title: Akon City, Senegal

text: Another Akon City was announced in Uganda on April 6, 2021, by Akon alongside Dr. Chris Baryomunsi, the state minister for Housing and Urban development, after Akon had met and discussed with Ugandan president Yoweri Museveni. Akon further discussed the entire 15-year development project and its alleged benefits to Ugandans in an interview on Uganda's NBS TV with Canary Mugume.


title: Akon City, Senegal

text: The project is still on foreplaned to have large skyscrapers, shopping malls, technology hub, music studios, "Senewood", and eco-friendly tourist resorts. Akon envisions Akoin, a cryptocurrency which he founded, to be the central currency.


title: Akon City, Senegal

text: Akon City's development is proposed to be a ten-year project with mixed-use development. Akon says the city will be a smart city that is eco-friendly and will be powered by renewable energy, including solar power. It is a LEED-certified project. The project's stated primary goal is to stimulate the local economy and to create jobs for local workers. Akon City developers are Los Angeles–based KE International and Dubai-based Bakri & Associates Development Consultants. Hussein Bakri, the CEO of Bakri & Associates, is the lead architect.


title: Akon City, Senegal

text: Phase 1: Proposed to be completed by 2023 is the construction of roads, a hospital campus, a shopping mall, residential estates, hotels, a police station, a school, a waste facility, parks, and a photovoltaic solar power plant.


title: Akon City, Senegal

text: The project has not begun construction, but locals remain hopeful of the future for the project, citing the coronavirus pandemic as a possible cause for the apparent delay.


title: Akon City, Senegal

text: A suit has been brought against Akon in the United States by Devyne Stephens for a debt of almost 4 million dollars borrowed as part of the implementation of his futuristic city project. Akon's team has disputed Stephens' claims as "innuendo and speculation."


title: Persuasion (1995 film)

text: Persuasion is a BBC Screen Two 1995 period drama film directed by Roger Michell and based on Jane Austen's 1817 novel of the same name. In her theatrical film debut, Amanda Root stars as protagonist Anne Elliot, while Ciarán Hinds plays her romantic interest, Captain Frederick Wentworth. The film is set in 19th-century England, eight years after Anne was persuaded by others to reject Wentworth's proposal of marriage. "Persuasion" follows the two as they become reacquainted with each other while supporting characters threaten to interfere.


title: Persuasion (1995 film)

text: The novel was adapted by Nick Dear, who considered the story more mature than Austen's other novels, characterising it as one of realism and truthfulness, particularly in telling the story of two people separated and then reunited. As Austen's style conveys Anne's thoughts internally, Dear and Root felt compelled to express the character's emotions using less dialogue. Michell avoided what he felt was the polished, artificial feel of other 19th-century depictions, and discouraged his actors from wearing make-up or appearing too hygienic. Costume designer Alexandra Byrne produced clothing that appeared "lived-in", which won her a BAFTA. "Persuasion" was shot in chronological order, allowing Root to portray more easily Anne's development from being downtrodden to happy and blossoming. It was filmed during a period of popularity for Austen's works.


title: Persuasion (1995 film)

text: Originally the BBC was the sole production company of "Persuasion" until it partnered with the American WGBH Boston and the French Millesime. This gave the production a larger budget and allowed it to be filmed at locations featured in the novel, including Lyme Regis and Bath. "Persuasion" originally aired on 16 April 1995, when it was broadcast on BBC Two. Sony Pictures Classics released the film in American cinemas on 27 September 1995, as Austen's increasing popularity became apparent to Hollywood. "Persuasion"s cinematic release attracted the attention of film critics, and it received generally positive reviews, with many praising Root's performance. Film scholars have observed significant changes from the source material, as well as class and gender themes.


title: Persuasion (1995 film)

text: The film opens by cross-cutting between scenes of a naval ship carrying Admiral Croft, and a carriage carrying Mr. Shepherd and his widowed daughter Mrs. Clay to Kellynch Hall. Shepherd and Clay are accosted by creditors due to the debts owed by the residence's owner, Sir Walter Elliot, while Croft discusses the end of the Napoleonic Wars with fellow men of the navy. Sir Walter, a vain foppish baronet, is faced with financial ruin. Though Sir Walter initially opposes the idea, he eventually agrees temporarily to move to Bath while the Hall is let; the idea came from Shepherd, family friend Lady Russell, and Sir Walter's second daughter, the intelligent Anne Elliot.


title: Persuasion (1995 film)

text: Anne is visibly shaken upon learning that the new tenant of Kellynch Hall will be Admiral Croft, who is the brother-in-law of Frederick Wentworth—a naval captain she was persuaded to reject in marriage eight years previously because of his lack of prospects and connections. Wentworth is now wealthy from serving in the Napoleonic Wars and has returned to England, presumably to find a wife. Later, Anne expresses to Lady Russell her unhappiness at her family's current financial predicament, and at her past decision to reject the captain's proposal of marriage. Anne visits her younger sister Mary, a hypochondriac who has married into a local farming family, the Musgroves. Anne patiently listens to the various complaints confided in her by each of the Musgrove family; this includes Mary's husband Charles—who once proposed to Anne—sisters-in-law Louisa and Henrietta, and parents-in-law Mr. and Mrs. Musgrove.


title: Persuasion (1995 film)

text: Captain Wentworth comes to dine with the Musgroves, but Anne avoids going, volunteering to nurse Mary's injured son. The following morning at breakfast, Anne and Mary are met briefly by Wentworth, the first time he and Anne have seen each other since she rejected him. Anne later hears that Wentworth thought her so altered that he "would not have known [her] again". Louisa and Henrietta begin to pursue marriage with Wentworth, as the family is unaware of his and Anne's past relationship. Privately hurt by Anne's refusal years before, Wentworth appears to court Louisa, much to Anne's chagrin. Wentworth is told by Louisa that Anne had refused Charles' offer of marriage - a refusal which the Musgroves believed to be at the instigation of Lady Russell. After that, Charles had instead proposed to Mary.


title: Persuasion (1995 film)

text: Anne, Wentworth, and the younger Musgroves go to Lyme Regis and visit two of Wentworth's old naval friends, Captain Harville and Captain Benwick. While there, Louisa rashly jumps off some high steps in the hopes Wentworth will catch her; he does not, and she sustains a head injury. Afterwards, Anne goes to Bath to stay with her father and sister. Sir Walter and his eldest daughter Elizabeth reveal they have repaired their relationship with a previously disreputable cousin, Mr. Elliot, the heir to the Elliot baronetcy and estate. Anne is introduced to him, and they realise that they briefly saw each other in Lyme. Much to Lady Russell's pleasure, Mr. Elliot begins to court Anne, but she remains uncertain of his true character. Meanwhile, Louisa has recovered and become engaged to Captain Benwick. Wentworth arrives in Bath and encounters Anne on several occasions, though their conversations are brief.


title: Persuasion (1995 film)

text: Anne learns from an old friend, Mrs. Smith, that Mr. Elliot is bankrupt and only interested in marrying Anne to help ensure his inheritance from her father. Anne is told that Mr. Elliot wishes to keep the baronet from possibly marrying Mrs. Clay to produce a male heir. Soon after, Wentworth overhears Anne talking with Captain Harville about the constancy of a woman's love, and writes her a letter declaring that he still cares for her. Anne quickly finds him and the two happily walk off down a street, arm in arm. That night at a party, Wentworth announces his intention to marry Anne, much to Mr. Elliot's consternation. The final scene shows Wentworth and Anne on a naval ship, happy to be together.


title: Persuasion (1995 film)

text: The filming of "Persuasion" coincided with a sudden resurgence of Jane Austen adaptations, as it was one of six such productions released during the mid-1990s. The media dubbed the phenomenon "Austenmania". While it was common for a successful adaptation to lead to the production of others, this surge in Austen's popularity involved many simultaneous projects—"Persuasion"s production, for instance, coincided with the TV serial "Pride and Prejudice" and the feature film "Sense and Sensibility". Despite the surge, film scholar Andrew Higson and others argue that there is little evidence that the various producers—who were employed by different companies—communicated when conceiving their adaptations.


title: Persuasion (1995 film)

text: The idea for a film version of the 1817 Austen novel "Persuasion" began with the English producer Fiona Finlay, who had wanted to create an adaptation for several years. The novel had last been adapted by ITV in a 1971 serial starring Ann Firbank. Finlay felt that the "very romantic" story was one "everyone can relate to. There's something very touching about long-lost love". She approached the writer Nick Dear about adapting it for television; Finlay had enjoyed his contributions to theatre, particularly his play about William Hogarth, "The Art of Success". Dear first suggested they try one of Austen's other works—either "Sense and Sensibility" or "Pride and Prejudice"—but agreed to adapt "Persuasion" after reading it. Dear considered the novel—the author's last completed work—a more mature story than the others.


title: Persuasion (1995 film)

text: Dear later wrote that "Persuasion" was superficially "a love story in the Cinderella mould" but it was also one of "realism and truthfulness", particularly in telling the story of two people separated and then reunited. He spent two years working on a script, and found this task difficult for several reasons. First, he needed to find a structure that would be faithful to the novel. Second, his protagonist barely spoke for the first half, and "therefore can't motor the action along as a central character conventionally does". Adapting Austen's wit was another challenge; much could not be used "because it's almost all in the author's voice telling us about characters, with a certain wit or lightness that came from the characters themselves. It's a craft job, interpreting the novel for oneself and then finding a film language for it".


title: Persuasion (1995 film)

text: An experienced theatre and television serial director, Roger Michell was chosen to direct "Persuasion", in what was to be his first feature film. As a young child, Michell had been an admirer of Austen's, which set him apart from his male classmates. "I was the only boy in my class who took Austen as a special paper", he said. His attraction to "Persuasion" was based on his belief that it was Austen's most emotional and poignant novel, as well as her most autobiographical. He described the work as an "erotic love story which is full of sexual yearning". While directing, Michell sought to emphasise contrasts in Austen's story, seen for instance between "the chilly formality of Kellynch Hall and the warm, wet feel of Uppercross". The Royal Navy was another point of interest, as officers like Wentworth would often have returned to society wealthy and full of stories. The director wished to depict the integration of cultures, as naval officers came back with "an informality of behaviour and language which was in marked contrast to what was there before".


title: Persuasion (1995 film)

text: Root made her theatrical film debut playing Anne Elliot, the film's protagonist. According to Root, "every actress in England" read for the part. Having worked with the director previously on the 1993 TV serial "The Buddha of Suburbia", Root won the role by writing him a letter to gain an audition. The character was described to Root as "haggard", which attracted the actress. "I relish a job like this, starting off downtrodden and gradually blossoming", she said. WGBH Boston, the American company co-producing the film, had wanted a better-known actress for the part but agreed to Root's casting after seeing Root's screen test.


title: Persuasion (1995 film)

text: Root came to realise that while the novel's narrative style allowed Anne's thoughts to come through, the film adaptation offered comparatively little dialogue. As a result, she "had to cover pages and pages of the story without uttering anything, much of the time. I couldn't even think about technique, I just had to keep looking at the [novel] and then somehow radiate the feelings". "Persuasion" was shot in chronological order, which allowed Root to see "what a difference [her character's] sense of unhappiness can create", as by the end of the film Anne is "happier and looks better". Root considered the role to be much quieter than her experiences working with the Royal Shakespeare Company, which included her portrayal of Lady Macbeth. The Irish actor Ciarán Hinds, who depicted Frederick Wentworth, commented that Austen "understands a man's heart and how delicate it can be sometimes". He also appreciated that, though Wentworth was a "competent leader of men in his profession", he was "socially inept" in Anne's presence. Susan Fleetwood, the actress who played Lady Russell, had also worked with Michell on "The Buddha of Suburbia". She died soon after filming; "Persuasion" was her last film role.


title: Persuasion (1995 film)

text: Michell attempted to be as faithful to the novel as possible, in particular avoiding what he felt was the polished, artificial feel of other period dramas set in the 19th century. The director explained, "I was desperately trying to make it feel like it could be happening in the next room. I tried to make it something which is absolutely about real people and not about dressing or hairstyles or carpet". Consequently, because he felt the realistic look of the age would make the film more dramatic, Michell chose to depict the actors without make-up and stopped them looking too hygienic. Root commented about the film's natural look in an interview, "I basically didn't wear any makeup [in the film], and my hair was obviously set in a very unflattering way... I suppose the lighting was quite harsh, as well. None of us looked good". She said in a separate interview, "I wanted to make Anne Elliot a somewhat plain woman who was not really miserable but had found a way to be content somehow, and yet emotions are buzzing around her all the time". Root believed the film's realistic depiction of the age was a key aspect of its appeal.


title: Persuasion (1995 film)

text: The film's costume design was overseen by Alexandra Byrne, who created clothing that appeared "lived-in" and "realistic". Like Fleetwood, Byrne had also worked with Michell on "The Buddha of Suburbia". It was her first time designing period costumes for film. During shooting, the crew often had to compete for costumes and props with the BBC production "Pride and Prejudice", which was being filmed at the same time. "Persuasion"s crew consequently had to send for replacement items from Italy and Australia. For her work in the film, Byrne won a BAFTA for Best Costume Design.


title: Persuasion (1995 film)

text: Louise Watson, writing for Screenonline, felt the film's costume and make-up help "convey the full Cinderella transformation of Austen's heroine. At first the undervalued family martyr, Anne is the wallflower who has lost her 'bloom'. Her loose-fitting costumes hint at how she has pined away since refusing Wentworth... As she regains her confidence, she blossoms; she dresses becomingly, her eyes sparkle and her features become animated". Paulette Richards argues that the film's "unreliable" male characters, such as Sir Walter, are identified as such by the flamboyant nature of their clothing. This flamboyance is especially clear to modern viewers, who live in a culture where "real men" are expected to care little for their clothing. Conversely, Wentworth is typically depicted in the film wearing naval uniforms, which is a contrast to Bryan Marshall's version of the character in the 1971 adaptation. This uniform helps set Wentworth apart from many of the other male characters, allowing him to appear romantic but isolated. Gina and Andrew MacDonald had a similar view of the film, writing that it accurately captures Austen's satire by juxtaposing the upper classes' extravagance in fashion with the virtuous qualities of the Royal Navy. The naval men's profession is emphasised by the frequency of wearing their uniforms, in contrast to other adaptations of the novel.


title: Persuasion (1995 film)

text: As a BBC production, "Persuasion" originally received a budget of £750,000. The British broadcaster proposed a collaboration with the American public television station WGBH Boston, a partnership that had also produced the American anthology television series "Masterpiece Theatre" as well as literary adaptations like the serial "Pride and Prejudice". Rebecca Eaton, the executive producer of "Masterpiece Theatre", approved the co-production as she had a preference for "Persuasion" out of all Austen's novels. The decision led to additional funding. Eaton would cite "Persuasion" as a successful example of WGBH using its small budget to invest in television projects, though she later expressed regret that the adaptation was two hours rather than a "luscious" six-part miniseries. Additionally, the French company Millesime co-produced the film in exchange for airing it on television in France. This decision further increased funding to £1,000,000. Mobil Oil Corporation, a major sponsor of "Masterpiece Theatre", co-produced the film.


title: Persuasion (1995 film)

text: The diverse sources of funding meant that the production team had to field opinions from various sources. Millesime was unhappy with certain aspects of the story, for instance wanting the entire Lyme sequence removed because they considered it "too boring". WGBH gave the BBC detailed notes, which were then integrated into the script. One change concerned the ending. To display the climax when Anne and Wentworth finally approach each other with their feelings, two different scenes were shot, one in which they kiss and one in which they do not. Dear first wrote a scene closely modelled after Austen's ending: Anne reunites with Wentworth on the streets of Bath, and the two exchange words and hold hands. Eaton felt that after hours of waiting, audiences "would go nuts with frustration and irritation" if the two did not kiss. Eaton also thought "a kiss would be an emotional pay-off", and WGBH believed it would give the film a wider appeal. Michell agreed to compromise, opting to shoot one British version and one American version—the latter included the kiss. The American ending is reflected on the international poster, which shows the two protagonists embracing. While the kiss attracted some criticism among fans, actress Amanda Root defended it. "After the great suspense of the story, by the end you're desperate for Anne and Captain Wentworth to get together, desperate! Film is a visual medium, after all. You don't necessarily want to see them in bed together, but you do want to see something like a kiss", she said.


title: Persuasion (1995 film)

text: In comparison to its adaptations of the 1970s and 1980s, the BBC provided increased funding for many of its productions in the 1990s. "Persuasion" consequently benefited, allowing it to frequently film on-location in places including Lyme Regis and Bath, and the south-eastern English countryside. Both Lyme and Bath are prominent locales in Austen's novel. Dear desired the opening sequence be on board a Royal Navy ship of the period, but the only authentic vessel available was Nelson's HMS "Victory". It was dry-docked as part of a museum in Portsmouth, and filming was only possible during short periods when the vessel was closed to the public. The final shot, in which Anne and Wentworth gaze into the ocean, was taken from the 1984 historical film "The Bounty". The film's low budget also resulted in one of the opening shots, depicting Admiral Croft's ship on the ocean, being taken from "The Bounty".


title: Persuasion (1995 film)

text: While Dear has received praise for "remarkably... retain[ing] most of the source novel's complex plot and numerous characters", literary scholars have noted significant differences between the film and the source material. Sarah R. Morrison observes that the film's version of Anne articulates thoughts that the character would never say in the novel. Morrison cites Anne's adamant defence of her visit to Mrs. Smith—where Anne visits a poor old friend rather than go to the party of a titled relative—in the film as an example, as "Austen's narrator makes it abundantly clear that Anne would never presume to dispute with her father upon such terms of absolute equality". The film's Anne also engages in actions not visible in the novel, such as her haste to stop Wentworth from leaving a musical concert when he feels demeaned by disparaging comments about his profession. Morrison attributes these differences to the difficulty in adapting novel to film, particularly as the latter form lacks a narrator to convey Anne's inner thoughts.


title: Persuasion (1995 film)

text: The film also expands upon Austen's subtle characterisation by exaggerating the emotions of characters and certain scenes. For example, in the novel during an early party, Anne offers to play the pianoforte as usual; while doing so, she is slightly tearful but also "extremely glad to be employed" and "unobserved". Conversely, Dear's screenplay has Wentworth quickly giving up his seat to Anne and then immediately dancing with the Musgrove sisters, furthering the contrast between Anne and the others. According to David Monaghan, Austen's novel displays a "relatively radical vision" of societal change, such as the rise of a professional class challenging the old order of landed gentry. Monaghan posits that this vision appealed to Dear and Michell, who used visuals and movement to emphasise this change. However, the two "deviate significantly" from the source material by depicting Anne and Wentworth as "single-mindedly oriented" to the future and thus 20th-century viewers' sensibilities.


title: Persuasion (1995 film)

text: Sue Parrill observes that "Persuasion"s larger production budget, which allowed the crew to film much content on location, "enabled the filmmakers to make fuller use of setting for symbolism and for creation of mood". The weather, for instance, is particularly important to Anne's state of mind in the novel. "Persuasion"s opening scenes establish its historical context as well as the financial predicament in which the Elliot family finds itself. Indeed, for Rachel Brownstein, by opening the film with a depiction of sailors, the director is confronting a common complaint about Austen's works—her failure to mention the Napoleonic Wars. The juxtaposition between the navy and the Elliots establishes their differences, with the former group discussing the fall of Napoleon and the latter group discussing the relatively minor inconvenience of overspending.


title: Persuasion (1995 film)

text: In his introduction to the published screenplay, Dear said he was in part attracted to adapt "Persuasion" because it depicted a "world in transition". To him, the novel showed "an old order fading away into decadence, and a new tribe, a meritocracy, coming to the fore". While directing, Roger Michell felt that the story included "the prototype of the postmodern family"—Anne's mother is dead, her father is bankrupt, and "the old social orders are breaking down". Root described Anne as a "feminist in a prefeminist period" and a "strong, independent character", to whom modern viewers can relate despite the story's period setting.


title: Persuasion (1995 film)

text: Austen scholars have studied the film's intersection with class and social change. Carole M. Dole notes that, among the many productions of Austen's work that appeared in the 1990s, "Persuasion" was the only one to "insistently draw attention to class issues", and "provide striking visual testimony to the workings of the British class system". The film, she adds, accomplishes this in part by focusing on the servants' faces, gauging their negative reactions to events. Richards, too, finds Michell "visually more aware" of the lower classes, adding that the film's inclusion of black servants alludes to the "colonial sources of wealth" supporting those superior in class and rank. Anne-Marie Scholz writes that the film and Emma Thompson's "Sense and Sensibility" both highlight the theme of class, but in different ways. Unlike "Sense and Sensibility", "Persuasion" depicts general class divisions rather than just how the working class impacts the protagonists—the camera focuses on the faces and expressions of servants and working people, personifying them.


title: Persuasion (1995 film)

text: In Michell's opinion, Austen was a "proto-feminist" who possessed a "clear-sighted vision of the ways the world is tilted against women". As evidence, Michell cites a book scene in which Anne discusses how songs and proverbs about women's fickleness were all written by men. Scholz argues that Anne's marginal status as a woman in the film is linked to that of the servants; the parallel between class and gender is conveyed with Anne's trip to Uppercross in a cart containing animals. Julianne Pidduck adds that the director "pointedly foregrounds themes of class and gendered social constraint by juxtaposing the stuffy interiors of mannered society with the inviting, open horizons of the sea". As an example, Pidduck discusses Anne's stay in a gated residence in Bath, where she gazes out of an upper story window in search of Wentworth on the streets below. To her, Wentworth and the sea represent freedom and possibility.


title: Persuasion (1995 film)

text: "Persuasion" premiered on 16 April 1995, Easter Day, on the British television channel BBC Two. An estimated 3.8 million viewers watched the production. BBC Two aired it again on 25 December, Christmas Day. It also later aired on the American television channel PBS on 6 April 1997.


title: Persuasion (1995 film)

text: Near the end of filming, Rebecca Eaton noticed the growing "buzz" surrounding Austen and costume dramas in Hollywood. WGBH had never made a theatrical film before, but "decided to try its luck on the big screen". Sony Pictures Classics saw a cut of the adaptation and requested permission to show it in American cinemas, releasing it on 27 September 1995. There, it was characterised as an "art-house" film, with a small niche audience. It was shown at the Toronto and Chicago International Film Festivals. "Persuasion" earned $56,000 in its first week of release in New York and grossed $150,000 in Los Angeles. The total US gross was $5,269,757. The film also was given a limited cinema release in Australia, Germany, and France in 1996. It was less financially successful than the popular "Sense and Sensibility", which was released in cinemas several months later. The film was released in VHS format on 12 November 1996; a DVD version followed on 1 February 2000.


title: Persuasion (1995 film)

text: "Persuasion" at first failed to attract many reviews. This changed when "Pride and Prejudice" and "Sense and Sensibility" were released in late 1995 to great success in the UK. Their reception lifted the earlier film out of obscurity, as Austen's popularity became apparent among critics. "Persuasion" garnered highly positive reviews from major film critics, and the review aggregation website Rotten Tomatoes has since calculated a rating of 86%, which refers to the percentage of positive reviews. Caryn James of "The New York Times" deemed it a "critic's pick", praising "a cast completely in sync with Austen's warm but piercing style". Jay Carr of "The Boston Globe" highlighted Root's performance, calling it "a heart-stoppingly reticent yet glorious debut".


title: Persuasion (1995 film)

text: In a contribution for "The Washington Post", Desson Howe said "there's a wonderful, unhurried delicacy about "Persuasion"...as if everyone concerned with the production knows that, if given time and patience, Austen's genius will emerge. Thanks to assured performances, exacting direction and, of course, inspired writing, it does, in subtle, glorious ways". Writing for "Entertainment Weekly", critic Ken Tucker graded the film with an "A−", saying it "should enthrall even those who haven't read" the novel. Tucker concluded that the film was "the sort of passionate yet precise comedy that reminds me why Austen remains such a vital writer". Susan Ostrov Weisser, a professor of nineteenth-century literature, called the film a "faithful parade of Austen's world", and praised Root as the film's "crown jewel" for playing a "fiercely intelligent, regretful, and frustrated Anne Elliot with subtlety and nuance". In 2008, James Rampton of "The Independent" rated it the fourth-best Austen adaptation of all time.


title: Persuasion (1995 film)

text: When reviewing, film critics often compared the respective adaptations of "Persuasion" and "Sense and Sensibility". Thompson's film received more recognition and accolades from Hollywood, while Michell's production gained the admiration of up-market critics, who felt it was a more authentic and thoughtful representation of Austen's world. Janet Maslin of "The New York Times", for instance, wrote that "Sense and Sensibility" "can't match the brilliant incisiveness of the more spartan "Persuasion," still the most thoughtful new Austen adaptation". The "Los Angeles Times" characterised "Persuasion" as "the most authentically British version and the one closest to the spirit of the novels" and "Sense and Sensibility" as "the audience-friendly Hollywood version of Austen, easygoing and aiming to please". "Time" magazine named them both the best films of 1995, referring to "Persuasion" as "reserved" and "Sense and Sensibility" as "more bustling". Higson, when analysing both productions, felt "Persuasion" captured a sense of "gritty realism" that would influence such later Austen adaptations as "Mansfield Park" (1999) and "Becoming Jane" (2007).


title: Julie Taymor

text: Julie Taymor (born December 15, 1952) is an American director and writer of theater, opera and film. Her stage adaptation of "The Lion King" debuted in 1997, and received eleven Tony Award nominations, with Taymor receiving Tony Awards for Best Director and Costume Designer. Her film "Frida", about Mexican artist Frida Kahlo, was nominated for five Academy Awards, including a Best Original Song nomination for Taymor's composition "Burn It Blue". She also directed the jukebox musical "Across the Universe".


title: Julie Taymor

text: Taymor was born in Newton, Massachusetts, the daughter of Elizabeth (née Bernstein), a political science professor and Democratic activist, and Melvin Lester Taymor, a gynecologist. Taymor's interest in theatre took root early in her life. By age ten, she had joined the Boston Children's Theatre and starred in a number of productions. Being the youngest member of theatre groups became common. By 13, she was taking trips to Boston by herself every weekend, where she discovered Julie Portman's Theatre Workshop. At the age of 15, her parents sent her to both Sri Lanka and India with the Experiment in International Living. After graduating High School at 16, Taymor went to Paris to study with L'École Internationale de Théâtre Jacques Lecoq. Her studies there exposed her to mime, which helped develop her physical sensibilities. While in Paris, Taymor worked with masks for the first time and immersed herself in film, especially the work of Fellini and Kurosawa.


title: Julie Taymor

text: In 1970 Taymor was enrolled in Oberlin College in Ohio. During her second year, she interned with Joseph Chaikin's Open Theatre and other companies in New York City. Hearing that director Herbert Blau was moving to Oberlin, she returned there and auditioned successfully, becoming, once again, the youngest member of a troupe. In 1973, Taymor attended a summer program of the American Society for Eastern Arts in Seattle. The instructors were masters of Indonesian topeng masked dance-drama and wayang kulit shadow puppetry. This would prove to have a great effect on Taymor in later years. Taymor graduated from Oberlin College with a major in mythology and folklore and with Phi Beta Kappa honors in 1974. She spent a summer with Bread and Puppet Theater.


title: Julie Taymor

text: As a college senior, Taymor won a year long Thomas J. Watson Fellowship that began after graduation. The Watson allowed her to travel to Japan and Indonesia which she continued independently from 1975 until 1979. In Indonesia, she developed a mask/dance company, Teatr Loh, consisting of Japanese, Balinese, Sundanese, French, German and American actors, musicians, dancers and puppeteers. The company toured throughout Indonesia with two original productions, Way of Snow and Tirai, which were subsequently performed in the United States. She met her long-time collaborator, Elliot Goldenthal, in 1980.


title: Julie Taymor

text: Back in New York from Indonesia, Taymor remounted Tirai at La MaMa in 1980. Her next project, The Haggadah, came from the desire of The Public Theater director Joseph Papp to create an annual Passover pageant that would be culturally inclusive. In 1984, Taymor worked in collaboration with Theatre for a New Audience on a 60-minute version of "A Midsummer Night's Dream" presented at The Public Theater. Two years later, she directed her first Shakespeare play, "The Tempest", for Theatre for a New Audience. She went on to direct three other productions at that theatre, including "The Taming of the Shrew", "Titus Andronicus" and "The Green Bird" by Gozzi. She later adapted "Tempest" and "Titus" into major motion pictures.


title: Julie Taymor

text: Taymor is known for a distinct visual style, with extensive use of puppets and masks, developed largely from her time in Indonesia working with Teatr Loh.


title: Julie Taymor

text: Taymor is most widely recognized for her production of "The Lion King", which opened on Broadway in 1997. The Lion King's worldwide gross exceeds that of any entertainment title in box office history, and has been presented in over 100 cities in over 20 countries, having been seen by more than 100 million people worldwide.


title: Julie Taymor

text: Taymor has the distinction of being the first woman to receive the Tony Award for Best Direction of a Musical, which she won for "The Lion King". She also received a Tony Award for her original costume designs for the production. Taymor co-designed the masks and puppets, and wrote additional lyrics for the show. In 2007, "The Lion King" was performed in Johannesburg, and had its first French language production in Paris. In 2008, Le Roi Lion was awarded Best Costume Design, Best Lighting Design, and Best Musical at the Molière Awards, the national theatre awards of France.


title: Julie Taymor

text: In 2000, Taymor directed Carlo Gozzi's "The Green Bird" on Broadway. The work was first produced in 1996 by Theatre for a New Audience at the New Victory Theater and presented at the La Jolla Playhouse. Taymor's stage production of Shakespeare's "Titus Andronicus" was produced off-Broadway by Theatre for a New Audience in 1994. Other directing credits include "The Tempest", "The Taming of the Shrew", "The Transposed Heads", based on the novella by Thomas Mann, co-produced by the American Musical Theater Festival and The Lincoln Center; and "Liberty's Taken", an original musical co-created with David Suehsdorf and Elliot Goldenthal.


title: Julie Taymor

text: Her original music-theatre work, "", presented at Lincoln Center's Vivian Beaumont Theater in 1996, received five Tony Award nominations including Best Director. Originally produced by Music Theater Group in 1988, "Juan Darién: A Carnival Mass" was directed by Taymor, and co-written with Elliot Goldenthal. The recipient of two Obies and numerous other awards, the piece was performed at The Edinburgh International Festival, as well as festivals in France, Jerusalem and Montreal, and had an extended run in San Francisco.


title: Julie Taymor

text: In April 2007, it was announced that a musical adaptation of "Spider-Man" was being prepared for Broadway. Taymor was selected to direct the show and write the book with Glen Berger. The production features music and lyrics by Bono and The Edge. The musical, "", was scheduled to begin previews on November 28, 2010, at the Foxwoods Theatre. The play was delayed for several months due to numerous injuries, and Taymor was fired and replaced by Philip William McKinley. The play officially opened on June 14, 2011, having set the record for the longest preview period in the history of Broadway at 182 performances. The production also set the record for most expensive Broadway production at an estimated $75 million.


title: Julie Taymor

text: Taymor was a 2015 inductee into the Theater Hall of Fame for Lifetime Achievement in the American Theater.


title: Julie Taymor

text: Taymor directed a Broadway revival of David Henry Hwang's "M. Butterfly", starring Clive Owen, which opened on October 26, 2017, at the Cort Theatre, with previews beginning on October 7. David Henry Hwang made changes to the original text for the revival, mostly centering on the issue of intersectional identities.


title: Julie Taymor

text: Taymor's first film, "Fool's Fire", which she co-directed and adapted from Edgar Allan Poe's short story, Hop-Frog, was produced by American Playhouse. The hour-long film premiered at the Sundance Film Festival and aired on PBS in March 1992. In the film, all characters except the titular character Hop-Frog are either elaborate puppets or masks, not unlike Taymor's stage work. The film won the Best Drama award at the Tokyo International Electronic Cinema Festival.


title: Julie Taymor

text: Taymor also directed a film adaptation of opera "Oedipus Rex" after directing a stage production of the same opera. The film premiered at the Sundance Film Festival and won the Jury Award at the Montreal Festival of Film on Art. Broadcast internationally in 1993, the film garnered an Emmy Award and the 1994 International Classical Music Award for Best Opera Production.


title: Julie Taymor

text: Taymor's feature film debut, "Titus" (1999), starring Anthony Hopkins, Jessica Lange, Alan Cumming and Jonathan Rhys Meyers, was an adaptation of Shakespeare's play "Titus Andronicus". Taymor adapted the screenplay and produced the film, which received an Academy Award nomination for costume design.


title: Julie Taymor

text: Taymor received critical acclaim for her direction of Salma Hayek and Alfred Molina in "Frida", the true story of the Mexican artist Frida Kahlo. "Frida" garnered six Academy Award nominations, including a Best Actress nomination for Hayek, and won two Academy Awards for make-up and original score. "Frida" was honored with four BAFTA nominations and one win, including nominations for Hayek and Molina, as well as two Golden Globe nominations, winning the Golden Globe for Best Original Score. In addition, the film received two Screen Actors Guild nominations. The film premiered at the Venice Film Festival where it won the festival's Mimmo Rotella Foundation Award.


title: Julie Taymor

text: Her next film was the jukebox musical "Across the Universe" (2008), which received a Golden Globe nomination for Best Musical/Comedy as well as an Academy Award for Costume Design. With a collection of 33 Beatles songs, the film stars Evan Rachel Wood and Jim Sturgess in a 1960s love story set to the music of The Beatles, and featured performances by Bono, Joe Cocker, Eddie Izzard and Salma Hayek. Taymor both directed and co-wrote the story for the film.


title: Julie Taymor

text: In November 2008, Taymor directed a film version of Shakespeare's "The Tempest", released in December 2010 starring Helen Mirren, Alfred Molina, Djimon Hounsou and Ben Whishaw. Working behind the camera with Taymor on "The Tempest" were the Academy Award winners Elliot Goldenthal for music, Sandy Powell for costumes, and Françoise Bonnot. Taymor produced the feature and adapted the screenplay based on Shakespeare's play.


title: Julie Taymor

text: She also completed a cinematic version of William Shakespeare's "A Midsummer Night's Dream", starring David Harewood, Max Casella and Kathryn Hunter, and filmed during her critically acclaimed, sold-out stage production that ran at Theatre for a New Audience's new home in Downtown Brooklyn. The film was shown at the 2014 Toronto International Film Festival as part of the Mavericks in Film Programme.


title: Julie Taymor

text: Taymor directed and co-wrote "The Glorias", a biopic of feminist icon Gloria Steinem, based on her novel "My Life on the Road", starring Julianne Moore, Alicia Vikander, Bette Midler, and Janelle Monae. The movie premiered at the Sundance Film Festival and was released on Amazon Prime on September 30, 2020.


title: Julie Taymor

text: Taymor's first opera direction was of Stravinsky's "Oedipus rex", for the Saito Kinen Orchestra in Japan, under the baton of Seiji Ozawa in 1992. The opera featured Philip Langridge as Oedipus and Jessye Norman as Jocasta. Taymor went on to direct the film adaptation of the opera Oedipus Rex.


title: Julie Taymor

text: She went on to direct Wagner's "The Flying Dutchman" for the Los Angeles Opera in a co-production with the Houston Grand Opera.


title: Julie Taymor

text: She directed Richard Strauss' "Salome" for the Kirov Opera in Russia, Germany, and Israel under the baton of Valery Gergiev. Taymor's first direction of "The Magic Flute" (), was for the Maggio Musicale Fiorentino in Florence, with Zubin Mehta conducting in 1993. Over a decade later, Taymor premiered The Magic Flute at the Metropolitan Opera in 2004. The show is now in repertoire there. A newly translated and abridged English version of the opera premiered at the Met in December 2006, and inaugurated a new series on PBS in 2010 entitled, Great Performances at the Met as well as launched the Metropolitan Opera Live in HD series of movie-theater transmissions.


title: Julie Taymor

text: In June 2006, Taymor directed the premiere of Elliot Goldenthal's opera "Grendel" for the Los Angeles Opera, starring Eric Owens, which was also presented as part of the Summer 2006 Lincoln Center Festival in New York City. A darkly comic retelling of the Beowulf tale based on the novel by John Gardner, the opera was co-commissioned by the Los Angeles Opera and the Lincoln Center Festival. The opera was a finalist for the Pulitzer Prize for Music in 2007.


title: Julie Taymor

text: For the Metropolitan Opera 2005/06 season, Taymor directed a successful production of "The Magic Flute". It was revised for the 2006/07 season and, in addition to full-length performances, was adapted for a 100-minute version over the holiday season to appeal to children. That version of the opera was the first of a series of NCM Fathom Live on the Big Screen presentations of MET operas downloaded via satellite to movie theaters across North America and parts of Europe for the 2006/07 season. In 2012, Opera Australia produced this version with locally built scenery and props at the Sydney Opera House, the Arts Centre Melbourne, and the Queensland Performing Arts Centre in Brisbane.


title: Julie Taymor

text: A major retrospective of 25 years of Taymor's work, titled 'Playing With Fire' opened in the fall of 1999 at the Wexner Center for the Arts and toured the National Museum of Women in the Arts (Washington D.C.) in 2000 and the Field Museum of Natural History (Chicago) in 2001, and was extended due to popular demand in each venue.


title: Julie Taymor

text: In September 2009, costumes from "The Lion King" were requested and presented to the Smithsonian National Museum of American History and they are now part of the Smithsonian collection as well as the Victoria and Albert Museum in London.


title: Julie Taymor

text: In 1991, Taymor won the prestigious MacArthur Fellowship. In addition, Taymor has received a Guggenheim Fellowship, two Obie Awards, the first Annual Dorothy B. Chandler Award in Theater, the Brandeis Creative Arts Award, and the Golden Plate Award of the American Academy of Achievement.


title: Gravediggaz

text: Gravediggaz was an American hip hop group from New York, known for its dark sense of humor and abrasive, menacing soundscapes. Gravediggaz blended hardcore hip hop, gangsta rap and heavy metal with horror elements to pioneer the hip-hop subgenre of horrorcore.


title: Gravediggaz

text: The group was formed in 1994, which brought together Prince Paul (The Undertaker), Frukwan (The Gatekeeper), Too Poetic (The Grym Reaper) and RZA (The RZArector). It came about largely due to the efforts of Prince Paul. Frukwan and Prince Paul were previously together in the group Stetsasonic.


title: Gravediggaz

text: The group's first album was originally titled "Niggamortis"; however, this potentially risqué title was changed to "6 Feet Deep" for the American market (European versions of the album retained the original title, and also included the bonus track "Pass the Shovel"); it was released on August 9, 1994. The four members adopted "Gravedigga" alter egos for their work with the group: RZA became The RZArector; Poetic became The Grym Reaper; Prince Paul became The Undertaker; and Frukwan became The Gatekeeper. In 1995, the three rhyming members (without Prince Paul) released a collaborative EP titled "The Hell E.P." with English trip hop artist Tricky.


title: Gravediggaz

text: The second full-length Gravediggaz album "The Pick, the Sickle and the Shovel" was less humorous, dealing more with social and political issues; it also used calmer and more conventional production. Prince Paul played a considerably smaller role in the making of this album, with many of the production duties eventually taken care of by RZA and his Wu-Tang affiliates (including True Master and 4th Disciple).


title: Gravediggaz

text: A bootleg Gravediggaz album, named "Scenes From The Graveyard", surfaced in 1998. It featured seven unreleased tracks plus some remixes from the first two albums.


title: Gravediggaz

text: Gravediggaz recruited DJ Diamond J. Poetic died of colon cancer in July 2001. Frukwan stated in an interview not long after Poetic's death that a new album using leftover Poetic material would be released. "Nightmare in A-Minor", the third official album, came out in 2001; it featured two of the original members, Poetic and Frukwan. The album is considered to be the group’s darkest work yet, including many references to Poetic's struggle with cancer, as well as apocalyptic themes to do with the teachings of the Five-Percent Nation. Although RZA did not take part in the album, some Wu-Tang Clan affiliates such as 4th Disciple, True Master, Prodigal Sunn, Beretta 9, and Shogun Assason were involved. The album was mostly produced by Poetic and Frukwan. A different version of the album (minus the song "Better Wake Up") was released in 2002, for which some of the tracks created by Poetic were replaced or altered.


title: Gravediggaz

text: In 2003, Frukwan released his debut solo album, "Life". Gravediggaz’ fourth album, "6 Feet Under", was released in 2004 by X-Ray/Cleopatra Records and featured songs from "Nightmare in A-Minor" and "Life". According to Frukwan, he had nothing to do with the release and claimed that song titles were changed without permission, making it an unauthorized release.


title: Gravediggaz

text: In 2010, Gravediggaz recorded a new song, "2 More Cups of Blood". In 2011, it was announced that the group had been recording new tracks involving Shabazz the Disciple & Killah Priest.


title: Gravediggaz

text: According to Frukwan, the group's name means "digging graves of the mentally dead, and it stood for resurrecting the mentally dead from their state of unawareness and ignorance." The group's lyrics mix black humor, including topics such as suicide, death, killing, psychopathy, hell, etc.; criticism regarding the music industry; cartoonish violence reminiscent of the Geto Boys, Insane Poetry, or early Three 6 Mafia; and esoteric references to the Nation of Gods and Earths. The group pioneered the horrorcore genre.


title: Gravediggaz

text: The irony used by Gravediggaz has influenced hardcore techno through Mark Newland's sampling of the group's prose in Nasenbluten.


title: Artis Gilmore

text: Artis Gilmore (born September 21, 1949) is an American former professional basketball player who played in the American Basketball Association (ABA) and National Basketball Association (NBA). Gilmore was inducted into the Naismith Memorial Basketball Hall of Fame on August 12, 2011.


title: Artis Gilmore

text: A star center during his two collegiate years at Jacksonville University, Gilmore led the Dolphins to the NCAA Division I championship game in 1970, where his team was beaten 80–69 by the UCLA Bruins. Gilmore remains the top player in rebounds per game in the history of NCAA Division I basketball.


title: Artis Gilmore

text: Gilmore followed five All-Star seasons with the Kentucky Colonels of the ABA by becoming the first overall pick in the 1976 ABA Dispersal draft, which dispersed the players in the ABA clubs, such as the Colonels, that did not join the NBA. During his career, Gilmore was an 11-time All-Star, the ABA Rookie of the Year, and an ABA MVP. Nicknamed "The A-Train", the Gilmore once played in 670 consecutive games.


title: Artis Gilmore

text: Gilmore was born in Chipley, Florida, one of 10 children. He was raised there, and attended Roulhac High School. Gilmore was 6'5" at age 15. Initially most interested in playing football, Gilmore could not play because his father, who was a fisherman, could not afford the required insurance for him to participate. When public schools were integrated, he attended Chipley High School for one week before leaving home to attend Carver High School in Dothan, Alabama, a larger community 35 miles to the north. He graduated from Dothan's Carver High School in 1967, at 6'10" as a Third Team All-American.


title: Artis Gilmore

text: Gilmore played college basketball beginning at Gardner–Webb Junior College in Boiling Springs, North Carolina from 1967 to 1969. Under coach Eddie Holbrook, Gilmore led Gardner-Webb to the NJCAA tournament in 1968 and 1969, playing alongside George Adams. Gilmore averaged 22.5 points and 16.0 rebounds in his two seasons, with career totals of 1,530 points and 1,150 rebounds at Gardner-Webb.


title: Artis Gilmore

text: Reflected Coach Holbrook, “Bringing in a player like Artis who was 7-foot-2 and could do so many things drew a lot of attention. But Artis showed that he was deserving of that attention. I would say Artis and George Adams were two of the hardest-working players I ever coached. They were relentless. Anything you asked them to do or pushed them to do, they did it — or tried to do it anyway.”


title: Artis Gilmore

text: In 1969–1970, Gilmore transferred to Jacksonville University. He led the Jacksonville Dolphins team to a 27–2 record under coach Joe Williams. In the 1970 NCAA tournament Gilmore led the team to the NCAA Championship game, where they lost 80–69 to coach John Wooden and the UCLA Bruins; Gilmore scored 19 points with 16 rebounds. They defeated Western Kentucky 109–96 (30/19), the University of Iowa 104–103 (30/17) and the University of Kentucky 106–100 (24/20) to reach the Final Four. The Dolphins defeated St. Bonaventure 91–83 (29/21) in the Semi-Final. For the season, Gilmore averaged 26.5 and 22.2 rebounds per game.


title: Artis Gilmore

text: At Jacksonville college, Gilmore became one of five college basketball players ever to average at least 20 points and 20 rebounds over his career at 24.3 and 22.7. Gilmore led the NCAA in rebounding both years at Jacksonville, and his career average of 22.7 rebounds per game is still the highest in NCAA Division I history.


title: Artis Gilmore

text: Gilmore was drafted by the Kentucky Colonels in the 1971 American Basketball Association draft, and by the Chicago Bulls in the 1971 NBA draft. ABA teams were interested in keeping Gilmore in the ABA and wanted to ensure he was signed by a team that could afford him. Therefore, he went to Kentucky with the 7th pick and signed a 10-year, $2.5 million contract. NBA teams knew Gilmore would not sign, so the Bulls strategically used a 7th round pick to secure any possible future rights to Gilmore.


title: Artis Gilmore

text: He was so immediately dominant that he earned the rare distinction of being selected for both the ABA Rookie of the Year Award and the ABA Most Valuable Player Award in 1971–1972, both over Virginia Squires rookie Julius Erving. Kentucky finished 68–16 after being 44–40 the season before. The following season Gilmore's strong play continued, as he and Dan Issel led the Colonels to a


title: Artis Gilmore

text: 56–28 record and the 1973 ABA Playoffs. Eventually, after beating the Carolina Cougars in a seven-game division finals series, Gilmore and the Colonels made it to the ABA Finals, but lost to the Indiana Pacers in another hard-fought seven-game series, despite Gilmore averaging 22.1 points, 17.3 rebounds, 5.3 assists, and 4 blocks per game.


title: Artis Gilmore

text: Over his five-year ABA career, Gilmore led the ABA four times in rebounding average, twice in both field goal percentage and blocks per game, and once in personal fouls. He was named to the All-ABA First team five straight seasons, and the All-Defense team four times. He played in the ABA All-Star Game all five years he was in the league, earning the 1974 game's MVP.


title: Artis Gilmore

text: In 1974–75, Gilmore, alongside teammate Dan Issel led 1974–75 Kentucky Colonels to the 1975 ABA championship, as Gilmore was dominant, being named the ABA Playoffs Most Valuable Player. In the final game of the series against the Indiana Pacers, Gilmore scored 28 points and grabbed 31 rebounds in front of 16, 000 fans at Freedom Hall.


title: Artis Gilmore

text: During his days as an ABA dominator, Gilmore established league records for career blocked shots (1431), blocked shots in a season (422 in the 1971–72 season), and rebounds in a game (40). He averaged 22.3 points and 17.7 rebounds, 58.5% shooting, 3.4 blocks and 3.0 assists per game in his 5 seasons and 440 ABA games"


title: Artis Gilmore

text: The ABA disbanded after the 1976 season. Four of its teams (Denver Nuggets, Indiana Pacers, New York Nets, and San Antonio Spurs) were absorbed into the NBA in the ABA–NBA merger, and the remainder, including the Kentucky Colonels, folded. As a result, Gilmore went into the special 1976 ABA dispersal draft, and was chosen first overall by the Chicago Bulls. He signed with them for $1.1 million over three years. During his first season with the Bulls, Gilmore led the team in scoring, rebounds, and blocks, while also helping the Bulls hold their opponents to a league-best 98 points per game. On March 18, 1977, Gilmore scored an NBA-career-high 42 points, along with grabbing 15 rebounds and recording 9 assists, in a 114–112 win over the Kansas City Kings. However, in the 1977 NBA Playoffs, the Bulls lost to the eventual champion Trail Blazers 2–1 in the first round.


title: Artis Gilmore

text: In total Gilmore received four All-Star selections in five solid basketball seasons in Chicago (19.3 points per game and 11.1 rebounds per game).


title: Artis Gilmore

text: Gilmore was traded to the San Antonio Spurs in July 1982 for Dave Corzine, Mark Olberding, and cash considerations. There, coached by Stan Albeck, he teamed with spidery 6’8” shooting guard George “The Iceman” Gervin to provide the Spurs with a potent inside-out game. During the 1982-83 San Antonio Spurs season, his first with the team, Gilmore helped the team finish in first place in their division with a record of 53–29. During the playoffs, Gilmore and the Spurs advanced by Gilmore's former Kentucky Colonel co-star Dan Issel and the Denver Nuggets in the second round, before facing the Los Angeles Lakers in the Western Conference Finals. In Game 2 of the series, Gilmore led the Spurs to a 122–113 win with 27 points, 20 rebounds, and 5 blocks. However, the Spurs would ultimately lose to the Lakers in six games.


title: Artis Gilmore

text: While the Spurs would continue to make the postseason in subsequent years, they would not again advance out of the first round during Gilmore's tenure. He was twice named an All-Star in San Antonio through 1987.


title: Artis Gilmore

text: Gilmore finished his NBA career with the Boston Celtics in 1988. Gilmore and the Celtics would advance to the conference finals, though he played just over 6 minutes per postseason game as a reserve.


title: Artis Gilmore

text: Gilmore played the 1988–89 season with Arimo Bologna of the Italian league, where he averaged 12.3 points and 11.0 rebounds and made the European All-Star Team.


title: Artis Gilmore

text: Gilmore played in a total of six NBA All-Star Games. He led the NBA in field goal percentage in four consecutive seasons, including a career-best 67% during the 1980–81 season — at the time, the third-highest percentage in NBA history. At the time of his retirement in 1989, Gilmore was the NBA's career leader in field goal percentage (minimum 2,000 shots made) with 59.9%.


title: Artis Gilmore

text: In 2007, Gilmore took a position as Special Assistant to the President at Jacksonville University, his alma mater, serving in various public relations capacities.


title: Artis Gilmore

text: Gilmore provides radio color commentary for Jacksonville University on the school's flagship station, WJXL. Gilmore was also a frequent guest on the basketball call-in show "Ballin' with Al Edwards", also on WJXL.


title: Artis Gilmore

text: Despite retiring among all time pro basketball leaders in several statistical categories, Gilmore was not elected to the Naismith Memorial Basketball Hall of Fame until April 2011,


title: Azelaic acid

text: Azelaic acid (AzA) is an organic compound with the formula HOOC(CH)COOH. This saturated dicarboxylic acid exists as a white powder. It is found in wheat, rye, and barley. It is a precursor to diverse industrial products including polymers and plasticizers, as well as being a component of a number of hair and skin conditioners. AzA inhibits tyrosinase.


title: Azelaic acid

text: Azelaic acid is industrially produced by the ozonolysis of oleic acid. The side product is nonanoic acid. It is produced naturally by "Malassezia furfur" (also known as "Pityrosporum ovale"), a yeast that lives on normal skin. The bacterial degradation of nonanoic acid gives azelaic acid.


title: Azelaic acid

text: In plants, azelaic acid serves as a "distress flare" involved in defense responses after infection. It serves as a signal that induces the accumulation of salicylic acid, an important component of a plant's defensive response.


title: Azelaic acid

text: Esters of this dicarboxylic acid find applications in lubrication and plasticizers. In lubricant industries it is used as a thickening agent in lithium complex grease. With hexamethylenediamine, azelaic acid forms Nylon-6,9, which finds specialized uses as a plastic.


title: Azelaic acid

text: Azelaic acid is used to treat mild to moderate acne, both comedonal acne and inflammatory acne. It belongs to a class of medication called dicarboxylic acids. It works by killing acne bacteria that infect skin pores. It also decreases the production of keratin, which is a natural substance that promotes the growth of acne bacteria. Azelaic acid is also used as a topical gel treatment for rosacea, due to its ability to reduce inflammation. It clears the bumps and swelling caused by rosacea. The mechanism of action is thought to be through the inhibition of hyperactive protease activity that converts cathelicidin into the antimicrobial skin peptide LL-37.


title: Azelaic acid

text: In topical pharmaceutical preparations and scientific research AzA is typically used in concentrations between 15% and 20% but some research demonstrates that in certain vehicle formulations the pharmaceutical effects of 10% Azelaic acid has the potential to be fully comparable to that of some 20% creams.


title: Azelaic acid

text: Azelaic acid is effective for mild to moderate acne when applied topically at a 15%-20% concentration. In patients with moderate acne, twice daily application over 3 months of 20% AzA significantly reduced the number of comedones, papules, and pustules; at this strength, it’s considered to be as effective as benzoyl peroxide 5%, tretinoin 0.05%, erythromycin 2%, and oral tetracycline at 500mg-1000mg. In a comparative review of effects of topical AzA, Salicylic acid, Nicotinamide, Sulfur, Zinc, and alpha-hydroxy acid, AzA had more high-quality evidence of effectiveness than the rest. Results can be expected after 4 weeks of twice-daily treatment. The effectiveness of long term use is unclear, but it’s been recommended that AzA be used for at least 6 months continuously for maintenance.


title: Azelaic acid

text: Azelaic acid has been used for treatment of skin pigmentation, including melasma and postinflammatory hyperpigmentation, particularly in those with darker skin types. It has been recommended as an alternative to hydroquinone. As a tyrosinase inhibitor, azelaic acid reduces synthesis of melanin. According to one report in 1988, azelaic acid in combination with zinc sulfate in vitro was found to be a potent (90% inhibition) 5α-reductase inhibitor, similar to the hair loss drugs finasteride and dutasteride. In vitro research during mid-1980s evaluating azelaic acid's depigmenting (whitening) capability concluded it is effective (cytotoxic to melanocytes) at only high concentrations.


title: Azelaic acid

text: A 1996 review claimed 20% AzA is as potent as 4% hydroquinone after a period of application of three months without the latter's adverse effects and even more effective if applied along with tretinoin for the same period of time.


title: Azelaic acid

text: Brand names for azelaic acid include Dermaz 99, Crema Pella Perfetta (micronized azelaic acid, kojic dipalmitate, and liquorice extract), Azepur99, Azetec99, Azaclear (azelaic acid and niacinamide), AzClear Action, Azelex, White Action cream, Finacea, Finevin, Melazepam, Skinoren, Ezanic, Azelac, Azaderm, (Acnegen, Eziderm, Acnicam, Azelexin in Pakistan)


title: First Minister of Scotland

text: The first minister of Scotland (; ) is the leader of the Scottish Government and keeper of the Great Seal of Scotland. The first minister chairs the Scottish Cabinet and is primarily responsible for the formulation, development and presentation of Scottish Government policy. Additional functions of the first minister include promoting and representing Scotland in an official capacity, at home and abroad.


title: First Minister of Scotland

text: The first minister is nominated by the Scottish Parliament by fellow MSPs, and is formally appointed by the monarch. Members of the Scottish Cabinet and junior ministers of the Scottish Government as well as the Scottish law officers, are appointed by the first minister. As head of the Scottish Government, the first minister is directly accountable to the Scottish Parliament for their actions and the actions of the wider government.


title: First Minister of Scotland

text: Nicola Sturgeon of the Scottish National Party is the current first minister of Scotland. She assumed office on the 20 November 2014, becoming the first woman to hold the position.


title: First Minister of Scotland

text: Following the referendum in 1997, in which the Scottish electorate gave their consent, the Scottish Parliament and Scottish Executive was established (later the Scottish Government) by the Parliament of the United Kingdom and the Labour government of the prime minister, Tony Blair.


title: First Minister of Scotland

text: The former Parliament of Scotland had been suspended following the Acts of Union 1707, forming the Parliament of Great Britain. The re-establishment of a dedicated legislature and executive for Scotland was known as devolution and initiated a measure of home rule or self-governance in its domestic affairs, such as health, education and justice. The devolution movement came to a head in the 1970s, and resulted in a Royal Commission on the Constitution, leading to the Scotland Act 1978. This would have established an autonomous Scottish Executive with a leader termed 'First Secretary', a post for which Strathclyde political leader Geoff Shaw was widely expected to be chosen, though Shaw's premature death and a failure in a follow-up referendum, led to the Act not being implemented, and a twenty-year wait for the Scotland Act 1998.


title: First Minister of Scotland

text: Scottish devolution resulted in administrative and legislative changes to the way Scotland was governed, and resulted in the establishment of a post of first minister to be head of the devolved Scottish Government. The term "first minister" is analogous to the use of premier to denote the heads of government in sub-national entities of Commonwealth nations, such as the provinces of Canada, the states of Australia, and the provinces of South Africa.


title: First Minister of Scotland

text: Prior to devolution the comparable functions of the first minister were exercised by the secretary of state for Scotland, whose Scottish Office was a department of the British Government set up in 1885. The secretary of state is a member of the British Cabinet appointed by the prime minister to have responsibility for the domestic affairs of Scotland.


title: First Minister of Scotland

text: Since 1999, the secretary of state for Scotland has a much reduced role at the renamed Scotland Office (the Office of the Secretary of State for Scotland) as a result of the transfer of responsibilities to the Scottish Parliament and Scottish Government.


title: First Minister of Scotland

text: The first minister is nominated by the Scottish Parliament at the beginning of each term, by means of an exhaustive ballot among its members, and is then formally appointed by the monarch.


title: First Minister of Scotland

text: In theory, any member of the Scottish Parliament can be nominated for first minister. However, the government must maintain the confidence of the Scottish Parliament in order to gain supply (access to exchequer funds) and remain in office. For this reason, the first minister is almost always the leader of the largest party, or the leader of the senior partner in any majority coalition. There is no term of office for a first minister; they hold office "at His Majesty's pleasure". In practice, however, a first minister cannot remain in office against the will of the Scottish Parliament; indeed, the Scotland Act explicitly requires the first minister to either resign or seek a parliamentary dissolution (and with it, new elections) if his or her government "no longer enjoys the confidence of the Parliament." Whenever the office of first minister falls vacant, the sovereign is responsible for appointing the new incumbent upon nomination by the Scottish Parliament; the appointment is formalised at a meeting between the sovereign and the first minister designate.


title: First Minister of Scotland

text: Given the additional member system used to elect its members, it is difficult for a single party to gain an overall majority of seats in the Scottish Parliament. When the Westminster Labour government devolved powers to Scotland, the SNP gained an overall majority of seats in the 2011 election, and thus had enough numbers to vote in its leader, Alex Salmond, as first minister for a second term.


title: First Minister of Scotland

text: After the election of the Scottish Parliament, a first minister must be nominated within a period of 28 days. Under the terms of the Scotland Act, if the Parliament fails to nominate a first minister, within this time frame, it will be dissolved and a fresh election held. If an incumbent first minister is defeated in a general election, they do not immediately vacate office. The first minister only leaves office when the Scottish Parliament nominates a successor individual.


title: First Minister of Scotland

text: After accepting office, the first minister takes the Official Oath, as set out in the Promissory Oaths Act 1868. The oath is tendered by the Lord President of the Court of Session at a sitting of the Court in Parliament House in Edinburgh. The oath is:


title: First Minister of Scotland

text: The period in office of a first minister is not linked to the term of members of the Scottish Parliament. The Scotland Act set out a four-year maximum term for each session of Parliament. The Act specifies than an election to the Scottish Parliament will be held on the first Thursday in May, every four years, starting from 1999. Parliament can be dissolved and an extraordinary general election held, before the expiration of the four-year term, but only if two-thirds (or more) of elected MSPs vote for such action in a resolution of the Scottish Parliament. If a simple majority of MSPs voted a no-confidence motion in the first minister/Government, that would trigger a 28-day period for the nomination of a replacement; should that time period expire without the nomination of a new first minister, then an extraordinary election would have to be called.


title: First Minister of Scotland

text: The first minister, once appointed continues in office as the head of the devolved Scottish Government until they resigns, is dismissed or dies in office. Resignation can be triggered off by the passage of a Motion of No Confidence in the first minister or the Scottish Government or by rejecting a motion of confidence in the Scottish Parliament. In those situations, the first minister must tender their resignation and the resignation of their government to the monarch. In such circumstances, the presiding officer appoints an interim first minister, until the Scottish Parliament determines on a new nominee to be presented to the Sovereign for formal appointment.


title: First Minister of Scotland

text: Following their appointment, the first minister may then nominate ministers to sit in the Scottish Cabinet and junior ministers to form the Scottish Government. They are then formally elected by the Scottish Parliament. Ministers hold office at Her Majesty's Pleasure and may be removed from office, at any time, by the first minister. The first minister also has the power to appoint the law officers and chief legal officers of the Scottish Government – the lord advocate and the solicitor general but only with the support of the Scottish Parliament.


title: First Minister of Scotland

text: The first minister is responsible to the Scottish Parliament for their actions and the actions of the overall Scottish Government. MSPs can scrutinise the activities of the first minister and their Cabinet by tabling written questions or by asking oral questions in the Scottish Parliament. Direct questioning of the first minister takes place at First Minister's Questions (FMQs) each Thursday at noon when Parliament is sitting. The 30-minute session enables MSPs to ask questions of the first minister, on any issue. The leaders of the largest opposition parties have an allocation of questions and are allowed to question the first minister each week. Opposition leaders normally ask an opening question to the first minister, relating to their meeting with the Scottish Cabinet, or when they next expect to meet the Prime Minister, and then follow this up by asking a supplementary question on an issue of their choosing.


title: First Minister of Scotland

text: In addition to direct questioning, the first minister is also able to deliver oral statements to the Scottish Parliament chamber, after which members are invited to question the first minister on the substance of the statement. For example, at the beginning of each parliamentary term, the first minister normally delivers a statement, setting out the legislative programme of the Government, or a statement of government priorities over the forthcoming term.


title: First Minister of Scotland

text: Associated with the office of first minister, there is also the post of deputy first minister. Unlike the office of first minister, the post of deputy is not recognised in statute and confers no extra status on the holder. Like the first minister, the deputy first minister is an elected member of the Scottish Parliament and a member of the Scottish Government. From 1999 to 2007, when Scotland was governed by a Labour–Liberal Democrat coalition, the leader of the Liberal Democrats – the junior government party – was given the role of deputy first minister; a title which they held in conjunction with another ministerial portfolio. For example, Nicol Stephen, deputy first minister from 2005 to 2007, simultaneously held the post of Minister for Enterprise and Lifelong Learning.


title: First Minister of Scotland

text: On two occasions since 1999, the deputy first minister has assumed the role of 'acting' first minister, inheriting the powers of the first minister in their absence or incapacitation. From 11 October 2000 to 26 October 2000, following the death in office of the then First Minister Donald Dewar, his deputy Jim Wallace became acting first minister, until the Labour party appointed a new leader, and consequently first minister. Wallace also became Acting First Minister between 8 November 2001 and 22 November 2001, following the resignation of Henry McLeish.


title: First Minister of Scotland

text: An officer with such a title need not always exist; rather, the existence of the post is dependent on the form of Cabinet organisation preferred by the first minister and their party. The deputy first minister does not automatically succeed if a vacancy in the premiership is suddenly created. It may be necessary for the deputy to stand in for the first minister on occasion, for example by taking the floor at First Minister's Questions.


title: First Minister of Scotland

text: The first minister is, by virtue of section 45(7) of the Scotland Act 1998, "ex officio" the keeper of the Great Seal of Scotland and their place in the order of precedence in Scotland is determined by the holding of that office. The scale of precedence in Scotland was amended by royal warrant on 30 June 1999 to take account of devolution and the establishment of the post of first minister. The amended scale reflected the transfer of the office of keeper of the Great Seal from the secretary of state for Scotland to the first minister and also created a rank for the presiding officer of the Scottish Parliament. Throughout Scotland, the first minister outranks all others except the royal family, lord lieutenants, the sheriff principal, the Lord Chancellor, the moderator of the General Assembly of the Church of Scotland, the prime minister of the United Kingdom, Commonwealth prime ministers (whilst in the United Kingdom), the speaker of the House of Commons and the Lord Speaker.


title: First Minister of Scotland

text: As of April 2015, the first minister is entitled to draw a total salary of £144,687, which is composed of a basic MSP salary of £59,089 plus an additional salary of £85,598 for the role as first minister. This can be compared to the UK Prime Minister who is entitled to draw a total salary of £142,500, composed of a basic MP salary of £67,060 and an additional office holder's salary of £75,440 (the total entitlement for the prime minister had peaked at £198,661 in April 2011 but this was then dropped by around 25%). The first minister is the highest paid member of the Scottish Government. Sturgeon said she would claim £135,605, £9,082 less than her entitlement, as part of a voluntary pay freeze pegging her salary to 2008/09 levels.


title: First Minister of Scotland

text: The first minister traditionally resides at Bute House which is located at number 6 Charlotte Square in the New Town of Edinburgh. The house became the property of the National Trust for Scotland in 1966, after the death of the previous owner John Crichton-Stuart, 4th Marquess of Bute and remains in the ownership of the National Trust for Scotland. Prior to devolution, Bute House was the official residence of the Secretary of State for Scotland. Weekly meetings of the Scottish Cabinet take place in the Cabinet room of the house. Bute House is also where the first minister holds press conferences, hosts visiting dignitaries and employs and dismisses government Ministers. The Office of the First Minister is located at St Andrews House in Edinburgh.


title: First Minister of Scotland

text: Appointments to the Privy Council of the United Kingdom are made by the monarch, although in practice they are made only on the advice of the UK government. To date all first ministers have been appointed members of the Privy Council, and therefore entitled to use the style 'Right Honourable'.


title: First Minister of Scotland

text: The first minister is one of the few individuals in Scotland officially permitted to fly the Royal Banner of Scotland.


title: Sweat gland

text: Sweat glands, also known as sudoriferous or sudoriparous glands, , are small tubular structures of the skin that produce sweat. Sweat glands are a type of exocrine gland, which are glands that produce and secrete substances onto an epithelial surface by way of a duct. There are two main types of sweat glands that differ in their structure, function, secretory product, mechanism of excretion, anatomic distribution, and distribution across species:


title: Sweat gland

text: Ceruminous glands (which produce ear wax), mammary glands (which produce milk), and ciliary glands in the eyelids are modified apocrine sweat glands.


title: Sweat gland

text: Generally, sweat glands consist of a secretory unit that produces sweat, and a duct that carries the sweat away. The "secretory coil "or base, is set deep in the lower dermis and hypodermis, and the entire gland is surrounded by adipose tissue. In both sweat gland types, the secretory coils are surrounded by contractile myoepithelial cells that function to facilitate excretion of secretory product. The secretory activities of the gland cells and the contractions of myoepithelial cells are controlled by both the autonomic nervous system and by the circulating hormones. The distal or apical part of the duct that opens to the skin's surface is known as the "acrosyringium".


title: Sweat gland

text: Each sweat gland receives several nerve fibers that branch out into bands of one or more axons and encircle the individual tubules of the secretory coil. Capillaries are also interwoven among sweat tubules.


title: Sweat gland

text: The number of active sweat glands varies greatly among different people, though comparisons between different areas (ex. axillae vs. groin) show the same directional changes (certain areas always have more active sweat glands while others always have fewer). According to Henry Gray's estimates, the palm has around 370 sweat glands per cm; the back of the hand has 200 per cm; the forehead has 175 per cm; the breast, abdomen, and forearm have 155 per cm; and the back and legs have 60–80 per cm.


title: Sweat gland

text: In the finger pads, sweat glands pores are somewhat irregularly spaced on the epidermal ridges. There are no pores between the ridges, though sweat tends to spill into them. The thick epidermis of the palms and soles causes the sweat glands to become spirally coiled.


title: Sweat gland

text: Non-primate mammals have eccrine sweat glands only on the palms and soles. Apocrine glands cover the rest of the body, though they are not as effective as humans' in temperature regulation (with the exception of horses'). Prosimians have a 1:20 ratio of follicles with apocrine glands versus follicles without. They have eccrine glands between hairs over most of their body (while humans have them between the hairs on their scalp).


title: Sweat gland

text: The overall distribution of sweat glands varies among primates: the rhesus and patas monkeys have them on the chest; the squirrel monkey has them only on the palms and soles; and the stump-tailed macaque, Japanese monkey, and baboon have them over the entire body.


title: Sweat gland

text: Domestic animals have apocrine glands at the base of each hair follicle, but eccrine glands only in foot pads and snout. Their apocrine glands, like those in humans, produce an odorless oily milky secretion evolved not to evaporate and cool but rather coat and stick to hair so odor-causing bacteria can grow on it. Eccrine glands on their foot pads, like those on palms and soles of humans, did not evolve to cool either but rather increase friction and enhance grip.


title: Sweat gland

text: Dogs and cats have apocrine glands that are specialized in both structure and function located at the eyelids (Moll's glands), ears (ceruminous glands), anal sac, prepuce vulva, and circumanal area.


title: Sweat gland

text: Eccrine sweat glands are everywhere except the lips, ear canal, prepuce, glans penis, labia minora, and clitoris. They are ten times smaller than apocrine sweat glands, do not extend as deeply into the dermis, and excrete directly onto the surface of the skin. The proportion of eccrine glands decreases with age.


title: Sweat gland

text: The clear secretion produced by eccrine sweat glands is termed sweat or "sensible perspiration". Sweat is mostly water, but it does contain some electrolytes, since it is derived from blood plasma. The presence of sodium chloride gives sweat a salty taste.


title: Sweat gland

text: The total volume of sweat produced depends on the number of functional glands and the size of the surface opening. The degree of secretory activity is regulated by neural and hormonal mechanisms (men sweat more than women). When all of the eccrine sweat glands are working at maximum capacity, the rate of perspiration for a human being may exceed three liters per hour, and dangerous losses of fluids and electrolytes can occur.


title: Sweat gland

text: Apocrine sweat glands are found in the armpit, areola (around the nipples), perineum (between the anus and genitals), in the ear, and the eyelids. The secretory portion is larger than that of eccrine glands (making them larger overall). Rather than opening directly onto the surface of the skin, apocrine glands secrete sweat into the pilary canal of the hair follicle.


title: Sweat gland

text: Before puberty, the apocrine sweat glands are inactive; hormonal changes in puberty cause the glands to increase in size and begin functioning. The substance secreted is thicker than eccrine sweat and provides nutrients for bacteria on the skin: the bacteria's decomposition of sweat is what creates the acrid odor. Apocrine sweat glands are most active in times of stress and sexual excitement.


title: Sweat gland

text: In mammals (including humans), apocrine sweat contains pheromone-like compounds to attract other organisms within their species. Study of human sweat has revealed differences between men and women in apocrine secretions and bacteria.


title: Sweat gland

text: Some human sweat glands cannot be classified as either apocrine or eccrine, having characteristics of both; such glands are termed "apoeccrine". They are larger than eccrine glands, but smaller than apocrine glands. Their secretory portion has a narrow portion similar to secretory coils in eccrine glands as well as a wide section reminiscent of apocrine glands.


title: Sweat gland

text: Apocrine, found in the armpits and perianal region, have ducts opening onto the skin surface. They are presumed to have developed in puberty from the eccrine glands, and can comprise up to 50% of all axillary glands. Apoeccrine glands secrete more sweat than both eccrine and apocrine glands, thus playing a large role in axillary sweating. Apoeccrine glands are sensitive to cholinergic activity, though they can also be activated via adrenergic stimulation. Like eccrine glands, they continuously secrete a thin, watery sweat.


title: Sweat gland

text: Specialized sweat glands, including the ceruminous glands, mammary glands, ciliary glands of the eyelids, and sweat glands of the nasal vestibulum, are modified apocrine glands. Ceruminous glands are near the ear canals, and produce cerumen (earwax) that mixes with the oil secreted from sebaceous glands. Mammary glands use apocrine secretion to produce milk.


title: Sweat gland

text: Sweat glands are used to regulate temperature and remove waste by secreting water, sodium salts, and nitrogenous waste (such as urea) onto the skin surface. The main electrolytes of sweat are sodium and chloride, though the amount is small enough to make sweat hypotonic at the skin surface. Eccrine sweat is clear, odorless, and is composed of 98–99% water; it also contains NaCl, fatty acids, lactic acid, citric acid, ascorbic acid, urea, and uric acid. Its pH ranges from 4 to 6.8. On the other hand, the apocrine sweat has a pH of 6 to 7.5; it contains water, proteins, carbohydrate waste material, lipids, and steroids. The sweat is oily, cloudy, viscous, and originally odorless; it gains odor upon decomposition by bacteria. Because both apocrine glands and sebaceous glands open into the hair follicle, apocrine sweat is mixed with sebum.


title: Sweat gland

text: Both apocrine and eccrine sweat glands use merocrine secretion, where vesicles in the gland released sweat via exocytosis, leaving the entire cell intact. It was originally thought that apocrine sweat glands use apocrine secretion due to histological artifacts resembling "blebs" on the cell surface, however, recent electron micrographs indicate that the cells use merocrine secretion.


title: Sweat gland

text: In both apocrine and eccrine sweat glands, the sweat is originally produced in the gland's coil, where it is isotonic with the blood plasma there. When the rate of sweating is low, salt is conserved and reabsorbed by the gland's duct; high sweat rates, on the other hand, lead to less salt reabsorption and allow more water to evaporate on the skin (via osmosis) to increase evaporative cooling.


title: Sweat gland

text: Secretion of sweat occurs when the myoepithelial cell cells surrounding the secretory glands contract. Eccrine sweat increases the rate of bacterial growth and volatilizes the odor compounds of apocrine sweat, strengthening the latter's acrid smell.


title: Sweat gland

text: Normally, only a certain number of sweat glands are actively producing sweat. When stimuli call for more sweating, more sweat glands are activated, with each then producing more sweat.


title: Sweat gland

text: Both eccrine and apocrine sweat glands participate in thermoregulatory sweating, which is directly controlled by the hypothalamus. Thermal sweating is stimulated by a combination of internal body temperature and mean skin temperature. In eccrine sweat glands, stimulation occurs via activation by acetylcholine, which binds to the gland's muscarinic receptors.


title: Sweat gland

text: Emotional sweating is stimulated by stress, anxiety, fear, and pain; it is independent of ambient temperature. Acetylcholine acts on the eccrine glands and adrenaline acts on both eccrine and apocrine glands to produce sweat. Emotional sweating can occur anywhere, though it is most evident on the palms, soles of the feet, and axillary regions. Sweating on the palms and soles is thought to have evolved as a fleeing reaction in mammals: it increases friction and prevents slipping when running or climbing in stressful situations.


title: Sweat gland

text: Gustatory sweating refers to thermal sweating induced by the ingestion of food. The increase in metabolism caused by ingestion raises body temperature, leading to thermal sweating. Hot and spicy foods also leads to mild gustatory sweating in the face, scalp and neck: capsaicin (the compound that makes spicy food taste "hot"), binds to receptors in the mouth that detect warmth. The increased stimulation of such receptors induces a thermoregulatory response.


title: Sweat gland

text: Unlike deodorant, which simply reduces axillary odor without affecting body functions, antiperspirant reduces both eccrine and apocrine sweating. Antiperspirants, which are classified as drugs, cause proteins to precipitate and mechanically block eccrine (and sometimes apocrine) sweat ducts. The metal salts found in antiperspirants alters the keratin fibrils in the ducts; the ducts then close and form a "horny plug". The main active ingredients in modern antiperspirants are aluminum chloride, aluminum chlorohydrate, aluminum zirconium chlorohydrate, and buffered aluminum sulfate.


title: Sweat gland

text: On apocrine glands, antiperspirants also contain antibacterial agents such as trichlorocarbanilide, hexamethylene tetramine, and zinc ricinoleate. The salts are dissolved in ethanol and mixed with essential oils high in eugenol and thymol (such as thyme and clove oils). Antiperspirants may also contain levomethamphetamine


title: Dhaulagiri

text: Dhaulagiri is the seventh highest mountain in the world at above sea level, and the highest mountain within the borders of a single country (Nepal). It was first climbed on 13 May 1960 by a Swiss-Austrian-Nepali expedition.


title: Dhaulagiri

text: Annapurna I () is east of Dhaulagiri. The Kali Gandaki River flows between the two in the Kaligandaki Gorge, said to be the world's deepest. The town of Pokhara is south of the Annapurnas, an important regional center and the gateway for climbers and trekkers visiting both ranges as well as a tourist destination in its own right.


title: Dhaulagiri

text: Dhaulagiri (धौलागिरी) is the Nepali name for the mountain which comes from Sanskrit where धवल (dhawala) means dazzling, white, beautiful and गिरि (giri) means mountain. Dhaulagiri I is also the highest point of the Gandaki river basin.


title: Dhaulagiri

text: Looking north from the plains of India, most 8,000-metre peaks are obscured by nearer mountains, but in clear weather, Dhaulagiri is conspicuous from northern Bihar and as far south as Gorakhpur in Uttar Pradesh. In 1808, survey computations showed it to be the highest mountain yet surveyed. This lasted until 1838 when Kangchenjunga took its place, followed by Mount Everest in 1858.


title: Dhaulagiri

text: Dhaulagiri I's sudden rise from lower terrain is almost unequaled. It rises from the Kali Gandaki River 30 km to the southeast. The south and west faces rise precipitously over . The south face of Gurja Himal in the same massif is also notably immense.


title: Dhaulagiri

text: Most ascents have followed the northeast ridge route of the first ascent, but climbs have been made from most directions. As of 2007, there had been 358 successful ascents and 58 fatalities, which is a summit to a fatality rate of 16.2%.


title: Dhaulagiri

text: Between 1950 and 2006, 2.88% of 2,016 expedition members and staff going above base camp on Dhaulagiri I died. On all 8,000 metre peaks in Nepal the death rate was 1.63%, ranging from 0.65% on Cho Oyu to 4.04% on Annapurna I and 3.05% on Manaslu.


title: The Loudest Voice

text: The Loudest Voice is a 2019 American drama television miniseries depicting Roger Ailes as he creates and guides the rise of Fox News. It is based on the 2014 book "The Loudest Voice in the Room", by Gabriel Sherman, and premiered June 30, 2019, on Showtime.


title: The Loudest Voice

text: "The Loudest Voice" tells the story of Roger Ailes, who turned Fox News into one of the most powerful, influential media networks in history. It depicts Ailes becoming one of the most prominent figures in modern American conservatism, with flashbacks to the 9/11 attacks, the 2008 U.S. presidential election and 2016 U.S. presidential election, as well as the numerous sexual harassment accusations and settlements that ended his career.


title: The Loudest Voice

text: On October 19, 2016, it was announced that Blumhouse Television was developing a television miniseries adaptation of the book "The Loudest Voice in the Room" by Gabriel Sherman. Tom McCarthy was expected to oversee the series and serve as an executive producer and Sherman and Jennifer Stahl were set as writers and co-executive producers. On April 4, 2017, it was announced that Showtime had put the series, titled "Secure and Hold: The Last Days of Roger Ailes", into development. It was further announced that McCarthy would also serve as writer for the series alongside John Harrington Bland and that Sherman had been upped to an executive producer. On May 18, 2017, following Ailes's death, it was confirmed that the series was still in development.


title: The Loudest Voice

text: On June 25, 2018, it was announced that Showtime had given the production, now untitled, a series order consisting of eight episodes. Additionally, it was announced that McCarthy and Sherman had co-written the first episode together and that Jason Blum, Alex Metcalf, Marci Wiseman, and Jeremy Gold would serve as further executive producers. On August 23, 2018, it was announced that Kari Skogland would direct the first two episodes of the series. On October 5, 2018, it was reported that Russell Crowe and Liza Chasin would serve the production as additional executive producers and that 3dot Productions would serve as a further production company for the series. On October 30, 2018, it was announced that the character of Megyn Kelly had been cut out of the series. The role had yet to be cast and reportedly only appeared in a few scenes. Sherman commented on the removal saying, "Megyn Kelly was a peripheral participant in Ailes's downfall. It was Gretchen Carlson and her lawyer Nancy Erika Smith who drove the events that led to Ailes's ouster...By the time [Kelly] spoke to investigators, Ailes's fate had been sealed. Any dramatization that makes her a central character in Ailes's takedown is pure fiction."


title: The Loudest Voice

text: On November 20, 2018, it was reported that Larry Klayman, a lawyer representing former Fox News booker Laurie Luhn, had sent an email to several attorneys who represent Showtime and Blumhouse Television in regards to Luhn's concern that she would be portrayed inaccurately in the series. Based on Sherman's original reporting upon which the series is based, Luhn was reportedly under the impression that she would be portrayed as a "pimp" for Ailes who brought women to him for the purpose of having sex. She alleged that she was actually one of Ailes's victims and that she had sexual acts forced upon her by him and that she was rebuffed by several top executives when she leveled complaints against him. The email went on to express Luhn's desire to act in a consultancy role on the series in order to ensure she is portrayed authentically and explains that if Luhn was not satisfied by her portrayal then there was potential for a future defamation lawsuit. On January 8, 2019, Klayman filed an injunction on Luhn's behalf in the Los Angeles County Superior Court against Showtime, Blumhouse Television, and Sherman seeking damages of $750 million. In the jury-seeking complaint, Klayman wrote that the damages were sought to "punish and impress upon defendants the seriousness of their conduct and to deter similar conduct in the future."


title: The Loudest Voice

text: On January 31, 2019, it was announced that the series had been titled "The Loudest Voice". On April 11, 2019, it was announced that the series would premiere on June 30, 2019.


title: The Loudest Voice

text: Alongside the series order announcement, it was confirmed that Russell Crowe would star in the series as Roger Ailes. In October 2018, it was announced that Naomi Watts, Seth MacFarlane, Sienna Miller, Simon McBurney, Annabelle Wallis, and Aleksa Palladino had been cast in starring roles. On November 3, 2018, it was reported that David Whalen had joined the cast of the series. On February 5, 2019, it was announced that Barry Watson would appear in a recurring capacity. In March, Josh Charles joined in a recurring role.


title: The Loudest Voice

text: Principal photography for the series commenced during the week of November 5, 2018, in New York City, New York.


title: The Loudest Voice

text: "The Loudest Voice" has been met with mixed reviews from critics, with Crowe's performance being strongly acclaimed. On the review aggregation website Rotten Tomatoes, it holds a 53% approval rating based on 60 reviews. The website's critical consensus reads, "While finely performed and often fascinating, "The Loudest Voice's" shallow interpretations undermine what could be a powerful indictment of one of media's most infamous figures." Metacritic, which uses a weighted average, assigned the season a score of 61 out of 100 based on 30 reviews, indicating "generally favorable reviews".


title: Kristin Bauer van Straten

text: Kristin Bauer van Straten is an American film and television actress, notable for her roles as vampire Pamela Swynford De Beaufort on the HBO television series "True Blood", Jerry's girlfriend Gillian ("man hands") on "Seinfeld", and as Maleficent in the ABC series "Once Upon a Time".


title: Kristin Bauer van Straten

text: Bauer van Straten was born Kristin Neubauer in Racine, Wisconsin. She is of German descent. During childhood, she played sports, rode horses, and fired shotguns. She graduated from The Prairie School in Wind Point.


title: Kristin Bauer van Straten

text: Bauer van Straten studied fine arts at Washington University in St. Louis, as well as in Boston and at New York City’s Parsons The New School for Design in her youth, but decided to become an actress and moved to Los Angeles, where she has been living since she began acting in 1994. She continues to draw and paint. Her works include commissioned portraits.