text: The movie follows up on the events of Season 2, revealing that Cobra Commander is actually an agent of a secret civilization known as Cobra-La led by a half-serpent being named Golobulus. The same organization is also revealed to have had a hand in the creation of Serpentor, as the dream that inspired Doctor Mindbender to create him is revealed to be a subconscious suggestion that was implanted into his mind by one of Golobulus' bugs called the Psychic Motivator. In addition to Cobra-La, two new sub-teams were introduced within the Joe Team, the Rawhides and the Renegades, both of which were composed of characters which were introduced into the toyline during its 1987 lineup.


title: G.I. Joe: A Real American Hero (1983 TV series)

text: Marvel Productions continued to produce animated commercials for the toyline and comic books (which featured a new theme song with the lyrics "Nobody Beats G.I. Joe") after the broadcast of "G.I. Joe: The Movie", which was intended to set up Season 3. However, the company never got around to producing a third season, ending up losing its license to the competing animation company DiC during pre-production. Michael Charles Hill, who wrote several episodes of the show, had already proposed an outline for Season 3 that would have followed the events of "The Movie". In this unmade third season, a criminal organization named "The Coil", which is composed of a group of former Cobra elites who are led by Tomax and Xamot, would have served as the new enemy faction, while a mutated Cobra Commander would have tried to secretly rebuild his organization after the destruction of Cobra-La, shifting allegiance between the Coil and the Joes in order to further his own ambitions.


text: A second series was produced by DIC Entertainment that ran from 1989 to 1991. It premiered with a five-part mini-series which was titled "Operation: Dragonfire," lasted two seasons, and consisted of a total of 44 episodes. The DiC series served as a continuation of the Sunbow series, but it did not use the aforementioned season 3 pitch.


text: Sunbow would later return to the "G.I. Joe" franchise, co-producing the 1994 straight-to-video animated pilot "Sgt. Savage and his Screaming Eagles" and the "G.I. Joe Extreme" TV series, which aired from 1995 to 1996. The "Screaming Eagles" pilot featured appearances by characters from the "A Real American Hero" series (namely Hawk, Doc, Lady Jaye, and Cobra Commander) in supporting roles, but its primary focus was on new heroes and villains.


text: "G.I. Joe" was a co-production between Marvel Productions and Sunbow Productions. Sunbow's staff would write the scripts based on the character and vehicle designs provided by Hasbro, while the artists at Marvel Productions would draw storyboards based on the scripts and record voiceovers. The animation was outsourced to Toei in Japan, who worked on all 95 episodes, as well as the movie.


text: The "G.I. Joe" comics and animated series share a few common plot elements that were not products of the toyline at the time such as the town of Springfield, the Oktober Guard and the character of The Baroness (who was only introduced into the toyline in 1984). However, they did not share the same continuity and as a result, they differed significantly in terms of how the characters were written and the direction the stories took (particularly regarding the nature of Cobra Commander's true identity).


text: In contrast to the comics (in which non-toyline characters such as G.I. Joe commanding officer General Flagg and Cobra scientist Dr. Venom, were killed off early during its run), the TV series had to adhere to children's programming regulations and as a result none of the characters were allowed to use actual firearms and nobody was ever killed on-screen. Instead, characters used laser guns to fight their battles (which were color-coded for each side, red for the Joes and blue for Cobra) and whenever a vehicle was destroyed on-screen, the pilot or driver would often be shown exiting from it or parachuting before the destruction.


text: However, the show was still allowed to make references to off-screen casualties, as the term could be used interchangeably for injuries and deaths. One particular episode in Season 1, a two-parter titled "Worlds Without End" in which the Joes are transported to an alternate universe where the Joes have been defeated by Cobra, features a scene in which three members of the Joe Team (Steeler, Grunt and Clutch) find the skeletal remains of their counterparts from that world (the second part of the episode ends with the aforementioned characters deciding to remain in the alternate universe and replace their deceased counterparts).


text: A public safety lesson was usually featured at the end of each episode, using G.I. Joe characters in brief scenarios to impart safety tips to children. These lessons gave birth to the catchphrases: "Now we know." To which they respond, "And knowing is half the battle".


text: In each episode's opening title sequence voice actor Jackson Beck states that, "G.I. Joe is the code name for America's daring, highly-trained, Special Mission force. Its purpose: To defend human freedom against Cobra, a ruthless terrorist organization determined to rule the world".


text: Because the series was produced as a vehicle to sell the toys, most of the episodes would focus on the newest characters being sold in stores at the time, while older characters would fall by the wayside as they were being phased out from the toyline. Most notably Hawk, who was part of the 1982 launch lineup and the original G.I. Joe leader in the Marvel comics, was absent during the entirety of Season 1 in favor of having Duke (a character introduced in 1983, the year when the first miniseries aired) serve as the leader instead. When Hawk was reintroduced to the toyline with a new action figure in 1986, the character was suddenly part of the team in Season 2 as Duke's superior and the head of G.I. Joe's chain of command with no explanation for his absence in the prior season.


text: Various episodes were released on home video by Family Home Entertainment in North America. A total of 12 numbered volumes were produced on VHS and Betamax from 1984 to 1986. Vol. 1 and 2 featured the first two mini-series, "The M.A.S.S. Device" and "The Revenge of Cobra" respectively, edited as feature-length movies, while Vol. 3 through 11 featured a single episode each from the first season. These tapes were originally released in clamshell cases packaged in large boxes and were subsequently reissued with standard cardboard sleeves. Vol. 12 contains three episodes, each preceded by a live-action introduction hosted by Sgt. Slaughter, although certain versions of this volume only contains two episodes. All 12 volumes featured comic book-like packaging artwork. The "Arise Serpentor, Arise" mini-series was later released as an edited feature-length movie on VHS and LaserDisc in 1991, making it the sole "G.I. Joe" release in the latter media format.


text: Rhino Home Video would later acquire the home video rights to the series and release a second series of VHS tapes under their "Kid Rhino" branding. Nine volumes were released for general retail between 1999 and 2000, each containing two episodes (including two-part episodes). A tenth volume was released in 2001 as part of Blockbuster Video's exclusive "Kidmongous" series, which contained four episodes.


text: Outside North America, episodes of "G.I. Joe" were also released on VHS in other countries by various local companies, with the "Action Force" version of the show receiving a total of 27 VHS releases in the United Kingdom.


text: In 2003-2004, Kid Rhino Entertainment (a subsidiary of AOL Time Warner) (a Warner Family Entertainment and WEA/Warner Music Group-distributed label) began releasing "G.I. Joe: A Real American Hero" on DVD in Region 1. They released the original two mini-series in 2003 followed by Season 1 in 2 volume sets in 2004. The first half of Season 2 was released in late 2004 but the remaining episodes were never released due to quality issues when the original DVDs were released (such as adding more sound effects when watched in 5.1 surround sound, since they did the same to the Transformers G1 DVD sets, also done by Rhino). These DVD sets have since gone out of print as Rhino lost the distribution rights.


text: In 2008, Hasbro reacquired the worldwide distribution rights to the Sunbow library which includes G.I. Joe. During 2008 and 2009, Hasbro released five gift packs of cartoon-inspired action figures, each including a DVD. The first four sets included the four miniseries, and the fifth an assortment of Sunbow series episodes.


text: In March 2009, Shout! Factory acquired the rights to re-release G.I. Joe on DVD in Region 1 with Vivendi Entertainment. They have subsequently released Season 1 in 3 volume sets. On July 22, 2009, they released "G.I. Joe - A Real American Hero: Complete Collector's Set", a 17-disc boxset featuring all 95 episodes and extensive bonus features including archival Hasbro toy commercials and a collectible 60-page book. The second and final season was released as a stand-alone set on April 27, 2010. This series is available for streaming on Hasbro's own channel on Youtube dedicating to this series; as well as it's available on the Tubi streaming service.


title: SOFA score

text: The sequential organ failure assessment score (SOFA score), previously known as the sepsis-related organ failure assessment score, is used to track a person's status during the stay in an intensive care unit (ICU) to determine the extent of a person's organ function or rate of failure. The score is based on six different scores, one each for the respiratory, cardiovascular, hepatic, coagulation, renal and neurological systems.


title: SOFA score

text: The score tables below only describe points-giving conditions. In cases where the physiological parameters do not match any row, zero points are given. In cases where the physiological parameters match more than one row, the row with most points is picked.


title: SOFA score

text: The quick SOFA score (qSOFA) assists health care providers in estimating the risk of morbidity and mortality due to sepsis.


title: SOFA score

text: The SOFA scoring system is useful in predicting the clinical outcomes of critically ill patients. According to an observational study at an Intensive Care Unit (ICU) in Belgium, the mortality rate is at least 50% when the score is increased, regardless of initial score, in the first 96 hours of admission, 27% to 35% if the score remains unchanged, and less than 27% if the score is reduced. Score ranges from 0 (best) to 24 (worst) points.


title: SOFA score

text: The Quick SOFA Score (quickSOFA or qSOFA) was introduced by the Sepsis-3 group in February 2016 as a simplified version of the SOFA Score as an initial way to identify patients at high risk for poor outcome with an infection. The SIRS Criteria definitions of sepsis are being replaced as they were found to possess too many limitations; the "current use of 2 or more SIRS criteria to identify sepsis was unanimously considered by the task force to be unhelpful." The qSOFA simplifies the SOFA score drastically by only including its 3 clinical criteria and by including "any altered mentation" instead of requiring a GCS <15. qSOFA can easily and quickly be repeated serially on patients.


title: SOFA score

text: The score ranges from 0 to 3 points. The presence of 2 or more qSOFA points near the onset of infection was associated with a greater risk of death or prolonged intensive care unit stay. These are outcomes that are more common in infected patients who may be septic than those with uncomplicated infection. Based upon these findings, the Third International Consensus Definitions for Sepsis recommends qSOFA as a simple prompt to identify infected patients outside the ICU who are likely to be septic.


title: SOFA score

text: qSOFA has also been found to be poorly sensitive though decently specific for the risk of death with SIRS possibly better for screening.


title: Tokyo 24th Ward

text: On an artificial island in Tokyo Bay there is a special district commonly known as the 24th Ward, childhood friends Ran, Koki and Shuta hung out together. Their lives changed when their school caught on fire and Koki's sister Asumi was caught inside. They argued about the best way to save her, and instead of working together, Shuta rushed in but was unable to save her life. Now, a year after the incident, they receive visual messages from Asumi presenting them with life-and-death situations in which they have to decide on their course of action. A strange character called Carneades appears and threatens to thrust choices upon the world.


title: Tokyo 24th Ward

text: On October 24, 2021, CloverWorks announced that it is producing an original anime television series titled "Tokyo 24th Ward". The series is directed by Naokatsu Tsuda, with Vio Shimokura writing and overseeing series' scripts, Shuji Sogabe and Kanako Nono designing the characters, Takahiro Kishida adapting those designs for animation, and Hideyuki Fukasawa composing the series' music. It aired from January 6 to April 7, 2022, on Tokyo MX and other networks, with the first episode being a one-hour special. The opening theme song is "Paper Sky" by Survive Said the Prophet, while the ending theme song is "255,255,255" by Junya Enoki, Yuma Uchida, and Kaito Ishikawa. Plus Media Networks Asia licensed the series in Southeast Asia and will release it on Aniplus Asia.


title: Strand, London

text: Strand (or the Strand) is a major thoroughfare in the City of Westminster, Central London. It runs just over from Trafalgar Square eastwards to Temple Bar, where the road becomes Fleet Street in the City of London, and is part of the A4, a main road running west from inner London.


title: Strand, London

text: The road's name comes from the Old English "strond", meaning the edge of a river, as it historically ran alongside the north bank of the River Thames. The street was much identified with the British upper classes between the 12th and 17th centuries, with many historically important mansions being built between the Strand and the river. These included Essex House, Arundel House, Somerset House, Savoy Palace, Durham House and Cecil House. The aristocracy moved to the West End during the 17th century, and the Strand became known for its coffee shops, restaurants and taverns. The street was a centre point for theatre and music hall during the 19th century, and several venues remain on the Strand. At the east end of the street are two historic churches: St Mary le Strand and St Clement Danes. This easternmost stretch of the Strand is also home to King's College, one of the two founding colleges of the University of London. In addition to the current Somerset House, other important structures include the Royal Courts of Justice and Australia House.


title: Strand, London

text: Several authors, poets and philosophers have lived on or near the Strand, including Charles Dickens, Ralph Waldo Emerson and Virginia Woolf. The street has been commemorated in the song "Let's All Go Down the Strand", now recognised as a typical piece of Cockney music hall.


title: Strand, London

text: The street is the main link between the two cities of Westminster and London. It runs eastward from Trafalgar Square, parallel to the River Thames, to Temple Bar which is the boundary between the two cities at this point; the road ahead being Fleet Street. Traffic travelling eastbound follows a short crescent around Aldwych, connected at both ends to the Strand. The road marks the southern boundary of the Covent Garden district and forms part of the Northbank business improvement district.


title: Strand, London

text: The name was first recorded in 1002 as "strondway", then in 1185 as "Stronde" and in 1220 as "la Stranda". It is formed from the Old English word 'strond', meaning the edge of a river. Initially it referred to the shallow bank of the once much wider Thames, before the construction of the Victoria Embankment. The name was later applied to the road itself. In the 13th century it was known as 'Densemanestret' or 'street of the Danes', referring to the community of Danes in the area.


title: Strand, London

text: Two London Underground stations were once named Strand: a Piccadilly line station (which was renamed Aldwych station) that operated between 1907 and 1994 and a former Northern line station which today forms part of Charing Cross station. 'Strand Bridge' was the name given to Waterloo Bridge during its construction; it was renamed for its official opening on the second anniversary of the coalition victory in the Battle of Waterloo. London Bus routes 6, 23, 139 and 176 all run along the Strand, as do numerous night bus services.


title: Strand, London

text: During Roman Britain, what is now the Strand was part of the route to Silchester, known as "Iter VIII" on the Antonine Itinerary, and which later became known by the name Akeman Street. It was briefly part of a trading town called Lundenwic that developed around 600 AD, and stretched from Trafalgar Square to Aldwych. Alfred the Great gradually moved the settlement into the old Roman town of Londinium from around 886 AD onwards, leaving no mark of the old town, and the area returned to fields.


title: Strand, London

text: In the Middle Ages, the Strand became the principal route between the separate settlements of the City of London (the civil and commercial centre) and the royal Palace of Westminster (the national political centre). In the archaeological record, there is considerable evidence of occupation to the north of Aldwych, but much along the former foreshore has been covered by rubble from the demolition of the Tudor Somerset Place, a former royal residence, to create a large platform for the building of the first Somerset House, in the 17th century. The landmark Eleanor's Cross was built in the 13th century at the western end of the Strand at Charing Cross by Edward I commemorating his wife Eleanor of Castile. It was demolished in 1647 by the request of Parliament during the First English Civil War, but reconstructed in 1865.


title: Strand, London

text: The west part of the Strand was in the parish of St Martin in the Fields and in the east it extended into the parishes of St Clement Danes and St Mary le Strand. Most of its length was in the Liberty of Westminster, although part of the eastern section in St Clement Danes was in the Ossulstone hundred of Middlesex. The Strand was the northern boundary of the precinct of the Savoy, which was approximately where the approach to Waterloo Bridge is now. All of these parishes and places became part of the Strand District in 1855, except St Martin in the Fields which was governed separately. The Strand District Board of Works was based at No. 22, Tavistock Street. Strand District was abolished in October 1900 and became part of the Metropolitan Borough of Westminster.


title: Strand, London

text: From the 12th century onwards, large mansions lined the Strand including several palaces and townhouses inhabited by bishops and royal courtiers, mainly on the south side, with their own river gates and landings directly on the Thames. The road was poorly maintained, with many pits and sloughs, and a paving order was issued in 1532 to improve traffic.


title: Strand, London

text: What later became Essex House on the Strand was originally an Outer Temple of the Knights Templar in the 11th century. In 1313, ownership passed to the Knights of St John. Henry VIII gave the house to William, Baron Paget in the early 16th century. Robert Dudley, Earl of Leicester, rebuilt the house in 1563, originally calling it Leicester House. It was renamed Essex House after being inherited by Robert Devereux, 2nd Earl of Essex, in 1588. It was demolished around 1674 and Essex Street, leading up to the Strand, was built on the location by property speculator Nicholas Barbon.


title: Strand, London

text: Arundel House was originally the town house of the Bishops of Bath and Wells. It was owned by William FitzWilliam, 1st Earl of Southampton between 1539 and his death in 1542, with ownership passing to Thomas Seymour in 1545. After Seymour was executed in 1549, the property was sold to Henry FitzAlan, Earl of Arundel, and was owned by the Earldom for much of the 16th and 17th century. In 1666, it became the meeting place of the Royal Society after the Great Fire of London destroyed their previous venue. The house was demolished in 1678 and Arundel Street, adjoining the Strand, was built on the site.


title: Strand, London

text: Somerset House was built by Edward Seymour, Duke of Somerset, regent of England from 1547 to 1549, demolishing three inns and the church of the Nativity of Our Lady and the Innocents in the process. After Somerset was executed in 1552, it became an occasional residence for Princess Elizabeth. When she became Queen in 1558, she returned part of the house to Seymour's family (with ownership passing to his son, Edward Seymour, 1st Earl of Hertford); the remainder was an occasional meeting place for the Royal Society. After Elizabeth's death in 1603, it was owned by Anne of Denmark, wife of James VI and I. The building was renamed Denmark House in commemoration of Anne's brother, Christian IV of Denmark. After James died in 1625, his body lay there intestate for a month. The building was taken over by Parliament in 1645 following the Civil War, renaming it back to Somerset House. It had an irregular series of owners and residents for much of the 18th century until it was demolished in 1775. The house was rebuilt as a series of government buildings. The Stamp Office, later to become the Inland Revenue was established in Somerset House in 1789. In the late 20th century, a number of art galleries were set up on vacant parts, including the Courtauld Institute of Art and the King's College London School of Law.


title: Strand, London

text: Savoy Palace was the London residence of John of Gaunt, King Richard II's uncle and the nation's power broker. In the 14th century the Savoy was the most magnificent nobleman's mansion in England. During the Peasants' Revolt of 1381, rebels, led by Wat Tyler, inflamed by opposition to the poll tax promoted by John of Gaunt, systematically demolished the Savoy and everything in it. In 1512 it was rebuilt as the Savoy Hospital for the poor. It gradually fell into dereliction and was divided into multiple tenancies. It was demolished in 1816–1820 to build the approach road to Waterloo Bridge. eventually being demolished in the 19th century. The Savoy Hotel now occupies this site.


title: Strand, London

text: Durham House, the historic London residence of the Bishop of Durham, was built circa 1345 and demolished in the mid-17th century. It was the home of Anne Boleyn. It had become derelict by the mid-17th century and was demolished in 1660. Durham Street and the Adelphi Buildings were built on its site.


title: Strand, London

text: York House was built as the London residence for the Bishop of Norwich not later than 1237. At the time of the Reformation it was acquired by King Henry VIII and came to be known as York House when he granted it to the Archbishop of York in 1556. In the 1620s it was acquired by the royal favourite George Villiers, 1st Duke of Buckingham, and after an interlude during the Civil War it was returned to George Villiers, 2nd Duke of Buckingham, who sold it to developers in 1672. It was then demolished and new streets and buildings built on the site, including George Street, Villiers Street, Duke Street, Of Alley, and Buckingham Street.


title: Strand, London

text: Cecil House, also called Exeter House or Burghley House, was built in the 16th century by Lord Burghley as an expansion of an existing Tudor house. Exeter House was demolished in 1676 and Exeter Exchange built on the site. A menagerie was built on the upper floors in 1773, which was later run by Edward Cross, who housed lions, tigers, monkeys and hippopotami. In 1826, an elephant, Chunee, nearly broke free from its cage and had to be destroyed; the skeleton was later put on display. The exchange was demolished in 1829, with the menagerie moving to the Surrey Zoological Gardens, and replaced by Exeter Hall, noted for its Evangelical meetings. This was demolished in 1907, and the site is now occupied by the Strand Palace Hotel.


title: Strand, London

text: Other significant palaces along the Strand include Worcester House, formerly the Inn, or residence, of the Bishop of Carlisle, Salisbury House, used for royal lodgings in the 15th and 16th centuries, Bedford House demolished in 1704, Hungerford House, which was demolished and replaced, in turn, by Hungerford Market and Charing Cross station and Northumberland House, a large Jacobean mansion, the historic London residence of the Dukes of Northumberland; built in 1605 and demolished in 1874. Northumberland Avenue now occupies the site. The official residence of the Secretary of State, next door at No. 1 the Strand, became the first numbered address in London.


title: Strand, London

text: Apart from the rebuilt Somerset House, all of these buildings have been demolished and replaced from the 17th century onwards. A New Exchange was built on part of the gardens of Durham House, in 1608–1609, facing the Strand. This high-class shopping centre enjoyed considerable popularity but was eventually destroyed in 1737.


title: Strand, London

text: During the 17th century, many of the grand mansions on the Strand were demolished as the aristocracy moved to the West End. The Duck and Drake tavern on Strand was famed as a venue for the conspirators involved in the Gunpowder Plot. In the time of the Civil War, the Nag's Head tavern was the venue of a meeting between Henry Ireton and some of the Levellers which resulted in the production of "Remonstrance of the Army", demanding the abolition of the monarchy and the trial of King Charles I.


title: Strand, London

text: In the 18th century, coffee and chop houses were established on the street; Twinings was established at No. 206 in 1706 by Thomas Twining, supplier of tea to Queen Anne. The company claims to be the oldest ratepayer in Westminster. The Grecian Coffee House ran from around 1702 to 1803, while Tom's ran from 1706 to around 1775. Though these premises were well-known, the alleyways around the Strand were regular haunts for pickpockets and prostitutes during this time. The Rose Tavern, at the eastern end of the street, was frequented by lawyers during the 18th century. It was later demolished and became Thanet Place. The Crown and Anchor in Arundel Street was the main meeting place for the Catholic Association, and helped established the Roman Catholic Relief Act 1829. It was later used for Catholic politicians such as Daniel O'Connell to address constituents. The original premises burned down in 1854, but was rebuilt. Simpson's-in-the-Strand originally started at No. 100 in 1828 as a smoking and dining club. It later became a restaurant. The Strand was also notable in the 18th century as a centre for the British book trade, with numerous printers and publishers along the street. The prominent bookseller Andrew Millar is an example of one of the most successful publishers who owned a shop there.


title: Strand, London

text: King's College, London was founded in 1828. The historic King's Building, based next to the church of St Mary-le-Strand, was designed by Robert Smirke and constructed in 1829–1831 to complete the riverside frontage of Somerset House. King's College Hospital opened as a branch of the college in 1840, and became a constituent part of the University of London in 1908. The current campus building was constructed between 1966 and 1972 by E.D. Jefferiss Mathews. In 2015, the college acquired Strand House, Bush House and other buildings in the Aldwych Quarter. The Royal Courts of Justice, at the eastern end of the Strand, was designed in the mid-1860s by G.E. Street as a replacement for the older courts at Westminster Hall, though construction was so delayed that he died shortly before Queen Victoria opened the courts in 1882. The West Green extension to the courts opened in 1911, while the Queen's Building opened in 1968.


title: Strand, London

text: The architect John Nash redeveloped the western end of the Strand in the 1830s, including the construction of Charing Cross Hospital, later (1990s) converted for use as Charing Cross police station.


title: Strand, London

text: In the 19th century, much of the Strand was rebuilt, and the houses to the south no longer backed onto the Thames and no longer had direct boat access, separated from the river by the Victoria Embankment constructed in 1865–1870 and reclaiming of land. The street became well known for theatres, and at one point contained more than any other; including the Tivoli Music Hall at No. 65, the Adelphi, Gaiety, Savoy, Terry's and Vaudeville. In the 21st century, only the Adelphi, Vaudeville and Savoy remain. The Piccadilly branch line from Holborn to Aldwych was built partly to serve theatre traffic. The Coal Hole tavern was founded at No. 91 in the early 19th century, and frequented by coal-heavers working on the Thames. The impresario Renton Nicholson held song-and-supper evenings at the inn, featuring tableaux vivants. The actor Edmund Kean established the Wolf Club at the venue, which is now commemorated by the Wolf Room.


title: Strand, London

text: Charing Cross railway station was built on the Strand in 1864, providing a boat train service to Europe, which stimulated the growth of hotels in the area to cater for travellers. These included the Charing Cross Hotel, attached to the station itself. Today, there are several luggage outlets and tourist agents on the Strand, as well as old postage stamp dealers. The philatelist Stanley Gibbons opened a shop at No. 435 in 1891. It moved to No. 391 in 1893, and is now currently based at No. 399.


title: Strand, London

text: The Strand Palace Hotel was designed by F.J.Wills and constructed in 1925–1930. The entrance was rebuilt in 1968, with the original being moved to the Victoria and Albert Museum. The Strand underwent extensive redevelopment in the mid-20th century. The length of road from St Mary's eastwards up to St Clement's was widened in 1900, subsuming the former Holywell Street which forked from the Strand and ran parallel with it to the north, leaving the two churches of St Mary Le Strand and St Clement Danes as islands in the centre of the road. Gaiety Theatre was demolished, to be replaced by Citibank House, while Villiers House and New South Wales House were both built in 1957–1959. New South Wales House was subsequently demolished in 1996 and replaced by an office block. In 1998, a statue of Oscar Wilde was built at the junction of Adelaide Street and Duncannon Street, adjoining the western end of the Strand.


title: Strand, London

text: As of 2022, the Strand is being pedestrianised between Melbourne Place and Lancaster Place, and Aldwych has been converted into a two-way street.


title: Strand, London

text: The church of St Clement Danes is believed to date from the 9th century. The name may have come from Harold Harefoot, a Danish king who ruled England around 1035–1040 and is buried in the church, or from a place of refuge for Danes after the conquest of Alfred the Great. It was transferred to the Order of the Knights Templar by Henry II in 1189. It survived the Great Fire in 1666, but was declared unsafe and rebuilt by Christopher Wren in 1679. The building was damaged during the Blitz in 1941, gutting much of the interior, and was rebuilt in 1958 by Sam Lloyd, since when it has served as the central church of the Royal Air Force. The church is one of two possible origins for the "St Clement's" in the nursery rhyme "Oranges and Lemons", though more contemporary accounts suggest St Clement's, Eastcheap in the City of London to be more likely.


title: Strand, London

text: St Mary le Strand was designed by James Gibbs and completed in 1717, to replace a previous church demolished to make way for Somerset House. It was the first building to be designed by Gibbs, who was influenced by Wren and Michelangelo. The column on top of the church was originally designed to support a statue of Queen Anne, but was replaced with a spire following Anne's death in 1714. It survived the Blitz but was in poor shape until John Betjeman led a campaign to restore it in the 1970s. Essex Street Chapel, the birthplace of British Unitarianism, abuts onto the Strand. The original chapel was built in 1774, but damaged in the Blitz. It was restored after the war, and now serves as the denominational headquarters of the General Assembly of Unitarian and Free Christian Churches.


title: Strand, London

text: The print seller Rudolph Ackermann lived and worked at No. 101 The Strand between 1797 and 1827. His shop was one of the first to have gas lighting fitted.


title: Strand, London

text: In the 19th century, The Strand became a newly fashionable address and many avant-garde writers and thinkers gathered here, among them Thomas Carlyle, Charles Dickens, John Stuart Mill, Ralph Waldo Emerson and the scientist Thomas Henry Huxley. No. 142 was the home of radical publisher and physician John Chapman, who published contemporary authors from this house during the 1850s and edited the journal "Westminster Review" from 1851. George Eliot lived at No. 142 between 1851 and 1855. Virginia Woolf regularly travelled along the Strand, and a King's College building named after her is in nearby Kingsway.


title: Strand, London

text: The Strand is the subject of a famous music hall song "Let's All Go Down the Strand", composed by Harry Castling and C. W. Murphy. The song opens with a group of tourists staying the night at Trafalgar Square while about to embark for the Rhineland. The chorus of "Let's all go down the Strand – have a banana" is now recognised as a stereotypical part of Cockney music hall and parodied by English comedian Bill Bailey. John Betjeman used the title of the song for a television documentary made for Associated-Rediffusion in 1967. The same year, Margaret Williams used it for a stage comedy. English composer Percy Grainger used the name for his 1911 piano trio "Handel in the Strand".


title: Strand, London

text: Virginia Woolf wrote about the Strand in several of her essays, including "Street Haunting: A London Adventure," and the novel "Mrs. Dalloway". T. S. Eliot alluded to the Strand in his 1905 poem "At Graduation" and in his 1922 poem "The Waste Land" (part III, The Fire Sermon, v. 258: "and along the Strand, up Queen Victoria Street"). John Masefield also referred to a "jostling in the Strand" in his poem "On Growing Old". The street name also figures in the 1958 poem "Buses on the Strand" by Richard Percival Lister, which in 2013 was featured as part of TFL’s "Poems on the Underground" scheme, appearing in tube carriages all over London.


title: Strand, London

text: "The Strand Magazine", which began publishing in 1891, was named after the street. A BBC World Service arts and culture radio series was called "The Strand". Bush House, situated on the Strand, was home to the World Service between 1941 and 2012.


title: Strand, London

text: The standard British "Monopoly" board has Strand in a group with the nearby Fleet Street and Trafalgar Square.


title: Kayden Carter

text: Allyssa Lyn "Lacey" Lane (born May 20, 1988) is an American professional wrestler currently signed to WWE under the ring name Kayden Carter, performing on the NXT brand. She is a current NXT Women's Tag Team Champion with Katana Chance.


title: Kayden Carter

text: Lane was born to a Jamaican father and Filipino mother. She played basketball at Monroe Community College before transferring to Shaw University.


title: Kayden Carter

text: Lane enrolled in the Team 3D Academy in 2016, and wrestled regularly for a number of different Florida-based independent promotions. Her first public match was a winning effort against Trish Adora for the "Go Wrestle" promotion in Daytona Beach in August 2016. Lane had a tryout at the WWE Performance Center in February 2017, after which she was offered a developmental contract. However, a physical examination revealed arthritis in her knee, and the contract was rescinded. Lane spent four months rehabbing her knee, and in November 2017 she joined The Crash Lucha Libre in Tijuana, Baja California, Mexico, eventually winning their Women's Championship from Keyra on January 20, 2018. She held the title for 175 days before losing it to Tessa Blanchard in a triple threat match that also included Santana Garrett on July 14, 2018.


title: Kayden Carter

text: After passing a second physical, Lane signed with WWE in July 2018. Lane took part in that year's Mae Young Classic, defeating Vanessa Kraven in the first round and Taynara Conti in the second round, before being defeated by Meiko Satomura in the quarterfinals. In September 2019, Lane's ringname was changed to Kayden Carter. On the January 29, 2020 episode of "NXT", Carter had her first victory on television, defeating Chelsea Green. She was defeated in their rematch on the February 19 episode of "NXT". On the September 16 episode of "NXT", Carter teamed with Kacy Catanzaro in a winning effort against Jessi Kamea and Xia Li. The following week, she competed in a battle royal to determine the number one contender for the NXT Women's Championship, but was eliminated by Raquel González. On the September 30 episode of "NXT", Carter fought with Li and defeated her, offering a hand after the match but was pushed to the mat instead.


title: Kayden Carter

text: Carter and Catanzaro took part in the 2021 Women's Dusty Rhodes Tag Team Classic tournament, defeating Mercedes Martinez and Toni Storm in the quarterfinals, but were beaten by Dakota Kai and Raquel González in the semifinals. They would then feud with Xia Li after constantly being attacked by her throughout the following weeks. On the March 10 episode of "NXT", Carter lost to Li by disqualification after Catanzaro hit the latter with a crutch. They would lose to Li in a handicap match on the March 31 episode of "NXT", with Carter being knocked out on the ramp by Tian Sha's Mei Ying. Carter and Catanzaro announced on the May 4 episode of "NXT" that they decided to leave Li alone. On the July 27 episode of "NXT", they defeated Franky Monet and Jessi Kamea. On the August 24 episode of "NXT", after defeating Gigi Dolin and Jacy Jayne, Carter and Catanzaro announced that they're going after the NXT Women's Tag Team Championship. They got their chance on the following week's episode, losing to champions Io Shirai and Zoey Stark. Catanzaro and Carter entered the 2022 Women's Dusty Rhodes Tag Team Classic where they defeated Diamond Mine's Ivy Nile and Tatum Paxley in the first round but lost to Kay Lee Ray and Io Shirai in the semi-finals. After defeating Yulisa Leon and Valentina Feroz on the April 26 episode of NXT, Chance and Carter pursued the NXT Women's Tag Team Championship where they failed to win the titles at NXT In Your House from Toxic Attraction. After losing, Chance and Carter began a slow heel turn where they failed to become #1 contenders for the NXT Women's Tag Team Championship which they lost on the June 28 episode of NXT to Cora Jade and Roxanne Perez. Carter and Chance won the vacant NXT Women's Tag Team Championship in a fatal four way elimination match, lastly eliminating Toxic Attraction, on the August 2 episode of NXT, marking Chance's first professional title and Carter's first title in WWE.


title: Citroën Traction Avant

text: The Citroën Traction Avant () is the world’s first unibody front-wheel-drive car. A range of mostly 4-door saloons and executive cars, were made with four or six-cylinder engines, produced by the French manufacturer Citroën from 1934 to 1957. Approximately 760,000 units were produced.


title: Citroën Traction Avant

text: Whilst front-wheel drive and independent suspension had been established in the mass market by Auto Union and subsequently others some years before, the Traction Avant pioneered mass-production of a crash resistant, unitary, monocoque body. Additionally, the car was also an early adopter of rack and pinion steering.


title: Citroën Traction Avant

text: Although the car's name emphasized its front-wheel drive power delivery ("Traction Avant" literally means “front traction”), the car stood out at least as much by its much lower profile and stance – made possible by the absence of a separate chassis under the car's unitary body – sharply distinguishing it visually from its contemporaries.


title: Citroën Traction Avant

text: The Traction Avant, French for front-wheel drive, was designed by André Lefèbvre and Flaminio Bertoni in late 1933 / early 1934.


title: Citroën Traction Avant

text: The Traction Avant was a late entrant into the growing front-wheel drive market in Europe, competing with the well established DKW and Adler models and joining other entrants at around the same time such as the BSA Scout. Front-wheel drive had appeared in the previous decade through luxury vehicle manufacturers Alvis, which built the 1928 Racing FWD in the UK, and Cord, which produced the L29 from 1929 to 1932 in the United States. Ultimately, the inline engine front wheel drive layout of cars like the Citroën Avant was to be a dead end and virtually all modern mass-produced front wheel drive cars use the transverse engine layout, as pioneered by DKW from 1931.


title: Citroën Traction Avant

text: The Traction Avant's structure was a welded unitary body / chassis. Most other cars of the era were based on a separate frame (chassis) onto which the non-structural body ("coachwork") was built. Unitary construction (also called Unit Body or "Unibody" in the US) results in a lighter vehicle, and is now used for virtually all car construction.


title: Citroën Traction Avant

text: This unitary body saved in steel per car. It was mass-produced, using innovative technology purchased from the American firm Budd Company. Weight reduction was a motivation for Citroën that American manufacturers of that time did not have.


title: Citroën Traction Avant

text: This method of construction was viewed with great suspicion in many quarters, with doubts about its strength. A type of crash test was conceived, taking the form of driving the car off a cliff, to illustrate its great inherent resilience.


title: Citroën Traction Avant

text: The novel design made the car very low-slung relative to its contemporaries – the Traction Avant went from appearing rakish in 1934 to familiar and somewhat old fashioned by 1955.


title: Citroën Traction Avant

text: The suspension was very advanced for the car's era. The front wheels were independently sprung, using a torsion bar and wishbone suspension arrangement, where most contemporaries used live axle and cart-type leaf spring designs. The rear suspension was a simple steel beam axle and a Panhard rod, trailing arms and torsion bars attached to a steel tube, which in turn was bolted to the main platform.


title: Citroën Traction Avant

text: Since it was considerably lighter than conventional designs of the era, it was capable of 100 km/h (62 mph), and consumed fuel only at the rate of .


title: Citroën Traction Avant

text: The scale of investment in production capacity reflected André Citroën's ambitions for the car. Site preparation began during the winter of 1932/33, and on 15 March 1933 demolition of the existing factory started. Construction of the new factory started on 21 April, and by the end of August the building's shell had been erected, four times the size of the factory that it replaced, and using of structural iron and steel. All this was achieved while continuing to produce several hundred Rosalies every day. With characteristic showmanship, André Citroën celebrated by inviting 6,000 guests – mostly dealers and agents and others who would be involved in selling and promoting the car – to a spectacular banquet in the new and, at this stage, still empty factory, on 8 October 1933. Citroën's gesture quickly came to be seen as hubristic, as the ensuing months became a race against time to finish the development of the car and tool up for its production before his investors lost patience.


title: Citroën Traction Avant

text: In the end, the first car was presented at Citroën's huge Paris showroom on 18 April 1934, by which time principal dealers had already had their own private unveiling on 23 March. There had been much chatter and speculation; before April 1934 the details of the car had been kept remarkably quiet outside the walls of the Quai de Javel plant. Volume production formally started on 19 April 1934. Although the revolutionary unitary bodyshell was, according to most reports, not affected by the rushed launch schedule, problems with transmission joints and the hydraulic brakes – another "first" in a volume car in Europe – reflected the financial pressure to get the car into production as quickly as possible.


title: Citroën Traction Avant

text: Traction Avant, which translates as "front wheel drive," is not the official name. The car was named according to the French fiscal horsepower rating, or CV, used to determine annual car tax levels. However, manufacturers did not change the model name every time a change of engine size caused a change in fiscal horsepower.


title: Citroën Traction Avant

text: For example, in 1934, Citroën introduced the "7", unofficially the "7A". They continued calling the car 7 when the "7B" model's larger engine pushed it into the 9 CV tax band. Other designations were "11", "15/6" into the 16 CV tax band and "22".


title: Citroën Traction Avant

text: In September 1939, France declared war on Germany, and in June 1940 the German Army rapidly invaded and occupied Northern France. The war years were characterised by a desperate shortage of raw materials for civilian industry and of petrol, but these factors were not apparent instantly. The Paris Motor Show scheduled for October 1939 was cancelled at short notice; Citroën’s own planned announcements had involved the forthcoming 2CV model rather than any significant changes to the Traction. For the Traction Avant, the last “normal” year in terms of production levels was 1939, and 8,120 of the 7C model, with wheelbase and , were produced. This tumbled to 1,133 in 1940, which was the first year when the plant suffered serious bomb damage – on this occasion caused by a German air attack – on 3 June 1940. Production of the cars was suspended in June 1941; by then a further 154 had been produced in the previous six-month period. The 7C would continue to appear in Citroën price-lists until March 1944, but production of this smaller engined 7CV was not resumed after the war. For the more powerful 1911 cc engined 11 B-light models, the equivalent figures were 27,473 units produced in 1939, 4,415 in 1940 and 2,032 for 1941, though for this model production in 1941 ended only in November 1941 so the figure for that year represents 11 months of production.


title: Citroën Traction Avant

text: In 1945, production restarted only slowly: the 11 B-light reappeared very little changed from the 1941 cars except that headlight surrounds were now painted rather than finished in chrome. By the end of December 1945, the year’s production had reached 1,525. Currency depreciation is evident from the car’s listed price, which had been 26,800 francs in January 1940, and had risen to 110,670 francs in October 1945. In 1945, the car was the only model available from Citroën, and as another sign of the times, customers not able to supply their own tires were charged an additional 9,455 francs for a set of five. In May 1946, presumably reflecting an easing of the war-time tire shortage, the car could at last be purchased with tires at no extra cost, but by now the overall price of an 11 B-light had risen to 121,180 francs.


title: Citroën Traction Avant

text: The 11 B-normal model, differentiated from the 11 B-light by its wheelbase, experienced a similar drop in sales volumes between 1939 and 1941, with just 341 cars produced during the first seven months of 1941. After the war, a single 11 B-normal was produced in 1946, in time to be presented at the October 1946 Paris Motor Show: production built up during 1947, but during the car’s ten-year post-war production period, the shorter 11 B-light would, in France, continue to outsell the 11 B-normal.


title: Citroën Traction Avant

text: Initially the French Army lacked enthusiasm for the Traction Avant, believing it offered insufficient ground clearance for their needs. Nevertheless, by September 1939, roughly 250 had found their way into military service. With losses of cars at the frontier mounting, Citroën supplied a further 570 to the Army between February and May 1940, and subsequent deliveries probably took place before military defeat intervened. During the war many of the cars were reregistered with "WH..." (Wehrmacht Heer/Army command) license plates, having been requisitioned by the German Army. These gave reliable service both in France and further afield, notably in Libya and Stalingrad. Traction Avants were also favoured by the Resistance, and as occupation gave way to Liberation they turned up all over France with FFI inscribed proudly on their doors. Less gloriously, the cars were known as favourites among gangsters such as Pierrot le Fou and his Traction gang.


title: Citroën Traction Avant

text: The original model was a small saloon with a wheelbase, and a engine: this model was called the 7A. All the models have front suicide doors with rear conventional doors. After just 2 months, with about 7,000 cars produced, the 7A was succeeded in June 1934 by the 7B which used a higher-power engine of and provided two windscreen wipers in place of the single wiper on the original production cars. The manufacturer also took the opportunity to make a start on addressing some of the other initial "under the skin" teething problems.


title: Citroën Traction Avant

text: By September 1934, 15,620 7Bs had been produced before it, in turn, was succeeded in October 1934 by the 7C with an even higher-output engine.


title: Citroën Traction Avant

text: Later models were the 11CV (launched in November 1934), which had a four-cylinder engine, and the 15/6 (launched June 1938), with a six. The 11 was an 11 CV, but curiously the 15/6 was in the 16 CV tax band. The 11 was built in two versions, the 11BL ("légère", or "light"), which was the same size as the 7 CV, and the 11B ("Normale", or "normal"), which had a longer wheelbase and wider track.


title: Citroën Traction Avant

text: For 1936, at the 29th Paris Motor Show in October 1935, various modifications were on show. At the front, painted front grilles replaced chrome ones and the headlight covers were restyled. The changes at the back were more practical and involved an opening luggage hatch/lid: it was no longer necessary to clamber over the back seats to get at the luggage space at the rear of the passenger cabin (although the overall size of the luggage locker remained at this stage rather restricted). The opening boot/trunk lid made it necessary to reposition the rear number plate, previously under most circumstances centrally mounted just above the bumper, and now mounted on the rear-wing on the left side. On the original cars, it had been possible to access the fuel tank using capped filler openings on either side, but now the left fuel filler cap was removed, and filling the fuel tank had to be done using the filler on the right side. Two months later, the radical "Pausodyne" suspension was modified, now incorporating conical rubber rings at the front.


title: Citroën Traction Avant

text: In May 1936, recently developed new technology was added - rack and pinion steering replaced the relatively imprecise "worm and roller" steering system.


title: Citroën Traction Avant

text: Despite Citroën's attention to the perceived shortcomings of the earlier Tractions, significant numbers of customers still opted for the manufacturer's old rear-wheel drive models which, in 1936, still accounted for more than 10 per cent of the factory's output.


title: Citroën Traction Avant

text: To expand the customer base, the car was made as an extended length "Familiale" (family) model with three rows of seats, seating 9 adults. The middle row could be folded away when not in use, making for cavernous rear legroom when configured with two rows. This layout was carried forward to 1991 with the "Citroën DS Familiale" and the "Citroën CX Familiale."


title: Citroën Traction Avant

text: The first hatchback automobile was called the "11 CV Commerciale" (commercial), and was built on this same elongated chassis. On this model, the tailgate was in two halves, the lower of which folded down to form a platform, and carried the spare wheel. The upper opening cut into the roof level. A one-piece top-hinged tailgate was introduced when the "Commerciale" resumed production after World War II. This car was marketed to grocers, butchers, and other tradesmen.


title: Citroën Traction Avant

text: Left-hand drive versions were built in Paris and Forest, Belgium. 550 additional cars were built in Copenhagen, Denmark for tax purposes - special 2-door commercial vans.


title: Citroën Traction Avant

text: Citroën planned two variants that never entered production, since there was insufficient funding to develop them, except as running prototype vehicles. One was an automatic transmission-equipped model, based on the Sensaud de Lavaud automatic transmission, the other a 22 CV model with a 3.8 litre V8.


title: Citroën Traction Avant

text: The transmission (which was actually originally designed for the Citroën) was a "gearless" automatic, using the torque-converter alone to match engine revolutions to the drivetrain revolutions, much like the Dynaflow Transmission introduced later in the USA. The car was supposed to have a less spartan interior than the other Traction Avants and it was to feature Citroën's own new V8 engine. About twenty prototypes were made, but the project was canceled at the start of 1935 after the company's bankruptcy and resulting Michelin takeover, which rapidly led to a level of financial discipline that the company had hitherto heroically failed to apply. The prototype 22CVs were probably all destroyed. According to some sources they got the standard front and the ordinary four cylinder as was sold as 11CV. The 22CVs sometimes shown today are recreations, usually powered by Ford flathead engines.


title: Citroën Traction Avant

text: In addition to the 4-door body, before the war, the factory also produced a 2-door coupé with a rumble seat, and a convertible also with a rumble seat.


title: Citroën Traction Avant

text: The six-cylinder, 2876 cc model was used as a "Test Bed" for the introduction of the Hydropneumatic suspension that underpinned the revolutionary Citroën DS19 that was launched at the Paris Motor Show in 1955. The suspension was fitted to the rear suspension of the 15/6 H with a lever in the boot to permit the ride height to be modified. A dashboard-mounted override control was fitted to allow the rear suspension to be locked in normal ride height when parked, so the car did not drop in response to loading and unloading. It automatically released when the clutch was operated when driving off. A belt driven high-pressure pump was added and an under-bonnet reservoir to hold the "LHS" hydraulic fluid. Many of the hydraulic parts were interchangeable with the early DS 19 models (which also had hydraulic disk brakes, hydraulically assisted steering and a hydraulically operated "semi-automatic" gearbox).


title: Citroën Traction Avant

text: These other hydraulic features were not fitted to the 15/6 H, which ceased production in 1956, one year after the arrival of the DS.


title: Citroën Traction Avant

text: Right-hand drive cars were built at Slough Trading Estate, England. The Slough version of the 11L was called the "Light Fifteen" and the long wheelbase 11 was called the "Big Fifteen." This confusing terminology referred to the British fiscal tax rating of the time, which was higher than the French, so the 11CV engine was 15HP in England.


title: Citroën Traction Avant

text: A Light Fifteen tested by the British magazine "The Motor" in 1951 had a top speed of and could accelerate from 0– in 29.7 seconds. A fuel consumption of was recorded. The test car cost including taxes.


title: Citroën Traction Avant

text: A six-cylinder model was tested by the same magazine in 1954 and for this car the top speed found was , acceleration from 0– 21.2 seconds and fuel consumption . The test car cost including taxes.


title: Citroën Traction Avant

text: Models assembled in Slough had to consist of 51 per cent UK parts to make them exempt from the import taxes imposed by the UK government to protect British vehicle manufacturers from foreign competition. The Slough-built cars used 12-volt Lucas electrics, headlights, dynamo and starter. The interior had a walnut dash board with Jaeger instruments, Connolly Leather seats and door panels and a wool headlining. The exterior was fitted with United Kingdom bumpers and over-riders and a chrome grille, with the Citroën chevrons mounted behind. Some were fitted with a sunroof. Most of the Slough-built cars were right-hand drive, although a small number of British specification, left-hand drive cars were also built.


title: Citroën Traction Avant

text: The Traction Avant used a longitudinal, front-wheel drive layout, with the engine set well within the wheelbase, resulting in a very favourable weight distribution, aiding the car's advanced handling characteristics. The gearbox was placed at the front of the vehicle with the engine behind it and the differential between them, a layout shared with the later Renault 4 and 16 and first generation Renault 5, but the opposite way round to many longitudinal front-wheel drive cars, such as the Saab 96, Renault 12 and 18 and most Audi models.


title: Citroën Traction Avant

text: The gear change was set in the dashboard, with the lever protruding through a vertical, H-shaped gate. Because this vertical orientation could have resulted in the car dropping out of gear when the lever was in the upper positions (i.e. second or reverse gears), the gear-shift mechanism was locked when the mechanical clutch was engaged and released when the clutch pedal was depressed. The result of this layout, along with pendant pedals, umbrella-type handbrake control and front bench seats, was a very spacious interior, with a flat and unobstructed floor. The low-slung arrangement also eliminated the need for running boards to step into or out of the vehicle. These features made them ideal for use as limousines and taxi cabs, and they were quite popular among drivers and passengers alike. Until 1953, black was the only colour available.


title: Citroën Traction Avant

text: Another technical significance of Traction Avant was the cast aluminium alloy transaxle, which was quite radical at the time.


title: Citroën Traction Avant

text: As well as being a considerable part of the weight savings, the manufacturing facility for this transaxle contributed to the below mentioned financial crisis. But when John Cooper looked for a light transaxle case for Formula One rear engine revolution, the Traction Avant unit was about the only candidate, as the Volkswagen magnesium alloy transaxle was much smaller and lacked the space needed to house heftier gears needed for Formula One. The Traction Avant transaxle was used on Cooper T43, which won a F1 championship race as the first mid-mounted engine car to do so in 1958, and on its successors Cooper T45, T51 and T53. Cooper T51 won the GP World Championship in 1959.


title: Citroën Traction Avant

text: Unlike the Volkswagen alloy case used by Hewland, the Traction Avant case could not be used upside down, as the input shaft height was much higher in relation to the output shaft axis so that the oil level needed to lubricate the gears would exceed the then unreliable input shaft oil seal height if used upside down. So the engine needed to sit high above the ground with the oil sump space below, which was not needed by dry-sump racing engines. But the French transaxle was used by several racing car constructors in the late 1950s to 60s with various levels of success.


title: Citroën Traction Avant

text: In the case of Jack Brabham, who personally visited the ERSA foundry in Paris to discuss a possibility to strengthen the case, the transaxle became known as "ERSA Knight" with an additional spur-gear set mounted in the bellhousing spacer (engine to transaxle adapter) suggested by Ron Tauranac, named for Jack Knight who designed the modification and made the straight-cut gears. The height offset created by the spur gear set enabled the engine to sit lower, and became the reason why Cooper T53 was called the 'Lowline', which not only made Brabham the World Champion in 1960 but also became the precursor to the establishment of Brabham as a Formula One constructor.


title: Citroën Traction Avant

text: The development costs of the Traction Avant, combined with the redevelopment of its factory, were very high and Citroën declared bankruptcy in late 1934. The largest creditor was Michelin, who then owned Citroën from 1934 until 1976. Under Michelin, Citroën was run as a research laboratory, a test bed for their radial tires and new automotive technologies.


title: Citroën Traction Avant

text: In 1954, Citroën's experiments with hydropneumatic technology produced its first result, the "15/6 H" – a variant of the 6-cylinder model 15/6 with a self-leveling, height-adjustable rear suspension, a field trial for the DS released the following year.


title: Citroën Traction Avant

text: Directly after the introduction of the Citroën ID, a simplified and more competitively priced version of the expensive DS model, production of the Traction Avant ended in July 1957.


title: Citroën Traction Avant

text: Over 23 years, 759,111 had been built, including 26,400 assembled in Slough in England, 31,750 assembled in Forest near Brussels, 1,823 assembled at Cologne in Germany, and 550 built in Copenhagen, Denmark. The total reflects the production stoppage during World War II.


title: Citroën Traction Avant

text: According to Internet Movie Cars Database, the Traction Avant has made over 1,300 film/TV appearances, including prominent roles in "The Sound of Music" (1965) and the French films "Army of Shadows" (1969) and "Diva" (1981). One was seen in the 2017 BBC TV production of "SS GB". A brief scene towards the end of "The Great Escape" (1963) shows a Traction Avant arriving at a sidewalk cafe, where resistance members gun down three SS officers.


title: Citroën Traction Avant

text: In 2006, the oldest surviving 7A has production number ("coque nr") AZ 00-18, and is displayed in partly dismantled shape (engine and front wheels detached) in the Citroën Museum in Paris. The oldest running 7A is probably number AZ-00-23, which was, until 1 September 2006, in possession of a Dutch owner and is now with a Slovenian owner.


title: Citroën Traction Avant

text: Traction Avants are fairly robust vehicles even by modern standards, but they may be prone to leaking water inside the cabin. Every four years, Traction Avant enthusiasts ship or drive their vehicles to an exotic location for the ICCCR (International Citroën Car Clubs Rally). In 2002, for example, a group of more than 30 Traction Avants drove from Los Angeles to New York City without incident. .


title: Ares (DC Comics)

text: Ares (also sometimes Mars) is a fictional character appearing in DC Comics publications and related media. Based on the eponymous Greek mythological figure, he is the Olympian god of war and a major recurring adversary of the superhero Wonder Woman. He has been featured significantly as a persistent foe throughout every era of Wonder Woman's comic book adventures, and in many adaptations of her stories in other media.


title: Ares (DC Comics)

text: Ares first appeared in "Wonder Woman" #1, published in the summer of 1942, written by Wonder Woman creator William Moulton Marston. His introductory panels name him as Ares, though the narration goes on to note that he is "now called" by his Roman name Mars. He would be known by that name (with sporadic exceptions) for the next 45 years, until creative team George Pérez and Greg Potter restored the Greek name Ares as part of their reboot of the Wonder Woman comic book mythos in 1987.


title: Ares (DC Comics)

text: As the narrative continuity of Wonder Woman comics has been adjusted by different writers and artists throughout the years, various versions of Mars/Ares (with various personalities and physical appearances) have been presented, though most have been depicted wearing Greek hoplite or Roman gladiator armor. The character's longest-running look, designed by George Pérez, is that of a red-eyed Greek warrior clad in black and indigo battle armor, face hidden by an Attic helmet. After DC's continuity was rebooted in 2011 (an event known as "The New 52"), the character cycled through several divergent visual interpretations (including one inspired by the physical appearance of then-writer of "Wonder Woman", Brian Azzarello) before returning to his Pérez-inspired warrior design.


title: Ares (DC Comics)

text: The character has appeared in various forms of media. He has been voiced in animated TV and film by actors Alfred Molina, Fred Tatasciore and Michael York, and portrayed on-screen in the DC Extended Universe by David Thewlis in the films "Wonder Woman" (2017) and "Zack Snyder's Justice League" (2021).


title: Ares (DC Comics)

text: During most of the Golden Age, Silver Age, and Bronze Age of Comic Books, Ares was called Mars. His visual depiction remained faithful to Harry G. Peter's original design throughout the Golden and Silver Ages: a brawny, clean-shaven figure in Greco-Roman battle armor, a pair of entwined serpents emblazoned across the breastplate. In the character's first appearance, his armor was depicted as gold. Subsequent Golden Age appearances vary the armor's coloration, rendering it as bronze with green filigree, and later as pale violet with bronze filigree. Mars' Silver Age appearances maintained Peter's character design, but altered the color once again, this time to gray.


title: Ares (DC Comics)

text: His debut appearance sees Mars seeking to realize his vision of eternal war and conflict in the world of man. He is chiefly opposed by Aphrodite, goddess of love, who seeks to realize a contrary vision of loving civilization. The men who worship Ares kill each other and their weaker brothers, selling women cheaper than cattle. When Ares taunts Aphrodite with his successful plans, Aphrodite creates a new race of women, the Amazons, from clay. They build a city-state called Amazonia, where they create a women-centered civilization for spreading the gospel of Aphrodite's Way. They are stronger than Ares's men. Hippolyta is granted a golden girdle that makes her invincible.


title: Ares (DC Comics)

text: Mars eventually creates a home base on the planet of Mars and enslaves its superpowerful population to serve him and his chief deputies, the Duke of Deception, the Count of Conquest and the Earl of Greed. Mars' "aide-de-camp" is General Destruction. He uses Mars as an interplanetary headquarters, supplementing the enslaved Martian population with the spirits of the dead he collects from war zones on multiple planets, including Saturn and Earth. Slave spirits become embodied after being ferried to the planet Mars, where they are subjected to strength tests to determine their best use, whether as gladiators, personal slaves, or factory workers. The very strongest are trained and given new bodies to be sent to wage future wars on Earth. He also sets up the Injustice Court for humiliating slaves and meting out punishments. Mars' Earth base was beneath Mount Olympus and run by the Count of Conquest.


title: Ares (DC Comics)

text: From this base, he seeks to defeat the Allied cause in World War II, sending thoughts of conquest, deception, and greed into the Axis leaders via astral projection, but he finds himself repeatedly thwarted by the Amazon champion Wonder Woman. When Wonder Woman rescues Steve Trevor from Mars, the War God orders his three lieutenants to capture her. The Earl of Greed is sent and enlisted German aid, along with convincing the Dean of Holiday College to rob it, but was imprisoned after failing. The Duke of Deception gains Japanese help and captures Wonder Woman, but she escapes before she leaves Earth, and he is imprisoned. The Count of Conquest gains Italian help and, by trickery, succeeds in shackling Wonder Woman and Steve Trevor and brings them to Mars. Greed and Deception are released while Wonder Woman is imprisoned in the dungeons. However, with the help of Etta Candy's spirit form, Wonder Woman escapes and overpowers Mars, whose Iron Palace is destroyed by his weapons, though he survives. The Duke of Deception tries many times to defeat Wonder Woman, but fails despite his cunning and incredible technology, and Mars finally strips him of his mighty appearance, showing him to be a weak, toothless man. The Duke of Deception, after being set with the female slaves, causes them to rebel and briefly rules Mars.


title: Ares (DC Comics)

text: Mars repeatedly tangles with Wonder Woman on Earth-One and Earth-Two. During a period when Diana abandons her powers to live among the world of men, as the Amazons retreat temporarily to another dimension, Mars (calling himself Ares this time) and his children Phobos, Deimos, and Eris battle the Amazons to secure from Hippolyta the secret to domination of all dimensions of existence. Later, he enlists his descendant Helen Alexandros to become the Silver Swan.


title: Ares (DC Comics)

text: His final scheme before the history-changing battle of the "Crisis on Infinite Earths" is to ally himself with Hades and the Anti-Monitor to subdue the Gods of Olympus. As Wonder Woman engages him in final battle, Steve Trevor frees the gods, and Hades' wife Kore appeals to her husband with a message of love, leaving Mars isolated.


title: Ares (DC Comics)

text: Despite being Zeus's son, Ares never fit in with the other gods of Olympus and creates his own realm, the Areopagus. Aphrodite, the patron of the Amazons, swears that her women will save the world with love from the hatred and warfare of Ares. Through his deceit and manipulations, Ares deposes Hades and becomes ruler of the underworld.


title: Ares (DC Comics)

text: Ares attempts to destroy the Amazons, using Hercules against them, who sacks the island, but Diana is born and raised just in time to fight Ares as Steve Trevor's plane, driven by one of Ares's human puppets, crashes into Paradise Island. His plot is to instigate a nuclear war between the United States and Russia, but Diana traps him in her magic lasso and shows how this would lead to his own disappearance, with no one to worship him. Ares tasks her with "saving mankind from themselves", promising to return if she fails.


title: Ares (DC Comics)

text: Although Ares abandons his plans, he possess an unimportant criminal Ari Buchanan and changes his name to "Ares Buchanan". He climbs the business ladder by providing high-tech weapons for gang wars. As Buchanan, he has a relationship with his lawyer, Donna Milton, who is Circe in disguise, although not even she knows it. Milton conceives a daughter, Lyta Milton, who possesses a great amount of magic. Ares did not care much about Donna, shooting her while she was pregnant. Circe, as Donna, later tries to help Diana out of a trap laid by Ares. She uses the last of her forces to shoot a gun that produces a sort of mini-black hole that absorbs Ares. Diana, the child, and she survive.


title: Ares (DC Comics)

text: As opposed to ancient times, the roles of various gods are shown to have altered somewhat according to modern practices and beliefs. Accordingly, the faith-based power Ares's father Zeus receives proves to be very much diminished. Other gods such as Athena, Aphrodite, and Ares began to gain more power due to the appearance of the computer age, love never diminishing, and conflict remaining consistent. Thus, the three godly siblings eventually take over Olympus.


title: Ares (DC Comics)

text: Realizing that conflict proves to maintain his strength over the output of war, Ares changes his title to the God of Conflict. To celebrate this change, he alters his appearance to a more approachable visage. His rule under this name proves to be short-lived, though, as Hades is overthrown and Ares is all too eager to take up the mantle of God of the Dead.


title: Ares (DC Comics)

text: Realizing that a crossroads for the gods of Olympus is at hand, Ares confides in his half-sister Cassie Sandsmark about a future war. In exchange for additional powers, he asks only for her love. He travels to Themyscira and kidnaps his daughter Lyta, who is under the protection of the Amazons. Circe confronts Ares and is surprised to learn of his new godly title. She agrees to remain as his consort and to raise their daughter in the Underworld.


title: Ares (DC Comics)

text: During Ares' family bonding with Cassie, he blesses her with a powerful lasso able to expel Zeus's lightning in times of anger. Ares appears to Cassie repeatedly to warn her about "the coming war". In one story, the Teen Titans are thrown 10 years into the future, where Cassie has inherited the mantle of Wonder Woman after Diana's death. She is also referred to as "Ares's champion".


title: Ares (DC Comics)

text: Ares later appears to Cassie, informing her that the gods are leaving this plane and Zeus is taking the power he had granted Cassie. In exchange for acknowledging their siblinghood and becoming his champion, he offers her some of his power, saying only that she would be "more powerful than [she has] ever been". The full extent of Cassie's powers has not been revealed, though some indication exists that she has retained all of her former powers at this point.


title: Ares (DC Comics)

text: During the events of "Amazons Attack!", it is discovered that Ares left Circe and kidnapped their daughter to raise on his own. As Lyta and he were only spoken of during the storyline, their presence is yet unknown.


title: Ares (DC Comics)

text: Shifting himself into the future, Ares steals the dead body of Wonder Woman and brings it back into the present. He manipulates several villains to use the body to create his bride and chief agent Genocide. He imbues this new creature with his own magical dominance, causing the new being's persona to be not only more deadly but completely obedient to him. Ares's plans to destroy the present-day Wonder Woman go awry when Diana destroys Genocide, leaving the monster's dead body to drown in the ocean. Angered, Ares commands a son of Poseidon to cause a swarm of deadly sea creatures to attack Themyscira and the new island nation of Thalarion. During this battle, Diana deduces that Ares is the grand manipulator and confronts him. Not allowing Ares much time to gloat in his latest masterpiece of war, Diana takes a battle axe and strikes Ares's head, splitting his helmet in two.


title: Ares (DC Comics)

text: Despite being gone from the mortal world, Ares is still manipulating events to destroy the Amazons. His next plot involves the birth of five male children by five random Amazons. Once they are born, he takes them under his wing before Ares is banished from Themyscira both in body and spirit by his father Zeus.


title: Ares (DC Comics)

text: In "The New 52" continuity, Ares is commonly referred to as War. His first appearance in this new continuity is in "Wonder Woman" (vol. 4) #4, where he is depicted as a bald, aged man with a white beard. Due to the revelation that Diana is the demigoddess daughter of Zeus, their new dynamic is that of half-brother and half-sister. War's calves and feet are permanently smeared with blood. He appears in a bar in Darfur, where his brother Apollo tries to convince him to side with him in his quest to take over the rein of Olympus.


title: Ares (DC Comics)

text: He is revealed to be Diana's former mentor in "Wonder Woman" vol. 4 #0, a stand-alone issue published in September 2012 set in the past. He takes Diana under his tutelage because of her vast potential in combat, and teaches her the ways of the warrior. Their relationship is like a father-daughter relationship. However, they part ways when Diana is asked by Ares to slay the Minotaur, but is unable to bring herself to kill it. This show of mercy makes her a failure in Ares' eyes.


title: Ares (DC Comics)

text: Over time, Diana learns she can trust Ares to protect their youngest brother, the infant Zeke, and his mother Zola. Alongside their British brother Lennox, Hera, and the New God Orion, they form a dysfunctional family unit that seeks to protect the baby from the First Born, their eldest brother, who had been imprisoned by Zeus eons ago. In "Wonder Woman" vol. 4 #23, Wonder Woman's group clashes with First Born in London, where Ares raises an army of soldiers and fights First Born himself after Wonder Woman is temporarily incapacitated. First Born overpowers Ares and prepares to kill him to usurp his position of God of War. Wonder Woman regretfully drives a spear through both of them, as it is the only way to stop First Born. In his last breath, Ares forgives and commends his former pupil, stating that she did what he would have done. Hades manifests to take Ares to his afterlife, and announces that Wonder Woman has taken on his position as God of War. Appearing to Wonder Woman in an apparition, counselling her on the ongoing conflict with the First Born, he tells her not to call him War anymore, as that is her name—she refers to him instead as Ares.


title: Ares (DC Comics)

text: In the "DC Rebirth" reboot, Wonder Woman's origin is retold in the "Year One" storyline. A group of people called the "Sear" terrorizes a mall where Diana and her friends are exploring. They have been infected with the Maru virus, which causes them to lash out in homicidal rage, though Diana and Steve Trevor defeat them, and Barbara Ann Minerva discovers Sear is an anagram of Ares.


title: Ares (DC Comics)

text: The god of war attacks shortly after this discovery. He reveals his desire to spread the virus across the world in major locations with the hope of turning most of the human population into warring killers to fuel his power. Diana offers him Themyscira's location in exchange for him sparing everyone, though Ares discovers she has no memory of its location; as a sacrifice of leaving the island, Diana was barred from returning by losing knowledge of how to return. Accepting her new role to save mankind, Diana, with the help of the patron gods in animal form, subdues Ares with the Lasso of Truth. Diana and her friends are given the locations where Ares has the virus sent and Diana is christened as Wonder Woman for her heroics.


title: Ares (DC Comics)

text: Soon after, Ares' sons Phobos and Deimos conspire to free Ares from his imprisonment on Themyscira. They coerce Veronica Cale into aiding them by kidnapping the soul of her daughter, Isadore. Several years later, Cale and her associate Doctor Cyber still have no luck finding the island. Cale plots against Phobos and Deimos, and he recruits the sorceress Circe into trapping the twins into the bodies of two Doberman Pinschers.


title: Ares (DC Comics)

text: Years later, the mysterious tree that had been growing on Themyscira is teleported to the false island that Wonder Woman had originally thought was her home. During a battle with the Cheetah, a drop of Wonder Woman's blood opens a portal to inside the tree. There, Wonder Woman and Veronica Cale encounter both Isadore Cale and an attractive, nude man who introduces himself as Ares. Diana had not faced Ares in Year One, but his sons in disguise. Themyscira serves as Ares' prison once he is calmed of his bloodlust with the love of Aphrodite, and Phobos and Deimos plot to gain access to kill their father and take his role, gaining his power. The gods alter Diana's memories to make her think she has returned to the island so she could never try to find the real Themyscira, thereby granting access to darker forces. Isadore becomes his ward in the meantime. He gives her the clue to how to defeat his sons: with love, not hatred. Once his sons have been defeated and bound by the Lasso of Truth, Ares reveals Isadore cannot leave without being split from her physical and astral forms. She can live with the Amazons, however, and thus have a life where she will not age.


title: Ares (DC Comics)

text: Later, Darkseid's daughter Grail is imprisoned in the tree with Ares. Ares, inspired by the hope of justice, manipulates Grail into killing him with the Godkiller sword. This frees him of his imprisonment. Soon after, Wonder Woman encounters Ares, this time resembling the missing Steve Trevor, on a battlefield in Durkovia.


title: Ares (DC Comics)

text: As do all Olympian gods, Ares possesses tremendous strength, though he is now perhaps the strongest of them, rivaled only by his half-brother Hercules. Moreover, he is a master of conflict and strategy with centuries of experience in the field, and has complete telekinetic command and mastery over any weapon or armor. He also possesses speed equal to that of Hermes once he absorbs massive amounts of the violent energies that give him his powers. Pertaining to his being a war god, violent actions and emotions such as anger, hate, death and bloodshed make him stronger and heal any wounds he may receive, as his soul is able to absorb the psychic energy created by such events. His armor is virtually indestructible and his weapons are greater than mortal ones. He can shapeshift into any form he wishes and can teleport himself and others. At one time, he was also recognized as the Death God of the Greek Pantheon, having control over the dead and able to resurrect and command a whole army of undead from the Underworld to do his will, and then send them back whenever he wished. Being a god, he is immortal and can only be harmed by magical weapons.


title: Ares (DC Comics)

text: In "The New 52" continuity, the character's mere presence invokes battle and slaughter in his surroundings. This is seen in "Wonder Woman" vol. 4 #4, where Ares is sitting in a bar in Darfur; all the men inside are dead and a riot is breaking out outside the bar – even children are taking part in the gunfire. In "Wonder Woman" vol. 4 #9, Ares is present at a café in Damascus, where a fatal blast takes place as he is leaving.


title: Ares (DC Comics)

text: In the "" continuity, Armored Response Environment Suit called A.R.E.S. is featured in Volume Two as a U.S. military contingency plan for General Phil Darnell and Maxwell Lord. Ares himself is hinted at the end of the book as well.


title: Ares (DC Comics)

text: It is subsequently revealed that Maxwell Lord is actually Ares in disguise and seeks to eliminate the Amazons in retaliation for his daughter Hippolyta turning against him centuries ago. During the fight between the Amazons and their allies and his A.R.E.S. machines, Ares himself mentally links himself with one of the drones to battle his granddaughter Diana. However, Diana defeats him by using her lasso to compel the machine to self-destruct, which also causes him to "self-destruct" as well due to being linked with it.


title: Ares (DC Comics)

text: Ares appears in two different stories in this anthology series featuring Wonder Woman. In the first, "Casualties of War", Wonder Woman is attacked by a dragon that is later revealed to have been a pawn of Ares. In the second story, "Vendetta", Ares ambushes Wonder Woman in a small African city. He summons his Spartoi, reptilian soldiers, to aid in his battle, but he is inevitably defeated by Wonder Woman.


title: Ares (DC Comics)

text: While not appearing directly, Ares's subject, the Duke of Deception, is a servant of both Ares and Hades. The amazon Antiope is also depicted as Ares's high priestess.


title: Ares (DC Comics)

text: Ares is featured as a major antagonist in the comic book series based on the "" video game. He is initially in Chapter 9 of Year 1, on which he watches as Wonder Woman fought against an entire army and then questions her decision to join Superman's side. He also asks her if she is going to "replace" Lois Lane, who died after the Joker tricked Superman into killing her, as Superman's significant other. Just as he asks this, Wonder Woman acknowledges he fears her union with Superman because it would end all conflict in the world and end war permanently (and without war, Ares would be left mortal). She asks Ares what he would become if Superman's endeavors succeeded and mockingly suggests he become a god of something less violent (as she suggested him being the "God of Ponies"). Enraged, Ares attacks Diana, proclaiming that Zeus himself would not save her so long as they are on a battlefield where Ares is strongest. Before he can harm Wonder Woman, Superman appears and takes Ares down with a single blow, allowing Diana to cut off his hand off and, just as Ares threatens her further, she impales him with her sword and leaves him to bleed. Superman, while disturbed by this, is assured by Wonder Woman that Ares will not die and the two head off to begin peace negotiations. As they leave, Ares admits to himself he fears that Diana will strip away Superman's restraint, and nothing in the world would be able to stand against them if such an event occurred, and in a world without war, Ares is unsure what he would become. Ares returns in "Year Four", where he strikes a deal with Batman, allying his Insurgency with the Greek Gods themselves, with Ares promising to provoke the gods into intervening on their war. Batman also assures Ares about Wonder Woman, as Ares then heads to Mount Olympus and tries to convince Zeus to intervene against Superman's Regime. When Superman summons his allies to help against the Greek Gods, Ares frees Billy Batson, who was held captive by Harley Quinn, allowing him to join the fight. Zeus then intervenes and disbands the Regime, banishing Superman from Earth, who discovers that Ares has been working with Darkseid all along. Ares then visits Superman and convinces him to ally himself with gods outside of Olympus to combat Zeus, causing Superman to strike a deal with Poseidon, who nearly floods Themyscira, but then surrenders when Zeus intervenes. When Batman and Superman's allies clash, Batman heads to New Genesis and convinces Highfather to intervene, where Highfather convinces Zeus to end his involvement in Batman and Superman's war. Superman then takes Ares to Apokolips and leaves him to be tortured by Darkseid. Ares then returns in "Year Five" and "Ground Zero", playing his role from the "Injustice: Gods Among Us" game, where it's unknown how he escaped from Darkseid. Ares then returns in "Injustice 2", where he visits Wonder Woman, who's held prisoner on Themyscira, and mocks her for her imprisonment before he warns her about a "weapon" that will turn the tide of the war and that she will be helpless to stop it.


title: Ares (DC Comics)

text: In "Dark Knights: The Merciless", part of a series looking at dark alternate versions of Batman who have the powers of other members of the Justice League, one Batman comes from a reality where Ares acquired a new helmet that enhanced his powers to induce conflict. After Wonder Woman and other members of the League had been apparently killed in battle with Ares, Batman donned Ares' discarded helmet to use it against him, only to succumb to the helmet's power to the point that he not only defeated Ares, but even killed Diana when it was revealed that she had survived the attack because he was already so far under the helmet's influence.


title: Ares (DC Comics)

text: DC Direct released an Ares action figure in 2001 as part of their "Amazons and Adversaries" line of Wonder Woman action figures. Mattel released an Ares action figure in 2008 as part of their DC Universe Classics line of toys. Ares is also part of the action figures lineup for the 2017 film "Wonder Woman". Ares is represented as an inaccurate buildable figure in the Lego set "Wonder Woman Warrior Battle" based on "Wonder Woman".


title: Charismatic megafauna

text: Charismatic megafauna are animal species that are large—in the relevant category that they represent—with symbolic value or widespread popular appeal, and are often used by environmental activists to gain public support for environmentalist goals. Examples include tigers, lions, jaguars, hippopotamuses, elephants, gorillas, chimpanzees, giant pandas, brown and polar bears, rhinoceroses, kangaroos, koalas, blue whales, humpback whales, orcas, walruses, elephant seals, bald, white-tailed and eastern imperial eagles, penguins, crocodiles and great white sharks among countless others. In this definition, animals such as penguins or bald eagles can be considered megafauna because they are among the largest animals within the local animal community of pertinence, and they disproportionately affect their environment. The vast majority of charismatic megafauna species are threatened and endangered by overhunting, poaching, the black market trade, climate change, habitat destruction, invasive species, and many more causes.


title: Charismatic megafauna

text: Charismatic species are often used as flagship species in conservation programs, as they are supposed to affect people's feelings more. However, being charismatic does not protect species against extinction; all of the 10 most charismatic species are currently endangered, and only the giant panda shows a demographic growth from an extremely small population.


title: Charismatic megafauna

text: Beginning early in the 20th century, efforts to reintroduce extirpated charismatic megafauna to ecosystems have been an interest of a number of private and non-government conservation organizations. Species have been reintroduced from captive breeding programs in zoos, such as the wisent (the European bison) to Poland's Białowieża Forest.


title: Charismatic megafauna

text: These and other reintroductions of charismatic megafauna, such as Przewalski's horse to Mongolia, have been to areas of limited, and often patchy, range compared to the historic ranges of the respective species.


title: Charismatic megafauna

text: Environmental activists and proponents of ecotourism seek to use the leverage provided by charismatic and well-known species to achieve more subtle and far-reaching goals in species and biodiversity conservation. By directing public attention to the diminishing numbers of giant panda due to habitat loss, for example, conservation groups can raise support for the protection of the panda and for the entire ecosystem of which it is a part. (The giant panda is portrayed in the logo of the World Wide Fund for Nature.)


title: Charismatic megafauna

text: Charismatic megafauna may be subject to taxonomic inflation, in that taxonomists will declare a subspecies to be a species because of the advocacy benefits of a unique species, rather than because of new scientific evidence. The public's preference to identify with species sold through the ecotourism industry may be a factor for creating taxonomic inflation. In the public perception, ecotourism may be about seeing species, and the number of unique species increases the perceived biodiversity and tourism value of an area. A correlation may exist between the taxonomic bias in biodiversity datasets and the charisma of terrestrial megafauna, with the more charismatic species being largely over-reported. However, reports that charismatic megafauna are more engaging to the public than other species have recently been questioned.


title: Incest between twins

text: Incest between twins or "twincest" is a subclass of sibling incest and includes both heterosexual and homosexual relationships.


title: Incest between twins

text: One supposed case of incest between twins, in which twins who were adopted by separate families as infants later married without knowing they were brother and sister, was mentioned in a House of Lords debate on the Human Fertility and Embryology Bill in January 2008. According to the charity Adults Affected by Adoption, there had been other cases of this sort that had involved siblings. The story was widely publicised in the British press, although its truthfulness was called into question. In a 1983 review of the scholarly literature on twin homosexuality and twin incest, Ray Bixler concluded that "most same-sex homosexual twins, if reared with their co-twins, do not attempt or even want to seduce them in adulthood". His study drew on Edvard Westermarck's hypothesis that sexual desire is generally absent in relationships between members of a nuclear family.


title: Incest between twins

text: In traditional Balinese culture, it was common for a set of twins of the opposite sex to marry each other, since it was assumed that they had had sex in utero. The standard anthropological explanation of this custom is based in explications of the conflicts between descent and affinity in Balinese society.


title: Incest between twins

text: Incest was commonplace in Southeast Asian creation myths which prominently featured twin or sibling couples. In these stories, the brother usually wooed and wed his sister, who bore his child or children, but on discovering that they are siblings, they are often (but not always) forced to part.


title: Incest between twins

text: Twin incest is a prominent feature in ancient Germanic mythology, and its modern manifestations, such as the relationship between Siegmund and Sieglinde in Richard Wagner's "Die Walküre", and a feature in some Greek mythology, such as the story of Byblis and Kaunos. There are strong parallels between the Germanic portrayals of twin incest and those of the Balinese Ramayana, and some scholars have speculated an early Indo-European link.


title: Incest between twins

text: The theme also appears in English literature, such as the incest between the twins Polydore and Urania in Delarivier Manley's "The New Atalantis".


title: Incest between twins

text: The fantasy fiction series "A Song of Ice and Fire" describes a secret relationship between Jaime and Cersei Lannister, who are fraternal twins. Within the setting of the books, various historical characters from House Targaryen were married to their siblings.


title: David Sarnoff

text: David Sarnoff (February 27, 1891 – December 12, 1971) was an American businessman and pioneer of American radio and television. Throughout most of his career, he led the Radio Corporation of America (RCA) in various capacities from shortly after its founding in 1919 until his retirement in 1970.


title: David Sarnoff

text: He ruled over an ever-growing telecommunications and media empire that included both RCA and NBC, and became one of the largest companies in the world. Named a Reserve Brigadier General of the Signal Corps in 1945, Sarnoff thereafter was widely known as "The General."


title: David Sarnoff

text: Sarnoff is credited with "Sarnoff's law", which states that the value of a broadcast network is proportional to the number of viewers.


title: David Sarnoff

text: David Sarnoff was born to a Jewish family in Uzlyany, a small town in the Russian Empire, now part of Belarus, the son of Abraham Sarnoff and Leah Privin. Abraham emigrated to the United States and raised funds to bring the family. Sarnoff spent much of his early childhood in a cheder (or yeshiva) studying and memorizing the Torah. He emigrated with his mother and three brothers and one sister to New York City in 1900, where he helped support his family by selling newspapers before and after his classes at the Educational Alliance. In 1906 his father became incapacitated by tuberculosis, and at age 15 Sarnoff went to work to support the family. He had planned to pursue a full-time career in the newspaper business, but a chance encounter led to a position as an office boy at the Commercial Cable Company. When his superior refused him leave for Rosh Hashanah, he joined the Marconi Wireless Telegraph Company of America on September 30, 1906, and started a career of over in electronic communications.


title: David Sarnoff

text: Over the next , Sarnoff rose from office boy to commercial manager of the company, learning about the technology and the business of electronic communications on the job and in libraries. He also served at Marconi stations on ships and posts on Siasconset, Nantucket and the New York Wanamaker Department Store. In 1911, he installed and operated the wireless equipment on a ship hunting seals off Newfoundland and Labrador, and used the technology to relay the first remote medical diagnosis from the ship's doctor to a radio operator at Belle Isle with an infected tooth.


title: David Sarnoff

text: The following year, he led two other operators at the Wanamaker station in an effort to confirm the fate of the "Titanic". Sarnoff later exaggerated his role as the sole hero who stayed by his telegraph key for three days to receive information on the "Titanic"s survivors. Schwartz questions whether Sarnoff, who was a manager of the telegraphers by the time of the disaster, was working the key although that brushes aside concerns about corporate hierarchy. The event began on a Sunday, after all, when the store would have been closed.


title: David Sarnoff

text: Over the next two years Sarnoff earned promotions to chief inspector and contracts manager for a company whose revenues swelled after Congress passed legislation mandating continuous staffing of commercial shipboard radio stations. That same year Marconi won a patent suit that gave it the coastal stations of the United Wireless Telegraph Company. Sarnoff also demonstrated the first use of radio on a railroad line, the Lackawanna Railroad Company's link between Binghamton, New York, and Scranton, Pennsylvania; and permitted and observed Edwin Armstrong's demonstration of his regenerative receiver at the Marconi station at Belmar, New Jersey. Sarnoff used H. J. Round's hydrogen arc transmitter to demonstrate the broadcast of music from the New York Wanamaker station.