title: Suprematism

text: Another important influence on Malevich were the ideas of the Russian mystic, philosopher, and disciple of Georges Gurdjieff, P. D. Ouspensky, who wrote of "a fourth dimension or a Fourth Way beyond the three to which our ordinary senses have access".


title: Suprematism

text: Some of the titles to paintings in 1915 express the concept of a non-Euclidean geometry which imagined forms in movement, or through time; titles such as: "Two dimensional painted masses in the state of movement". These give some indications towards an understanding of the "Suprematic" compositions produced between 1915 and 1918.


title: Suprematism

text: The Supremus group, which in addition to Malevich included Aleksandra Ekster, Olga Rozanova, Nadezhda Udaltsova, Ivan Kliun, Lyubov Popova, Lazar Khidekel, Nikolai Suetin, Ilya Chashnik, Nina Genke-Meller, Ivan Puni and Ksenia Boguslavskaya, met from 1915 onwards to discuss the philosophy of Suprematism and its development into other areas of intellectual life. The products of these discussions were to be documented in a monthly publication called "Supremus", titled to reflect the art movement it championed, that would include painting, music, decorative art, and literature. Malevich conceived of the journal as the contextual foundation in which he could base his art, and originally planned to call the journal "Nul". In a letter to a colleague, he explained:


title: Suprematism

text: Malevich conceived of the journal as a space for experimentation that would test his theory of nonobjective art. The group of artists wrote several articles for the initial publication, including the essays "The Mouth of the Earth and the Artist" (Malevich), "On the Old and the New in Music" (Matiushin), "Cubism, Futurism, Suprematism" (Rozanova), "Architecture as a Slap in the Face to Ferroconcrete" (Malevich), and "The Declaration of the Word as Such" (Kruchenykh). However, despite a year spent planning and writing articles for the journal, the first issue of "Supremus" was never published.


title: Suprematism

text: The most important artist who took the art form and ideas developed by Malevich and popularized them abroad was the painter El Lissitzky. Lissitzky worked intensively with Suprematism particularly in the years 1919 to 1923. He was deeply impressed by Malevich's Suprematist works as he saw it as the theoretical and visual equivalent of the social upheavals taking place in Russia at the time. Suprematism, with its radicalism, was to him the creative equivalent of an entirely new form of society. Lissitzky transferred Malevich's approach to his "Proun" constructions, which he himself described as "the station where one changes from painting to architecture". The Proun designs, however, were also an artistic break from Suprematism; the "Black Square" by Malevich was the end point of a rigorous thought process that required new structural design work to follow. Lissitzky saw this new beginning in his Proun constructions, where the term "Proun" (Pro Unovis) symbolized its Suprematist origins.


title: Suprematism

text: Lissitzky exhibited in Berlin in 1923 at the Hanover and Dresden showrooms of Non-Objective Art. During this trip to the West, El Lissitzky was in close contact with Theo van Doesburg, forming a bridge between Suprematism and De Stijl and the Bauhaus.


title: Suprematism

text: Lazar Khidekel (1904–1986), Suprematist artist and visionary architect, was the only Suprematist architect who emerged from the Malevich circle. Khidekel started his study in architecture in Vitebsk art school under El Lissitzky in 1919–20. He was instrumental in the transition from planar Suprematism to volumetric Suprematism, creating axonometric projections (The Aero-club: Horizontal architecton, 1922–23), making three-dimensional models, such as the architectons, designing objects (model of an "Ashtray", 1922–23), and producing the first Suprematist architectural project (The Workers’ Club, 1926). In the mid-1920s, he began his journey into the realm of visionary architecture. Directly inspired by Suprematism and its notion of an organic form-creation continuum, he explored new philosophical, scientific and technological futuristic approaches, and proposed innovative solutions for the creation of new urban environments, where people would live in harmony with nature and would be protected from man-made and natural disasters (his still topical proposal for flood protection – the City on the Water, 1925).


title: Suprematism

text: Nikolai Suetin used Suprematist motifs on works at the Imperial Porcelain Factory, Saint Petersburg where Malevich and Chashnik were also employed, and Malevich designed a Suprematist teapot. The Suprematists also made architectural models in the 1920s, which offered a different conception of socialist buildings to those developed in Constructivist architecture.


title: Suprematism

text: Malevich's architectural projects were known after 1922 "Arkhitektoniki". Designs emphasized the right angle, with similarities to De Stijl and Le Corbusier, and were justified with an ideological connection to communist governance and equality for all. Another part of the formalism was low regard for triangles which were "dismissed as ancient, pagan, or Christian".


title: Suprematism

text: The first Suprematist architectural project was created by Lazar Khidekel in 1926. In the mid-1920s to 1932 Lazar Khidekel also created a series of futuristic projects such as Aero-City, Garden-City, and City Over Water.


title: Suprematism

text: In the 21st century, architect Zaha Hadid had 'a particular interest [in] the Russian avant-garde, and the movement known as Constructivism,' and 'as part of their work on the Russian avant-garde, Hadid's unit studied Suprematism, the abstract movement founded by the painter Kazimir Malevich.'.


title: Suprematism

text: This development in artistic expression came about when Russia was in a revolutionary state, ideas were in ferment, and the old order was being swept away. As the new order became established, and Stalinism took hold from 1924 on, the state began limiting the freedom of artists. From the late 1920s the Russian avant-garde experienced direct and harsh criticism from the authorities and in 1934 the doctrine of Socialist Realism became official policy, and prohibited abstraction and divergence of artistic expression. Malevich nevertheless retained his main conception. In his self-portrait of 1933 he represented himself in a traditional way—the only way permitted by Stalinist cultural policy—but signed the picture with a tiny black-over-white square.


title: Mitrokhin Archive

text: The "Mitrokhin Archive" is a collection of handwritten notes which were secretly made by the KGB archivist Vasili Mitrokhin during the thirty years in which he served as a KGB archivist in the foreign intelligence service and the First Chief Directorate. When he defected to the United Kingdom in 1992, he brought the archive with him, in six full trunks. His defection was not officially announced until 1999.


title: Mitrokhin Archive

text: The official historian of MI5, Christopher Andrew, wrote two books, "The Sword and the Shield" (1999) and "The World Was Going Our Way: The KGB and the Battle for the Third World" (2005), based on material in the archives. The books purport to provide details about many of the Soviet Union's clandestine intelligence operations around the world. They also provide specifics about Guy Burgess, a British diplomat with a short career in MI6, said to be frequently under the influence of alcohol; the archive indicates that he gave the KGB at least 389 top secret documents in the first six months of 1945 along with a further 168 in December 1949.


title: Mitrokhin Archive

text: In July 2014, the Churchill Archives Centre at Churchill College released Mitrokhin's edited Russian-language notes for public research. The original handwritten notes by Vasili Mitrokhin are still classified.


title: Mitrokhin Archive

text: Vasili Nikitich Mitrokhin originally started his career with the First Chief Directorate of the KGB (Foreign Espionage) in Undercover operations. After Nikita Khrushchev's Secret Speech, Mitrokhin became critical of the existing KGB system and was transferred from Operations to the Archives. Over the years, Mitrokhin became increasingly disillusioned with the Soviet system, especially after the stories about the struggles of dissidents and the 1968 Warsaw Pact invasion of Czechoslovakia, which led him to conclude that the Soviet system was un-reformable.


title: Mitrokhin Archive

text: By the late 1960s, the KGB headquarters at the Lubyanka Building became increasingly overcrowded, and the Chairman of the KGB, Yuri Andropov, authorized the construction of a new building outside of Moscow in Yasenevo, which was to become the new headquarters of the First Chief Directorate and all Foreign Operations. Mitrokhin, who was by that time the head of the Archives department, was assigned by the director of the First Directorate, Vladimir Kryuchkov, with the task of cataloging the documents and overseeing their orderly transfer to the new headquarters. The transfer of the massive archive eventually took over 12 years, from 1972 to 1984.


title: Mitrokhin Archive

text: Unbeknownst to Kryuchkov and the KGB, while cataloging the documents, Mitrokin secretly copied documents by hand, making immensely detailed notes, which he smuggled to his dacha and hid under the floorboards. Mitrokhin made no attempt to contact any Western intelligence service during the Soviet Era. After the dissolution of the Soviet Union (in 1992) he traveled to Latvia with copies of material from the archive and walked into the American embassy in Riga. Central Intelligence Agency officers there did not consider him to be credible, concluding that the copied documents could be faked. He then went to the British embassy and a young diplomat there saw his potential. After a further meeting one month later with representatives of MI6, operations followed to retrieve the 25,000 pages of files hidden in his house, covering operations from as far back as the 1930s.


title: Mitrokhin Archive

text: Notes in the Mitrokhin Archive claim that more than half of the Soviet Union's weapons are based on US designs, that the KGB tapped Henry Kissinger's telephone when he was US Secretary of State, and had spies in place in almost all US defense contractor facilities. The notes allege that some 35 senior politicians in France worked for the KGB during the Cold War. In West Germany, the KGB was said to have infiltrated the major political parties, the judiciary, and the police. Large-scale sabotage preparations were supposedly made against the US, Canada, and elsewhere in case of war, including hidden weapons caches; Mitrokhin's books claimed several have been removed or destroyed by police relying on Mitrokhin's information.


title: Mitrokhin Archive

text: Christopher Andrew states that in the Mitrokhin Archive there are several Latin American leaders or members of left wing parties accused of being KGB informants or agents. For example, FSLN leader Carlos Fonseca Amador was described as "a trusted agent" in KGB files. Nikolai Leonov was Sub-Director of the Latin American Department of the KGB between 1968 and 1972. In 1998 he gave a lecture where he made statements that contradicted these claims. For instance he said that the KGB was not allowed to recruit members from Communist or other left wing parties.


title: Mitrokhin Archive

text: Daniel Ortega agreed to "unofficial meetings" with KGB officers. He gave Nikolai Leonov a secret program of the Sandinista movement (FSLN), which stated the FSLN's intent to lead class struggle in Central America, in alliance with Cuba and the Soviet bloc. However, Leonov stated that he became friends with many Latin Americans including some leaders, and that he and other Soviets supported the struggles of left wing groups. But he clarifies that he did not let people know that he was a KGB agent and that his relationships with them did not involve intelligence.


title: Mitrokhin Archive

text: In September 2016, a work by two researchers (DR. I. Ginor and G. Remez) stated that Mahmoud Abbas (also known as 'Abu Mazen'), the President of the Palestinian National Authority, worked for the Soviet intelligence agency. According to a recently released document from the Mitrokhin Archive, entitled "KGB developments – Year 1983", Abbas apparently worked under the code name "Krotov", starting early 1980s.


title: Mitrokhin Archive

text: According to Mitrokhin's notes, Soviet security organizations played key roles in establishing puppet Communist governments in Eastern Europe and Afghanistan. Their strategy included mass political repressions and establishing subordinate secret police services at the occupied territories.


title: Mitrokhin Archive

text: The KGB director Yuri Andropov took suppression of anti-Communist liberation movements personally. In 1954, he became the Soviet Ambassador to Hungary, and was present during the 1956 Hungarian Revolution. After these events, Andropov had a "Hungarian complex":


title: Mitrokhin Archive

text: Andropov played a key role in crushing the Hungarian Revolution. He convinced reluctant Nikita Khrushchev that military intervention was necessary. He convinced Imre Nagy and other Hungarian leaders that the Soviet government had not ordered an attack on Hungary while the attack was beginning. The Hungarian leaders were arrested and Nagy was executed.


title: Mitrokhin Archive

text: During the Prague Spring events in Czechoslovakia, Andropov was a vigorous proponent of "extreme measures". He ordered the fabrication of false intelligence not only for public consumption, but also for the Soviet Politburo. "The KGB whipped up the fear that Czechoslovakia could fall victim to NATO aggression or to a coup." At that moment, Soviet intelligence officer Oleg Kalugin reported from Washington that he had gained access to "absolutely reliable documents proving that neither CIA nor any other agency was manipulating the Czechoslovak reform movement." But, Kalugin's messages were destroyed because they contradicted the conspiracy theory fabricated by Andropov. Andropov ordered many active measures, collectively known as operation PROGRESS, against Czechoslovak reformers.


title: Mitrokhin Archive

text: The book describes establishing the "Moscow Patriarchate" on order from Stalin in 1943 as a front organization for the NKVD, and later, for the KGB. All key positions in the Church, including bishops, were approved by the Ideological Department of CPSU and by the KGB. The priests were used as agents of influence in the World Council of Churches and in front organizations such as World Peace Council, Christian Peace Conference, and the "Rodina" ("Motherland") Society founded by the KGB in 1975. The future Russian Patriarch Alexius II said that "Rodina" was created to "maintain spiritual ties with our compatriots" and to help organize them. According to the archive, Alexius worked for the KGB as agent DROZDOV, and received an honorary citation from the agency for a variety of services.


title: Mitrokhin Archive

text: The Andrew and Mitrokhin publications briefly describe the history of the PLO leader, Yasser Arafat, who established close collaboration with the Romanian Securitate service and the KGB in the early 1970s. The KGB provided secret training for PLO guerrillas. However, the main KGB activities and arms shipments were channeled through Wadie Haddad of the PFLP organization, who usually stayed in a KGB dacha BARVIKHA-1 during his visits to the Soviet Union. Led by Carlos the Jackal, a group of PFLP fighters carried out a spectacular raid on the Organization of Petroleum Exporting Countries office in Vienna in 1975. Advance notice of this operation "was almost certainly" given to the KGB.


title: Mitrokhin Archive

text: Many notable operations are alleged to have been conducted by the KGB to support international terrorists with weapons on the orders from the Communist Party of the Soviet Union, including:


title: Mitrokhin Archive

text: According to Peter-Michael Diestel, East Germany became "an Eldorado for terrorists". The KGB aided the Stasi in supporting the Red Army Faction, which perpetrated terrorist attacks such as the 1985 Rhein-Main Air Base bombing. Other Stasi contacts included the Provisional IRA, the Basque ETA, and previously mentioned "Carlos the Jackal".


title: Mitrokhin Archive

text: In 1981 the Soviets had launched "Operation Kontakt", which was based on a forged document purporting to contain details of the weapons and money provided by the ISI to Sikh militants who wanted to create an independent country. In November 1982, Yuri Andropov, the General Secretary of the Communist Party and leader of the Soviet Union, approved a proposal to fabricate Pakistani intelligence documents detailing ISI plans to foment religious disturbances in Punjab and promote the creation of Khalistan as an independent Sikh state. Indira Gandhi's decision to move troops into the Punjab was based on her taking seriously the information provided by the Soviets regarding secret CIA support for the Sikhs. The KGB role in facilitating Operation Bluestar was acknowledged by Subramanian Swamy who stated in 1992 “The 1984 Operation Bluestar became necessary because of the vast disinformation against Sant Bhindranwale by the KGB, and repeated inside Parliament by the Congress Party of India."


title: Mitrokhin Archive

text: Notes in the archive describe extensive preparations for large-scale sabotage operations against the United States, Canada, and Europe in the event of war, although none was recorded as having been carried out, beyond creating weapons and explosives caches in assorted foreign countries. This information has been corroborated in general by GRU defectors, Victor Suvorov and Stanislav Lunev. The operations included the following:


title: Mitrokhin Archive

text: The historian Joseph Persico wrote that "several of the much-publicized revelations [from the book], however, hardly qualify as such. For instance, the authors tell how the K.G.B. forged a letter from Lee Harvey Oswald to E. Howard Hunt, the former C.I.A. officer and later Watergate conspirator, in order to implicate the C.I.A. in the Kennedy assassination. Actually, this story surfaced in Henry Hurt's "Reasonable Doubt", written 13 years ago. Similarly, the story that the K.G.B. considered schemes for breaking the legs of the ballet dancer Rudolf Nureyev for defecting to the West was first reported in a book written six years ago." And he added that "it does seem odd that a key K.G.B. archivist never had access to a copying machine, but had to copy thousands of pages in longhand. Still, the overall impact of this volume is convincing, though none of the material will send historians scurrying to rewrite their books."


title: Mitrokhin Archive

text: The "Central European Review" described Mitrokhin and Andrew's work as "fascinating reading for anyone interested in the craft of espionage, intelligence gathering and its overall role in 20th-century international relations," offering "a window on the Soviet worldview and, as the ongoing Hanssen case in the United States clearly indicates, how little Russia has relented from the terror-driven spy society it was during seven inglorious decades of Communism."


title: Mitrokhin Archive

text: David L. Ruffley, from the Department of International Programs, United States Air Force Academy, said that the material "provides the clearest picture to date of Soviet intelligence activity, fleshing out many previously obscure details, confirming or contradicting many allegations and raising a few new issues of its own" and "sheds new light on Soviet intelligence activity that, while perhaps not so spectacular as some expected, is nevertheless significantly illuminating."


title: Mitrokhin Archive

text: Reg Whitaker, a professor of Political Science at York University in Toronto, gave a review at the "Intelligence Forum" about the book where he wrote that "The Mitrokhin Archive arrives from a cache under a Russian dacha floor, courtesy of the British intelligence community itself, and its chosen historian, Chris Andrew" and that the book "is remarkably restrained and reasonable in its handling of Westerners targeted by the KGB as agents or sources. The individuals outed by Mitrokhin appear to be what he says they were, but great care is generally taken to identify those who were unwitting dupes or, in many instances, uncooperative targets."


title: Mitrokhin Archive

text: Jack Straw (then Home Secretary) stated to the British Parliament in 1999: "In 1992, after Mr. Mitrokhin had approached the UK for help, our Secret Intelligence Service made arrangements to bring Mr. Mitrokhin and his family to this country, together with his archive. As there were no original KGB documents or copies of original documents, the material itself was of no direct evidential value, but it was of huge value for intelligence and investigative purposes. Thousands of leads from Mr. Mitrokhin's material have been followed up worldwide. As a result, our intelligence and security agencies, in co-operation with allied Governments, have been able to put a stop to many security threats. Many unsolved investigations have been closed; many earlier suspicions confirmed; and some names and reputations have been cleared. Our intelligence and security agencies have assessed the value of Mr. Mitrokhin's material world wide as immense."


title: Mitrokhin Archive

text: The author Joseph Trento commented that "we know the Mitrokhin material is real because it fills in the gaps in Western files on major cases through 1985. Also, the operational material matches western electronic intercepts and agent reports. What MI6 got for a little kindness and a pension was the crown jewels of Russian intelligence."


title: Mitrokhin Archive

text: Scholar Amy Knight said that "While "The Sword and the Shield" contains new information ... none of it has much significance for broader interpretations of the Cold War. The main message the reader comes away with after plowing through almost a thousand pages is the same one gleaned from the earlier books: the Soviets were incredibly successful, albeit evil, spymasters, and none of the Western services could come close to matching their expertise. Bravo the KGB."


title: Mitrokhin Archive

text: After the first book (Andrew and Mitrokhin, "The Sword and the Shield", 1999) was published in the UK, an inquiry was held by the House of Commons' Intelligence and Security Committee (ISC). Its findings, "The Mitrokhin Inquiry Report", were presented to Parliament in June 2000.


title: Mitrokhin Archive

text: The Committee expressed concern that the Secret Intelligence Service (MI6) knew the names of some spies years before the publication of the book, but took a decision, without informing the proper prosecuting authorities, not to prosecute them. This decision, ISC believed, was for the Law Officers to take, not the SIS. The ISC interviewed Mitrokhin. He was not content with the way the book was published, he told them, and felt he had not accomplished what he intended when writing the notes. He wished that he had retained "full control over the handling of his material".


title: Mitrokhin Archive

text: SIS stated that they were clearing the UK chapters with the Home Secretary and the Attorney General, as required before publication of the book, but, the Committee found, they did not do so. In addition, ISC thought, "misleading stories were allowed to receive wide circulation", and the Committee found that SIS had handled neither the publication nor related media matters appropriately.


title: Mitrokhin Archive

text: In Italy in 2002, Silvio Berlusconi's center-right coalition, the "Casa delle Libertà", established the Mitrokhin Commission, presided over by Senator Paolo Guzzanti ("Forza Italia") to investigate alleged KGB ties to figures in Italian politics. The commission was criticized as politically motivated as it was focused mainly on allegations against opposition figures. The commission was shut down in 2006 without having developed any new concrete evidence beyond the original information in the Mitrokhin Archive. However, former FSB officer Alexander Litvinenko allegedly said that he had been informed by FSB deputy chief, General Anatoly Trofimov (who was shot dead in Moscow in 2005), that "Romano Prodi is our man [in Italy]". The allegations were rejected by Romano Prodi. Litvinenko also said, "Trofimov did not exactly say that Prodi was a KGB agent, because the KGB avoids using that word."


title: Mitrokhin Archive

text: In 2006, a British Member of the European Parliament for London, Gerard Batten of United Kingdom Independence Party, demanded a new inquiry into the Italian allegations.


title: Mitrokhin Archive

text: In India, a senior leader of the Bharatiya Janata Party, L. K. Advani, requested of the Government a white paper on the role of foreign intelligence agencies and a judicial enquiry on the allegations in The Mitrokhin Archive II. The spokesperson of the Indian Congress party referred to the book as "pure sensationalism not even remotely based on facts or records" and pointed out that the book is not based on official records from the Soviet Union. L.K Advani raised his voice because in this book is written about ex-prime minister Indira Gandhi (Codenamed VANO) relations with KGB.


title: Lilac (color)

text: Lilac is a color that is a pale violet tone representing the average color of most lilac flowers. The colors of some lilac flowers may be equivalent to the colors shown below as "pale lilac", "rich lilac", or "deep lilac". However, there are other lilac flowers that are colored red-violet.


title: Lilac (color)

text: Pale lilac is the color represented as "lilac" in the ISCC-NBS color list. The source of this color is sample 209 in the ISCC-NBS Dictionary of Color Names (1955).


title: Lilac (color)

text: The color bright lilac (displayed on the right) is the color labeled "lilac" by Crayola in 1994 as one of the colors in its Magic Scent specialty box of colors.


title: Lilac (color)

text: Rich lilac, a rich tone of lilac labeled "lilac" at Pourpre.com (a popular French color list), is shown at right. Another name for this color is bright French lilac.


title: Lilac (color)

text: The color French lilac is displayed at right. This color was formulated for use in interior design, where a medium dark violet color is desired. The first recorded use of "French lilac" as a color name in the English language was in 1814.


title: Lilac (color)

text: The for french lilac are identical to pomp and power, first recorded as a color name in English in 1950.


title: Lilac (color)

text: The lilac-breasted roller is a member of the roller family of birds. It is widely distributed in sub-Saharan Africa and the southern Arabian Peninsula.


title: Grafana

text: Grafana is a multi-platform open source analytics and interactive visualization web application. It provides charts, graphs, and alerts for the web when connected to supported data sources. A licensed Grafana Enterprise version with additional capabilities is also available as a self-hosted installation or an account on the Grafana Labs cloud service. It is expandable through a plug-in system. End users can create complex monitoring dashboards using interactive query builders. Grafana is divided into a front end and back end, written in TypeScript and Go, respectively.


title: Grafana

text: As a visualization tool, Grafana is a popular component in monitoring stacks, often used in combination with time series databases such as InfluxDB, Prometheus and Graphite; monitoring platforms such as Sensu, Icinga, Checkmk, Zabbix, Netdata, and PRTG; SIEMs such as Elasticsearch and Splunk; and other data sources. The Grafana user interface was originally based on version 3 of Kibana.


title: Grafana

text: Grafana was first released in 2014 by Torkel Ödegaard as an offshoot of a project at Orbitz. It targeted time series databases such as InfluxDB, OpenTSDB, and Prometheus, but evolved to support relational databases such as MySQL, PostgreSQL and Microsoft SQL Server.


title: Grafana

text: The conference "GrafanaCon 2020" was scheduled for May 13–14, 2020, in Amsterdam, but was changed to a two-day online live streaming event due to the COVID-19 pandemic.


title: Grafana

text: Grafana is widely used, including in Wikimedia's infrastructure. Grafana has over 1000 paying customers, including Bloomberg, JP Morgan Chase, eBay, PayPal, and Sony.


title: Grafana

text: As of April 20, 2021, Grafana is licensed under an AGPLv3 license. Contributors to Grafana need to sign a Contributor License Agreement (CLA) that gives Grafana Labs the right to relicense Grafana in the future. The CLA is based on The Apache Software Foundation Individual Contributor License Agreement.


title: Grafana

text: Previously, Grafana was licensed with an ALv2 license and used a CLA based on the Harmony Contributor Agreement.


title: Buster Merryfield

text: Harry "Buster" Merryfield (27 November 1920 – 23 June 1999) was an English actor best known for starring as Uncle Albert in the BBC comedy "Only Fools and Horses".


title: Buster Merryfield

text: Merryfield was born and raised in Battersea, London, England. His father, also called Harry Merryfield, was a fitter, and his mother Lily (née Stone), was a part-time waitress. His sister Irene died when she was eight years old. He was given the name "Buster" by his grandfather, as he weighed nine pounds at birth, and it stuck throughout his entire life, not least because he refused to divulge his real name to anyone during his lifetime and it only became open knowledge after his death.


title: Buster Merryfield

text: He always prided himself on his fitness, following a strict fitness regime of daily press-ups and swimming sessions. In contrast to Albert's pipe-smoking and rum-drinking character, Merryfield was a teetotal non-smoker his entire life. His efforts to stay fit could be traced back to his time as a child boxing star in the 1930s. He was British schoolboy champion in 1936, and Southern Command army champion in 1945. Merryfield was also a keen amateur football player and Millwall fan, regularly attending games at The Den. Merryfield was also able to play the piano by ear but could not read music. In real life he was also a fan of disco dancing.


title: Buster Merryfield

text: Before turning professional as an actor Merryfield was a keen amateur actor and director. His productions of John Osborne's "The Entertainer" (1966), "The World–My Canvas" (1968) by Ruth Dixon and "A View from the Bridge" (1969) by Arthur Miller, for the now defunct amateur theatre group "The Characters", won Best Play at the Woking Drama Festival in 1966, 1968 and 1969 respectively. He also won the Best Actor trophy for his roles in "The Entertainer" (1966) and "The World–My Canvas" (1968).


title: Buster Merryfield

text: Merryfield finally became a professional actor at the age of 57, after working for the Westminster Bank (later NatWest) for nearly forty years. He started work there on 11 July 1938, and passed his banking exams in 1939. During his time with the bank he reached the position of a Senior Area Bank Manager. His banking career was interrupted by his war service. In contrast to his most famous character, Merryfield spent the war in the army, where his physique resulted in him being made a PT and jungle warfare instructor. Awarded an Emergency Commission in the Royal Artillery on 13 March 1942, Merryfield was promoted to the rank of Second Lieutenant (228987). It was during the war that he first discovered his love of acting when he served as an entertainments officer, putting on shows for the other troops.


title: Buster Merryfield

text: After the war, he married and with his wife expecting a daughter, he opted to return to his job at the bank. At NatWest he rose through the ranks, and by the time of his early retirement, in 1978, he was a bank manager at the Thames Ditton branch in Surrey.


title: Buster Merryfield

text: When he retired, Merryfield persuaded a repertory company to take him on. He performed at the Connaught theatre in Worthing in "Joseph and the Amazing Technicolour Dreamcoat" and "Equus". Small parts on television also came his way. Merryfield appeared in "Hannah" in 1980, as Professor Challis in "The Citadel" in 1983 and as a Bishop in "Strangers and Brothers" in 1984.


title: Buster Merryfield

text: Merryfield joined "Only Fools and Horses" in January 1985, as the former seafaring Albert Gladstone Trotter, known as Uncle Albert, who was Grandad Trotter's long-lost younger brother and was known for his catchphrase of "During the war...". The character took over the role of senior citizen member of the Trotter family from Lennard Pearce, who played Grandad, after Pearce died in December 1984. Coincidentally, nine months earlier, in March 1984, Merryfield and Pearce co-starred in two episodes of a "Shroud for a Nightingale". Merryfield did much work for charities such as the Royal National Lifeboat Institution. He wrote his autobiography, "During the War and Other Encounters", in 1996.


title: Buster Merryfield

text: In December 1997, he fell over at the British Comedy Awards while walking to the stage to collect an award for David Jason for his part in "Only Fools and Horses". Despite cutting his forehead, he continued on and collected the award. Merryfield appeared in pantomime during Christmas in both 1997 and 1998 as the 'Father' in 'Beauty and the Beast' at the Pavilion Theatre, Bournemouth.


title: Buster Merryfield

text: Buster Merryfield was resident in Verwood, Dorset, when he died in Poole General Hospital on 23 June 1999, as a result of a brain tumour. He was survived by his wife Iris, whom he had married in June 1942, his daughter Karen, and two grandchildren. He was buried at a cemetery near Verwood, Dorset. Iris died on 5 November 2002 and was buried alongside him.


title: Buster Merryfield

text: Merryfield, Buster (1 October 1996). During The War and other encounters (autobiography). Summersdale. ISBN 978-1873475546.


title: Josip Stanišić

text: Josip Stanišić (; born 2 April 2000) is a professional footballer who plays as a defender for Bundesliga club Bayern Munich. Born in Germany, Stanišić represents the Croatia national team internationally. Mainly a right-back, he can also play in any position in defence.


title: Josip Stanišić

text: Stanišić already played in the youth teams for the then second division TSV 1860 Munich and stayed there until the summer of 2015. As a 15-year-old, the change took place in front of the gates of the state capital in the U16s of the then sixth division SC Fürstenfeldbruck. With the club's younger B-Juniors, he was one of the top performers from the start and, as the second-best goalscorer in his team, contributed to the fact that the Bruckers were one of the two top teams in the B-Junior District League alongside 1. FC Garmisch-Partenkirchen. Already in May 2016, just turned 16, he was pulled up to the U17, in which he was also one of the top performers and with two goals in the remaining eight games of the season contributed to the U17 of SC Fürstenfeldbruck being promoted from the regional league to the state league, in the junior B division, the third highest division behind the Bundesliga and Bayernliga. The Croatian also had a regular place in the team in the regional league, which just missed the Bayern league at the end of the season. Stanisic was no longer there at this point, however, as FC Bayern Munich had noticed him in the meantime and signed him for their U17s in January 2017. Hardly in Munich, Stanišić suffered an ankle fracture in preparation for the second half of the season and was out for the rest of the season. So he missed winning the German B-Junior Championship.


title: Josip Stanišić

text: In the summer of 2018, Stanišić played part of the season preparation with the professional team of Bayern Munich and was also used in two games in Klagenfurt and Philadelphia. However, Stanišić continued to play everyday life with the A-Juniors and was the new team captain there in his second season. In January he had to undergo a groin operation and was absent for several weeks. In that season, too, the team missed the final round of the German championship, with fourth place even quite clearly, and the two cup competitions again ended early.


title: Josip Stanišić

text: He made his professional debut for Bayern Munich II in the 3. Liga on 26 July 2019, coming on as a substitute at half-time for Angelo Mayer in the home match against KFC Uerdingen, which finished as a 2–1 win.


title: Josip Stanišić

text: Stanišić made his Bundesliga debut for Bayern Munich in a 1–1 draw with Union Berlin on 10 April 2021, being named in the starting lineup as a left back. On 1 July 2021, Stanišić signed a professional contract with Bayern until 2023. After impressing Bayern coach Julian Nagelsmann during the pre-season, Stanišić remained with the senior team, despite the original plan to be sent on loan to Heidenheim. He was named in the starting lineup as a right back on 13 August 2021, the first day of Bundesliga, as Bayern drew 1–1 with Borussia Mönchengladbach. Four days later, he was named in the starting lineup once again, as Bayern defeated Borussia Dortmund 3–1 to win the DFL-Supercup. On 14 September, Stanišić made his Champions League debut in a 3–0 victory over Barcelona, coming off the bench for Niklas Süle in the 82nd minute. On 15 October 2021, Stanišić extended his contract with Bayern until 2025.


title: Josip Stanišić

text: On 14 May 2022, Stanišić scored his first goal for Bayern in a 2–2 draw with Wolfsburg. On 12 November 2022, he extended his contract with Bayern until 2026.


title: Josip Stanišić

text: Stanišić holds both German and Croatian citizenships. Despite previously playing for Germany U19, Stanišić was called up to the Croatia U21 team by Igor Bišćan on 23 August 2021 for the upcoming UEFA Under-21 Euro 2023 qualifiers against Azerbaijan and Finland. However, he failed to make his debut due to an injury. Soon after, on 20 September, Stanišić was called up to the senior Croatia team by Zlatko Dalić for the upcoming 2022 FIFA World Cup qualifiers against Cyprus and Slovakia. He made his debut on 8 October in a 3–0 victory over the former opponent, being named in the starting lineup.


title: Josip Stanišić

text: On 9 November 2022, Stanišić was named in Dalić's 26-man squad for the 2022 FIFA World Cup. He received no playtime until the 2–1 third place play-off victory over Morocco on 17 December, when he replaced the injured Josip Juranović in the starting lineup.


title: Josip Stanišić

text: Stanišić was born in Munich to Croat parents. His father Damir hails from Malino, and his mother Sandra hails from Oriovac.


title: Alar Karis

text: Alar Karis (; born 26 March 1958) is an Estonian molecular geneticist, developmental biologist, civil servant and politician who, since 11 October 2021, has served as the sixth President of Estonia.


title: Alar Karis

text: Karis was born in Tartu on 26 March 1958 as son of botanist Harry Karis. He graduated from the Estonian Agricultural Academy in 1981. In 1999 he became a professor at the University of Tartu.


title: Alar Karis

text: Karis served as rector of the Estonian University of Life Sciences from 2003 to 2007, as rector of the University of Tartu from 2007 to 2012, as the Auditor General of Estonia from 2013 to 2018, and as director of the Estonian National Museum from 2018 to 2021.


title: Alar Karis

text: In August 2021, he was approached by the president of the Riigikogu Jüri Ratas with a prospect of nomination for the post of president of Estonia in the upcoming autumn election. He accepted the nomination and his candidacy was subsequently endorsed by both coalition parties, the Reform Party and the Centre Party. On 31 August 2021, Karis was elected as the president of Estonia with a two thirds majority of 72 votes in the Riigikogu. He assumed the office on 11 October 2021.


title: Alar Karis

text: The election received criticism and calls for electoral reform due to the absence of opposing candidates. Referencing the "turmoil that surrounded the presidential selection process" in his post election speech, Karis called for changes of the system to be examined by the Riigikogu, such as using an enlarged electoral college, facilitating the nomination of candidates or even using direct election.


title: Alar Karis

text: He has been married to Sirje Karis since 1977, with whom he has 3 children and 5 grandchildren. Besides Estonian, Karis is fluent in English and Russian. Although he is fluent in Russian, he has admitted that it needs some practice since he has not had to speak the language in a long time.


title: Aspiration pneumonia

text: Aspiration pneumonia is a type of lung infection that is due to a relatively large amount of material from the stomach or mouth entering the lungs. Signs and symptoms often include fever and cough of relatively rapid onset. Complications may include lung abscess, acute respiratory distress syndrome, empyema, and parapneumonic effusion. Some include chemical induced inflammation of the lungs as a subtype, which occurs from acidic but non-infectious stomach contents entering the lungs.


title: Aspiration pneumonia

text: Infection can be due to a variety of bacteria. Risk factors include decreased level of consciousness, problems with swallowing, alcoholism, tube feeding, and poor oral health. Diagnosis is typically based on the presenting history, symptoms, chest X-ray, and sputum culture. Differentiating from other types of pneumonia may be difficult.


title: Aspiration pneumonia

text: Treatment is typically with antibiotics such as clindamycin, meropenem, ampicillin/sulbactam, or moxifloxacin. For those with only chemical pneumonitis, antibiotics are not typically required. Among people hospitalized with pneumonia, about 10% are due to aspiration. It occurs more often in older people, especially those in nursing homes. Both sexes are equally affected.


title: Aspiration pneumonia

text: The person may have an insidious course with increased respiratory rate, foul-smelling sputum, hemoptysis, and fever. Complications may occur, such as exudative pleural effusion, empyema, and lung abscesses. If left untreated, aspiration pneumonia can progress to form a lung abscess. Another possible complication is an empyema, in which pus collects inside the lungs. If continual aspiration occurs, the chronic inflammation can cause compensatory thickening of the insides of the lungs, resulting in bronchiectasis.


title: Aspiration pneumonia

text: Most aspiration events occur in patients with a defective swallowing mechanism, such as a neurological disease or as the result of an injury that directly impairs swallowing or interferes with consciousness. Impaired consciousness can be intentional, such as the use of general anesthesia for surgery. For many types of surgical operations, people preparing for surgery are therefore instructed to take nothing by mouth (nil per os, abbreviated as NPO) for at least four hours before surgery. These conditions enable the entry of bacteria into the lungs, thus allowing the development of an infection.


title: Aspiration pneumonia

text: Bacteria involved in aspiration pneumonia may be either aerobic or anaerobic. Common aerobic bacteria involved include:


title: Aspiration pneumonia

text: Anaerobic bacteria also play a key role in the pathogenesis of aspiration pneumonia. They make up the majority of normal oral flora and the presence of putrid fluid in the lungs is highly suggestive of aspiration pneumonia secondary to an anaerobic organism. While it is difficult to confirm the presence of anaerobes through cultures, the treatment of aspiration pneumonia typically includes anaerobic coverage regardless. Potential anaerobic bacteria are as follows:


title: Aspiration pneumonia

text: Aspiration is defined as inhalation of oropharyngeal or gastric contents into the pulmonary tree. Depending on the composition of the aspirate, three complications have been described:


title: Aspiration pneumonia

text: The location is often gravity dependent, and depends on the person's position. Generally, the right middle and lower lung lobes are the most common sites affected, due to the larger caliber and more vertical orientation of the right mainstem bronchus. People who aspirate while standing can have bilateral lower lung lobe infiltrates. The right upper lobe is a common area of consolidation, where liquids accumulate in a particular region of the lung, in alcoholics who aspirate in the supine position.


title: Aspiration pneumonia

text: Evaluation of aspiration is generally performed with a video fluoroscopic swallowing study involving radiologic evaluation of the swallowing mechanism via challenges with liquid and solid food consistencies. These studies allow for evaluation of penetration to the vocal folds and below but are not a sensitive and specific marker for aspiration. Additionally, it is difficult to distinguish between aspiration pneumonia and aspiration pneumonitis.


title: Aspiration pneumonia

text: Aspiration pneumonia is typically diagnosed by a combination of clinical circumstances (people with risk factors for aspiration) and radiologic findings (an infiltrate in the proper location). A chest x-ray is typically performed in cases where any pneumonia is suspected, including aspiration pneumonia. Findings on chest x-ray supportive of aspiration pneumonia include localized consolidation depending on the patient's position when the aspiration occurred. For example, people that are supine when they aspirate often develop consolidation in the right lower lobe of the lung. Sputum cultures are not used for diagnosing aspiration pneumonia because of the high risk of contamination. Clinical symptoms may also increase suspicion of aspiration pneumonia, including new difficulty breathing and fever after an aspiration event. Likewise, physical exam findings such as altered breath sounds heard in the affected lung fields may also be suggestive of aspiration pneumonia. Some cases of aspiration pneumonia are caused by aspiration of food particles or other particulate substances like pill fragments; these can be diagnosed by pathologists on lung biopsy specimens.


title: Aspiration pneumonia

text: While aspiration pneumonia and chemical pneumonitis may appear similar, it is important to differentiate between the two due to major differences in management of these conditions. Chemical pneumonitis is caused by damage to the inner layer of lung tissue, which triggers an influx of fluid. The inflammation caused by this reaction can rapidly cause similar findings seen in aspiration pneumonia, such as an elevated WBC (white blood cell) count, radiologic findings, and fever. However, it is important to note that the findings of chemical pneumonitis are triggered by inflammation not caused by infection, as seen in aspiration pneumonia. Inflammation is the body's immune response to any perceived threat to the body. Thus, treatment of chemical pneumonitis typically involves removal of the inflammatory fluid and supportive measures, notably excluding antibiotics. The use of antimicrobials is reserved for chemical pneumonitis complicated by secondary bacterial infection.


title: Aspiration pneumonia

text: There have been several practices associated with decreased incidence and decreased severity of aspiration pneumonia as detailed below.


title: Aspiration pneumonia

text: Studies showed that the net reduction of oral bacteria was associated with a decrease in both incidence of aspiration pneumonia as well as mortality from aspiration pneumonia. One broad method of decreasing the number of bacteria in the mouth involves the use of antimicrobials, ranging from topical antibiotics to intravenous antibiotic use. Whereas the use of antibiotics focuses on destroying and hindering the growth of bacteria, mechanical removal of oral bacteria by a dental professional also plays a key role in reducing the bacterial burden. By reducing the amount of bacteria in the mouth, the likelihood of infection when aspiration occurs is reduced as well. For people who are critically ill that require a feeding tube, there is evidence suggesting that the risk of aspiration pneumonia may be reduced by inserting the feeding tube into the duodenum or the jejunum (post-pyloric feeding), when compared to inserting the feeding tube into the stomach (gastric feeding).


title: Aspiration pneumonia

text: Many people at risk for aspiration pneumonia have an impaired swallowing mechanism, which may increase the chance of aspiration of food particles with meals. There is some evidence to indicate that training of various parts of the body involved in the act of swallowing, including the tongue and lips, may reduce episodes of aspiration and aspiration pneumonia; however, further research is required to confirm this benefit. Other simple actions during feeding can improve the swallowing capability of a person and thus reduce the risk of aspiration, including changes in position and feeding assistance.


title: Aspiration pneumonia

text: Many instances of aspiration occur during surgical operations, especially during anesthesia induction. The administration of anesthesia causes suppression of protective reflexes, most importantly the gag reflex. As a result, stomach particles can easily enter the lungs. Certain risk factors predispose individuals to aspiration, especially conditions causing dysfunction of the upper gastrointestinal system. Identifying these conditions before the operation begins is essential for proper preparation during the procedure. It is recommended that patients fast prior to procedures as well. Other practices that may be beneficial but have not been well-studied include medication that reduce the acidity of gastric contents and rapid sequence induction. On the other hand, regarding reducing acidity of the stomach, an acid environment is needed to kill the organisms that colonize the gastrointestinal tract; agents, such as proton pump inhibitors, that decrease the acidity of the stomach, may favor the growth of bacteria and increase the risk of pneumonia.


title: Aspiration pneumonia

text: Adjusting the patient's posture should come first, then the oropharyngeal contents should be suctioned with the nasogastric tube in place. Humidified oxygen is given to patients who are not intubated, and the head end of the bed should be elevated by 45 degrees. It's crucial to keep a close eye on the patient's oxygen saturation, and if hypoxia is detected, urgent intubation with mechanical breathing should be given. Flexible bronchoscopy is often used to gather samples of bronchoalveolar lavage for quantitative bacteriological tests as well as high volume aspiration to clear the secretion. In general practice The main treatment of aspiration pneumonia revolves around the use of antibiotics to remove the bacteria causing the infection. Broad antibiotic coverage is required to account for the diverse types of bacteria possibly causing the infection. Even though they are not necessary in cases with aspiration pneumonitis, antibiotics are typically started right away to stop the disease's development.Recommended antibiotics include clindamycin, meropenem, ertapenem, ampicillin/sulbactam, and moxifloxacin. Treatment with piperacillin/tazobactam, cefepime, levofloxacin, imipenem, or meropenem is recommended in cases of potential antibiotic resistance. The typical duration of antibiotic therapy is about 5 to 7 days. If there is a large accumulation of fluid within the lungs, drainage of the fluid may also aid in the healing process.


title: Aspiration pneumonia

text: Dysphagia clinicians often recommend alteration of dietary regimens, altered head positioning, or removal of all oral intake. While studies have suggested that thickening liquids can decrease aspiration through slowed pharyngeal transit time, they have also demonstrated increased pharyngeal residues with risk for delayed aspiration. The ability of clinical interventions to reduce pneumonia incidence is relatively unknown. Dietary modifications or nothing-by-mouth status also have no effect on a patient's ability to handle their own secretions. A patient's individual vigor may impact the development of pulmonary infections more than aspiration. Also increased pneumonia risk exists in patients with esophageal dysphagia when compared to stroke patients because patients with stroke will improve as they recover from their acute injury, whereas esophageal dysphagia is likely to worsen with time. In one cohort of aspiration pneumonia patients, overall three-year mortality was 40%.


title: Aspiration pneumonia

text: Studies have shown that aspiration pneumonia has been associated with an overall increased in-hospital mortality as compared with other forms of pneumonia. Further studies investigating differing time spans including 30-day mortality, 90-day mortality, and 1-year mortality. Individuals diagnosed with aspiration pneumonia were also at increased risk of developing future episodes of pneumonia. In fact, these individuals were also found to be at higher risk for readmission after being discharged from the hospital. Lastly, one study found that individuals diagnosed with aspiration pneumonia were more likely to fail treatment compared to other types of pneumonia.


title: Aspiration pneumonia

text: Aging increases the risk of dysphagia. The prevalence of dysphagia in nursing homes is approximately 50%, and 30% of the elderly with dysphagia develop aspiration. For individuals older than 75, the risk of pneumonia due to dysphagia, is six times greater than those 65. Owing to multiple factors, such as frailty, impaired efficacy of swallowing, decreased cough reflex and neurological complications, dysphagia can be considered as a geriatric syndrome. Atypical presentation is common in the elderly. Older patients may have impaired T cell function and hence, they may be unable to mount a febrile response. The mucociliary clearance of older people is also impaired, resulting in diminished sputum production and cough. Therefore, they can present non-specifically with different geriatric syndromes.


title: Aspiration pneumonia

text: In the elderly, dysphagia is a significant risk factor for the development of aspiration pneumonia. Aspiration pneumonia most often develops due to micro-aspiration of saliva, or bacteria carried on food and liquids, in combination with impaired host immune function.


title: Aspiration pneumonia

text: Chronic inflammation of the lungs is a key feature in aspiration pneumonia in elderly nursing home residents and presents as a sporadic fever (one day per week for several months). Radiological review shows chronic inflammation in the consolidated lung tissue, linking chronic micro-aspiration and chronic lung inflammation.


title: Aspiration pneumonia

text: After falls, choking on food presents as the second highest cause of preventable death in aged care. Although food choking risk is commonly associated with young children, data shows that individuals over 65 years of age have a choking incidence that is seven times higher than children aged 1–4 years.


title: Aspiration pneumonia

text: The reported prevalence of dysphagia in patients with Parkinson's disease ranges from 20% to 100% due to variations in the methods of assessing the swallowing function. Unlike some medical problems, such as stroke, dysphagia in Parkinson's Disease degenerates with disease progression. Aspiration pneumonia was the most common reason for the emergency admission of patients with Parkinson's Disease whose disease duration was >5 years and pneumonia was one of the main causes of death.


title: Aspiration pneumonia

text: The familiar model of care for people with advanced dementia and dysphagia is the revolving door of recurrent chest infections, frequently associated with aspiration and related readmissions. Many individuals with dementia resist or are indifferent to food and fail to manage the food bolus. There are also many contributory factors such as poor oral hygiene, high dependency levels for being positioned and fed, as well as the need for oral suctioning. While tube feeding might therefore be considered a safer option, tube feeding has not been shown to be beneficial in people with advanced dementia. The preferred option therefore is to continue eating and drinking orally despite the risk of developing chest infections.


title: Maine Road

text: Maine Road was a football stadium in Moss Side, Manchester, England, that was home to Manchester City F.C. from 1923 to 2003. It hosted FA Cup semi-finals, the Charity Shield, a League Cup final and England matches. Maine Road's highest attendance of 84,569 was set in 1934 at an FA Cup sixth round match between Manchester City and Stoke City, a record for an English club ground.


title: Maine Road

text: By Manchester City's last season at Maine Road in 2002–03, it was an all-seater stadium with a capacity of 35,150 and of haphazard design with stands of varying heights due to the ground being renovated several times over its 80-year history. The following season Manchester City moved to the City of Manchester Stadium in east Manchester, a mile from the city centre and near Ardwick where the club originally formed in 1880.


title: Maine Road

text: Plans to build Maine Road were first announced in May 1922, following a decision by Manchester City F.C. to leave their Hyde Road ground, which did not have room for expansion and its main stand had been severely damaged by fire in 1920.


title: Maine Road

text: Two sites in Belle Vue, East Manchester were suggested, but neither was deemed sufficient. To many City fans east Manchester was regarded as City's home and a move to Belle Vue seemed right. But the site was just and an available lease of 50 years was deemed too short by the club, so it was decided that City would move to Moss Side. The move to a larger stadium at Maine Road was backed by then manager Ernest Mangnall.


title: Maine Road

text: Many were disappointed when a site in south Manchester was chosen. A City director, John Ayrton, resigned from the board later in the decade and helped to form a breakaway club, Manchester Central F.C., which played at Belle Vue.


title: Maine Road

text: A 16.25 acre former brickworks on Maine Road was purchased for £5,500. Maine Road was originally known as Dog Kennel Lane but renamed Maine Road (after the Maine law) during the 1870s at the insistence of the Temperance movement which owned land on Dog Kennel Lane and the local authority accepted its request.


title: Maine Road

text: During construction, the stadium was reputedly cursed by a Gypsy when officials evicted a Gypsy camp from the area. This curse was allegedly removed on 28 December 1998. However, the Gypsy curse is likely to be an urban myth, as such stories are endemic to a number of football league grounds. Construction took 300 days, the total cost £100,000. The initial layout of the ground consisted of one covered stand with a seating capacity of 10,000, and uncovered terracing on the other three sides, with gentle curves connecting the corners.


title: Maine Road

text: The first match at Maine Road took place on 25 August 1923 when 58,159 fans watched the home side beat Sheffield United 2–1. The first changes to the ground took place in 1931, when the corner between the Main Stand and the Platt Lane end at the south of the ground was rebuilt to incorporate a roof. This renovation was the first of many, as Maine Road's layout and capacity was varied throughout its lifespan.


title: Maine Road

text: In 1934, the highest attendance for an English football club playing at "their own stadium" was recorded at Maine Road, when Manchester City played Stoke City in front of 84,569 fans, in the sixth round of the FA Cup on 3 March 1934. (A larger crowd of 121,919 attended the Crystal Palace ground when it hosted the 1913 FA Cup Final between Aston Villa and Sunderland.) Queues formed four hours before the match, and one journalist stated that Maine Road was packed two hours before kick-off. A decision was taken to close the turnstiles with an attendance at approximately 85,000, 3000 short of what was thought to be the maximum capacity. Supporters witnessed a visiting Stoke team which included Stanley Matthews and City's team boasted players Frank Swift, Fred Tilson, Sam Cowan and Matt Busby. The match was won 1–0 by Manchester City. This is the record home attendance for a domestic match and the record home attendance at a club ground, as the 1913 FA Cup final is not considered a home match for either team.


title: Maine Road

text: Changes at the Platt Lane end took place in 1935, extending the terracing and providing a roof for the full stand. This marked the peak capacity of the ground, estimated at around 88,000. Further changes were planned, but suspended when Manchester City were relegated from Division One in 1938, and abandoned when World War II broke out.


title: Maine Road

text: The stadium was shared by Manchester United after the Second World War as Manchester United's Old Trafford ground had been damaged during the Manchester Blitz. United paid City £5,000 per season, plus a share of gate receipts. The highest attendance for a league game at Maine Road occurred during this period, when 83,260 people watched Manchester United play Arsenal on 17 January 1948. This figure is a national record for a league game. Maine Road was also used by Manchester United to host three of their four home games in the 1956–57 European Cup, until Old Trafford was equipped with floodlights as required by UEFA.


title: Maine Road

text: Floodlights for the stadium were installed in 1953 and further development took place in 1957. This was prompted by the hosting of two FA Cup semi-finals in successive years, the side facing the Main Stand (which until that time was generally known as the Popular Side) was redeveloped and named The Kippax after a nearby street. Over the course of the 1960s and 1970s, the Kippax became the part of the ground where the club's most vociferous fans congregated. In 1963, benches were installed at the Platt Lane end, meaning that Maine Road had more seats than any other English club ground of the time. The next major redevelopment came in the 1970s, with the construction of the North Stand, a cantilevered stand which remained in place until the closure of Maine Road. The 1980s saw ambitious plans for improvements: however, these plans were shelved due to financial pressures after the Main Stand roof had been replaced at a cost of £1 million.


title: Maine Road

text: By 1990, some areas of the ground were becoming outdated, and there was the need for the stadium to become all-seater following the outcome of the Taylor Report in January that year, and the Platt Lane stand was demolished in 1992. Its place was taken by the all-seater Umbro Stand that also incorporated executive boxes, and was opened in March 1993. The name reverted to the Platt Lane Stand in 1997, when Kappa replaced Umbro as City's kit suppliers.


title: Maine Road

text: The era of standing accommodation at Maine Road came to an end in May 1994 as the stadium became all-seater to comply with the requirements of the Taylor Report, with the demolition of the Kippax Street Terrace, which unusually for an all-standing area was located at the side of the pitch instead of behind the goals. The final match with standing permitted took place on 30 April 1994, against Chelsea for a 2–2 draw. Immediately prior to demolition the capacity of the Kippax terrace was 18,300. A three-tier stand was built in its place, holding nearly 14,000 spectators, and on its completion in October 1995 it was the tallest stand in the country, built at a cost of £16million, four times the turnover of the club according to then-chairman Francis Lee. The revamp of the Kippax was the second phase of a five-part development plan that would have cost £40million and increased the stadium's capacity to 45,024. However the club abandoned these plans as City were relegated from the Premier League in 1996 and from Division One two years later.


title: Maine Road

text: The new stand was an impressive modern facility, but it also emphasised the haphazard nature in which the ground had been redeveloped, as all four sides were of differing heights and construction styles. There were further plans for expansion which would have taken the stadium's capacity to 45,000, but these were put on hold following City's relegation from the Premier League in 1996.


title: Maine Road

text: There were plans for further expansion at Maine Road to take the capacity to an all-seated 45,000, but these were abandoned in favour of a move to the City of Manchester Stadium built for the 2002 Commonwealth Games.


title: Maine Road

text: The final competitive match before the closure of the stadium took place on 11 May 2003 with a Premiership match against Southampton. Tickets were sold upwards of £250 and a crowd of 34,957, about 100 off maximum capacity filled Maine Road for the final day. City lost the match 1–0 with Michael Svensson scoring the stadium's last goal. The final match was followed by performances by musical acts Badly Drawn Boy and Doves.


title: Maine Road

text: City's final goal at the stadium was scored on 21 April 2003 by Marc-Vivien Foé during a 3–0 victory over Sunderland. Forty-five days later, the player died on 26 June from an undetected heart condition while representing the Cameroon national football team during the 2003 Confederations Cup.


title: Maine Road

text: An auction of the ground's fixtures and fittings took place in July 2003, raising £100,000, which was donated to community projects in the Moss Side area, which was undergoing a lengthy regeneration process. The two penalty spots and the centre spot were thought to be the most desired mementos, but all three had been cut out from the grass before the auction took place. The auction lasted for seven hours and 1,000 supporters attended the auction with interest from clubs such as Preston North End and Norwich City for the bigger lots which could be reused.


title: Maine Road

text: Towards the end of Maine Road's lifespan there were proposals for other sports teams to make use of the stadium following City's relocation; Stockport County once expressed interest in moving there from Edgeley Park, and in December 2000 Sale Sharks rugby union club was offered a lease for the stadium. However, none of the proposals came to fruition and some past City players stated their dismay at the stadium not being renovated for mixed-use sport stadium. Demolition began in late 2003, lasting around 10 months.


title: Maine Road

text: Two years later the go-ahead was given for a new housing development to take part on the site, consisting of 474 homes.


title: Maine Road

text: There is a public art display commemorating the stadium and features a circular plate half open, symbolising the centre spot and the new emerging development which now sits on the Maine Road stadium.


title: Maine Road

text: For long periods of its history Maine Road had the widest pitch in England. However, the width was changed several times by managers wishing to alter the pitch size to suit their style of play. In the final season before the ground was closed, the pitch size was 107 x 71 metres (116.5 x 78 yards). Maine Road's replacement, the City of Manchester Stadium has maintained this tradition of having a large pitch.


title: Maine Road

text: Maine Road hosted two England internationals, the first was a 3–0 defeat of Wales on 13 November 1946 and the second a 9–2 win over Northern Ireland on 16 November 1949, England's first ever World Cup qualifier. In addition, a number of wartime internationals were held at the ground. Maine Road was also the venue for a number of rugby league matches, hosting the Rugby Football League Championship Final eleven times between 1938 and 1956. It also hosted the rugby league match of the cross code challenge between Wigan Rugby League and Bath rugby union.


title: Maine Road

text: Maine Road hosted Manchester United's first three home games of the 1956–57 European Cup, as Old Trafford did not have floodlights installed and so wasn't deemed suitable to host matches in the tournament. The first European match at the ground saw United thrash Belgian champions RSC Anderlecht 10–0 in the preliminary round, a competition record which lasted for 17 years.


title: Maine Road

text: It hosted many FA Cup semi-finals, the last being in April 1994 when Manchester United beat Oldham Athletic 4–1 in a replay. It hosted the 1984 Football League Cup final replay, which Liverpool won 1–0 against Everton.


title: Maine Road

text: The stadium was used for several scenes in the 1948 motion picture "Cup-tie Honeymoon". More recently, it was featured in the 2000 film "There's Only One Jimmy Grimble" and the 2003 ITV drama "The Second Coming", which starred Christopher Eccleston.


title: Maine Road

text: The stadium has hosted concerts by many famous artists, including Bryan Adams, Bon Jovi, David Bowie, David Cassidy, Dire Straits, Faith No More, Fleetwood Mac, Guns N' Roses, Jean Michel Jarre, The New Power Generation, Oasis, Pink Floyd, Prince, Queen, Soundgarden, The Rolling Stones, Simple Minds and Mavis Staples, among others. The most high-profile concert held at Maine Road was that of Mancunian band Oasis (themselves avowed Manchester City fans) in April 1996, a performance which was later released as a video, "...There and Then".


title: Maine Road

text: In June 1961, the American Christian evangelist Billy Graham attracted over 100,000 people to the stadium, over the course of four nights, as part of his UK tour.


title: Maine Road

text: Maine Road also gives its name to a non-league football club, Maine Road F.C. The club, who currently play in the North West Counties Football League Division One, was founded by a group of Manchester City supporters in 1955. The club previously based its headquarters at the social club adjoining Maine Road.


title: Land of the Lustrous (TV series)

text: Orange created the series with 3D animation as a base, a decision made partially due to the difficulty in depicting translucent gemstones using hand-drawn animation. Yoichi Nishikawa's concept art greatly influenced Kyōgoku's vision for the series, with several shots directly based on Nishikawa's art. While the manga is more ambiguous and subtle, the anime had to be clear on a single viewing, so Phos was given more close-up shots and repeated lines to give them a larger presence and more easily identifiable goals. As Kyōgoku was used to writing teenaged characters with clear motives and desires, he initially had problems with portraying Phos, but his image of the character solidified after hearing Tomoyo Kurosawa's performance as them.


title: Land of the Lustrous (TV series)

text: The series was well-received by critics, frequently called among the best of the 2010s and a turning point for CG anime, and convincing skeptics that an action series could be well done outside of a 2D production. The writing was also positively received, with critics calling the characters and world likable and intriguing. It received several awards and nominations, namely for its visuals.


title: Land of the Lustrous (TV series)

text: "Land of the Lustrous" is set in the far future, in a land inhabited by an immortal life form called the Lustrous, who are the embodiment of gemstones. The twenty-eight Lustrous are led by their teacher, Kongo, and fight to defend themselves against the Lunarians, who appear every few days, seeking to harvest the Lustrous' bodies for decorations. Phosphophyllite, nicknamed Phos, currently 300 years old, is the youngest of the Lustrous, and because of their brittleness is unable to fight. They feel useless, but are given the task to assemble a natural history by Kongo. While looking for information to include in the book, Phos meets the nightwatch, Cinnabar, who is poisonous and thus dangerous even to other Lustrous, and therefore lives in isolation. Finding this sad, Phos decides to find Cinnabar a better job.


title: Land of the Lustrous (TV series)

text: "Land of the Lustrous" was produced at the computer graphics (CG) animation studio Orange, and adapts Haruko Ichikawa's 2012 manga of the same name, covering little over its first four volumes. The series had Katsuhiro Takei and Kiyotaka Waki as production staff; and was directed by Takahiko Kyōgoku, with Toshiya Ono in charge of the series scripts, Eiji Inomoto serving as chief CG director, Kenji Fujita being director of photography, and with Daisuku Imai in charge of editing. Asako Nishida designed the characters, while Yōichi Nishikawa created the concept art, and Osamu Mikasa painted the color key art. The sound team included composer Yoshiaki Fujisawa and sound director Yukio Nagasaki. The opening theme, "Kyōmen no Nami", was performed by Yurika, and the ending theme, "Kirameku Hamabe", by Yuiko Ōhara.


title: Land of the Lustrous (TV series)

text: The project started in 2015, while Kyōgoku was working on the anime series "Gate", and was approached by Katsuhiro Takei from Toho to work on an adaptation of the "Land of the Lustrous" manga. Kyōgoku had always wanted to create a work based on CG animation with complementing 2D animation, rather than the more common use of a 2D base with complementing 3D, and both Kyōgoku and Takei thought that that style would fit "Land of the Lustrous". Takei wanted Orange to work on the project from the start; despite trusting their abilities due to the staff's previous experience with action in the "Rebuild of Evangelion" films, Kyōgoku was initially worried about them handling the full production due to the low number of staff members, but the studio expanded from 50 to 100 staff members during the production.


title: Land of the Lustrous (TV series)

text: Although voice recording for anime productions typically is done after the animation is finished, it was done prior to the CG creation for "Land of the Lustrous", after the animatics were created. Kyōgoku was happy with the casting, saying that Kurosawa embraced her role and "became" Phos, acting out lines physically, and that the supporting cast helped support the spontaneity of Phos's character. Kyōgoku also specifically noted being happy with casting Nakata as Kongo, as they had worked together before and as he loved Nakata's acting. Describing Nakata as a gentleman, he thought he was perfectly suited for the role, and said that a too charming or sultry voice would not have worked for the character.


title: Land of the Lustrous (TV series)

text: After reading the manga for the first time, Kyōgoku thought that it would be difficult to surpass the manga by simply copying what was shown in each panel: according to him, the appeal of the manga was its ambiguity and subtlety, saying that there is more room for subtle portrayal in a manga, since the reader can re-read it, whereas an anime aired on television needs to be clearer on a single viewing. Because of this, they made the protagonist clearer by giving Phos more close-up shots and having them repeat certain important lines, leading to them appearing to have a larger presence in the story and have more easily identifiable goals. Ono helped in this by breaking down difficult portions of the manga's story into scenes.


title: Land of the Lustrous (TV series)

text: Kyōgoku and Ichikawa discussed the story development, and Kyōgoku was asked to leave it uncertain whether Phos's changes during the story are good or not, and to portray the change as starting with their meeting with Cinnabar, as Ichikawa saw those two elements as the foundation of "Land of the Lustrous". She partook in story development meetings, and discussed how to achieve the right balance between exploring subjects in detail and prompting questions, such as what the true nature of the Lunarians is, due to how not everything could have been explained in twelve episodes. Although she told Kyōgoku about events in not yet published manga chapters, she asked him to avoid incorporating elements from future chapters; he saw his role as consisting of him organizing the manga material, and was happy with how much of the manga's story they were able to adapt, with the anime covering all parts he wanted to include.


title: Land of the Lustrous (TV series)

text: Initially, Kyōgoku had some issues with how to portray Phos, as he was used to working with teenaged characters with obvious desires and motives, whereas Phos lacks resolve and is resigned to their frustration due to having spent 300 years doing nothing, not being too serious about their emotions even when angry. His image of Phos solidified after hearing Kurosawa's performance, saying that her acting had the right level of ambiguity for the character.


title: Land of the Lustrous (TV series)

text: The decision to create the series using CG came in part from how the beauty of gemstones was seen as part of the series' appeal, and how it would have been difficult to depict their translucency using hand-drawn animation, whereas CG enabled this; Kyōgoku had from the beginning envisioned the characters as figures with clear, moving parts. As "Land of the Lustrous" was Orange's first anime project as the main production studio, they spent a lot of time adjusting to it from the types of CG productions they were used to, balancing how detailed the CG work should be and figuring out how to achieve Kyōgoku's vision for the visual treatment of the characters. While Kyōgoku was happy with the final versions of the episodes, he said that it took much longer to create than had the series been created using 2D animation, saying that the first storyboards were not finished until June 2016 and that the first produced cuts took months to create, although it started to go more smoothly once the first were finished.


title: Land of the Lustrous (TV series)

text: Nishikawa became involved in the production as Waki nominated him for the role as concept artist. Although Nishikawa had not been familiar with the source material previously, his wife was a fan of the manga, and he thought that he could be able to express himself through the background artwork due to how the manga does not use a lot of backgrounds. His concepts greatly influenced Kyōgoku's vision for what he wanted to accomplish with the series, with Kyōgoku specifically citing a piece showing a cel-shaded Phos with photo-realistic hair, behind CG grass, as influential. Many shots featured in the show were directly based on Nishikawa's pieces, including the framing and the shading used. He used triadic color schemes for his pieces, noting that the large amount of open spaces in the anime meant that the visuals would look flat if the color work was done incorrectly.


title: Land of the Lustrous (TV series)

text: As Kyōgoku had worked with Nishida in the past, and she was a fan of the "Land of the Lustrous" manga, it was an easy decision to appoint her as the character designer. She designed a lot of reference artwork for the character proportions and facial expressions, creating a wide range of expressions despite Kyōgoku being unspecific in the instructions; this helped the production a lot, as the comedic sequences demanded a lot of different expressions and exaggerated faces. Translating the 2D character designs into 3D models was a very simple process due to how the characters all have about the same bodily proportions, allowing the artists to mostly focus on the characters' faces and hair.


title: Land of the Lustrous (TV series)

text: Due to Orange's technical experience there were not a lot of technical problems with the production, although there were sometimes difficulties in reproducing the intended colors from the concept art in the 3D renderings. Cinnabar was also a difficult character to animate due to their subtle character acting and their finely detailed hair, and how they are surrounded by mercury. Orange had a lot of freedom in creating the action sequences, as Kyōgoku gave mostly vague directions for them, such as what general camera movement to use. To guide the 3D animation, 2D "guide animation" was produced; one animator working on these was Norio Matsumoto, known for his work on action sequences in the "Naruto" anime series.


title: Land of the Lustrous (TV series)

text: "Land of the Lustrous" was announced in the magazine "Monthly Afternoon" in May 2017, and aired for twelve episodes on Japanese television on AT-X, Tokyo MX, BS11 and MBS from October 7 to December 23, 2017. Sentai Filmworks licensed the series and simulcast it through Amazon's Anime Strike platform in the United States; following the cancellation of Anime Strike in January 2018, it was transferred to the Amazon Prime Video service. The series was also simulcast through Hidive in the United Kingdom, Ireland, South Africa, Oceania, and Central and South America.


title: Land of the Lustrous (TV series)

text: The series was released across six DVD and Blu-ray sets by Toho in Japan starting on December 22, 2017; the Japanese home video packaging was designed by the book design artist Tomoko Yamada as her first anime work, who modeled the packaging after jewelry boxes. Sentai Filmworks released the series on Blu-ray in a Steelbook case in North America on January 22, 2019. MVM Films acquired the series for distribution in the United Kingdom, with a release on Blu-ray on April 29, 2019. Sentai Filmworks produced English and Latin American Spanish dubs.


title: Land of the Lustrous (TV series)

text: For the English release of the anime, series translator Deven Neel was instructed by the manga's creator, Haruko Ichikawa, to use gender-neutral pronouns for the characters, as Ichikawa wanted to portray them as genderless: the Japanese script uses a pronoun similar to "he", although noted by Neel as being more ambiguous, while the English translation uses singular "they".


title: Land of the Lustrous (TV series)

text: The series' opening and ending themes were released separately on December 6, 2017 on CD, and the album "Land of the Lustrous Sound Track Complete" was released on January 17, 2018. An art exhibit featuring the production art from the series was held in Yūrakuchō, Tokyo from January 19 to February 25, 2018; it was originally intended to run until February 18, but was extended due to the popularity of it. The production art was also collected in the art book "Houseki no Kuni Concept Arts", which was released on February 28, 2018. Other merchandise based on the show has also been released, including plush toys, pins, bags and mugs.


title: Land of the Lustrous (TV series)

text: "Land of the Lustrous" was positively received by critics, and called among the best anime of the season and of the decade, and one of the most inventive and fresh anime in years. The story and characters were praised by critics, who called them unique and relatable, with engrossing, likable characters and an intriguing world, and succeeding both at internal and external struggles.


title: Land of the Lustrous (TV series)

text: Michelle Villanueva of Syfy stated that the gems are portrayed as non-binary, noting the relationship between Phosphophyllite "Phos" and Cinnabar, with Rutile having deep feelings for Padparadscha, saying that both have feelings for each other. She added that while the series isn't perfect in terms of "queer representation" as the gems are thin-limbed and shiny, with all the gems voiced by "cis female actors, hopefully that it is a "daring stepping stone on the road to queer representation," which will lead to more "queer-themed mainstream anime and manga." Villanueva noted this because when the anime was released in English, series translator Deven Neel was instructed by the manga's creator, Haruko Ichikawa, to use gender-neutral pronouns for the characters, as Ichikawa wanted to portray them as genderless: the Japanese script uses a pronoun similar to "he", although noted by Neel as being more ambiguous, while the English translation uses singular "they".


title: Land of the Lustrous (TV series)

text: The series was well received for its visuals and use of CG; although some critics were initially unsure about its look, it was later praised as a turning point for CG anime and something even skeptics of CG anime would enjoy, with "Otaku USA" calling it Orange's best visual work and one of the best-looking TV anime in recent memory. The animation itself was also well received, with character posing, timing and acting described as unusually good for CG anime, particularly Phos's animation in combination with Kurosawa's voice performance. "Anime News Network" and the Japanese publication "Animate Times" enjoyed the prominent action sequences in the series, and "Otaku USA" liked how those sequences took advantage of the CG production, making use of dynamic camerawork that would not have been as feasible in a fully 2D production. They also liked the implementation of supplementary 2D elements, such as facial animations and close up, and how they were integrated into the larger 3D production. The art direction was similarly well received, and was described as a good conversion of both the original manga's atmosphere and of Nishikawa's concept art. "Otaku USA" liked the Lustrous' character designs, but particularly liked how the Lunarians were designed and arranged like serene, divine and inscrutable Buddhist processions, which helped in making them menacing.


title: Land of the Lustrous (TV series)

text: The series won VFX-Japan Awards 2018 "Excellence" and "Best" awards in the "Television Anime CG" category, and was nominated for the 2017 CG World Awards in the "Best Work in CG Animation" category; CG World also nominated Orange for the "Grand Prix" category, for their work on action sequences, facial expressions and character presentation within "Land of the Lustrous". The series won the 2nd Crunchyroll Anime Awards in the "Best CGI" category in 2017, and was nominated for their "Anime of the Year", "Best Action", "Best Animation" and "Best Score" categories; the ending theme "Kirameku Hamabe" was also nominated for their "Best Ending" category. The series won the 4th Anime Trending Awards in the "Best in Sceneries and Visuals" category, and was nominated for their "Best in Adaptation", "Best in Soundtrack", "Best in Character Design", "Best in Animation Effects and Sequence", "Action or Adventure Anime of the Year" and "Fantasy or Magical Anime of the Year" categories. "Polygon" named the series as one of the best anime of the 2010s, and Crunchyroll listed it in their "Top 100 best anime of the 2010s". IGN also listed "Land of the Lustrous" among the best anime series of the 2010s. The series was also included in multiple "Anime News Network" writers' individual lists of the best anime of the season, and in the publication's 2018 feature about "visually striking anime productions".


title: Land of the Lustrous (TV series)

text: The first two Japanese DVD volumes sold around 900 copies each, ranking 16th and 5th on the weekly Japanese DVD charts, the third sold around 800 copies, ranking 8th, and the fourth and fifth sold around 700, ranking 6th and 9th. The first five Japanese Blu-ray volumes all sold around 5,000 copies each, ranking 6th, 1st, 1st, 2nd and 2nd on the Blu-ray charts.


title: The Challenge: Rivals II

text: The Challenge: Rivals II is the 24th season of the MTV reality game show "The Challenge". The season took place in Phuket, Thailand, with former cast members from MTV's "The Real World" and "The Challenge" competing. The season followed the same format as the original "Rivals" challenge, with players paired up with arch enemies from past seasons of "The Real World" and "The Challenge".


title: The Challenge: Rivals II

text: A launch special, "ChallengeMania: the Road to Rivals II," aired on June 26, 2013. The season premiered with a special 90 minutes episode on July 10, 2013, and concluded its run on September 25, 2013, with the live Reunion special.


title: The Challenge: Rivals II

text: This is the second of the "Rivals" series, with the original "" airing in 2011 and "" following in 2016.


title: The Challenge: Rivals II

text: "Rivals II" follows the same format as the original "Rivals" challenge (), with the following differences:


title: The Challenge: Rivals II

text: As with the original "" challenge, "Rivals II" combines individuals who have had acrimonious or at least strained relations or interactions prior to the season. The following lists all the teams on "Rivals II" and explains why they've been paired and dubbed as "rivals." Each of the teams' history of animosity and/or open expressions of hostility are detailed as follows:


title: The Challenge: Rivals II

text: The first part of the final challenge begins with the remaining six teams swimming one mile in the middle of the ocean to "Dream Island", where each team has to solve three geometric puzzles — a square, a cube and a cross. Prior to the start of the final challenge, T. J. Lavin explains to each team that there is only room for four teams — two of each gender — on the super yacht. To get to the yacht, each team will have a 60-minute time limit to build replicas of the aforementioned shapes with oversize blocks that match each team's designated diagrams, retrieve a key to a kayak, and paddle their way to the yacht. If a team does not solve their designated puzzle within a 60-minute limit, they are permitted to retrieve a key to a kayak, provided that the other competing teams do not correctly solve their puzzles beforehand. The third-place finishers of each gender are eliminated from the remainder of the final challenge, and win $15,000, while the top two teams of each gender advance to the next phase of the final challenge.


title: The Challenge: Rivals II

text: The second part of the final challenge begins with the remaining four teams that made it to the super yacht swimming their way to "Nightmare Island", where each team has to retrieve a golden elephant by earning an idol at five separate checkpoints. At the first checkpoint, each team must remove 14 out of 15 spikes (with voodoo doll heads) on a large, triangular peg board, by jumping over each spike only once. After a team completes a checkpoint, that team must signal the completion of their checkpoint by pulling the pin on a smoke grenade and dropping it in a bucket. The second checkpoint is "What's Mine Is Yours", in which each team must cut through a chain-link fence with a pair of dykes, then solve a mathematical puzzle involving a Pythagorean theorem in order to determine the hypotenuse of a triangle. Each team then has to cut one of five colored ropes that corresponds to a correct answer. If a team makes an incorrect answer, all five ropes have to be cut before they are allowed to continue to the next checkpoint. At the third checkpoint "Food Test", each team must eat and drink a variety of disgusting foods and liquids from numbered receptacles, and in numerical order. A key is located at the bottom of the final jar, which will unlock a cabinet containing an idol. At the fourth checkpoint, "Body Issues", each team must move 20 body bags from one side of a course to another. After each body bag has been removed, a sign at the bottom of the pile instructs each team to dig into the ground and retrieve a treasure chest that contains the fourth idol. At the fifth and final checkpoint, "Tunnel Vision", each team must dig a tunnel that leads underneath a cage consisting of bamboo poles, with the final idol located inside the cage. The first team of each gender to retrieve all five idols and the golden elephant, make their way towards the beach, where they use a canoe to reach a yacht, wins $125,000.


title: The Challenge: Rivals II

text: "The Challenge: Rivals II Reunion" was aired live after the season finale on September 25, 2013, and was hosted by Jonny Moseley. The cast members who attended the reunion were: Wes, CT, Paula, Emily, Cara Maria, Diem, Aneesa, Frank, Johnny, Knight, Preston, Jemmye, Camila, Jordan and Marlon.


title: Chubut Province

text: Chubut (, ; ) is a province in southern Argentina, situated between the 42nd parallel south (the border with Río Negro Province), the 46th parallel south (bordering Santa Cruz Province), the Andes range to the west, and the Atlantic ocean to the east. The province's name derives from the Tehuelche word , meaning "transparent," their description of the Chubut River.


title: Chubut Province

text: The largest city is Comodoro Rivadavia in the south of the province; it has 180,000 inhabitants. The administrative capital is Rawson (40,000). Other important cities are Puerto Madryn, Trelew, Esquel and Sarmiento. Gaiman is a cultural and demographic centre of the region known as ""Y Wladfa"" in which Welsh-Argentines are concentrated. Of the 25,000 Welsh speakers in Argentina, 5,000 live in the Chubut region, particularly in the early Welsh settlements of Gaiman, Trelew and Trevelin.


title: Chubut Province

text: Before the Spaniards arrived in the Americas, nomadic indigenous Tehuelche people had inhabited the Patagonia region for thousands of years. They lived as hunter-gatherers and covered territory in seasonal cycles as they followed game.


title: Chubut Province

text: In the 17th and 18th centuries, Spanish missionaries came to the area, and founded the San José Fort on Península Valdés. The indigenous people later destroyed it.


title: Chubut Province

text: In 1865, Welsh people came to Chubut on the "Mimosa" and settled in the Chubut Valley. The region was disputed between Chile and Argentina until 1881. Chile renounced its claim in order to prevent Argentina from entering into the War of the Pacific, in which it was already fighting against Peru and Bolivia.


title: Chubut Province

text: As part of the "Conquista del Desierto" (Conquest of the Desert), Argentina organized the National Territory of Chubut in 1884, after the last indigenous cacique, Inacayal, surrendered to government forces. Luis Fontana was named governor. At the beginning of the 20th century, after the Boer War, some Boer people settled in the town of Sarmiento and in lesser number in other nearby towns.


title: Chubut Province

text: From 1895 to 1915 hundreds of Spanish and Italian born immigrantes settled in the lower Chubut valley as well a little more than hundred Chileans.


title: Chubut Province

text: In 1944, the southern part of Chubut and northern part of Santa Cruz were designated the Comodoro Rivadavia Military Zone. The zone was dissolved in 1955, and Chubut was declared a province. Studies in the 1950s revealed mineral wealth in the province, which the government has tried to develop.


title: Chubut Province

text: Population shifts of the late 20th century, especially from Buenos Aires, raised the population steadily from 190,000 (1970), to 357,000 (1991) and 413,237 (2001). The government has encouraged people to resettle here. Most of the inhabitants are in the main cities. They have also settled along the Chubut River. Most areas have a population density of less than 1 inhabitant per square kilometer.


title: Chubut Province

text: Chubut's economy, for a long time one of the most prosperous in Argentina, is one of the country's least diversified. Nearly one-quarter of its 2006 output, estimated at US$4.652 billion (or a per capita income of US$11,256), is generated by mining and petroleum. This sector's contribution (mostly centered around Comodoro Rivadavia) helped give Chubut the nation's fourth-highest per capita output in 2011, US$25,250. Petroleum refining is the main economic activity of the province; it generates 13% of Argentine oil production (mostly off-shore). On May 21, 2014, Miguel Galuccio of YPF and Chubut Governor Martin Buzzi announced the first unconventional oil and gas discovery in Chubut from a fracked well in the Early Cretaceous D-129 formation of the Golfo San Jorge basin. Chubut produces 21% of the nation's fish catch.


title: Chubut Province

text: Sheep ranching, though less than half as productive in the 21st century compared to as recently as 1990, remains important at the local level. The advent of synthetic replacements to wool after World War II battered the sector. It declined further because of Argentina's political instability and damage from natural disasters. Wool production has risen since 2002, however, and totaled 71,000 tons in 2006.


title: Chubut Province

text: Chubut stretches from the Atlantic to the Andes with 3 distinct environmental regions: The Andes, the central plains and the coastal regions. The Andes in the westernmost parts of the province mostly extend along the Chilean border. The Andes are not that high in Chubut, with most peaks averaging around , which becomes smaller in altitude in the southern parts. The highest peak is Cerro Dos Picos, located east of Lago Cholila with a height of . The Andes in this province are of tertiary origin and are separated by wide, deep transverse valleys that are oriented in an east–west direction. These valleys are occupied by glacial lakes and rivers flowing east from the mountains. Most of these valleys existed before the Andes were formed. The lakes, which are mostly located in the western parts of the province are of glacial origin because during the last ice age, the movement of the glaciers lead to the formation of extensive areas of depressions that were filled up with water to form the lakes today.