immediately after the events of the third-season finale in which Patrick Jane (Simon Baker) was arrested for the public murder of the man he believes is the notorious serial killer Red John, who murdered his wife and daughter.


title: The Mentalist (season 4)

text: Speaking of the season, creator Bruno Heller said, "Every season, you kind of take a chance to reset things. ... Last season was almost serialized. There was a great deal of plot and story that you could follow through the whole season. We're going to need less of that this season." He commented that the new season would explore Jane's feelings about finally catching his "white whale", Red John: "What does revenge mean? Because, as you saw in that final moment, after you've killed someone, what's left? ... That kind of bitterness and hate kills things. But then, what do you do?"


title: The Mentalist (season 4)

text: All 24 episodes were included in the five disc complete fourth season set. It was released on September 18, 2012 in Region 1, October 8, 2012 in Region 2, and November 7, 2012 in Region 4. It included the featurette "CBI: Behind the Badge".


title: Awarapan

text: Awarapan () is a 2007 Indian Hindi-language neo-noir action film directed by Mohit Suri and written by Shagufta Rafique, from a story by and produced by Mukesh Bhatt. It stars Emraan Hashmi, Shriya Saran, Mrinalini Sharma, and Ashutosh Rana. In the film, gangster Shivam Pandit (Hashmi) is ordered by his boss Bharat Malik (Rana) to watch over Reema (Sharma), Malik's secret Pakistani mistress.


title: Awarapan

text: An uncredited remake of the South Korean film "A Bittersweet Life", "Awarapan" draws from neo-noir and action thriller tropes.


title: Awarapan

text: "Awarapan" was theatrically released in India and worldwide on 29 June 2007. The film was a commercial failure, but eventually came to be regarded as one of Hashmi's best works.


title: Awarapan

text: Shivam is a heartbroken and introvert atheist, gangster, and right-hand man of Bharat Malik, a criminal gangster who is also a businessman who runs a chain of hotels in Hong Kong. Shivam is given the responsibility of one of these hotels, which he bears capably and well, making it much more successful than Malik's other hotels. Malik holds Shivam in the highest esteem due to Shivam's loyalty, reliability, and business acumen, and treats him like an adored son whom he entrusts with almost everything - more so than his biological son Ronnie. This is the cause of much jealousy on Ronnie's part against Shivam, but due to Malik's outspoken support for Shivam, Ronnie does not dare to openly oppose him. Shivam has a very close childhood friend, Kabir, who assists him with everything. Meanwhile, Malik's brother Rajan and Rajan's spoilt son Munna nurture a grudge against Shivam because of Shivam's repeated conflicts with Munna.


title: Awarapan

text: One day, Malik asks Shivam to keep an eye on his young mistress Reema, whom he suspects of having an affair with someone else, while he is away on a brief business trip. Reema is a young Pakistani girl, devout Muslim, and victim of sex trafficking, whom Malik had "bought" in the Bangkok flesh market. If Reema is found cheating on Malik, then Shivam has to inform him immediately.


title: Awarapan

text: In Shivam's interactions with Reema, he recalls his lost love, Aliyah, in a series of flashbacks. Aliyah was a devout Muslim whom Shivam had met by chance in the marketplace one day. The duo eventually fell in love, but when her father saw them together, he wrathfully confronted them, reprimanding Aliyah physically. He also exposed Shivam's gangster background to a shocked Aliyah, leading to Shivam's instantly offering her father his gun, saying that he was willing to let go of everything, start anew, and legitimately provide for Aliyah if he is allowed to be with her. Aliyah's father recovers from his initial surprise quickly and shoots at Shivam with the gun, who ducks to avoid the bullet. The bullet hits Aliyah instead, killing her and temporarily driving Shivam over the edge. A feeling of guilt and sorrow at Aliyah having died because he tried to save his own life remains with Shivam hereafter. Aliyah's father instantly commits suicide when he realizes what he has done.


title: Awarapan

text: Shivam discovers one night that Reema has a secret boyfriend named Bilal, who convinces her to run away with him back to Pakistan. Shivam informs Malik, who orders Reema's elimination. However, when he confronts the couple to eliminate them, she dares him to shoot her, claiming that freedom is her right, requesting mercy "for God's sake". Shivam is reminded of Aliyah's religious mannerisms, which bear a strong resemblance to Reema's, and is unable to shoot her, leaving her alive. Malik tries to reach Shivam, who severs contact with the former, leading to Malik finding out about his disobedience.


title: Awarapan

text: Shivam plans to quickly run away from Hong Kong back to India with Kabir, who is extremely unwilling to do so. Eventually, he betrays Shivam to Malik, whose regard for Kabir goes up. Malik has Shivam captured and orders Ronnie to torture Shivam until he agrees to kill Reema when Shivam refuses to do so even after Malik offers him a second chance. Malik is now genuinely hurt and sorrowful at what he perceives as Shivam's betrayal, and he hands over Shivam's responsibilities in the business to Kabir. Malik makes up the old feud with Rajan and Munna and merges their gangs and businesses, with Malik demanding that Shivam be brought before him alive so that Malik can kill him personally. This occurs in Kabir's presence, who is bitterly penitent to the point of not wishing to live any more over his betrayal of Shivam.


title: Awarapan

text: Shivam manages to escape Ronnie and seeks refuge in the monastery of a monk whom he had once set free from certain death. He recovers from his injuries, and reminded of Aliyah and her belief in freedom, decides to not continue running all his life to save his own skin, but to "fulfill someone else's dreams" - namely, unite Bilal and Reema and send them to Pakistan. He manages to save Bilal from Malik's henchmen, led by Kabir, whom Shivam still trusts and regards as his best friend, who tearfully reiterates that he is ready to die for Shivam, as he always was. Kabir takes Bilal to the monastery, where arrangements are made to ship Bilal and Reema to Lahore.


title: Awarapan

text: Shivam tracks Reema, kills Rajan, and refuses to divulge where she is. He tricks Munna into revealing Malik's plans regarding Reema, which are to sell her to the person who "enjoys" her the most. Munna tells Shivam everything about it, including the location, believing him to be crippled by his wounds and is immediately killed by Shivam upon realizing that is not the case. Shivam finds Reema and Malik, who is madly enraged at Shivam's standing against him, when he had cared for Shivam so much, deriding Shivam's new belief in God and freedom. Shivam kills Malik and escapes with Reema to the shipping docks, where Bilal is waiting. Kabir shows up to fight Malik's men and buy Shivam time, and he is brutally murdered in the process. Bilal manages to force a reluctant Reema to escape to the ship, who is hesitant to leave Shivam behind. Ronnie and his men arrive, and Shivam manages to kill them all in a gunfight, but he is mortally wounded himself. As Shivam lies dying, he comes to terms with his past, forgiving himself and envisioning Aliyah smiling down upon him. The movie ends with Reema in a conference in Pakistan, where she tells her story of the "awara" who sacrificed his life to save her, and incites those present to stand up for victims of trafficking.


title: Awarapan

text: Some scenes were shot in Lahore, making it one of the few Indian films to have been filmed in Pakistan. Other scenes were filmed in Hong Kong, Bangkok and Moscow.


title: Awarapan

text: The music for the film was composed by Roxen (band) & Annie Khalid and were recreated in musical arrangements by Pritam. Some of the singers who have lent their voices for the album include Mustafa Zahid, Suzanne D'Mello, Rafaqat Ali Khan and Annie Khalid. The lyrics have been written by Sayeed Quadri, Asif Ali Baig and Annie Khalid. All the remix versions were produced by DJ Suketu and arranged by Aks.


title: Awarapan

text: Taran Adarsh from "Bollywood Hungama" gave the film 3.5 stars out of 5 and praised the direction, music, dialogue and performances, while noting the film's excessive violence could act as a deterrent for several viewers. Rajeev Masand gave the film 3 stars out of 5 and felt the film had an "international look" owing to its action scenes and the Hong Kong skyline; he also praised the music and found the carnage sequences to have a "strange beauty". However, he criticized the slow pace and felt the film did not get to the characters' emotional core. Jaspreet Pandohar from "BBC" similarly gave the film 3 stars, describing it as an "engaging, albeit violent, drama" and praising Hashmi's performance, while feeling disappointed that more was not made of the issue of human trafficking.


title: Awarapan

text: On the other hand, Khalid Mohamed from "Hindustan Times" gave the film 2 stars out of 5 and criticized the slow pacing, while praising Hashmi's performance and Pritam's music. Ajit N. from "Rediff.com" gave the film 1.5 stars out of 5 and felt Rana and Saran were wasted.


title: Richard Williams (animator)

text: Richard Edmund Williams (March 19, 1933 – August 16, 2019) was a Canadian-British animator, voice actor, director, and writer, best known for serving as animation director on "Who Framed Roger Rabbit" (1988), for which he won two Academy Awards, and for his unfinished feature film "The Thief and the Cobbler" (1993). He was also a film title sequence designer and animator. Other works in this field include the title sequences for "What's New Pussycat?" (1965) and "A Funny Thing Happened on the Way to the Forum" (1966) and title and linking sequences in "The Charge of the Light Brigade" and the intros of the eponymous cartoon feline for two of the later "Pink Panther" films. In 2002 he published "The Animator's Survival Kit", an authoritative manual of animation methods and techniques, which has since been turned into a 16-DVD box set as well as an iOS app. From 2008 he worked as artist in residence at Aardman Animations in Bristol, and in 2015 he received both Oscar and BAFTA nominations in the best animated short category for his short film "Prologue".


title: Richard Williams (animator)

text: Williams was born in Toronto, Ontario, the only son of the commercial illustrator Kathleen "Kay" Bell (1909–1998) and Leslie Lane (1905–1993), a London-born painter and photographic re-toucher. Lane left when Williams was a baby and he was adopted by his stepfather, Kenneth D C Williams (1910–2003), an advertising executive who worked for Brigdens, a printing and design company in Toronto.


title: Richard Williams (animator)

text: Williams grew up on Golfdale Road, a suburban street in Toronto, where he and his childhood friend Martin Hunter put on magic shows and comedy acts for the local neighbourhood: "We collected $16.25, wealth beyond the dreams of avarice". Williams' mother Kay was an accomplished illustrator whose work was inspired by Arthur Rackham and Edmund Dulac. Kay read her son the stories of the Arabian Nights, which would later inspire his magnum opus "The Thief and the Cobbler". "Kay introduced us to "The Thief of Baghdad" with its flying carpets, magical horses and wicked viziers". At the age of five, Kay took her son to see "Snow White and the Seven Dwarfs" (1937), a film which made a "tremendous impression" on him. Later he would quote his mother as saying to him, "You saw ‘Snow White’ when you were 5, and you were never the same."


title: Richard Williams (animator)

text: Williams was educated at the Northern Secondary School, Toronto, then known as the Northern Technical School. One of his classmates, Lars Thompson, recalled: "Under the name of Ivan Yurpee, [Dick] played a trumpet in a band of fellow zanies. In class, he would sketch our teachers with an animator's sure touch, and without detection".


title: Richard Williams (animator)

text: At age 15, Williams travelled to Hollywood from Toronto on a five-day bus trip, where he took the Disney studio tour three days running, each day breaking away from the guide to seek out the studio animators and being ejected from the studio lot. He was finally invited to meet the animators, who showed him how the Disney animation process worked, after his mother contacted a friend who worked for Disney. "I always wanted, when I was a kid, to get to Disney. I was a clever little fellow so I took my drawings and I eventually got in. They did a story on me, and I was in there for two days, which you can imagine what it was like for a kid."


title: Richard Williams (animator)

text: With help from his stepfather, Williams was already earning a living as a commercial artist at age 17, creating advertisements for companies such as Dr. Ballard's Pet Food. After graduating from high school, Williams enrolled in the advertising program at the Ontario College of Art. He did not receive a diploma, however, as he changed his course of study to join the fine arts program after his third year.


title: Richard Williams (animator)

text: In 1953, Williams saw an exhibition of paintings by Rembrandt and was "moved to tears". For a time, he "lost all interest in animation". He left Canada and settled in Ibiza, where he lived for two years and became a painter, finding inspiration in the clowns and performers at a local circus. These sketches would eventually become the short film "Circus Drawings", completed over 50 years later, in 2010. While in Ibiza, Williams played in a jazz band; his passion for the cornet would be an enduring one and he would lead several bands over the years, inspired by the music of Bix Beiderbecke.


title: Richard Williams (animator)

text: In Ibiza, Williams began to draw storyboards for an animated film about three misguided idealists. In 1955, Williams left Ibiza and moved to England, where he began working at fellow Canadian George Dunning's company, T.V. Cartoons Ltd., working mainly on television commercials. He also began developing his own animated short film, "The Little Island," during this period. Williams later explained that he was drawn back to the craft of animation because his "paintings were trying to move" and he "couldn't stand the idea of doing paintings for rich industrialists’ wives, and that whole art world was just repulsive as a way of life".


title: Richard Williams (animator)

text: In the 1983 Thames Television documentary "The Thief Who Never Gave Up", Williams credited animator Bob Godfrey with giving him his start in the business: "Bob Godfrey helped me...I worked in the basement and would do work in kind, and he would let me use the camera...[it was] a barter system".


title: Richard Williams (animator)

text: In the mid-1950s fellow Canadian Jacques Konig was studying at the University of London: "Dick did not play his cornet and lead his band just for the love of music, it was a significant and necessary contribution to his income. In my role as student president of the University of London's Chelsea College and Chelsea Arts School (1956–57), I booked his hard-driving traditional jazz band for many of our events, and we knew all his available cash was being used to finance his hand-drawn and highly imaginative short film".


title: Richard Williams (animator)

text: In 1958 Williams completed "The Little Island", the film that launched his career, telling the story of three men on a desert island; each representing a single virtue: truth, beauty, and good. The film won the 1958 BAFTA Award for Best Animated Film.


title: Richard Williams (animator)

text: The critical and financial success of Williams's next short, "Love Me, Love Me, Love Me" (1962), which was narrated by Kenneth Williams, enabled him to establish his own company, Richard Williams Animation Ltd. He made the short film "A Lecture on Man" that same year. Richard Williams Animation Ltd. eventually completed over 2,500 TV commercials, and won numerous awards, at its home at 13 Soho Square in Soho, London.


title: Richard Williams (animator)

text: In 1965 he made the short film "The Dermis Probe", and also animated the title sequences to "What's New Pussycat?" (1965). In 1966 he animated the titles for "A Funny Thing Happened on the Way to the Forum". Also in 1966 a television documentary, "The Creative Person", was made about his life and work. In 1967 he completed the short film "Sailor and the Devil", mainly animated by the illustrator Errol Le Cain, and also animated the title sequence for "Casino Royale".


title: Richard Williams (animator)

text: In 1968 his studio won accolades for the animated segments in Tony Richardson's epic feature film about the Crimean War, "The Charge of the Light Brigade" (1968), which Williams described as "the best job I ever had". Film critic Vincent Canby described Williams' work as “marvellous animated line drawings, done in the style of patriotic mid-19th-century cartoons".


title: Richard Williams (animator)

text: In the mid-1960s Williams began work on the personal project that he intended to be “the best animated feature ever”, based on the tales of Mulla Nasrudin, and initially titled "Nasrudin". The project evolved over time and in 1973 he would settle on a new story and title, "The Thief and the Cobbler".


title: Richard Williams (animator)

text: In the late 1960s and early 1970s, Williams hired and brought to London a number of the great Hollywood animators from the 1930s, elderly men who were by then nearing retirement. These included Art Babbitt (Goofy), Grim Natwick (Betty Boop), and Ken Harris (Wile E. Coyote). Babbitt, in particular, gave masterclasses at 13 Soho Square, training a new generation of animators.


title: Richard Williams (animator)

text: Following the 1967 release of Disney's "The Jungle Book", Williams first met master animator Milt Kahl, with whom he would become friends. Kahl had animated Shere Khan, the tiger, and Williams knelt down to polish his shoes. But Kahl said to him: “You can stop cleaning my shoes because you draw better than I do; but then you can clean them some more because you can't animate.”


title: Richard Williams (animator)

text: TV commercials provided Richard Williams Animation with its main source of income. Although Williams despised the form, director Clive Donner persuaded him to raise his game. Following a successful commercial for Guinness beer, set in London's Royal Albert Hall, which won multiple awards, William's studio became well known for commercials, bringing characters such as Cresta Bear to life.


title: Richard Williams (animator)

text: In 1971 Williams directed the Academy Award-winning "A Christmas Carol", an animated adaptation of Charles Dickens's 1843 novella. The design of the film was based upon the original 1843 engravings. "A Christmas Carol" was broadcast on U.S. television by ABC on December 21, 1971, and released theatrically soon after. In 1972, it won the Academy Award for Best Animated Short Film.


title: Richard Williams (animator)

text: In around 1973 Williams fell out with his business partners over the feature film "Nasruddin", and began to re-imagine the story, which soon morphed into a new tale about a mute thief who is obsessed with stealing three golden balls which protect an ancient city from invasion. Williams animated many of the scenes himself, and spent years perfecting a single scene in which the villainous vizier ZigZag shuffles a deck of cards.


title: Richard Williams (animator)

text: In 1975 Williams animated the title credits for Blake Edwards' "Return of the Pink Panther", and in 1976 his studio completed the animated credits for "The Pink Panther Strikes Again". Art Babbitt, who was working for Williams at the time, described his employer's talent: "He's a director, designer, animator, and has a good layman's knowledge of music. He's a dreamer. He has more to learn as far as animation is concerned, but God, he can draw like a bastard".


title: Richard Williams (animator)

text: In 1976 Williams did the illustrations for Idries Shah's English translation of the stories of Nasrudin, titled "The Exploits of the Incomparable Mullah Nasruddin".


title: Richard Williams (animator)

text: In 1977 Williams directed the full-length animated feature film "" (1977), in which his daughter Claire played the part of Marcella.


title: Richard Williams (animator)

text: In 1982, Williams directed "Ziggy's Gift", a television special in which Ziggy takes a job as a sidewalk Santa. The film won an Emmy Award, and in the same year he appeared in a Thames Television documentary titled "Richard Williams and The Thief Who Never Gave Up".


title: Richard Williams (animator)

text: In 1987 Williams embarked on his biggest project to date, becoming animation director on the Disney/Spielberg film "Who Framed Roger Rabbit" (1988). Williams was initially reluctant to work on the film: when pitched the idea, Williams said to executive producer Steven Spielberg and director Robert Zemeckis "I just hate animation and live-action together; it just doesn't work, it's ugly". As he did not want to move to Los Angeles, production was moved to London.


title: Richard Williams (animator)

text: Disney and Spielberg promised Williams that in return for doing the film, they would help finance and distribute the still-unfinished "The Thief and the Cobbler". Williams designed the characters for the film, including Jessica Rabbit. He said of Jessica that she was "the ultimate male fantasy, drawn by a cartoonist. I tried to make her like Rita Hayworth; we took her hair from Veronica Lake, and Zemeckis kept saying, 'What about the look Lauren Bacall had?'" Blessed with tremendous energy, Williams barely slept and worked through multiple nights to get the animation finished on time.


title: Richard Williams (animator)

text: In 1988 another documentary was released about Williams, titled "I Drew Roger Rabbit". In 1989, following the success of "Who Framed Roger Rabbit", Williams won two more Academy Awards for his work, a joint award for Best Special Effects, shared with Ken Ralston, Ed Jones and George Gibbs and a Special Achievement Award. Williams said "I'm (in) the same business as Goya and Rembrandt. I may be rotten at it with nothing of the same quality or talent, but that's my business".


title: Richard Williams (animator)

text: Apart from animation, Williams's great passion was Dixieland jazz. He led an ensemble in London named "Dix Six" that played regular gigs at venues such as the PizzaExpress Jazz Club, The 100 Club, and the Britannia Hotel in Grosvenor Square.


title: Richard Williams (animator)

text: Richard Williams' magnum opus, a painstakingly hand-animated epic inspired by the Arabian Nights and with the production title "The Thief and the Cobbler", was begun in 1964 and was initially self-funded. As a largely non-verbal feature meant for an adult audience, "The Thief" was dismissed at first as unmarketable. After over twenty years of work, Williams had completed only twenty minutes of the film, and following the critical success of "Who Framed Roger Rabbit", Williams sought and secured a production deal with Warner Bros. in 1988. However, the production went over deadline, and in 1992, with only 15 minutes of footage left to complete, The Completion Bond Company, who had insured Warners' financing of the film, feared competition from the similarly themed Disney film "Aladdin," which was scheduled to open on the same day, and seized the project from Williams in Camden, London.


title: Richard Williams (animator)

text: Completion Bond then had animator Fred Calvert supervise the animation process in Korea. New scenes were also animated to include several musical interludes. Calvert's version was released in South Africa and Australia in 1993 as "The Princess and the Cobbler". Miramax (which was owned by Disney at the time) then acquired rights to the project and extensively rewrote and re-edited the film to include continuous dialogue, as well as many cuts to lengthy sequences. Miramax's product was released in North America in 1995 under the title "Arabian Knight". For a long time, Williams preferred not to discuss the film in detail.


title: Richard Williams (animator)

text: Following the collapse of "The Thief", Williams closed his company and left the UK for his native Canada, moving with his wife Imogen and their two children to a house in Fulford Harbour on Salt Spring Island, British Columbia, where the family lived for five years. To earn a living, Williams began to host animation masterclasses, in which he combined his skill as an animator with his talent on the stage, performing around 30 events around the world.


title: Richard Williams (animator)

text: In 1992 Williams was awarded an honorary doctorate by the Royal College of Art. In 1997 Williams moved back to the UK, living first in Pembrokeshire and later moving to Bristol, where he would remain until the end of his life.


title: Richard Williams (animator)

text: The notes for Williams' masterclass formed the basis for a book on the art of animation and, in 2002, Faber & Faber published Williams' acclaimed animation how-to book, "The Animator's Survival Kit", with an "expanded edition" following in 2009. The book soon became a key reference for animators, both in print and later on as a DVD box set and an iPad application. The historian Kevin Brownlow described the "ASK" as “utterly riveting, even to a layman.”


title: Richard Williams (animator)

text: From 2008, Williams began to work as artist in residence at Aardman Animations in Bristol, where he worked at one of his original 1938 Disney animation desks. Aardman co-founder Peter Lord described Williams as exemplifying "pure creativity; he seemed to us to work without compromise and for the sheer love of his chosen art-form. No deadlines, except the ones he set himself, nobody to please or answer to, except himself. [He was] our special guest, our resident celebrity". Even in his 80s, Williams continued to work every day, and do a full day's work. He liked to enter his office at Aardman by the fire escape "just to avoid people".


title: Richard Williams (animator)

text: In 2010 Williams completed his nine9-minute short film titled "Circus Drawings", first begun in Ibiza in the early 1950s. The silent film, with live accompaniment, premiered at the Pordenone Silent Film Festival in Italy in September 2010.


title: Richard Williams (animator)

text: On December 10, 2013, the director's cut of "The Thief and the Cobbler", a workprint of the film, subtitled "A Moment in Time", was screened in Los Angeles. Williams participated in the event. However, a final, finished version of the film as Williams had long envisioned would never be completed.


title: Richard Williams (animator)

text: In 2015 his short film "Prologue" received both an Oscar nomination and a BAFTA nomination in the category of best animated short. "Prologue" was the first six minutes of his hand-drawn feature film "Lysistrata", based on the ancient Greek comedy by Aristophanes, which Williams joked should be sub-titled "Will I Live to Finish It?". Williams described "Prologue" as "the only thing so far in my career that I’ve ever really been pleased with." In 2013 Williams told "The Guardian", "All I need is some time and five or six assistants who can draw like hell." The film was intended to be "grim but funny and salacious and sexy". Like his version of "The Thief and the Cobbler", "Prologue" would never be completed. But, as Williams put it: "it's the doing of it that matters. Do it for the love of it. That's all there is".


title: Richard Williams (animator)

text: Williams married four times. His marriage to Stephanie "Tep" Ashforth in the early 1950s was short-lived; she was reluctant to move to London with him, choosing to remain in Ibiza. In London he met his second wife, Lois Catherine Steuart, daughter of the U.S. diplomat George Hume Steuart; they were married in 1966, and had two children, Alexander Williams, born in 1967, and Claire Williams, born in 1969. Divorce followed in 1976.


title: Richard Williams (animator)

text: In 1976 he married a third time, to Margaret French, from Missouri, with whom he had two more children: Timothy Williams, born in 1976, and Holly Williams, born in 1978.


title: Richard Williams (animator)

text: Toward the end of his life, he lived in Bristol with his fourth wife, Imogen Sutton, with whom he had two more children, Natasha Sutton-Williams and Leif Sutton-Williams.


title: Richard Williams (animator)

text: Williams died of cancer on August 16, 2019, at his home in Bristol, England, still creating until the very end.


title: October (U2 album)

text: October is the second studio album by Irish rock band U2. It was released on 12 October 1981 by Island Records, and was produced by Steve Lillywhite. The album was lyrically inspired by the memberships of Bono, the Edge, and Larry Mullen Jr. in a Christian group called the Shalom Fellowship, and consequently it contains spiritual and religious themes. Their involvement with Shalom Fellowship led them to question the relationship between the Christian faith and the "rock and roll" lifestyle, and threatened to break up the band.


title: October (U2 album)

text: After completing the third leg of the Boy Tour in February 1981, U2 began to write new material for "October", entering the recording studio in July 1981. Just as they did for their 1980 debut, "Boy", the band recorded at Windmill Lane Studios with Lillywhite producing. The recording sessions were complicated by Bono's loss of a briefcase containing in-progress lyrics for the new songs, forcing a hurried, improvisational approach to completing the album on time.


title: October (U2 album)

text: "October" was preceded by the lead single "Fire" in July 1981, while its second single, "Gloria", coincided with its release. The album received mixed reviews and limited radio play. In 2008, a remastered edition of "October" was released.


title: October (U2 album)

text: In February 1981 during their Boy Tour, U2 began to write new material. ("Fire" had already been recorded at Compass Point Studios in the Bahamas while U2 took a break from the Boy Tour.) They wrote part of "October" during an extended sound check at First Avenue in Minneapolis. In March, on an otherwise successful American leg of the tour, the briefcase of lead vocalist Bono containing in-progress lyrics and musical ideas was lost backstage during a performance at a nightclub in Portland, Oregon. The band had limited time to write new music on tour and in July began a two-month recording session at Windmill Lane Studios largely unprepared, forcing Bono to quickly improvise lyrics. Steve Lillywhite, reprising his role as producer from U2's debut album, "Boy", called the sessions "completely chaotic and mad".


title: October (U2 album)

text: Bono said of the recording process of "October", "I remember the pressure it was made under, I remember writing lyrics on the microphone, and at £50 an hour, that's quite a pressure. Lillywhite was pacing up and down the studio... he coped really well. And the ironic thing about "October" is that there's a sort of peace about the album, even though it was recorded under that pressure. A lot of people found "October" hard to accept at first, I mean, I used the word 'rejoice' precisely because I knew people have a mental block against it. It's a powerful word, it's lovely to say. It's implying more than 'get up and dance, baby.' I think "October" goes into areas that most rock 'n' roll bands ignore. When I listen to the album, something like 'Tomorrow,' it actually moves me." The briefcase was eventually recovered in October 2004, and Bono greeted its return as "an act of grace". Whereas Lillywhite recorded Larry Mullen Jr.'s drums in the stairway of the reception area of Windmill Lane Studios for "Boy", the producer moved the recording of the drums into the studio for "October"; Lillywhite later called it "one of the things that didn't work so well".


title: October (U2 album)

text: The record placed an emphasis on religion and spirituality, particularly in the songs "Gloria" (featuring a Latin chorus of ""Gloria, in te domine""), "With a Shout (Jerusalem)", and "Tomorrow". About the album, Bono declared in 2005: "Can you imagine your second album—the difficult second album—it's about God?"


title: October (U2 album)

text: The songs mainly refine U2's formula of riff-rockers with songs such as "Gloria" and "Rejoice", but the band also expanded its musical palette in a few ways. In particular, guitarist The Edge incorporates piano in songs such as "I Fall Down", "Stranger In a Strange Land", "Scarlet", and "October". "Tomorrow", a lament to Bono's mother, who died when he was young, features Uilleann pipes played by Vinnie Kilduff later of In Tua Nua. "I Threw a Brick Through a Window" was one of the band's first songs to highlight drummer Larry Mullen, Jr., while "Gloria" highlights bassist Adam Clayton as it features three styles of playing in one song (using a pick for the most part, playing with fingers during the slide guitar by The Edge, then a "slap & pop" solo towards the end).


title: October (U2 album)

text: "Is That All?" borrows the riff from "Cry", an older song the band has used as an introduction to "The Electric Co." live.


title: October (U2 album)

text: "October" was released on 12 October 1981. Both of the album's two singles preceded the album's release; "Fire" and "Gloria" were released as singles in July and October 1981, respectively.


title: October (U2 album)

text: "October" was the start of U2's vision of the music video as an integral part of the band's creative work, as it was released during a time that MTV was first becoming as popular as radio. The video for "Gloria" was directed by Meiert Avis and shot in the Canal Basin in Dublin.


title: October (U2 album)

text: In 2008, a remastered edition of the album was released, featuring remastered tracks, along with B-sides and rarities. Three different formats of the remaster were made available.


title: October (U2 album)

text: Upon its release, "October" received more mixed reviews than its predecessor. Dave McCullough of "Sounds" praised the album and said: "A kind of zenith pop then, no half measures. It all breathes fire, recovering too from the pair of standouts appearing at the start of each side – 'Gloria' being possibly Their Finest Moment and 'Tomorrow', low and muted, gently oozing emotion". McCullough concluded, "This "October" will last forever". Adam Sweeting of "Melody Maker" also wrote a favorable review, saying: "Their whole musical sensibility is shaped by a strong emotional bond to their homeland and its traditions. It gives them a completely different frame of reference from most groups, and on 'October' it's given them the strength to assimilate a barrage of disorientation and to turn that into a cohesive body of music."


title: October (U2 album)

text: In contrast, "NME" published a negative review, in which reviewer Barney Hoskyns noted the "excessive plaintiveness of Bono's voice and the forced power of U2's sound". He concluded: "Obviously rock doesn't expire just because groups run out of ways to change it... U2, I guess, will continue to 'move' in live performance, but they will only move on the lightest surface. Their music does 'soar'... But then 'God' knows, there are other religions". Jon Pareles of "Rolling Stone" praised the Edge for his powerful guitar playing, "drenched in echo and glory", but said Bono's vocals were negatively impacted by him taking himself too seriously and that his lyrics were silly and clichéd. Pareles acknowledged the band's attempts to vary their sound, but said "none of the strategies works as well yet as their basic power-trio dynamics". In a retrospective review, Stephen Thomas Erlewine of AllMusic said the band "tries too hard to move forward" on "October", with Bono straining to make big statements and the music sounding "too pompous". Erlewine did highlight certain "thoroughly impressive" songs that "marry the message, melody, and sound together".


title: October (U2 album)

text: On 9 April 2008, U2.com confirmed that "October", along with the other two of the band's first three albums, "Boy" and "War" would be re-released as newly remastered versions. The remastered album was released on in the UK, with the U.S. version following it the next day. The cover artwork for the remastered version was changed to crop the whitespace and track names. The remaster of "October" was released in three different formats:


title: Cannon fodder

text: Cannon fodder is an informal, derogatory term for combatants who are regarded or treated by government or military command as expendable in the face of enemy fire. The term is generally used in situations where combatants are forced to deliberately fight against hopeless odds (with the foreknowledge that they will suffer extremely high casualties) in an effort to achieve a strategic goal; an example is the trench warfare of World War I. The term may also be used (somewhat pejoratively) to differentiate infantry from other forces (such as artillery troops, air force or the navy), or to distinguish expendable low-grade or inexperienced combatants from more militarily valuable veterans.


title: Cannon fodder

text: The term derives from fodder, as food for livestock. Soldiers are the metaphorical food for enemy cannon fire.


title: Cannon fodder

text: The concept of soldiers as fodder, as nothing more than "food" to be consumed by battle, dates back to at least the 16th century. For example, in William Shakespeare's play "Henry IV, Part 1" there is a scene where Prince Henry ridicules John Falstaff's pitiful group of soldiers. Falstaff replies to Prince Henry with cynical references to gunpowder and tossing bodies into mass grave pits, saying that his men are "good enough to toss; food for powder, food for powder; they'll fill a pit as well as better [men]..."


title: Cannon fodder

text: The first attested use of the expression "cannon fodder" is by a French writer, François-René de Chateaubriand. In his anti-Napoleonic pamphlet "De Bonaparte et des Bourbons", published in 1814, he criticized the cynical attitude towards recruits that prevailed in the end of Napoleon's reign: ""On en était venu à ce point de mépris pour la vie des hommes et pour la France, d'appeler les conscrits la matière première et la chair à canon""—"the contempt for the lives of men and for France herself has come to the point of calling the conscripts 'the raw material' and 'the cannon fodder'."


title: Cannon fodder

text: The term appeared in an English translation of a story written by Hendrik Conscience, translated by Mrs. Egwitt and published in the Janesville Gazette, Wisconsin in 1854. It later appeared in The Morning Chronicle, London in 1861 and was popularized during World War I.


title: Theodora Richards

text: Theodora Dupree Richards (born March 18, 1985) is an American model and the daughter of Patti Hansen and Rolling Stones guitarist Keith Richards, and the elder sister of Alexandra Richards.


title: Theodora Richards

text: At 16, Richards, her sister Alexandra, and Elizabeth Jagger (daughter of rock star Mick Jagger) were asked to model for a Tommy Hilfiger campaign. She has guest-edited one issue of "L'Officiel". In 2006, Richards modeled for the New Zealand-based Karen Walker label. In mid-2006, she appeared on the cover of "Lucire", shot by Barry Hollywood. In 2011, she appeared on the cover of "Town & Country" with her mother and sister.


title: Ky-Mani Marley

text: Ky-Mani Marley (born 26 February 1976) is a Jamaican singer and musician. His name is of East African origin, and means "Adventurous Traveler". He is the only child of Bob Marley with Anita Belnavis, a Jamaican table tennis champion. In 2001, he received a Grammy Award nomination for his album, "Many More Roads".


title: Ky-Mani Marley

text: Ky-Mani Marley was born in Falmouth, Jamaica, to Anita Belnavis, a Jamaican table tennis champion; and reggae superstar Bob Marley. At the age of nine, Ky-Mani and Belnavis relocated to Miami, Florida. In his early youth, Ky-Mani was unaware of his musical abilities, sports being his first love. With his mother's direction, he received piano and guitar lessons and played trumpet in his high school band. As an athlete, he competed in soccer and American football.


title: Ky-Mani Marley

text: While a teenager, Ky-Mani started rapping and deejaying. His first single was "Unnecessary Badness". He became inspired as a singer after being asked to sing a hook to a song during a recording session at a studio in Miami. Ky-Mani soon began experimenting with laying tracks, at times with his brothers, Stephen, Julian and Damian.


title: Ky-Mani Marley

text: Marley signed to Shang Records where he recorded his debut album in 1996, "Like Father Like Son", and several singles: "Judge Not" with Patra, followed by "Dear Dad" (which topped the British reggae charts), "Who The Cap Fit (remix)", and "Sensimelia", all of which added to his growing reputation in the new generation of reggae musicians. In 1997, Ky-Mani joined forces with Pras of the Fugees, on "Avenue", a hit cover version of Eddy Grant's "Electric Avenue". Marley appeared at Midem (international music showcase) when it was held in Miami for the first time. In the Cameo Theatre, Marley performed a set which was aired live by the Caribbean News Agency to 36 countries.


title: Ky-Mani Marley

text: Marley became the subject of a bidding war. He signed with Gee Street/V2 Records in 1997 where he completed a collaboration with label mate P.M. Dawn on the single "Gotta Be Movin' On Up".


title: Ky-Mani Marley

text: Marley's next recording was the 2000 release, "The Journey". In 2001, he released his third studio album "Many More Roads," which was nominated for a Grammy Award"," and went on tour. In 2004 he released his fourth studio album, "Milestone". In 2007, he released "Radio". In 2015, he released another album, "Maestro".


title: Gilbert, Arizona

text: Gilbert is a town in Maricopa County, Arizona, United States, located southeast of Phoenix within the city's metropolitan area. Incorporated on July 6, 1920, Gilbert was once known as the "Hay Shipping Capital of the World". It is the fifth-largest municipality in Arizona, and the fourth-largest in the Phoenix metro area. It covers an area of nearly .


title: Gilbert, Arizona

text: Gilbert has made a rapid transformation from an agriculture-based community to an economically diverse suburban center located in the southeastern valley of the Greater Phoenix area. It has grown at an extremely high rate over the last three decades, increasing in population from 5,717 in 1980 to 267,918 as of the 2020 census. The town grew at an average annual rate of over 10% during this 40-year period. It is the largest incorporated town in the United States.


title: Gilbert, Arizona

text: Gilbert was established by William "Bobby" Gilbert, who provided land to the Arizona Eastern Railway in 1902 to construct a rail line between Phoenix and Florence, Arizona. Ayer's Grocery Store, the first store in Gilbert, opened in 1910 and became the location of the first post office in 1912. The location of the town post office moved several times before settling on the east side of Gilbert Road in downtown, where it still stands today. In 1912, many Mormons who had fled the Mormon colonies in Mexico due to the actions of the forces of Pancho Villa settled in Gilbert. By 1915, they began holding church meetings at the Gilbert Elementary School. In 1918, they were organized into the Gilbert Ward.


title: Gilbert, Arizona

text: Incorporated in July 1920, Gilbert was primarily a farming community fueled by the rail line and construction of the Roosevelt Dam and the Eastern and Consolidated Canals. It remained an agricultural town for many years and was known as the "Hay Capital of the World" from 1911 until the late 1920s.


title: Gilbert, Arizona

text: In 2019, the town ranked highly on three national surveys, related to safety, livability and family life; it was named the fourth-safest (of 182 communities), twelfth-most livable town, and seventh-best place to raise a family in the United States.


title: Gilbert, Arizona

text: Gilbert is located in the southeast portion of the Phoenix metropolitan area. It is south of Mesa, northeast of Chandler, and northwest of Queen Creek.


title: Gilbert, Arizona

text: According to the United States Census Bureau, in the 2000 Census, the town had an estimated area of . As of 2021 the town has a total area of , of which , or 0.30%, are water.


title: Gilbert, Arizona

text: Gilbert has a subtropical, hot desert type of climate (Köppen climate classification BWh) with dry and hot summers, and mild to warm winters, with little rainfall.


title: Gilbert, Arizona

text: As of the census of 2010, there were 208,453 people, 74,147 housing units, and 3.01 persons per household.


title: Gilbert, Arizona

text: Various religious denominations are represented in Gilbert. The town has been known for its high population of members of the Church of Jesus Christ of Latter-day Saints, a fact evidenced by the building of the Gilbert Arizona Temple, which was dedicated on March 2, 2014.


title: Gilbert, Arizona

text: According to the town's 2013 Comprehensive Annual Financial Report, the top employers in the city are:


title: Gilbert, Arizona

text: Additional employers noted in a 2019 report were Dignity Health, employing about 1,000; and Isagenix International, a marketing company employing >700.


title: Gilbert, Arizona

text: Gilbert is home to a 9/11 Memorial, located at Town Hall that features an eight-foot steel girder beam which held up the North Tower of the World Trade Center. Former Gilbert Fire Chief Collin DeWitt fund-raised extensively for three years to create the memorial, and to bring the beam from New York City to Arizona. He drove to collect it himself along with his then Assistant Fire Chief Jim Jobusch.


title: Gilbert, Arizona

text: The design of the memorial angles the beam, which puts it in reach of everyone. Four granite walls bear the names of those lost to the attacks. Concrete was poured in the shape of a pentagon for the foundation of the memorial, and is surrounded by bricks which carry names of some of those who helped to donate to bring the memorial to life. There was an unveiling ceremony of the memorial on the 10th anniversary of the attack on September 11, 2011.


title: Gilbert, Arizona

text: Gilbert Elementary School was built in 1913, and now houses the Gilbert Historical Museum. It is listed in the National Register of Historic Places.


title: Gilbert, Arizona

text: Gilbert Regional Park and Desert Sky Park were established in 2019 with multi-million dollar investments.


title: Gilbert, Arizona

text: Gilbert was recognized in 2010 as the "36th Best Place to Live in the nation", as well as among the nation's "top places to live and learn", by GreatSchools.org. Washington, DC-based CQ Press rated Gilbert the "safest municipality in Arizona, and 25th safest in the nation."


title: Gilbert, Arizona

text: Since Gilbert remains incorporated as a town, it lacks the additional powers possessed by nearby Mesa and Chandler, which are incorporated as cities. For instance, Arizona towns do not have as much power to regulate utilities and construction within their borders as cities possess. Unlike most of its neighboring communities, Gilbert is theoretically vulnerable to annexation.


title: Gilbert, Arizona

text: The town is part of , which is represented by Republican and Gilbert resident Andy Biggs. The mayor of Gilbert is Brigette Peterson.


title: Gilbert, Arizona

text: Most of Gilbert is zoned to schools in the Gilbert Public Schools, while other portions are zoned to districts including the Chandler Unified School District, Mesa Public Schools, and the Higley Unified School District. Also in Gilbert are charter schools such as Eduprize (the first charter school in Arizona), American Leadership Academy, and Legacy Traditional School. The town is also home to Gilbert Christian Schools, a chain of private schools. In 2018, the Park University opened the Gilbert Campus Center after leasing at the University Building in the city's Heritage District.


title: Gilbert, Arizona

text: Gilbert is primarily served by one area freeway—the Santan Freeway portion of Loop 202. A small section of the US 60 Superstition Freeway also skirts the northern boundary of the town at the Higley Road interchange (Exit 186). Several regional arterials also serve the area, including Williams Field Road, Chandler Boulevard, and Gilbert Road. The town enjoys relative closeness to Phoenix Mesa Gateway Airport, which is located in east Mesa, and is a 25-minute drive from Phoenix Sky Harbor International Airport.


title: Gilbert, Arizona

text: Recently, a park-and-ride facility was constructed in downtown Gilbert for bus service and future commuter rail service. Although the facility borders the Union Pacific (formerly Southern Pacific) tracks and has provisions for commuter rail service, there is currently no such service. Bus service is limited in Gilbert, with some north–south routes in Mesa dead-ending at Baseline Road before entering Gilbert. Routes that serve portions of Gilbert include the 108-Elliot Road, 112-Country Club/Arizona Avenue, 136-Gilbert Road, 140-Ray Road, 156-Chandler Boulevard/Williams Field Road, 184-Power Road, and 531-Mesa/Gilbert Express, with most of these routes operating at 30-minute frequency on weekdays. Sunday service is only available on Routes 108, 112, 156, and 184. Most people get around by cars or bikes. The city of Gilbert has a low percentage of households without a car. In 2015, 1.9 percent of Gilbert households lacked a car, and the figure was virtually unchanged in 2016 (1.7 percent). The national average was 8.7 percent in 2016. Gilbert averaged 2.08 cars per household in 2016, compared to a national average of 1.8.


title: Gilbert, Arizona

text: The following is a brief description of the historic structures which are pictured. Some of these structures are listed in the National Register of Historic Places while others are listed as historical by the Gilbert Heritage District.


title: Baths of Caracalla

text: The Baths of Caracalla () in Rome, Italy, were the city's second largest Roman public baths, or "thermae", after the Baths of Diocletian. The baths were likely built between AD 212 (or 211) and 216/217, during the reigns of emperors Septimius Severus and Caracalla. They were in operation until the 530s and then fell into disuse and ruin.


title: Baths of Caracalla

text: Both during and since their operation as baths, they served as inspiration for many other notable buildings, ancient and modern, such as the Baths of Diocletian, the Basilica of Maxentius, the original Pennsylvania Station in New York City, Chicago Union Station and the Senate of Canada Building. Artworks recovered from the ruins include famous sculptures such as the "Farnese Bull" and the "Farnese Hercules".


title: Baths of Caracalla

text: Construction of the baths was probably initiated by emperor Septimius Severus and completed during the reign of his son, Caracalla. They were inaugurated in AD 216. The baths were located in the southern area of the city, Regio XII Piscina Publica, where members of the Severan family commissioned other construction works: the "Via Nova" leading to the baths and the Septizodium on nearby Palatine Hill. The site chosen for the baths formerly belonged to a vast garden estate known as the , developed by Gaius Asinius Pollio during the reign of Augustus. The "Farnese Bull" sculptural group that was later moved into the Baths of Caracalla was already present at the site in the time of Pollio, who had imported it to display in his gardens.


title: Baths of Caracalla

text: The estate of Pollio was appropriated by Caracalla to build his baths; the existing structures were demolished in some cases to their ground floors, filled in with earth and incorporated into the foundations of the new complex. The remains of one of these structures, a noble (house), were excavated initially by Francesco Ficoroni in the mid-18th century and again in 1860–67 by G.B. Guidi. Recently this two-storey domus deep below the baths, built in 134-138 during the reign of Hadrian, and partially demolished in 206 has been opened to the public revealing lavishly decorated frescoed ceilings and a lararium, a room dedicated to Roman and Egyptian gods.


title: Baths of Caracalla

text: For work to have been mostly completed in the time of Caracalla, workers would have to have installed over of material every day for six years.


title: Baths of Caracalla

text: Work on additional decorations continued under Caracalla's successors Elagabalus and Severus Alexander. The baths were likely mostly finished by 235. Later renovations were conducted under Aurelian (after a fire) and by Diocletian. Under Constantine the Great the "caldarium" was modified.


title: Baths of Caracalla

text: The building was heated by a hypocaust, a system of burning coal and wood underneath the ground to heat water provided by a dedicated aqueduct. The baths were free and open to the public.


title: Baths of Caracalla

text: The baths were fully functional in the 5th century when they were referred to as one of the seven wonders of Rome. Olympiodorus of Thebes mentions a capacity of 1,600. This is interpreted to refer to the maximum number of simultaneous visitors, as the daily capacity is thought to have been 6,000 to 8,000 bathers.


title: Baths of Caracalla

text: The baths remained in use until the 6th century. In the mid-4th century a Christian pilgrimage site came into being, known as the , close to the baths near the Church of Santi Nereo e Achilleo. The baths thus became useful to pilgrims and the Church community for their water supply. In 537 during the Gothic War, Vitiges of the Ostrogoths laid siege to Rome and severed the city's water supply. Shortly thereafter the baths were abandoned. Located too far away from the still-populated area of Rome, the baths were mostly disused but in the 6th and 7th centuries were apparently used for the burials of pilgrims who died after being cared for in the nearby xenodochium of Santi Nereo e Achilleo. Some simple tombs from this era have been found inside the bath area.


title: Baths of Caracalla

text: Popes Adrian I, Sergius II and Nicholas I may have had some work done on the aqueduct through the 9th century.


title: Baths of Caracalla

text: At least since the 12th century the baths were used as a quarry for construction materials, and of decorative pieces to be reused in churches and palaces (e.g. in Pisa Cathedral and Santa Maria in Trastevere).


title: Baths of Caracalla

text: During the 14th century, the area was used as vineyards and gardens. In the 15th century, Pope Pius II used stone from the Baths in the construction of the Loggia of the Benediction at St. Peter's Basilica. In 1524, Pope Clement VII granted an excavation license to Cardinal Lorenzo Pucci to remove unlimited quantities of columns, marble, travertine and other ancient stone from the Baths of Caracalla for a new palace the Cardinal was building near St. Peter's. In the mid-16th century Clement's successor Pope Paul III had excavations conducted in the area during the construction of his new villa. Substantial architectural decoration remained standing at this time, as documented in the drawings of the Renaissance architects Andrea Palladio, Giovanni Antonio Dosio and Antonio da Sangallo the Elder.


title: Baths of Caracalla

text: The excavations of Paul III between 1545 and 1547 uncovered many large statues made of marble and bronze, as well as innumerable architectural fragments, lamps, intaglios, and cameos. The quantity of materials was so great that a museum was created to house the collection, known as the Museo Farnese (relocated to the Real Museo Borbonico in the late 18th century). The pope granted the area to the Roman Seminary of the Jesuits. It was used as a playground for children. Philip Neri may have brought children from his oratory here—he is believed to have commissioned the fresco "Madonna supported by an angel" still located in the "natatio".


title: Baths of Caracalla

text: Between the 16th and 18th centuries interest in the structure was rekindled and several famous architects made drawings of the ruins (Andrea Palladio, Giovanni Battista Falda, Giambattista Nolli and Giuliano da Sangallo).


title: Baths of Caracalla

text: The aqueduct serving the baths was in use up to the 19th century. The Aqua Antoniniana aqueduct, a branch of the earlier Aqua Marcia also worked on under Diocletian, was specifically built to serve the baths.


title: Baths of Caracalla

text: In 1824, excavations at the baths were conducted by Count Egidio di Velo, whose findings included the mosaics showing athletes now at the Vatican Museums. Further work followed by Luigi Canina in the "frigidarium" (until the mid-19th century) and then by Battista Guidi (1860–7).


title: Baths of Caracalla

text: From 1866 to 1869 restoration work in the central part of the complex revealed a torso of Hercules, porphyry columns and figure-adorned capitals. In 1870, the area became the property of the Italian government and Pietro Rosa conducted excavations in the eastern "palaestra". In 1878–9, Giuseppe Fiorelli discovered mosaics in the "caldarium" and western "palaestra".


title: Baths of Caracalla

text: From the early 20th century, excavations expanded into the outer areas of the complex and downward, revealing the subterranean passages, including a Mithraeum (see below). Systematic work on the galleries, started in the 18th and 19th centuries, resumed after 1901. On the eastern side more work was done in the late 1930s, when an opera stage was installed in the "caldarium". Except for some sketches no documentation of these restorations survives.


title: Baths of Caracalla

text: Further restoration work took place in the 1980s, when thick vegetation and illegally built houses in the area were cleared away. The southern wall with its cisterns, the southwestern library and the octagonal hall known as the Temple of Jupiter were restored at that point. In 1998–9, the opera stage was dismantled and modern visitor facilities were added to the baths. They reopened to the public in 2001.


title: Baths of Caracalla

text: The baths were the only archaeological site in Rome to be damaged by an earthquake near L'Aquila in 2009. They experienced minor damage in August 2016 from an earthquake in central Italy.


title: Baths of Caracalla

text: The bath complex covered approximately . The complex is rectangular, measuring 337 m × 328 m. Its construction involved the moving of a substantial amount of earth, as parts of the nearby hills had to be removed or leveled into platforms. Several million bricks were used in the construction. The baths contained at least 252 columns, 16 of which had a height of over 12 m.


title: Baths of Caracalla

text: Water was carried to the baths by the then newly constructed Acqua Antoniniana, from the major Acqua Marcia. The exact path of the aqueduct supplying the baths is not known as only a few segments have been discovered. The aqueduct connected to the southern side of the baths where it filled 18 cisterns. These in turn were connected by lead pipes with the baths proper.


title: Baths of Caracalla

text: The baths followed the "great Imperial baths" blueprint for Roman baths. They were more a leisure centre than just a series of baths. Besides being used for bathing, the complex also offered facilities for taking walks, reading/studying, exercise and body care. The main building stood in the centre with no connections to the surrounding walls, which housed the cisterns, two symmetrical libraries (south), two large "exedras" (east and west) and "tabernae" (shops) to the north. The surviving library measures 38 m × 22 m. Between the outer wall and the central complex were gardens ("xystus").


title: Baths of Caracalla

text: The axis of the baths was laid out in a northeast to southwest fashion to make use of the sun's heat. The "caldarium" faced southwest, the "frigidarium" northeast. Overall, the bath area was arranged along a single linear axis. However, dressing rooms and "palaestra" were arranged symmetrically on both sides of the building, giving easier access and facilitating the flow of people in and out of the thermal area, thus increasing the number of potential users of the baths.


title: Baths of Caracalla

text: The bath main building was 214 m × 110 m and the height to the top of the roof line was 44 m (145 ft); it covered and could hold an estimated 1,600 bathers.


title: Baths of Caracalla

text: The baths were the second to have a public library within the complex. Like other public libraries in Rome, there were two separate and equal sized rooms or buildings; one for Greek language texts and one for Latin language texts. The surviving library had three walls covered by niches (a total of 32) that housed the books. A larger niche in the middle of the southern wall likely contained a statue. A masonry ledge in front of the three other walls probably served as a bench. The floor is made from marble.


title: Baths of Caracalla

text: The baths consisted of a central "frigidarium" (cold room) measuring under three groin vaults high, a double pool "tepidarium" (medium), and a circular "caldarium" (hot room) in diameter, as well as two "palaestras" (gyms where wrestling and boxing were practiced). The northeastern end of the bath building contained a "natatio" or swimming pool. The "caldarium" had seven pools, the "frigidarium" four, the "tepidarium" two. Next to the "caldarium" were saunas ("laconica").


title: Baths of Caracalla

text: The central room was the "frigidarium", whose high roof was supported by eight giant columns made from Egyptian granite. Walls and floor were made from marble. The hall served a dual purpose: It was a meeting place and transition area for visitors heading for other parts of the bath. It also housed the cold baths, in the form of four pools, two of which were connected to the "tepidarium" and two of which communicated with the "natatio" via some waterfalls. In the middle of the "frigidarium" was another circular pool (now at the Archaeological Museum at Naples) surrounding a fountain. It was flanked by two additional brick pools.


title: Baths of Caracalla

text: The "caldarium" was a circular room with marble floors and topped by a dome of almost 36 m diameter, close to the size of the Pantheon's dome. The weight of the dome was carried by just eight masonry pillars. Between them were glass windows that helped heat the large room (and reduced the weight of the walls). Its seven pools measured 9.5 m × 5 m (depth of 1 m). Only six of these remain. The seventh was replaced by a small apse during the restoration by Constantine.


title: Baths of Caracalla

text: The Olympic-sized "natatio" pool measured 50 m × 22 m. The walls rose to more than 20 m and the northern façade was structured by three huge columns made from grey granite. Between those columns were niches on several levels that housed ornamental statues.


title: Baths of Caracalla

text: The "natatio" was roofless with bronze mirrors mounted overhead to direct sunlight into the pool area. The entire bath building was on a raised platform high to allow for storage and furnaces under the building.


title: Baths of Caracalla

text: Discovered in 1912 by Ettore Ghislanzoni, the Mithraeum at the baths is considered the largest documented gathering space for the worshippers of Mithra, the Persian god in vogue with the military and mostly lower-class men, in the 2nd and 3rd centuries AD. The mithraeum was approximately long and wide with a cross-vaulted ceiling. It can be only roughly dated by the two main events associated with the baths: the mithraeum was created after the complex was completed circa AD 217 and it was probably no longer in use when the aqueduct supplying the complex was cut in the 530s.


title: Baths of Caracalla

text: The floor of the main room was covered with a black and white mosaic. Benches lined the walls. A fresco portraying Mithra (or a torch bearer) is on the western wall. The only other ornamentation was a marble block, roughly carved into the shape of a snake. In the floor near the entrance a circular pit was found covered with a marble slab, with a terracotta bowl containing the remains of staves of wheat. A rectangular hole in the floor gives access to a small tunnel that runs under the center of the main hall into an adjoining room, where there is an entrance/exit with staircase. This, a unique feature in a mithraeum, has been controversial. Most scholars view this as a "fossa sanguinis", a ritual pit over which the bull at the center of the Mithraic mythology was slaughtered, bathing one or more initiates in its blood. Others think it was used as a sort of stage trap door allowing a person to stage a surprising entry into the room.


title: Baths of Caracalla

text: In a nearby room, a statue of Aphrodite Anadyomene was found in 1912. It is now located in the Museo Nazionale Romano at the Baths of Diocletian.


title: Baths of Caracalla

text: Apart from housing the mithraeum, the tunnels served to heat the baths and as sewers for the outflow of water. They were also used to store the fuel for the furnaces – which are estimated to have burned around 10 tons of wood per day. Storage capacity had been estimated at more than 2,000 t of wood.


title: Baths of Caracalla

text: Overall, these tunnels ran for hundreds of metres underneath the main structure. They were lit by skylight-type windows that allowed the air to circulate, thus keeping the stored wood from rotting.


title: Baths of Caracalla

text: An underground water mill was excavated beginning in 1912. First thought to be medieval in origin it is now considered to date to Antiquity. It may have been a part of the original workings of the baths. Fire damage indicates it was burned in the 3rd century, but rebuilt with some alterations.


title: Baths of Caracalla

text: The baths were originally ornamented with high-quality sculptures, estimated to have numbered more than 120. Despite their location in one of the city's working class areas, of all the antique baths in Rome the Baths of Caracalla were found to have contained the most lavish assortment of statues. Although many were destroyed in the Middle Ages to make lime, beginning in the 16th century under Pope Paul III Farnese, sculptures were excavated from the area to serve as decorations in newly built palazzi.


title: Baths of Caracalla

text: Among the well-known pieces recovered from the Baths of Caracalla are the "Farnese Bull" (probably from the eastern "palaestra") and "Farnese Hercules" (from the "frigidarium"), now in the Museo Archeologico Nazionale, Naples; others are in the Museo di Capodimonte there. One of the many statues is the colossal statue of Asclepius.


title: Baths of Caracalla

text: Two granite tubs from the "frigidarium" were taken to Piazza Farnese where they still serve as fountains, made by Girolamo Rainaldi. A granite column from the "natatio" was taken to Florence by Cosimo I de' Medici in Piazza Santa Trinita. It is now known as the Column of Justice. In the Lateran Collection of the Vatican Museums are mosaics composed of rectangular panels depicting athletes, which were discovered in 1824 in two of the library "exedrae" to the east and west of the baths complex. They have been restored and are on display in the Gregoriano Profano Museum.


title: Baths of Caracalla

text: The Baths of Caracalla (and especially the central "frigidarium") had a significant impact on the architecture of many later buildings. In Roman times, these included the Baths of Diocletian and the Basilica of Maxentius.


title: Baths of Caracalla

text: In the 19th and early 20th century, the design of the baths was used as the inspiration for several modern structures, including St George's Hall in Liverpool, the original Pennsylvania Station (demolished in 1963) in New York City, and the current Senate of Canada Building in Ottawa.


title: Baths of Caracalla

text: The main halls of Penn Station, the Senate of Canada Building and Chicago Union Station made use of direct copies of the "frigidarium's" architecture.


title: Baths of Caracalla

text: The central part of the bath complex (the "caldarium") was the summer home of the Rome Opera company from 1937 to 1993. In 2001, use of the venue by the opera resumed but it now uses a temporary movable stage outside of the main structure, which reduces the stress on the antique ruins.


title: Baths of Caracalla

text: It is also a concert venue, having achieved fame as the venue and backdrop for the first Three Tenors concert in 1990.


title: Baths of Caracalla

text: The extensive ruins of the baths have become a popular tourist attraction. The baths are open to the public for an admission fee. Access is limited to certain areas/walkways to avoid additional damage to the mosaic floors.


title: Asim Azhar

text: Asim Azhar (; born 29 October 1996) is a Pakistani singer, songwriter, musician and an actor. He started his career as a singer on YouTube, covering contemporary Western songs before he became a public figure.


title: Asim Azhar

text: Asim Azhar was born on 29 October 1996. Born to Azhar Hussain, and actress Gul-e-Rana. He became popular because of his songs recorded in Coke Studio 9.


title: Asim Azhar

text: In 2019, Azhar also had an album with an Indian record company and a Bollywood single planned for release. As a result of the cross-border tensions between India and Pakistan, Azhar's plans with his record company, Universal Music India, came to a halt.


title: Republic XF-84H Thunderscreech

text: The Republic XF-84H "Thunderscreech" was an American experimental turboprop aircraft derived from the F-84F Thunderstreak. Powered by a turbine engine that was mated to a supersonic propeller, the XF-84H had the potential of setting the unofficial air speed record for propeller-driven aircraft, but was unable to overcome aerodynamic deficiencies and engine reliability problems, resulting in the program's cancellation.


title: Republic XF-84H Thunderscreech

text: Although the USAF Wright Air Development Center was the key sponsor of the Republic Project 3347 turboprop fighter, the initial inception came from a U.S. Navy requirement for a carrier fighter not requiring catapult assistance. Originally known as XF-106 (a designation later reused for the Convair F-106), the project and its resultant prototype aircraft were redesignated XF-84H, closely identifying the program as an F-84 variant, rather than an entirely new type. With a projected contract for three prototypes, when the US Navy canceled its order, ultimately, the remaining XF-84H prototypes became pure research aircraft built for the Air Force's Propeller Laboratory at Wright-Patterson AFB to test supersonic propellers in exploring the combination of propeller responsiveness at jet speeds.


title: Republic XF-84H Thunderscreech

text: The XF-84H was created by modifying a F-84F Thunderstreak airframe, installing a XT40-A-1 turboprop engine in a centrally-located housing behind the cockpit with a long extension shaft to the nose-mounted propeller. The turbine engine also provided thrust through its exhaust; an afterburner which could further increase power to was installed but never used. Thrust was adjusted by changing the blade pitch of the diameter Aeroproducts propeller, consisting of three steel, square-tipped blades turning at a constant speed, with the tips traveling at approximately . To counter the propeller's torque and "P-factor", the XF-84H was fitted with a fixed dorsal yaw vane. The tail was changed to a T-tail to avoid turbulent airflow over the horizontal stabilizer/elevator surfaces from propeller wash.


title: Republic XF-84H Thunderscreech

text: The XF-84H was destabilized by the powerful torque from the propeller, as well as inherent problems with supersonic propeller blades. A number of exotic blade configurations were tested before settling on a final design. Various design features were intended to counteract the massive torque, including mounting the left leading edge intake further forward than the right, and providing left and right flaps with differential operation. The two prototypes were equally plagued with engine-related problems affecting other aircraft fitted with T40 engines, such as the Douglas A2D Skyshark and North American XA2J Super Savage attack aircraft. A notable feature of the design was that the XF-84H was the first aircraft to carry a retractable/extendable ram air turbine. In the event of engine failure, it would automatically swing out into the airstream to provide hydraulic and electrical power. Due to frequent engine problems, as a precaution, the unit was often deployed in flight.


title: Republic XF-84H Thunderscreech

text: After manufacture at Republic's Farmingdale, Long Island, plant, the two XF-84Hs were disassembled and shipped via rail to Edwards Air Force Base for flight testing. First flown on July 22, 1955, the XF-84F had incredible acceleration but soon its impracticality was discovered. It was unsuited to combat due to the engine's 30 minute warm up time but the most serious concerns were vibration generated from the 12-foot diameter propeller and mechanical failures of the prop pitch gearing. The prototypes flew a total of 12 test flights from Edwards, accumulating only 6 hours and 40 minutes of flight time. Lin Hendrix, one of the Republic test pilots assigned to the program, flew the aircraft once and refused to ever fly it again, claiming "it never flew over indicated, since at that speed, it developed an unhappy practice of 'snaking', apparently losing longitudinal stability". Hendrix also told the formidable Republic project engineer, "You aren't big enough and there aren't enough of you to get me in that thing again". The other test flights were fraught with engine failures, and persistent hydraulic, nose gear, and vibration problems. Test pilot Hank Beaird took the XF-84H up 11 times, with 10 of these flights ending in forced landings.


title: Republic XF-84H Thunderscreech

text: The XF-84H was almost certainly the loudest aircraft ever built, earning the nickname "Thunderscreech" as well as the "Mighty Ear Banger". On the ground "run ups", the prototypes could reportedly be heard away. Unlike standard propellers that turn at subsonic speeds, the outer of the blades on the XF-84H's propeller traveled faster than the speed of sound even at idle thrust, producing a continuous visible sonic boom that radiated laterally from the propellers for hundreds of yards. The shock wave was actually powerful enough to knock a man down; an unfortunate crew chief who was inside a nearby C-47 was severely incapacitated during a 30-minute ground run. Coupled with the already considerable noise from the subsonic aspect of the propeller and the T40's dual turbine sections, the aircraft was notorious for inducing severe nausea and headaches among ground crews. In one report, a Republic engineer suffered a seizure after close range exposure to the shock waves emanating from a powered-up XF-84H.


title: Republic XF-84H Thunderscreech

text: The pervasive noise also severely disrupted operations in the Edwards AFB control tower by risking vibration damage to sensitive components and forcing air traffic personnel to communicate with the XF-84H's crew on the flight line by light signals. After numerous complaints, the Air Force Flight Test Center directed Republic to tow the aircraft out on Rogers Dry Lake, far from the flight line, before running up its engine. The test program did not proceed further than the manufacturer's Phase I proving flights; consequently, no USAF test pilots flew the XF-84H. With the likelihood that the engine and equipment failures coupled with the inability to reach design speeds and subsequent instability experienced were insurmountable problems, the USAF canceled the program in September 1956.


title: Republic XF-84H Thunderscreech

text: Although "The Guinness Book of Records" recorded the XF-84H as the fastest propeller-driven aircraft ever built, with a design top speed of (Mach 0.9) and (Mach 0.83) during tests, this claim has been disputed. The unofficial record speed is also inconsistent with data from the National Museum of the United States Air Force, which gives a top speed of (Mach 0.70), nonetheless, making the XF-84H the fastest "single-engine" propeller-driven aircraft until 1989 when "Rare Bear", a highly modified Grumman F8F Bearcat, reached (Mach 0.71).


title: Gabby Windey

text: Gabriela Maria Windey (born January 2, 1991) is an American television personality appeared on season 26 of "The Bachelor", and as the co-star of season 19 of "The Bachelorette" alongside Rachel Recchia.


title: Gabby Windey

text: Windey was born in O'Fallon, Illinois, to parents Rosemary Hewitt and Patrick Windey. She has an older sister named Jazz. Windey is half Mexican with some Apache ancestry. She attended O'Fallon Township High School, where she was the sports editor in the school paper and won Miss O'Fallon in 2008. She graduated from the University of Colorado Colorado Springs in 2013, and then moved to Denver, Colorado.


title: Gabby Windey

text: Windey works as an ICU nurse at University of Colorado Hospital. She was also a cheerleader for the Denver Broncos for 5 years.


title: Gabby Windey

text: In 2021, she was the co-winner of the Pop Warner Humanitarian Award for her service on the frontline of the pandemic. She is the first woman and NFL cheerleader to receive the award.


title: Gabby Windey

text: In September 2021, Windey was revealed to be a contestant on season 26 of "The Bachelor", starring medical sales representative Clayton Echard. She was the co runner-up with fellow finalist Rachel Recchia.


title: Gabby Windey

text: During the live "After the Final Rose" special of Echard's season, Windey was announced as "The Bachelorette" alongside Rachel. This marks the first time that there will be two leads for an entire season.


title: Gabby Windey

text: On September 8, 2022, Windey was announced as a contestant on season 31 of "Dancing with the Stars". She was partnered with Val Chmerkovskiy and they finished in 2nd place. During the finale, she was announced as one of the co-hosts for the "Dancing with the Stars Live 2023" tour and will be at all stops.