title: Tokyo Ghoul:re (season 1)

text: "Tokyo Ghoul:re" is the first season of the anime series adapted from the sequel manga of the same name by Sui Ishida, and is the third season overall within the "Tokyo Ghoul" anime series. The series is produced by Pierrot, and is directed by Odahiro Watanabe. The anime series aired from April 3 to June 19, 2018 on Tokyo MX, Sun TV, TVA, TVQ and BS11. This season adapts the first fifty-eight chapters of the manga.


title: Tokyo Ghoul:re (season 1)

text: Set two years after the ending of the original series, it follows the story of Haise Sasaki, Ken Kaneki's new identity, who is a member of the CCG and the leader of the Quinx Squad, a group of half-ghoul, half-human hybrids who use their ability to attack and defeat ghouls.


title: Tokyo Ghoul:re (season 1)

text: Yutaka Yamada returns as the composer for the score. The opening theme for the series is "Asphyxia" by Cö shu Nie, and the ending theme is "Half" by Queen Bee.


title: Tokyo Ghoul:re (season 1)

text: TC Entertainment released the series onto six volumes in Japan, with the first volume being released on June 27, 2018, and the final volume released on November 28, 2018.


title: Tokyo Ghoul:re (season 1)

text: Funimation licensed the series in North America, who simulcasted the series on FunimationNow and Hulu, produced an English dub as it aired, and released the series on home media on May 28, 2019. Madman Entertainment licensed the series in Australia and New Zealand, who simulcasted the series on AnimeLab. Anime Limited licensed the series in the United Kingdom and Ireland, who simulcasted the series on Crunchyroll.


title: Patrice Désilets

text: Patrice Désilets (born 9 May 1974) is a Canadian game designer best known for creating the "Assassin's Creed" series. He served as creative director for three of the most critically acclaimed titles within the franchise to date: "Assassin's Creed", "Assassin's Creed II", and "". He is also known for being the director of Ubisoft's "". In 2014, he founded the Montreal-based indie studio Panache Digital Games, where he worked on the game "".


title: Patrice Désilets

text: Born in 1974 at Saint-Jean-sur-Richelieu, Quebec, Désilets is the son of Jacques Désilets, mathematician and director of CEGEP, and Luce de Bellefeuille, Director General of the Secretariat for International Adoption. In 1996, Désilets earned his bachelor's degree in film studies and literature at University of Montreal, to which time prior, he was enrolled at the Collège Édouard-Montpetit. Coming from a background in film, he has used his creative vision to shape games in which he has taken a creative lead including 2007's "Assassin's Creed" and its 2009 sequel "Assassin's Creed II". Désilets other credits include "", "", "" and "".


title: Patrice Désilets

text: Désilets left Ubisoft in June 2010, which was confirmed by the company on June 13, 2010, looking for more creative independence. After one year away from the gaming industry, Patrice Désilets officially returned by joining THQ as Creative Director at their new Montreal based studio in June 2011. For two years at THQ Montreal, Désilets was working on a new project titled "1666 Amsterdam", leading a team of close to fifty people.


title: Patrice Désilets

text: THQ declared bankruptcy under Chapter 11 in the United States in December 2012 and, in January 2013, THQ Montreal was sold off to Ubisoft in an auction. Désilets was subsequently let go by Ubisoft on May 7, 2013 when the two parties could not agree on the contract terms. When asked about it, Désilets said, "Contrary to any statements made earlier today, this morning I was terminated by Ubisoft. I was notified of this termination in person, handed a termination notice and was unceremoniously escorted out of the building by two guards without being able to say goodbye to my team or collect my personal belongings. This was not my decision. Ubisoft's actions are baseless and without merit. I intend to fight Ubisoft vigorously for my rights, for my team and for my game."


title: Patrice Désilets

text: Following this, Patrice Désilets and Ubisoft came to an agreement in April 2016 in which Désilets won back all creative rights to "1666 Amsterdam".


title: Patrice Désilets

text: On December 14, 2014, Patrice Désilets with his team launched a new game development studio in Montreal, Panache Digital Games where they are working on their first project titled "".


title: Phil Bardsley

text: Phillip Anthony Bardsley (born 28 June 1985) is a professional footballer who plays as a defender for Stockport County. He has played international football for the Scotland national team.


title: Phil Bardsley

text: Bardsley began his career with Manchester United where he made 18 appearances in five seasons at the club. During that time, he was loaned to several clubs, including Royal Antwerp, Burnley, Rangers, Aston Villa and Sheffield United.


title: Phil Bardsley

text: He joined Sunderland in January 2008 for an initial fee of £850,000. Bardsley established himself as a regular at the Stadium of Light under Steve Bruce and Martin O'Neill and he won the player of the year award in 2010–11. He lost his place in the team in 2012–13 after a falling-out with manager Paolo Di Canio, before returning to the first team under Gus Poyet. Under Poyet, Bardsley helped Sunderland to avoid relegation in 2013–14 and reach the 2014 Football League Cup Final, in which they lost 3–1 to Manchester City.


title: Phil Bardsley

text: After his Sunderland contract expired in June 2014, Bardsley joined Stoke City on a free transfer. He spent three seasons with the club before joining Burnley in July 2017.


title: Phil Bardsley

text: Born at Hope Hospital in Salford, Bardsley attended Hope High School along with former United teammates Mark Redshaw and Mark Howard. Bardsley started his career with Charlestown Lads Club also with Redshaw before signing for Manchester United. He grew up near Manchester United's old training ground, The Cliff, and would often go there on his school holidays to watch the players train. Prior to his departure for Sunderland, he was the only current player who progressed through all the levels of the academy, starting out at the club at the age of 8.


title: Phil Bardsley

text: After coming through the club's youth system, Bardsley was a regular in Manchester United's under-17 team from the 2000–01 season, before progressing to the under-19s from the 2002–03 season. He continued in the under-19s in 2003–04, but appeared more frequently in the reserves before making his first-team debut in a 2–0 defeat to West Bromwich Albion on 3 December 2003 in the fourth round of the League Cup. He made a second appearance for the first team in the 3–0 FA Cup fourth round win over Northampton Town on 25 January 2004, before going on a four-month loan to Manchester United's Belgian feeder club, Royal Antwerp, on 30 January. He made six appearances for Royal Antwerp, including a 4–0 defeat to Club Brugge on 8 February 2004, in which he was sent off for two bookable offences.


title: Phil Bardsley

text: After returning to Manchester United at the end of 2003–04, Bardsley made three appearances on the club's 2004–05 pre-season tour of the United States, playing against Bayern Munich, Celtic and Milan. He made another promising start to the 2005–06 season, and an injury to Gary Neville gave him plenty of opportunities to play between August and November 2005. He was regularly named as a substitute for much of the rest of the season, before going on loan to Championship club Burnley on 16 March 2006. He played six matches and scored an own goal in the first minute of a 1–1 draw at home to Southampton.


title: Phil Bardsley

text: Bardsley again made a significant contribution to Manchester United's pre-season programme in 2006–07, but on 16 August, he was sent out on loan again, this time to Scottish Premier League club Rangers. On 9 September 2006, he scored his only goal for Rangers against Falkirk with a terrific long-range free kick. He was sent off against Hibernian, and therefore missed the Old Firm match against Celtic. On 17 October, it was reported that Bardsley was involved in a training ground disagreement with manager Paul Le Guen and his future at Rangers appeared to be in doubt. Indeed, Bardsley never played for Rangers again and returned to Manchester United in December.


title: Phil Bardsley

text: On 8 January 2007, Bardsley joined Aston Villa on loan until the end of the season and played his first Premier League match against Watford on 20 January. It was announced on 1 May that Bardsley would be returning to Manchester United when his loan deal with Villa ran out as manager Martin O'Neill did not want to make the move permanent.


title: Phil Bardsley

text: After playing what would turn out to be his last match for the Manchester United first team against Coventry City in the League Cup on 26 September 2007, it was confirmed on 15 October Bardsley would join Sheffield United on loan until January 2008. He made his full debut for the Blades a few days later in a 1–1 draw with Preston North End at Bramall Lane. Despite Sheffield United agreeing a deal with Manchester United to sign him permanently, Bardsley left at the end of his loan deal in January 2008 after playing 16 matches.


title: Phil Bardsley

text: On 22 January 2008, Bardsley joined Sunderland on a three-and-a-half-year contract in a deal worth an initial £850,000, potentially rising to £2 million. He made his debut in a 2–0 win against Birmingham City in the Premier League on 29 January. Bardsley played 11 times under Roy Keane in 2007–08 as Sunderland successfully avoided relegation by three points. On 27 August 2008 Bardsley scored his first goal in English football in a 2–1 victory against Nottingham Forest in the League Cup. Bardsley lost out to Pascal Chimbonda during the first half of the 2008–09 campaign before regaining his place in the team in November 2008. He retained his place under Ricky Sbragia, playing in total 33 times in 2008–09 as Sunderland survived relegation on the final day of the season.


title: Phil Bardsley

text: Bardsley kept his place under new manager Steve Bruce for the first half of the 2009–10 season until loan signing Alan Hutton took his place in February 2010. From there until the end of the campaign Bardsley was mainly used as a substitute and due his lack of playing time, Bardsley stated that he may have to consider leaving. However Hutton didn't make his move permanent and Bardsley was able to reclaim his place in the side and in November 2010, he signed a new three-and-a-half-year deal running until summer 2014. He scored his first league goal against Aston Villa on 5 January 2011 with a 25-yard strike in a 1–0 win. He then scored his second of the season with another long range strike against Chelsea on 1 February 2012 in a 4–2 defeat. He scored another long-range goal on 9 April 2011 in a 3–2 defeat against West Bromwich Albion. In total Bardsley played 37 times in 2010–11 as the Black Cats finished in 10th position. Bardsley's consistent performances during the campaign earned him the Player of the year award.


title: Phil Bardsley

text: Bardsley made a poor start to the 2011–12 season as he was sent-off in a 1–0 defeat against rivals Newcastle United on 21 August 2011. He was then handed a retrospective four-match ban by the FA for an altercation Juan Mata in a 2–1 defeat by Chelsea on 10 September 2011. Despite this Bardsley retained his place in the side under Martin O'Neill, playing a total of 37 matches as Sunderland finished in 13th position. He missed the start of the 2012–13 campaign after undergoing ankle surgery in August 2012. Bardsley returned to the side at the end of October 2012, with the team struggling near the bottom of the table. Paolo Di Canio replaced O'Neill in March 2013 and he guided the team to back to back victories over Newcastle United and Everton lifting the club away from the relegation zone. Bardsley scored in the penultimate match of the season in a 1–1 draw with Southampton on 12 May 2013. Bardsley missed the final match of the season away at Tottenham Hotspur after he and Matthew Kilgallon were pictured visiting a casino, angering Di Canio who vowed never to play the pair again. Di Canio also fined Bardsley as well as six other Sunderland players for "indiscipline" which prompted an investigation by the PFA.


title: Phil Bardsley

text: Bardsley began the 2013–14 season playing with the under-21s and whilst playing against Bolton Wanderers on 12 August 2013 he broke his foot ending Di Canio's attempts to sell him. On 20 August 2013, Bardsley was suspended by Sunderland after mocking the club's opening day defeat to Fulham on a social media site. His suspension was lifted on 4 September 2013 after he apologised. Di Canio was sacked and replaced by Gus Poyet in October 2013 and brought Bardsley back into the first-team. He made a poor start on his return, scoring an own goal in a 4–0 defeat away at Swansea City. His form improved thereafter scoring against Southampton in the League Cup and the only goal in a 1–0 win over Manchester City on 10 November 2013. He scored against his former club Manchester United in the 2nd leg of the League Cup semi-final as Sunderland progressed to the final on penalties. Bardsley played the full match of the 2014 Football League Cup Final as Sunderland lost 3–1 to Manchester City. Bardsley played a total of 33 times in 2013–14 as Sunderland finished in 14th position.


title: Phil Bardsley

text: With Bardsley's Sunderland contract due to expire at the end of June 2014, other clubs were free to approach him from January 2014. On 22 May 2014, Bardsley signed a three-year contract with Stoke City. He made his Premier League debut for Stoke on the opening day of the 2014–15 season in a 1–0 defeat against Aston Villa. Bardsley established himself as a regular under Mark Hughes but struggled with discipline, picking up nine yellow cards by March 2015. Bardsley played 30 times for Stoke in the 2014–15 season as Stoke finished in 9th position.


title: Phil Bardsley

text: Bardsley lost his place in the Stoke squad for the 2015–16 season following the arrival of Glen Johnson from Liverpool. Despite missing out on league appearances Bardsley played a part in Stoke's League Cup campaign. He was sent-off in the fourth round against Chelsea and scored a 30-yard free kick in the quarter final victory over Sheffield Wednesday. Following injury to Johnson in February, Bardsley took his place back in the side until the end of the season. He made 17 appearances for Stoke in 2015–16 as Stoke again finished in 9th position.


title: Phil Bardsley

text: Bardsley scored a rare goal in a 4–0 EFL Cup victory over Stevenage on 23 August 2016. He suffered a knee injury on November which ruled him out for three months. He returned to the side in February but after getting sent-off against Chelsea on 18 March 2017 he was unable to get back into the team. Speaking in April 2017 Bardsley revealed that he is in limbo over whether he will be offered a new contract. Bardsley played 16 times in 2016–17 as Stoke finished in 13th position. He signed a contract extension with Stoke on 26 May 2017.


title: Phil Bardsley

text: On 25 July 2017, Bardsley completed a transfer to Premier League club Burnley, signing a two-year contract.


title: Phil Bardsley

text: On 7 March 2021, Bardsley agreed a new one-year contract with Burnley, keeping him at the club until the summer of 2022. On 10 June 2022, Burnley announced that Bardsley would be leaving the club when his contract expired at the end of June.


title: Phil Bardsley

text: On 13 December 2022, Bardsley signed for EFL League Two club Stockport County having been training with the club for the six months prior as he looked to return from injury. The move saw Bardsley agreeing to donate the entirety of his salary to the club's community trust.


title: Phil Bardsley

text: On 6 October 2010, Bardsley received a call-up for the Scotland national team for the Euro 2012 qualifier against the Czech Republic on 8 October 2010. He qualifies because his father was born in Glasgow. He made his debut on 11 October 2010 in a 3–2 defeat by World and European champions Spain, filling in for the injured Alan Hutton.


title: Nayattu (2021 film)

text: Nayattu () is a 2021 Indian political survival thriller film directed and co-produced by Martin Prakkat and written by Shahi Kabir. It stars Kunchako Boban, Joju George and Nimisha Sajayan in the lead roles and features Jaffar Idukki, Anil Nedumangad and Hakkim Shajahan in supporting roles. Mahesh Narayanan and Rajesh Rajenndrran edit the film while Shyju Khalid handles the cinematography. Vishnu Vijay composed the original music and background score. Director Ranjith and P. M. Sasidharan produced the film under Gold Coin Motion Picture Company in association with Martin Prakkat Films.


title: Nayattu (2021 film)

text: The film was released on 8 April 2021 to widespread critical acclaim for its direction and the cast's performances. On October it made shortlist for India's selection for Best International film at 94th Academy Awards


title: Nayattu (2021 film)

text: Praveen Michael rejoins the police force in a new station as a CPO (civil police officer). A local political goon, Biju, who is related to police officer CPO Sunitha, is summoned for being a constant trouble-maker. Praveen and his senior officer (Asst Sub Inspector) ASI Maniyan get into a scuffle with the goon and locks him up in the cell. But soon, he is released without charges due to political influence of his Dalit party.


title: Nayattu (2021 film)

text: After a wedding party, Maniyan and Praveen are drunk, joined by Sunitha who accepts a lift. With Maniyan's nephew Rahul as driver, they get into a collision with a motorbike. They move to assist, realizing that the bike rider, Jayan was a friend of Biju’s. Rahul flees from the scene immediately, after which they get spotted by civilians. They attempt to rescue Jayan, who was however announced dead on arrival, sending the Biju’s mob into a rage, forcing the trio to flee to their station.


title: Nayattu (2021 film)

text: At the station, Maniyan realizes that they will be accused of murder and arrested soon, resulting in the trio fleeing and on the run. With political pressure mounting on the Police to frame them, they retreat to Munnar to seek asylum with an old acquaintance of Maniyan.


title: Nayattu (2021 film)

text: The chief minister himself gets involved in the matter due to an impending by election where the support of Dalit organization is crucial for victory. A squad of senior police officers, lead by SP Anuradha are sent in pursuit of the fugitives. They manage to locate the runaways, but can not launch an assault due to the strategic location of their hiding place. Back in the city, Police decides to stage a drama with the allowance of the chief minister. They announce that all three police officers are arrested and parades dummies with face covered to the media.


title: Nayattu (2021 film)

text: When the squad finally makes the move, Praveen and Sunitha runs, only to find Maniyan hanging dead in a building with a suicide video note in his mobile phone, as a dying declaration. Due to the previous dummy arrest, the squad is in trouble. The chief minister threatens blame on the police department, ordering them to clean up the mess. Praveen tries to escape to safeguard the suicide video but is captured and is arrested along with Sunitha and is brought to the police club along with Maniyan’s body.


title: Nayattu (2021 film)

text: Police officers stage Maniyan's suicide in the police custody and compels the other two to give corroborating statements, which make Maniyan responsible for the death of the Dalit youth and thus making them free of the crime. When Praveen and Sunitha both refuse, they are given time to change their mind till they get to the court. They are then placed in custody and transported to court in a police van, as the voting for the by-elections take, they go to the court.


title: Nayattu (2021 film)

text: Principal photography of the film began before the COVID-19 pandemic and stopped during lockdown period. The filming resumed by the end of September and was completed in October 2020.


title: Emilio Jacinto

text: Emilio Jacinto y Dizon (; December 15, 1875 – April 16, 1899) was a Filipino general during the Philippine Revolution. He was one of the highest-ranking officers in the Philippine Revolution and was one of the highest-ranking officers of the revolutionary society "Kataas-taasan, Kagalang-galang na Katipunan ng mga Anak ng Bayan", or simply and more popularly called "Katipunan", being a member of its Supreme Council. He was elected Secretary of State for the Haring Bayang Katagalugan, a revolutionary government established during the outbreak of hostilities. He is popularly known in Philippine history textbooks as the "Brains of the Katipunan" while some contend he should be rightfully recognized as the "Brains of the Revolution" (Filipino: "Utak ng Himagsikan," a title that is usually given to Apolinario Mabini). Jacinto was present in the so-called Cry of Pugad Lawin (or Cry of Balintawak) with Andrés Bonifacio, the "Supremo" (Supreme President) of the Katipunan, and others of its members which signaled the start of the Revolution against the Spanish colonial government in the islands.


title: Emilio Jacinto

text: Born in Tondo, Manila, Emilio Jacinto was proficient both in Spanish and Tagalog. He attended San Juan de Letran College, and later transferred to the University of Santo Tomas to study law. Manuel Quezon, Sergio Osmeña and Juan Sumulong were his classmates. He did not finish college and, at the age of 19, joined the secret society called Katipunan. He became the advisor on fiscal matters and secretary to Andrés Bonifacio. He was later known as "Utak ng Katipunan" (). He and Bonifacio also befriended Apolinario Mabini when they attempted to continue José Rizal's "La Liga Filipina".


title: Emilio Jacinto

text: Jacinto also wrote for the Katipunan newspaper called "Kalayaan". He wrote in the newspaper under the pen name "Dimasilaw", and used the alias "Pingkian" in the Katipunan. Jacinto was the author of the "Kartilya ng Katipunan" as well.


title: Emilio Jacinto

text: After Bonifacio's execution, Jacinto pressed on with the Katipunan's struggle. Like general Mariano Álvarez, he refused to join the forces of General Emilio Aguinaldo, the leader of the Katipunan's Magdalo faction. Jacinto lived in Laguna and also joined the militia fighting the Spaniards. Jacinto contracted malaria and died on April 16, 1899, in Brgy. Alipit, Santa Cruz, Laguna. His remains were initially buried in Brgy. San Juan, Santa Cruz, Laguna, and were transferred to the Manila North Cemetery a few years later and then transferred his remains at Himlayang Pilipino Memorial Park in Quezon City.


title: Emilio Jacinto

text: In the 1970s, Jacinto's remains were transferred and enshrined at Himlayang Pilipino Memorial Park in Quezon City. At the shrine is a life-size bronze sculpture of a defiant Jacinto riding a horse during his days as a revolutionary. Another statue of Jacinto is located in Mehan Garden. Another monument of Jacinto was unveiled in the town plaza of Magdalena, Laguna on April 17, 2017.


title: Emilio Jacinto

text: Jacinto's likeness used to be featured on the old 20 peso bill that was circulated from 1949 to 1969, and also on the old 20 centavo coin.


title: Paid in Full (album)

text: Paid in Full is the debut album of American hip hop duo Eric B. & Rakim, released on July 7, 1987, by Island-subsidiary label 4th & B'way Records. The duo recorded the album at hip hop producer Marley Marl's home studio and Power Play Studios in New York City, following Rakim's response to Eric B.'s search for a rapper to complement his disc jockey work in 1985. The album peaked at number fifty-eight on the "Billboard" 200 chart, number eight on the R&B/Hip-Hop Albums chart, and produced five singles: "Eric B. Is President", "I Ain't No Joke", "I Know You Got Soul", "Move the Crowd", and "Paid in Full".


title: Paid in Full (album)

text: "Paid in Full" is credited as a benchmark album of golden age hip hop. Rakim's rapping, which pioneered the use of internal rhymes in hip hop, set a higher standard of lyricism in the genre and served as a template for future rappers. The album's heavy sampling by Eric B. became influential in hip hop production. The record has sold over a million copies and the Recording Industry Association of America (RIAA) certified it platinum in 1995. In 2020, the album was ranked number 61 on "Rolling Stone" magazine's list of the 500 greatest albums of all time.


title: Paid in Full (album)

text: Eric B. and Rakim met in 1985 after Eric B. looked for a rapper to complement his turntable work at the New York City radio station WBLS. After Rakim responded to Eric B.'s search for "New York's top MC", Eric B.'s friend and roommate Marley Marl allowed him to use his home studio. The first track they recorded, "Eric B. Is President", was released as a single on the independent Zakia Records in 1986. After Def Jam Recordings founder Russell Simmons heard the single, the duo were signed to Island Records and began recording the album in Manhattan's Power Play Studios in early 1987. Rakim wrote his songs in approximately one hour while listening to the beat. He then recorded his vocals in the booth by reading his lyrics from a paper. In 2006, Rakim revealed, "When I hear my first album today I hear myself reading my rhymes but I'm my worst critic." The duo completed the album in one week. They have said that they worked in 48-hour shifts and recorded in single takes to complete the album within budget. In a 2008 interview with AllHipHop, Eric B. stated, "[T]o sit here and say we put together this calculated album to be a great album would be a lie. We were just doing records that felt good."


title: Paid in Full (album)

text: The album's success led to a contract with Uni Records and MCA Records, where they released their second album, "Follow the Leader" (1988). Eric B. and Rakim are credited as officially producing "Paid in Full". Although Marley Marl claimed to have produced two tracks ("My Melody" and "Eric B. Is President"), Eric B. has argued that Marley Marl was only an engineer. In 2003, Eric B. alleged the duo had not been fully paid for their work, and filed a lawsuit against the Island Def Jam Music Group, Lyor Cohen, and Russell Simmons.


title: Paid in Full (album)

text: The album cover featured a photo of Eric B. and Rakim wearing custom-made Gucci "knock-ups" by Harlem tailor Dapper Dan.


title: Paid in Full (album)

text: Rakim's rhyming deviated from the simple rhyme patterns of early 1980s hip hop. His free-rhythm style ignored bar lines and had earned comparisons to Thelonious Monk. "The New York Times" Ben Ratliff wrote that Rakim's "unblustery rapping developed the form beyond the flat-footed rhythms of schoolyard rhymes". While many rappers developed their technique through improvisation, Rakim was one of the first to demonstrate advantages of a writerly style, as with for instance his pioneering use of internal rhyme. Unlike previous rappers such as LL Cool J and Run-DMC who delivered their vocals with high energy, Rakim employed a relaxed, stoic delivery. According to MTV, "We'd been used to MCs like Run and DMC, Chuck D and KRS-One leaping on the mic shouting with energy and irreverence, but Rakim took a methodical approach to his microphone fiending. He had a slow flow, and every line was blunt, mesmeric." Rakim's relaxed delivery resulted from his jazz influences; he had played the saxophone and was a John Coltrane fan. His subject matter often covered his own rapping skills and lyrical superiority over other rappers.


title: Paid in Full (album)

text: AllMusic editor Steve Huey characterized Rakim for his "complex internal rhymes, literate imagery, velvet-smooth flow, and unpredictable, off-the-beat rhythms." "Pitchfork" writer Jess Harvell described his rapping as "authoritative, burnished, [and] possessing an unflappable sense of rhythm". "Paid in Full", which contains gritty, heavy, and dark beats, marked the beginning of heavy sampling in hip hop records. Of the album's ten tracks, three are instrumentals. As a disc jockey, Eric B. had reinstated the art of live turntable mixing. His soul-filled sampling became influential in future hip hop production. Music critic Robert Christgau noted that Eric B. had incorporated "touches of horn or whistle deep in the mix" of his sampled percussion and scratches.


title: Paid in Full (album)

text: "Eric B. Is President" was released as the first single with "My Melody" as the B-side. It peaked at number 48 on the Hot R&B/Hip-Hop Singles & Tracks and number forty on the Hot Dance Music/Maxi-Singles Sales. The track sparked debate on the legality of unauthorized sampling when James Brown sued to prevent the duo's use of his music. "PopMatters" Mark Anthony Neal called it "the most danceable hip-hop recording" of 1986. According to Touré of "The New York Times", "It is Rakim's verbal dexterity as well as his calm, deep voice and dark tone that has made this song a rap classic: 'I came in the door/ I said it before/ I'll never let the mic magnetize me no more/ But it's bitin' me/ Fightin' me/ Invitin' me to rhyme/ I can't hold it back/ I'm looking for the line/ Takin' off my coat/ Clearin' my throat/ The rhyme will be kickin' it/ Til I hit my last note.'" Remixes of both “Eric B. Is President” and “My Melody” were included on the album as opposed to their original versions.


title: Paid in Full (album)

text: The second single, "I Know You Got Soul", peaked at number 39 on the Hot Dance Music/Club Play chart, number 34 on the Hot Dance Music/Maxi-Singles Sales, and number 64 on the Hot R&B/Hip-Hop Singles & Tracks. The track's production contains "digitized cymbal crashes, breathing sounds, and a bumping bass line." The song popularized James Brown samples in hip hop songs. The British band <nowiki>M|A|R|R|S</nowiki> sampled the line, "Pump up the volume", on their number one UK single, "Pump Up the Volume". "Rolling Stone" ranked it at number 386 on "The 500 Greatest Songs of All Time".


title: Paid in Full (album)

text: The third single, "I Ain't No Joke", peaked at number 38 on the Hot R&B/Hip-Hop Singles & Tracks. Described as one of the album's "monumental singles", Michael Di Bella wrote in the "All Music Guide to Rock" that "Rakim grabs the listener by the throat and illustrates his mastery of the rhyming craft". The fourth single, "Move the Crowd", peaked at number three on the Hot Dance Music/Club Play chart and number 25 on the Hot Dance Music/Maxi-Singles Sales. The track's B-side, "Paid in Full", was released as a single in 1987 and later remixed by the production duo Coldcut. The remix used several vocal samples, most prominently "Im Nin'alu" by Israeli singer Ofra Haza. In 2008, the song was ranked at number 24 on VH1's "100 Greatest Hip Hop Songs".


title: Paid in Full (album)

text: In a contemporary review for "The Washington Post", Mark Jenkins highlighted the single "Eric B. Is President" but was unimpressed by the rest of "Paid in Full": "Its beats are monotonous, and the attempts to take 'jazz and the quiet storm' and 'convert into hip-hop form' fall flat." Robert Christgau gave the album a "B" grade in his "Consumer Guide" column for "The Village Voice". Writing in 2001, he said it has "four groundbreaking masterworks" in "I Ain't No Joke", "I Know You Got Soul", "Paid in Full", and "Eric B. Is President", but was less enthusiastic about the other six songs: "They're pure, innovative, in-your-face—no doubt. But they're also turntablism with spoken decoration, of small use to anyone who hasn't internalized the 'real' hip hop aesthetic." In the newspaper's annual Pazz & Jop critics' poll, it was named the 27th best album of 1987.


title: Paid in Full (album)

text: "Paid in Full" was released during what became known as the golden age hip hop era. In "The Rolling Stone Album Guide" (2004), Sasha Frere-Jones called it "one of hip-hop's perfect records", while Alex Ogg considered it to be the duo's magnum opus in his book "The Men Behind Def Jam". Rakim's rapping on the album set a blueprint for future rappers and helped secure East Coast hip hop's reputation for innovative lyrical technique. Author William Cobb stated in "To the Break of Dawn" that his rapping had "stepped outside" of the preceding era of old school hip hop and that while the vocabulary and lyrical dexterity of newer rappers had improved, it was "nowhere near what Rakim introduced to the genre". "The New York Times" Dimitri Ehrlich, who described the album as "an artistic and commercial benchmark", credited Rakim for helping "give birth to a musical genre" and leading "a quiet musical revolution, introducing a soft-spoken rapping style". AllMusic's Steve Huey declared "Paid in Full" one of hip-hop's most influential albums and "essential listening" for those interested in the genre's "basic musical foundations". MTV ranked it at number one in "The Greatest Hip-Hop Albums of All Time", stating it raised the standards of hip-hop "both sonically and poetically" and described it as "captivating, profound, innovative and instantly influential". The album is broken down track-by-track by Rakim in Brian Coleman's book "Check the Technique".


title: Paid in Full (album)

text: In 2003, "Rolling Stone" listed "Paid in Full" at number 228 on "The 500 Greatest Albums of All Time", maintaining the rating in a 2012 revised list, calling it "Ice-grilled, laid-back, diamond-sharp: Rakim is a front-runner in the race for Best Rapper Ever, and this album is a big reason why." In the 2020 reboot of the list, the album's rank shot up to number 61. Similarly, "Blender" magazine included the album in its "500 CDs You Must Own Before You Die". "Time" magazine listed it as one of the eighteen albums of the 1980s in its "All-TIME 100" albums; editor Alan Light acknowledged the record changed the "sound, flow, and potential" of hip hop and that if Rakim is "the greatest MC of all time, as many argue, this album is the evidence". Jess Harvell of "Pitchfork" complimented Rakim for an "endless display of pure skill" and described the album as "laidback and funky", but believed it contained "too much filler to get a free 'classic' pass". "Pitchfork" placed "Paid in Full" at number fifty-two in its "Top 100 Albums of the 1980s"; editor Sam Chennault wrote that Rakim inspired a generation of MCs and "defined what it meant to be a hip-hop lyricist". By 2018, at which point "Pitchfork" had substantially altered their list of the top albums of the 1980s, "Paid in Full" was moved to number eleven and called ″a crowning achievement of hip-hop’s first golden age″ and one of the genre's ″glittering Rosetta Stones″. "Slant Magazine" listed the album at #32 on its list of "Best Albums of the 1980s" saying "For his part, Rakim didn't need to rely on macho jargon and trite gangsterisms for his self-aggrandizing sermons; he would simply reel off line after line of spellbinding wordplay, influencing an entire decade of tongue-twisting MCs in the process."


title: Paid in Full (album)

text: Rakim is credited with influencing rappers including the Wu-Tang Clan, Jay-Z, 50 Cent, and Nas, who cited "Paid in Full" as one of his favorite albums. 50 Cent told "NME" that "Paid in Full" was the first album he bought: "I used to get my grandmother's tape recorder – the one she used to tape church services – and record hip-hop off the radio. And, with Eric B. & Rakim, I think that was the first moment where I felt like, 'I've got to own this. This is crucial.'" "It was a record that caused trouble," remarked Busta Rhymes, "but it was one you couldn't top."


title: Paid in Full (album)

text: On July 11, 1995, the Recording Industry Association of America (RIAA) certified the album platinum. As of December 1997, it had sold over a million copies.


title: James Harrison (blood donor)

text: James Christopher Harrison (born 27 December 1936), also known as the Man with the Golden Arm, is a blood plasma donor from Australia whose unusual plasma composition has been used to make a treatment for Rhesus disease. He made over 1,000 donations throughout his lifetime, and these donations are estimated to have saved over 2.5 million babies from the condition. On 11 May 2018, he made his 1,173rd donationhis last, as Australian policy prohibits blood donations from those past age 81.


title: James Harrison (blood donor)

text: James Harrison was born on 27 December 1936. In 1951, at the age of 14, he underwent major chest surgery, requiring a large amount of blood. Realising that the blood had saved his life, he made a pledge to start donating blood himself as soon as he turned 18, the then-required age.


title: James Harrison (blood donor)

text: Harrison started donating in 1954. After the first few donations, it was discovered that his blood contained unusually strong and persistent antibodies against the D Rh group antigen. The discovery of these antibodies led to the development of immunoglobulin-based products to prevent haemolytic disease of the newborn (HDN). These products, which contain a high level of anti-D antibodies are given to Rh(D) negative mothers of unknown or Rh(D) positive babies during and after pregnancy to prevent the creation of antibodies to the blood of the Rh(D) positive child. This antigen sensitisation and subsequent incompatibility phenomenon causes Rhesus disease, the most common form of HDN.


title: James Harrison (blood donor)

text: Through the donations of his plasma, Harrison has helped prevent thousands of children from dying of HDN. The following research based on his donations created the commercial Anti-D immune globulin commonly known as RhoGAM.


title: James Harrison (blood donor)

text: His donations were estimated to have helped save over 2.4 million babies, with pregnant women, including his own daughter Tracey, being treated with his antibodies.


title: James Harrison (blood donor)

text: As blood plasma, in contrast to blood, can be donated as often as once every two weeks, he was able to reach his 1000th donation in May 2011. This results in an average of one donation every three weeks during 57 years. Commenting on his record, he said: "I could say it's the only record that I hope is broken, because if they do, they have donated a thousand donations."


title: James Harrison (blood donor)

text: Research is on to synthetically create a mixture of antibodies that matches what Harrison's body produces naturally. The project is called "James in a Jar".


title: James Harrison (blood donor)

text: In 2007, Harrison was critical of plans to open up Australia's plasma donation to foreign corporations. He believes that opening up the trade will discourage volunteer donations. This opening of trade stemmed from a review of the country's free trade agreement with the United States.


title: James Harrison (blood donor)

text: Harrison was awarded the Medal of the Order of Australia (OAM) on 7 June 1999. In 2011, he was nominated in the New South Wales Local Hero division of the Australian of the Year awards.


title: No Min-woo

text: No Min-woo (; born May 29, 1986) is a South Korean actor, musician, singer and songwriter. He is also known under the stage names ICON and MINUE. He debuted as a drummer in TRAX in 2004, and left the band two years later. In 2008, he began acting in various television series and movies, such as "Pasta", "My Girlfriend is a Nine-Tailed Fox" and "Full House Take 2", and he regularly contributes to movie and drama soundtracks. In 2013, No made a comeback as a singer under the stage name ICON. In 2016 he enlisted in the military, and returned in 2018. In 2020, he made a comeback as the lead singer and leader of the newly formed band The Midnight Romance.


title: No Min-woo

text: No Min-woo was born in Japan while his mother, then 20 years old, was aspiring to become an enka singer there.


title: No Min-woo

text: He moved back and forth between Korea and Japan for a long time, and started playing the piano at age 7.


title: No Min-woo

text: He made his debut as the drummer (with the stage name Rose) in the rock band TraxX in 2004. Prior to debut, No appeared in "2002 Survival Audition HeeJun vs. KangTa Battle of the Century" with bandmates Typhoon and Attack, as well as Kim Junsu, Super Junior's Sungmin and Eunhyuk.


title: No Min-woo

text: In 2009 he returned to the music scene as the leader of the project group 24/7, with Lee Jang-woo and Hyun Woo. They released the single "24 Hours a Day, 7 Days a Week".


title: No Min-woo

text: No began pursuing an acting career in 2008 and gained notice with his supporting roles in the 2010 South Korean television series "Pasta" and "My Girlfriend is a Nine-Tailed Fox". He landed his first leading role in the four-episode drama special "Rock Rock Rock", a biographical film about the life of Boohwal lead guitarist Kim Tae-won.


title: No Min-woo

text: In 2011 for his role as a cancer patient in the SBS television series "Midas", No lost 9.5 kilograms (21 pounds).


title: No Min-woo

text: His long-delayed television series "Full House Take 2" (a loose sequel to the 2004 hit) secured air dates on Japan's TBS and Korean cable channel SBS Plus in 2012. No was cast as the male lead in the Chinese television series "Love Expiration Date", for which he will also serve as OST music director, composing and writing songs for the soundtrack.


title: No Min-woo

text: In 2012 his contract with Core Contents Media came to an end, and he established his own management company, MJ Dreamsys.


title: No Min-woo

text: In 2013, on July 1, No released his MV, "ROCKSTAR", under his newly opened YouTube channel, officialminewTV.


title: No Min-woo

text: In 2014, No appeared in a minor role in "Roaring Currents" (released July 30, 2014), which became the highest-grossing film of all time in South Korea. Later in 2014, No played one of the main characters in "The Greatest Marriage".


title: No Min-woo

text: In 2019, No played a lead role in the MBC television series "Partners for Justice 2" as Jang Chul"," a talented but mysterious ER doctor.


title: No Min-woo

text: On May 17, 2020, his newly formed band The Midnight Romance (stylized in all caps) released their self-titled debut single of the same name which consisted of three songs.


title: No Min-woo

text: In April 2015, No filed a lawsuit against his former agency, S.M. Entertainment, as well as reported the agency to the South Korea Fair Trade Commission. Documents from the lawsuit reveal that No originally signed a 17-year exclusive contract with S.M. No sought 100 million KRW for damages resulting from the agency's interference in his career.


title: No Min-woo

text: On July 21, 2016 No lost his damage suit against S.M as a result of insufficient evidence and the court ruled out the contract between S.M and No invalid.


title: No Min-woo

text: In June 2018, it was reported No had lost the appeal in his lawsuit against S.M. Entertainment due to the insufficient evidence to the above stated claims.


title: No Min-woo

text: No was confirmed to have quietly enlisted for his mandatory military service in October 2016. He was discharged in July 2018.


title: NXT TakeOver: Vengeance Day

text: NXT TakeOver: Vengeance Day was the 33rd NXT TakeOver and ninth Vengeance professional wrestling pay-per-view (PPV) and livestreaming event produced by WWE. It was held exclusively for wrestlers from the promotion's NXT brand division. The event took place on February 14, 2021, from the Capitol Wrestling Center, hosted at the WWE Performance Center in Orlando, Florida. The event revived WWE's old Vengeance PPV name, thus being the first Vengeance held since 2011. The event's name was also a play on Valentine's Day, as the event was held on the same day as the holiday. It was the first Vengeance event to livestream on the WWE Network, as well as the final NXT TakeOver event to air on the American version of the WWE Network before its merger under Peacock in March. It would also be the final Vengeance to air on PPV, as the following year's event was held as a television special, and while the 2023 event returned to livestreaming, NXT's major events as of the 2022 calendar year no longer air on PPV, just livestreaming.


title: NXT TakeOver: Vengeance Day

text: Five matches were contested at the event. In the main event, Finn Bálor defeated Pete Dunne to retain the NXT Championship. On the undercard, MSK (Nash Carter and Wes Lee) defeated Grizzled Young Veterans (James Drake and Zack Gibson) to win the Men's Dusty Rhodes Tag Team Classic, while in the opening bout, Dakota Kai and Raquel González defeated Ember Moon and Shotzi Blackheart to win the inaugural Women's Dusty Rhodes Tag Team Classic.


title: NXT TakeOver: Vengeance Day

text: TakeOver was a series of professional wrestling shows that began in May 2014, as WWE's NXT brand held their second WWE Network-exclusive event, billed as TakeOver. In subsequent months, the "TakeOver" moniker became the brand used by WWE for all of their NXT live specials. While originally exclusive to the WWE Network, NXT TakeOver events also became available on traditional pay-per-view beginning with TakeOver 31 in October 2020.


title: NXT TakeOver: Vengeance Day

text: Vengeance Day was scheduled as the 33rd NXT TakeOver event. It revived WWE's old Vengeance pay-per-view, which had been produced annually from 2001 to 2007 with a one-off show in 2011. In 2021, WWE resurrected Vengeance as an NXT TakeOver event, making it the ninth in the Vengeance chronology, the first since 2011, the first brand-exclusive Vengeance since 2006, and the first Vengeance to air on the WWE Network in addition to traditional PPV. The name of the event was also a play on Valentine's Day, as the event was held on February 14, 2021, the same day as the holiday.


title: NXT TakeOver: Vengeance Day

text: As a result of the COVID-19 pandemic that began affecting the industry in mid-March 2020, WWE had to present the majority of its programming from a behind closed doors set. NXT's programming was initially held at NXT's home base of Full Sail University in Winter Park, Florida. In October 2020, NXT's events were moved to the WWE Performance Center in Orlando, Florida, featuring the "Capitol Wrestling Center" setup, an homage to the Capitol Wrestling Corporation, the predecessor to WWE. Like the WWE ThunderDome utilized for Raw and SmackDown's programming, LED boards were placed around the Performance Center so that fans could attend virtually, while additionally, friends and family members of the wrestlers were in attendance, along with a limited number of actual live fans, divided from each other by plexiglass walls.


title: NXT TakeOver: Vengeance Day

text: The show included matches that resulted from scripted storylines, where wrestlers portrayed heroes, villains, or less distinguishable characters that built tension and culminated in a wrestling match or series of matches. Results were predetermined by WWE's writers on the NXT brand, while storylines were produced on their weekly television program, "NXT".


title: NXT TakeOver: Vengeance Day

text: On the February 3 episode of "NXT", Pete Dunne demanded NXT Champion Finn Bálor give him a title match. Bálor then came to the ring and told Dunne he would get his match at Vengeance Day. Men's Royal Rumble winner Edge then came to the ring. He spoke about how seeing the drive, passion, and focus on wrestling in NXT helped motivate him to make his comeback. He said he had never held the NXT Championship and told Bálor and Dunne that he would be watching their match at Vengeance Day, and regardless of who won, it may help him decide which world championship he would challenge for at WrestleMania 37.


title: NXT TakeOver: Vengeance Day

text: In January 2021, the sixth Dusty Rhodes Tag Team Classic was announced, and for the first time, a women's version was also announced. The finals of both the men's and women's tournaments were scheduled for Vengeance Day.


title: NXT TakeOver: Vengeance Day

text: The pay-per-view opened with the finals of the first-ever women's Dusty Rhodes Tag Team Classic between the team of Ember Moon and Shotzi Blackheart and the team of Dakota Kai and Raquel González. The match was fast-paced and largely competitive throughout; only Kai was isolated by the opposing tag team for any prolonged stretch, though she was eventually able to tag in Gonzalez. Kai hit her sunset flip backbreaker finisher (called the "Kai-ro-practor") for a nearfall, as did Blackheart with her signature finishing senton. Kai and Gonzalez also utilied a double-team version of Kai's "Go 2 Kick" signature maneuver, which involves elevating the opponent before dropping them and kicking them in the face as they fall. The end of the match came when Gonzalez tossed Moon from the entrance ramp, enabling her and Kai to focus on Blackheart. Gonzalez hit Blackheart with her one-arm powerbomb finisher, and both she and Kai made the cover for the decisive pinfall. This made Kai and Gonzalez the tournament champions and recipients of a future opportunity at the WWE Women's Tag Team Championship.


title: NXT TakeOver: Vengeance Day

text: Next came the NXT North American Championship match, the champion Johnny Gargano defending against Kushida. Kushida held the offensive advantage for the majority of the match, targeting Gargano's left arm. This both set up Kushida's "Hoverboard Lock" finisher and impaired the left-handed Gargano from executing normal offence like punches and chops. Gargano in turn was able work over Kushida's head and neck to set up his own "One Final Beat" (slingshot DDT) finisher. In the finishing sequence, Kushida hit a running kick to Gargano's arm while the two were on the entrance ramp (which, in contrast to most WWE events, was level with the ring apron) and locked in the Hoverboard Lock in the ring. Gargano managed to stand and entangle Kushida's neck in the ropes, forcing him to release the hold. Gargano then hit "One Final Beat" twice - first from the inside of the ring to the entrance ramp, and secondly from the ramp to the inside of the ring, successfully securing the victory and retaining the championship.


title: NXT TakeOver: Vengeance Day

text: MSK, the team of Nash Carter and Wes Lee then faced the Grizzled Young Veterans, the team of James Drake and Zack Gibson, in the finals of the men's Dusty Rhodes Tag Team Classic. The match was fast-paced and full of innovative spots, including the Veterans performing a version of the Road Warriors' "Doomsday Device" outside the ring as Gibson held Carter on his shoulders as Drake dove through the ropes to perform a clothesline and knock him down. Drake also performed a 450 splash, noted as a maneuver not often utilized by the "no nonsense" team, for a nearfall. Though the Veterans isolated Carter for large portions of the match, he eventually tagged in Lee and the two performed some double-team maneuvers of their own, including an aided standing moonsault where Carter jumped clean over a crouching Drake to land on Gibson. The finish came when the Veterans attempted to perform their "Ticket to Mayhem" tandem finisher on Carter, only for Lee to break it up. He then tagged himself into the match and MSK performed an elevated corkscrew blockbuster onto Drake, this move earning the pinfall to make them tournament champions and earn a future match for the NXT Tag Team Championship.


title: NXT TakeOver: Vengeance Day

text: The triple threat match for the NXT Women's Championship followed, champion Io Shirai defending against Mercedes Martinez and Toni Storm. Martinez was the aggressor early in the match, beginning her assault on her opponents before ring introductions were even made. The match kept a high pace throughout, and all three women hit their finishers. Shirai also executed a dive off the rigging for some of the stage lights onto both opponents on the arena floor. Another notable spot featured Martinez executing a release German suplex from the top rope to Storm, only to become entangled in the ropes herself and allow Shirai to hit her in the "tree of woe" position with a diving double foot stop. Shortly after hitting her "Storm Zero" finisher on Martinez for a nearfall, Storm (who seldom uses aerial maneuvers) followed with a top rope diving headbutt. As she went for the cover, Shirai hit her signature "Over the Moon-sault" on both opponents, pinning Martinez to win the match and retain the championship.


title: NXT TakeOver: Vengeance Day

text: The main event for the NXT Championship between the champion Finn Bálor and challenger Pete Dunne followed, the first time the two had ever wrestled in any sort of match together, let alone one-on-one. Dunne repeatedly used joint manipulation on Bálor, splitting his fingers and bending his wrist in unnatural positions. He came close to winning the championship on multiple occasions, including executing his pump handle mat slam finisher (called "The Bitter End") for a nearfall. He attempted to use the move a second time, only for Bálor to reverse it into a version of his own "1916" finisher (an elevated DDT), also for a nearfall. At the finish, Bálor hit his diving double stomp finisher (known as the "Coup de Grace") and segued it into a standard version of the "1916," this combination earning the pinfall and retaining him the championship.


title: NXT TakeOver: Vengeance Day

text: After the match, Dunne's stablemates (and NXT Tag Team Champions) Danny Burch and Oney Lorcan rushed the ring and assaulted Bálor, who had little capacity to fight back after a grueling championship bout. After moments, The Undisputed Era (represented by Adam Cole, Roderick Strong, and Bálor's recent rival Kyle O'Reilly) ran in to fend them off. As Cole and Strong stared Dunne, Burch, and Lorcan away from the ring, O'Reilly helped Bálor to his feet and it appeared the show would conclude with the four of them standing in the ring together. Cole then executed a superkick on Bálor, the champion immediately falling to the mat. As O'Reilly began to protest, Cole superkicked him as well, leaving him prone as well, then left the ring. The show went off the air with Cole storming away from the ring and Strong standing in the ring next to the fallen Bálor and O'Reilly, looking back and forth between the two sides.


title: NXT TakeOver: Vengeance Day

text: Wrestling journalist Dave Meltzer of "Wrestling Observer Newsletter" was highly positive toward each of the event's matches, giving 4 stars to the women's tag team match, 4.75 stars to the NXT North American Championship match, 4.5 stars to the men's tag team match, 3.75 stars to the women's triple threat, and 4.5 stars to the main event. The event also received a 10.0 "Virtually Perfect" rating from Kevin Pantoja of "411Mania".


title: NXT TakeOver: Vengeance Day

text: Kyle O'Reilly opened the February 17 edition of "NXT" demanding an explanation from Adam Cole. Roderick Strong emerged trying to play peacemaker, which O'Reilly didn't accept. Finn Bálor also appeared in this segment, blaming O'Reilly for Cole's attack on him. The three were forced into partnership in the night's main event against Pete Dunne, Danny Burch, and Oney Lorcan, a match they lost after further sneak attacks by Cole. The following week, Cole appeared to express remorse for his actions and a desire to reconcile with Strong, only to low blow him and rip Strong's Undisputed Era dog tags from his neck, cementing his heel turn and split from what remained of the group. For his match with Bálor on March 3, Strong made his ring entrance to different music and without any Undisputed Era logos or colours on his gear. For his own match with the NXT Champion the following week, Cole did enter to the familiar Undisputed Era theme and with Undisputed Era-tinged wrestling gear, having claimed that the group would only die when he said so and that by attacking O'Reilly and Strong he had merely cut dead weight. At the conclusion of the match, O'Reilly appeared and ripped Cole's Undisputed Era armband off. In the contract signing for their forthcoming grudge match on March 24, both men spoke of the group in the past tense, suggesting it had finally become defunct.


title: NXT TakeOver: Vengeance Day

text: MSK and the team of Dakota Kai and Raquel Gonzalez were presented with the trophy for winning the Dusty Rhodes Tag Team Classic later on February 17. It was originally announced that their respective tag team championship opportunities would both occur on March 3, though Wes Lee was later discovered to have sustained a legitimate broken hand at "TakeOver", thus delaying MSK's title shot. WWE Women's Tag Team Champions (and NXT alumnae) Nia Jax and Shayna Baszler made an appearance in the segment, trading promos with their upcoming opponents. When the March 3 match ended in a controversial finish favouring Jax and Baszler, the NXT Women's Tag Team Championship was commissioned the week after, being first awarded to Kai and Gonzalez by virtue of their Dusty Cup championship.


title: NXT TakeOver: Vengeance Day

text: Toni Storm was also shown to have disrupted a photo shoot for Io Shirai, attacking the NXT Women's Champion. The following week she challenged Shirai to a one-on-one match for the championship after Shirai had just defeated newcomer Zoey Stark, pointing out that Shirai did not defeat Storm herself at TakeOver and had in fact never done so. The match was made for March 10.


title: NXT TakeOver: Vengeance Day

text: On January 25, 2021, WWE announced that the WWE Network would become exclusively distributed by Peacock in the United States as part of a new agreement with NBCUniversal, which airs "Monday Night Raw" and "NXT" on the USA Network. On March 18, the WWE Network became a premium channel under Peacock, with premium subscribers to the service receiving access to the WWE Network at no additional cost. As a result, Vengeance Day was the final NXT TakeOver event to air on the American version of the WWE Network before it merged under Peacock. After a brief transitional period, the standalone version of the WWE Network in the U.S. shut down on April 4, with future events only available via Peacock's WWE Network channel and traditional PPV. This did not affect other countries, which maintain the separate WWE Network service distributed by WWE.


title: NXT TakeOver: Vengeance Day

text: In September 2021, NXT was rebranded as NXT 2.0, returning the brand to its original function as WWE's developmental territory. The NXT TakeOver series was subsequently discontinued. Vengeance Day continued on as its own event, however, with the 2022 event held as a special episode of "NXT 2.0" instead of airing on PPV or Peacock/WWE Network. The 2022 event in turn established Vengeance Day as NXT's annual Valentine's event. This was also the last Vengeance event to air on PPV, as while the 2022 event was held as a television special, the 2023 event returned to livestreaming, although not PPV, as beginning with the 2022 calendar year, NXT's major events no longer air on PPV, just livestreaming.


title: If on a winter's night a traveler

text: If on a winter's night a traveler () is a 1979 novel by the Italian writer Italo Calvino. The postmodernist narrative, in the form of a frame story, is about the reader trying to read a book called "If on a winter's night a traveler". Each chapter is divided into two sections. The first section of each chapter is in second person, and describes the process the reader goes through to attempt to read the next chapter of the book he or she is reading. The second half is the first part of a new book that the reader ("you") finds. The second half is always about something different from the previous ones. The book was published in an English translation by William Weaver in 1981.


title: If on a winter's night a traveler

text: The book begins with a chapter on the art and nature of reading, and is subsequently divided into twenty-two passages. The odd-numbered passages and the final passage are narrated in the second person. That is, they concern events purportedly happening to the novel's reader. (Some contain further discussions about whether the person narrated as "you" is the same as the "you" who is actually reading.) These chapters concern the reader's adventures in reading Italo Calvino's novel, "If on a winter's night a traveler." Eventually the reader meets a woman named Ludmilla, who is also addressed in her own chapter, separately, and also in the second person.


title: If on a winter's night a traveler

text: Alternating between second-person narrative chapters of this story are the remaining (even) passages, each of which is a first chapter in ten different novels, of widely varying style, genre, and subject-matter. All are broken off, for various reasons explained in the interspersed passages, most of them at some moment of plot climax.


title: If on a winter's night a traveler

text: The second-person narrative passages develop into a fairly cohesive novel that puts its two protagonists on the track of an international book-fraud conspiracy, a mischievous translator, a reclusive novelist, a collapsing publishing house, and several repressive governments.


title: If on a winter's night a traveler

text: The chapters, which are the first chapters of different books, all push the narrative chapters along. Themes which are introduced in each of the first chapters will then exist in succeeding narrative chapters. For example, after reading the first chapter of a detective novel, the narrative story takes on a few common detective-style themes. There are also phrases and descriptions that are similar between the narrative and the new stories.


title: If on a winter's night a traveler

text: When the titles of the fragmentary fictions are read in order—as they are by a character near the end of the narrative—they form a sentence: ""If on a winter's night a traveler, outside the town of Malbork, leaning from the steep slope without fear of wind or vertigo, looks down in the gathering shadow in a network of lines that enlace, in a network of lines that intersect, on the carpet of leaves illuminated by the moon around an empty grave— What story down there awaits its end?—he asks, anxious to hear the story.""


title: If on a winter's night a traveler

text: The theme of a writer's objectivity appears also in Calvino's novel "Mr. Palomar", which explores if absolute objectivity is possible, or even agreeable. Other themes include the subjectivity of meaning, the relationship between fiction and life, what makes an ideal reader and author, and authorial originality.


title: If on a winter's night a traveler

text: Cimmeria is a fictional country in the novel. The country is described as having existed as an independent state between World War I and World War II. The capital is Örkko, and its principal resources are peat and by-products, bituminous compounds. Cimmeria seems to have been located somewhere on the Gulf of Bothnia, a body of water between Sweden to the west and Finland to the east. The country has since been absorbed, and its people and language, of the 'Bothno-Ugaric' group, have both disappeared. As Calvino concludes the alleged, fictional encyclopedia entry concerning Cimmeria: "In successive territorial divisions between her powerful neighbors the young nation was soon erased from the map; the autochthonous (native) population was dispersed; Cimmerian language and culture had no development".


title: If on a winter's night a traveler

text: The pair of chapters following the two on Cimmeria and its literature are followed by one describing another fictional country called the Cimbrian People's Republic, which allegedly absorbed Cimmeria after World War II.


title: If on a winter's night a traveler

text: The main character in the first part of each chapter is you, the reader. The narrative starts out when you begin reading a book but then all of the pages are out of order. You then go to a bookstore to get a new copy of the book. When at the bookstore, you meet a girl, Ludmilla, who becomes an important character in the book. You think Ludmilla is beautiful, and you both share a love of books. Throughout the rest of the narrative, you and Ludmilla develop a relationship while on the quest for the rest of the book you had started reading. There are a number of minor characters that appear at various points in the story including Lotaria (Ludmilla's sister), Ermes Marana (a translation scammer), and Silas Flannery (an author).


title: If on a winter's night a traveler

text: In a 1985 interview with Gregory Lucente, Calvino stated "If on a winter's night a traveler" was "clearly" influenced by the writings of Vladimir Nabokov. The book was also influenced by the author's membership in the literary group Oulipo. The structure of the text is said to be an adaptation of the structural semiology of A.J. Greimas.


title: If on a winter's night a traveler

text: In a letter written to critic Lucio Lombardo Radice dated November 13, 1979 (published in "Italo Calvino: letters, 1941–1985"), Calvino mentions Mikhail Bulgakov, Yasunari Kawabata, Jun'ichirō Tanizaki, Juan Rulfo, José María Arguedas, Jorge Luis Borges and G.K. Chesterton as having influenced, in various ways, the narrative style of the ten stories that comprise the book.


title: If on a winter's night a traveler

text: Dave Langford reviewed "If on a winter's night a traveler" for "White Dwarf" #45, and stated that "a splendidly batty book about books. [...] Offbeat and fun."


title: If on a winter's night a traveler

text: "The Telegraph" included the novel in 69th place in a list of "100 novels everyone should read" in 2009, describing it as a "playful postmodernist puzzle".


title: If on a winter's night a traveler

text: Author David Mitchell described himself as being "magnetised" by the book from its start when he read it as an undergraduate, but on rereading it, felt it had aged and that he did not find it "breathtakingly inventive" as he had the first time, yet does stress that "however breathtakingly inventive a book is, it is only breathtakingly inventive once" – with once being better than never.


title: If on a winter's night a traveler

text: Novelist and lecturer Scarlett Thomas uses it to teach innovative contemporary fiction, as an example of different kinds of narrative techniques.


title: If on a winter's night a traveler

text: English musician and composer Bill Ryder-Jones released the album "If..." on 14 November 2011. The album is a musical adaptation of the book and serves as an "imaginary film score".


title: Protoceratops

text: Protoceratops (; ) is a genus of small protoceratopsid dinosaurs that lived in Asia during the Late Cretaceous, around 75 to 71 million years ago. The genus "Protoceratops" includes two species: P. andrewsi and the larger P. hellenikorhinus. The former was described in 1923 with fossils from the Mongolian Djadokhta Formation, and the latter in 2001 with fossils from the Chinese Bayan Mandahu Formation. "Protoceratops" was initially believed to be an ancestor of ankylosaurians and larger ceratopsians, such as "Triceratops" and relatives, until the discoveries of other protoceratopsids. Populations of "P. andrewsi" may have evolved into "Bagaceratops" through anagenesis.


title: Protoceratops

text: "Protoceratops" were small ceratopsians, about long and in body mass. While adults were largely quadrupedal, juveniles had the capacity to walk around bipedally if necessary. They were characterized by a proportionally large skull, short and stiff neck, and neck frill. The frill was likely used for display or intraspecific combat, as well as protection of the neck and anchoring of jaw muscles. A horn-like structure was present over the nose, which varied from a single structure in "P. andrewsi" to a double, paired structure in "P. hellenikorhinus". The "horn" and frill were highly variable in shape and size across individuals of the same species, but there is no evidence of sexual dimorphism. They had a prominent parrot-like beak at the tip of the jaws. "P. andrewsi" had a pair of cylindrical, blunt teeth near the tip of the upper jaw. The forelimbs had five fingers of which only the first three bore wide and flat unguals. The feet were wide and had four toes with flattened, shovel-like unguals, which would have been useful for digging through the sand. The hindlimbs were longer than the forelimbs. The tail was long and had an enigmatic sail-like structure, which may have been used for display, swimming, or metabolic reasons.


title: Protoceratops

text: "Protoceratops", like many other ceratopsians, were herbivores equipped with prominent jaws and teeth suited for chopping foliage and other plant material. They are thought to have lived in highly sociable groups of mixed ages. They appear to have cared for their young. They laid soft-shelled eggs, a rare occurrence in dinosaurs. During maturation, the skull and neck frill underwent rapid growth. "Protoceratops" were hunted by "Velociraptor", and one particularly famous specimen (the Fighting Dinosaurs) preserves a pair of them locked in combat. "Protoceratops" used to be characterized as nocturnal because of the large sclerotic ring around the eye, but they are now thought to have been cathemeral (active at dawn and dusk).


title: Protoceratops

text: In 1900 Henry Fairfield Osborn suggested that Central Asia may have been the center of origin of most animal species, including humans, which caught the attention of explorer and zoologist Roy Chapman Andrews. This idea later gave rise to the First (1916 to 1917), Second (1919) and Third (1921 to 1930) Central Asiatic Expeditions to China and Mongolia, organized by the American Museum of Natural History under the direction of Osborn and field leadership of Andrews. The team of the third expedition arrived in Beijing in 1921 for the final preparations and started working in the field in 1922. During late 1922 the expedition explored the famous Flaming Cliffs of the Shabarakh Usu region of the Djadokhta Formation, Gobi Desert, now known as the Bayn Dzak region. On September 2, the photographer James B. Shackelford discovered a partial juvenile skull—which would become the holotype specimen (AMNH 6251) of "Protoceratops"—in reddish sandstones. It was subsequently analyzed by the paleontologist Walter W. Granger who identified it as reptilian. On September 21, the expedition returned to Beijing, and even though it was set up to look for remains of human ancestors, the team collected numerous dinosaur fossils and thus provided insights into the rich fossil record of Asia. Back in Beijing, the skull Shackelford had found was sent back to the American Museum of Natural History for further study, after which Osborn reached out to Andrews and team via cable, notifying them about the importance of the specimen.


title: Protoceratops

text: In 1923 the expedition prospected the Flaming Cliffs again, this time discovering even more specimens of "Protoceratops" and also the first remains of "Oviraptor", "Saurornithoides" and "Velociraptor". Most notably, the team discovered the first fossilized dinosaur eggs near the holotype of "Oviraptor" and given how abundant "Protoceratops" was, the nest was attributed to this taxon. This would later result in the interpretation of "Oviraptor" as an egg-thief. In the same year, Granger and William K. Gregory formally described the new genus and species "Protoceratops andrewsi" based on the holotype skull. The specific name, "andrewsi", is in honor of Andrews for his prominent leadership during the expeditions. They identified "Protoceratops" as an ornithischian dinosaur closely related to ceratopsians representing a possible common ancestor between ankylosaurs and ceratopsians. Since "Protoceratops" was more primitive than any other known ceratopsian at that time, Granger and Gregory coined the new family Protoceratopsidae, mostly characterized by the lack of horns. The co-authors also agreed with Osborn in that Asia, if more explored, could solve many major evolutionary gaps in the fossil record. Although not stated in the original description, the generic name, "Protoceratops", is intended to mean "first horned face" as it was believed that "Protoceratops" represented an early ancestor of ceratopsids. Other researchers immediately noted the importance of the "Protoceratops" finds, and the genus was hailed as the "long-sought ancestor of "Triceratops"". Most fossils were in an excellent state of preservation with even sclerotic rings (delicate ocular bones) preserved in some specimens, quickly making "Protoceratops" one of the best-known dinosaurs from Asia.


title: Protoceratops

text: After spending much of 1924 making plans for the next fieldwork seasons, in 1925 Andrews and team explored the Flaming Cliffs yet again. During this year more eggs and nests were collected, alongside well-preserved and complete specimens of "Protoceratops". By this time, "Protoceratops" had become one of the most abundant dinosaurs of the region with more than 100 specimens known, including skulls and skeletons of multiple individuals at different growth stages. Though more remains of "Protoceratops" were collected in later years of the expeditions, they were most abundant in the 1922 to 1925 seasons. Gregory and Charles C. Mook published another description of "Protoceratops" in 1925, discussing its anatomy and relationships. Thanks to the large collection of skulls found in the expeditions, they concluded that "Protoceratops" represented a ceratopsian more primitive than ceratopsids and not an ankylosaur-ceratopsian ancestor. In 1940, Barnum Brown and Erich Maren Schlaikjer described the anatomy of "P. andrewsi" in extensive detail using newly prepared specimens from the Asiatic expeditions.


title: Protoceratops

text: In 1963, the Mongolian paleontologist Demberelyin Dashzeveg reported the discovery of a new fossiliferous locality of the Djadokhta Formation: Tugriken Shireh. Like the neighbouring Bayn Dzak, this new locality contained an abundance of "Protoceratops" fossils. During the 1960s to 1970s, Polish-Mongolian and Russian-Mongolian paleontological expeditions collected new, partial to complete specimens of "Protoceratops" at this locality, making this dinosaur species a common occurrence in Tugriken Shireh. Since its discovery, the Tugriken Shireh locality has yielded some of the most significant specimens of "Protoceratops", such as the Fighting Dinosaurs, "in situ" individuals—a preservation condition also known as "standing" individuals or specimens in some cases—, authentic nests, and small herd-like groups. Specimens from this locality are usually found in articulation, suggesting possible mass mortality events.


title: Protoceratops

text: Stephan N. F. Spiekman and colleagues reported a partial "P. andrewsi" skull (RGM 818207) in the collections of the Naturalis Biodiversity Center, Netherlands in 2015. Since "Protoceratops" fossils are only found in the Gobi Desert of Mongolia and this specimen was likely discovered during the Central Asiatic Expeditions, the team concluded that this skull was probably acquired by the Delft University between 1940 and 1972 as part of a collection transfer.


title: Protoceratops

text: Protoceratopsid remains were recovered in the 1970s from the Khulsan locality of the Barun Goyot Formation, Mongolia, during the work of several Polish-Mongolian paleontological expeditions. In 1975, Polish paleontologists Teresa Maryańska and Halszka Osmólska described a second species of "Protoceratops" which they named "P. kozlowskii". This new species was based on the Khulsan material, mostly consisting of juvenile skull specimens. The specific name, "kozlowskii", is in tribute to the Polish paleontologist Roman Kozłowski. They also named the new genus and species of protoceratopsid "Bagaceratops rozhdestvenskyi", known from specimens of the nearby Hermiin Tsav locality. In 1990 the Russian paleontologist Sergei Mikhailovich Kurzanov referred additional material from Hermiin Tsav to "P. kozlowskii". However, he noted that there were enough differences between "P. andrewsi" and "P. kozlowskii", and erected the new genus and combination "Breviceratops kozlowskii". Though "Breviceratops" has been regarded as a synonym and juvenile stage of "Bagaceratops", Łukasz Czepiński in 2019 concluded that the former has enough anatomical differences to be considered as a separate taxon.


title: Protoceratops

text: In 2001 Oliver Lambert with colleagues named a new and distinct species of "Protoceratops", "P. hellenikorhinus". The first known remains of "P. hellenikorhinus" were collected from the Bayan Mandahu locality of the Bayan Mandahu Formation, Inner Mongolia, in 1995 and 1996 during Sino-Belgian paleontological expeditions. The holotype (IMM 95BM1/1) and paratype (IMM 96BM1/4) specimens consist of large skulls lacking body remains. The holotype skull was found facing upwards, a pose that has been reported in "Protoceratops" specimens from Tugriken Shireh. The specific name, "hellenikorhinus", is derived from Greek hellenikos (meaning Greek) and rhis (meaning nose) in reference to its broad and angular snout, which is reminiscent of the straight profiles of Greek sculptures. In 2017 abundant protoceratopsid material was reported from Alxa near Bayan Mandahu, and it may be referable to "P. hellenikorhinus".


title: Protoceratops

text: Viktor Tereshchenko and Vladimir R. Alifanov in 2003 named a new protoceratopsid dinosaur from the Bayn Dzak locality, "Bainoceratops efremovi ". This genus was based on a few dorsal (back) vertebrae that were stated to differ from those of "Protoceratops". In 2006 North American paleontologists Peter Makovicky and Mark A. Norell suggested that "Bainoceratops" may be synonymous with "Protoceratops" as most of the traits used to separate the former from the latter have been reported from other ceratopsians including "Protoceratops" itself, and they are more likely to fall within the wide intraspecific variation range of the concurring "P. andrewsi". The authors Brenda J. Chinnery and Jhon R. Horner in 2007 during their description of "Cerasinops" stated that "Bainoceratops", along with other dubious genera, was determined to be either a variant or immature specimen of other genera. Based on this reasoning, they excluded "Bainoceratops" from their phylogenetic analysis.


title: Protoceratops

text: As part of the Third Central Asiatic Expedition of 1923, Andrews and team discovered the holotype specimen of "Oviraptor" in association with some of the first known fossilized dinosaur eggs (nest AMNH 6508), in the Djadokhta Formation. Each egg was elongated and hard-shelled, and due to the proximity and high abundance of "Protoceratops" in the formation, these eggs were believed at the time to belong to this dinosaur. This resulted in the interpretation of the contemporary "Oviraptor" as an egg predatory animal, an interpretation also reflected in its generic name. In 1975, the Chinese paleontologist Zhao Zikui named the new oogenera "Elongatoolithus" and "Macroolithus", including them in a new oofamily: the Elongatoolithidae. As the name implies, they represent elongated dinosaur eggs, including some of referred ones to "Protoceratops".


title: Protoceratops

text: In 1994 the Russian paleontologist Konstantin E. Mikhailov named the new oogenus "Protoceratopsidovum" from the Barun Goyot and Djadokhta formations, with the type species "P. sincerum" and additional "P. fluxuosum" and "P. minimum". This ootaxon was firmly stated as belonging to protoceratopsid dinosaurs since they were the predominant dinosaurs where the eggs were found and some skeletons of "Protoceratops" were found in close proximity to "Protoceratopsidovum" eggs. More specifically, Mikhailov stated that "P. sincerum" and "P. minimum" were laid by "Protoceratops", and "P. fluxuosum" by "Breviceratops".


title: Protoceratops

text: However, also during 1994, Norell and colleagues reported and briefly described a fossilized theropod embryo inside an egg (MPC-D 100/971) from the Djadokhta Formation. They identified this embryo as an oviraptorid dinosaur and the eggshell, upon close examination, turned out be that of elongatoolithid eggs and thereby the oofamily Elongatoolithidae was concluded to represent the eggs of oviraptorids. This find proved that the nest AMNH 6508 belonged to "Oviraptor" and rather than an egg-thief, the holotype was actually a mature individual that perished brooding the eggs. Moreover, phylogenetic analyses published in 2008 by Darla K. Zelenitsky and François Therrien have shown that "Protoceratopsidovum" represents the eggs of a maniraptoran more derived than oviraptorids and not "Protoceratops". The description of the eggshell of "Protoceratopsidovum" has further confirmed that they in fact belong to a maniraptoran, possibly deinonychosaur taxon.


title: Protoceratops

text: Nevertheless, in 2011 an authentic nest of "Protoceratops" was reported and described by David E. Fastovsky and colleagues. The nest (MPC-D 100/530) containing 15 articulated juveniles was collected from the Tugriken Shireh locality of the Djadokhta Formation during the work of Mongolian-Japanese paleontological expeditions. Gregory M. Erickson and team in 2017 reported an embryo-bearing egg clutch (MPC-D 100/1021) of "Protoceratops" from the also fossiliferous Ukhaa Tolgod locality, discovered during paleontological expeditions of the American Museum of Natural History and Mongolian Academy of Sciences. This clutch comprises at least 12 eggs and embryos with only 6 embryos preserving nearly complete skeletons. Norell with colleagues in 2020 examined fossilized remains around the eggs of this clutch which indicate a soft-shelled composition.


title: Protoceratops

text: The Fighting Dinosaurs specimen preserves a "Protoceratops" (MPC-D 100/512) and "Velociraptor" (MPC-D 100/25) fossilized in combat and provides an important window regarding direct evidence of predator-prey behavior in non-avian dinosaurs. In the 1960s and early 1970s, many Polish-Mongolian paleontological expeditions were conducted to the Gobi Desert with the objective of fossil findings. In 1971, the expedition explored several localities of the Djadokhta and Nemegt formations. On August 3 several fossils of "Protoceratops" and "Velociraptor" were found including a block containing two of them at the Tugriken Shire locality (Djadokhta Formation) during fieldworks of the expedition. The individuals of this block were identified as a "P. andrewsi" and "V. mongoliensis". Although it was not fully understood the conditions surrounding their burial, it was clear that they died simultaneously in struggle.


title: Protoceratops

text: The specimen shortly became notorious and was nicknamed the Fighting Dinosaurs. It has been examined and studied by numerous researchers and paleontologists, debating on how the animals got buried and preserved altogether. Though a drowning scenario has been proposed by Barsbold, such hypothesis is considered unlikely given the arid paleoenvironments or settings of the Djadokhta Formation. It is generally accepted that they were buried alive by either a collapsed dune or sandstorm.


title: Protoceratops

text: During the Third Central Asiatic Expedition in 1923, a nearly complete "Protoceratops" skeleton (specimen AMNH 6418) was collected at the Flaming Cliffs. Unlike other specimens, it was discovered in a rolled-up position with its skull preserving a thin, hard, and wrinkled layer of matrix (surrounding sediments). This specimen was later described in 1940 by Brown and Schlaikjer, who discussed the nature of the matrix portion. They stated that this layer had a very skin-like texture and covered mostly the left side of the skull from the snout to the neck frill. Brown and Schlaikjer discarded the idea of possible skin impressions as this skin-like layer was likely a product of the decay and burial of the individual, making the sediments become highly attached to the skull. The potential importance of these remains were not recognized and given attention, and by 2020 the specimen has already been completely prepared losing all traces of this skin-like layer. Some elements were damaged in the process such as the rostrum.


title: Protoceratops

text: Also from the context of the Polish-Mongolian paleontological expeditions, in 1965 an articulated subadult "Protoceratops" skeleton (specimen ZPAL Mg D-II/3) was collected from the Bayn Dzak locality of the Djadokhta Formation. In the 2000s during the preparation of the specimen, a fossilized cast of a four-toed digitigrade footprint was found below the pelvic girdle. This footprint was described in 2012 by Grzegorz Niedźwiedzki and colleagues who considered it to represent one of the first reported finds of a dinosaur footprint in association with an articulated skeleton, and also the first one reported for "Protoceratops". The limb elements of the skeleton of ZPAL Mg D-II/3 were described in 2019 by paleontologists Justyna Słowiak, Victor S. Tereshchenko and Łucja Fostowicz-Frelik. Tereshchenko in 2021 fully described the axial skeleton of this specimen.


title: Protoceratops

text: "Protoceratops" was a relatively small-sized ceratopsian, with both "P. andrewsi" and "P. hellenikorhinus" estimated around in length and in body mass. Although similar in overall body size, the latter had a relatively greater skull length. Both species can be differentiated by the following characteristics:


title: Protoceratops

text: The skull of "Protoceratops" was relatively large compared to its body and robustly built. The skull of the type species, "P. andrewsi", had an average total length of nearly . On the other hand "P. hellenikorhinus" had a total skull length of about . The rear of the skull gave form to a pronounced neck frill (also known as "parietal frill") mostly composed of the and bones. The exact size and shape of the frill varied by individual; some had short, compact frills, while others had frills nearly half the length of the skull. The squamosal touched the (cheekbone) and was very enlarged and high having a curved end that built the borders of the frill. The parietals were the posteriormost bones of the skull and major elements of the frill. In a top view they had a triangular shape and were joined by the (bones of the skull roof). Both parietals were coossified (fused), creating a long ridge on the center of the frill. The jugal was deep and sharply developed and along with the they formed a horn-like extension that pointed to below at the lateral sides of the skull. The (tip region of the jugal) was separated from the jugal by a prominent suture; this suture was more noticeable in adults. The surfaces around the epijugal were coarse, indicating that it was covered by a horny sheath. Unlike the much derived ceratopsids, the frontal and postorbital bones of "Protoceratops" were flat and lacked horn cores or supraorbital horns. The (small spur-like bone) joined the prefrontal over the front of the orbit (eye socket). In "P. hellenikorhinus" the palpebral protruded upwards from the , just above the orbit and slightly meeting the frontal, creating a small horn-like structure. The was a near-rectangular bone located in front of the orbit, contributing to the shape of the latter. The sclerotic ring (structure that supports the eyeball), found inside the orbit, was circular in shape and formed by consecutive bony plates.


title: Protoceratops

text: The snout was formed by the , r, r and bones. The nasal was generally rounded but some individuals had a sharp nasal boss (a feature that has been called "nasal horn"). In "P. hellenikorhinus" this boss was divided in two sharp and long ridges. The maxilla was very deep and had up to 15 alveoli (tooth sockets) on its underside or teeth bearing surface. The premaxilla had two alveoli on its lower edge—a character that was present at least on "P. andrewsi". The rostral bone was devoid of teeth, high and triangular in shape. It had a sharp end and rough texture, which reflects that a rhamphotheca (horny beak) was present. As a whole, the skull had four pairs of fenestrae (skull openings). The foremost hole, the nares (nostril opening), was oval-shaped and considerably smaller than the nostrils seen in ceratopsids. "Protoceratops" had large orbits, which measured around in diameter and had irregular shapes depending on the individual. The forward facing and closely located orbits combined with a narrow snout, gave "Protoceratops" a well-developed binocular vision. Behind the eye was a slightly smaller fenestra known as the infratemporal fenestra, formed by the curves of the jugal and squamosal. The last openings of the skull were two parietal fenestrae (holes in the frill).


title: Protoceratops

text: The lower jaw of "Protoceratops" was a large element composed of the , , , and . The predentary (frontmost bone) was very pointed and elongated, having a V-shaped symphyseal (bone union) region at the front. The dentary (teeth-bearing bone) was robust, deep, slightly recurved, and fused to the angular and surangular. A large and thick ridge ran along the lateral surface of the dentary that connected the coronoid process—a bony projection that extends upwards from the upper surface of the lower jaw behind the tooth row—and surangular. It bore up to 12-14 alveoli on its top margin. Both predentary and dentary had a series of foramina (small pits), the latter mostly on its anterior end. The coronoid (highest point of the lower jaw) was blunt-shaped and touched by the coronoid process of the dentary, being obscured by the jugal. The surangular was near triangular in shape and in old individuals it was coossified together with the coronoid process. The angular was located below the two latter bones and behind the dentary. It was a large and somewhat rounded bone that complemented the curvature of the dentary. On its inner surface it was attached to the . The articular was a smaller bone and had a concavity on its inner surface for the articulation with the quadrate.


title: Protoceratops

text: "Protoceratops" had leaf-shaped dentary and maxillary teeth that bore several denticles (serrations) on their respective edges. The crowns (upper exposed part) had two faces or lobes that were divided by a central ridge-like structure (also called "primary ridge"). The teeth were packed into a single row that created a shearing surface. Both dentary and maxillary teeth presented marked homodonty—a dental condition where the teeth share a similar shape and size. "P. andrewsi" bore two small, peg to spike-like teeth that were located on the underside of each premaxilla. The second premaxillary tooth was larger than the first one. Unlike dentary and maxillary teeth, the premaxillary dentition was devoid of denticles, having a relatively smooth surface. All teeth had a single root (lower part inserted in the alveoli).


title: Protoceratops

text: The vertebral column of "Protoceratops" had 9 cervical (neck), 12 dorsal (back), 8 sacral (pelvic) and over 40 caudal (tail) vertebrae. The centra (centrum; body of the vertebrae) of the first three cervicals were coossified together (, and third cervical respectively) creating a rigid structure. The neck was rather short and had poor flexibility. The atlas was the smallest cervical and consisted mainly of the centrum because the (upper, and pointy vertebral region) was a thin, narrow bar of bone that extended upwards and backwards to the base of the axis neural spine. The capitular facet (attachment site for chevrons; also known as cervical ribs) was formed by a low projection located near the base of the neural arch. The anterior facet of the atlas centrum was highly concave for the articulation of the of the skull. The neural arch and spine of the axis were notably larger than the atlas itself and any other cervical. The axial neural spine was broad and backwards developed being slightly connected to that of the third cervical. From the fourth to the ninth all cervicals were relatively equal in size and proportions. Their neural spines were smaller than the first three vertebrae and the development of the capitular facet diminished from the fourth cervical onwards.


title: Protoceratops

text: The were similar in shape and size. Their neural spines were elongated and sub-rectangular in shape with a tendency to become more elongated in posterior vertebrae. The centra were large and predominantly amphiplatian (flat on both facets) and circular when seen from the front. Sometimes in old individuals the last dorsal vertebra was somewhat coosified to the first sacral. The were firmly coosified giving form to the sacrum, which was connected to the inner sides of both ilia. Their neural spines were broad, not coosified, and rather consistent in length. The centra were mainly opisthocoelous (concave on the posterior facet and convex on the anterior one) and their size became smaller towards the end. The decreased in size progressively towards the end and had very elongated neural spines in the mid-series, forming a sail-like structure. This elongation started from the first to the fourteenth caudal. The centra were (saddle-shaped at both facets). On the anterior caudals they were broad, however, from the twenty-fifth onwards the centra became elongated alongside the neural spines. On the underside of the caudal vertebrae a series of chevrons were attached, giving form to the lower part of the tail. The first chevron was located at the union of the third and fourth caudals. Chevrons three to nine were the largest and from the tenth onwards they became smaller.


title: Protoceratops

text: All vertebrae of "Protoceratops" had ribs attached on the lateral sides, except for the series of caudals. The first five cervical ribs (sometimes called chevrons) were some of the shortest ribs, and among them the first two were longer than the rest. The third to the sixth dorsal (thoracic) ribs were the longest ribs in the skeleton of "Protoceratops", the following ribs became smaller in size as they progressed toward the end of the vertebral column. The two last dorsal ribs were the smallest, and the last of them was in contact with the internal surfaes of the ilium. Most of the sacral ribs were fused into the sacrum, and had a rather curved shape.


title: Protoceratops

text: The pectoral girdle of "Protoceratops" was formed by the (fusion of the coracoid and scapula) and clavicle. The (shoulder blades) were relatively large and rounded on their inner sides. At their upper region, the scapulae were wide. At their lower region, the scapulae meet the coracoids. The were relatively elliptical, and sometimes coosified (fused) to the scapulae. The clavicle of "Protoceratops" was an U to slightly V-shaped element that joined to the upper border of the scapulocoracoid. In its general form, the forelimbs of "Protoceratops" were shorted than the hindlimbs, and composed by the humerus, radius, and ulna. The (upper arm bone) was large and slender, and at the lower part it meet with both radius and ulna. The had a slightly recurved shape and was longer than the ulna. A concavity was present on its upper part, serving as the connection with the humerus and forming the elbow. The was a rather short bone with a straight shape. The manus (hand) of "Protoceratops" had five digits (fingers). The first three fingers had unguals (claw bones) and were the largest digits. The last two were devoid of unguals and had a small size, mostly vestigial (retained, but without important function). Both hand and feet unguals were flat, blunt and hoof-like.


title: Protoceratops

text: The pelvic girdle was formed by the , , and . The ilium was a large element, having a narrow preacetabular process (anterior end) and a wide postacetabular process (posterior end). The pubis was the smallest element of the pelvic girdle and it had an irregular shape, although its lower end was developed into a pointed bony projection downwards. The ischium was the longest bone of the pelvic girdle. It had an elongated shaft with a somewhat wide lower end. The hindlimbs of "Protoceratops" were rather long, with a slighter longer tibia (lower leg bone) than femur (thigh bone). The (thighbone) was robust and had a rather rounded and pronounced greater trochanter, which was slightly recurved into the inner sides. The (shinbone) was long and slender with a wide lower end. On its upper region a concavity was developed for the joint with the smaller . The pes (foot) were composed of four and four toes which bore shovel-like pedal unguals. The first metatarsal and toe were the smallest, while the other elements were of similar shape and length.


title: Protoceratops

text: "Protoceratops" was in 1923 placed within the newly named family Protoceratopsidae as the representative species by Granger and Gregory. This family was characterized by their overall primitive morphology in comparison to the more derived Ceratopsidae, such as lack of well-developed horn cores and relative smaller body size. "Protoceratops" itself was considered by the authors to be somehow related to ankylosaurians based on skull traits, with a more intensified degree to "Triceratops" and relatives. Gregory and Charles C. Mook in 1925 upon a more deeper analysis of "Protoceratops" and its overall morphology, concluded that this taxon represents a ceratopsian more primitive than ceratopsids and not an ankylosaur-ceratopsian ancestor. In 1951 Edwin H. Colbert considered "Protoceratops" to represent a key ancestor for the ceratopsid lineage, suggesting that it ultimately led to the evolution of large-bodied ceratopsians such as "Styracosaurus" and "Triceratops". Such lineage was suggested to have started from the primitive ceratopsian "Psittacosaurus". He also regarded "Protoceratops" as one of the first "frilled" ceratopsians to appear in the fossil record.


title: Protoceratops

text: However, in 1975 Maryanska and Osmolska argued that it is very unlikely that protoceratopsids evolved from psittacosaurids, and also unlikely that they gave rise to the highly derived (advanced) ceratopsids. The first point was supported by the numerous anatomical differences between protoceratopsids and psittacosaurids, most notably the extreme reduction of some hand digits in the latter group—a trait much less pronounced in protoceratopsids. The second point was explained on the basis of the already derived anatomy in protoceratopsids like "Bagaceratops" or "Protoceratops" (such as the jaw morphology). Maryanska and Osmolska also emphasized that some early members of the Ceratopsidae reflect a much older evolutionary history. In 1998, paleontologist Paul Sereno formally defined Protoceratopsidae as the branch-based clade including all coronosaurs closer to "Protoceratops" than to "Triceratops".