title: Here Come the Brides

text: On October 14, 2011, Shout! Factory announced that it had acquired the home-media rights to the series, and it later released the final season on DVD. It was subsequently released on February 28, 2012. However, the season 1 opening cast-and-credit sequence was used for this release, using the New Establishment's vocals, but ignoring Henry Beckman's and Susan Tolsky's respective credits.


title: Here Come the Brides

text: In December 2009, BearManor Media released a nostalgic look into the program's history, "Gangway, Lord: (The) Here Come The Brides Book" by Jonathan Etter, which featured a foreword by Robert Brown. Bobby Sherman was the only (then) surviving cast member who did not cooperate with the author. However, Sherman did discuss the series in his autobiography, "Bobby Sherman: Still Remembering You," whose contents he dictated to Dena Hill, and was subsequently published by Contemporary Books in 1996.


title: Here Come the Brides

text: INSP began broadcasting a back to back 2 episode block of the series on Sunday mornings in 2018 continuing through 2020.


title: Here Come the Brides

text: The Decades channel aired most of the series during a weekend marathon on June 2–3, 2018; February 1–2, 2019 and again January 23–24, 2021 in widescreen format. The episodes were cropped for the widescreen presentation.


title: Here Come the Brides

text: In January 2022 GetTV began airing episodes in a 75 minute format on Saturday & Sunday at 11:15 am Eastern.


title: Here Come the Brides

text: Barbara Hambly's "Star Trek" novel "Ishmael" has Spock traveling back to the time and place of "Here Come the Brides" after discovering a Klingon plot to destroy the Federation by killing Aaron Stempel (spelled "Stemple" in the book) before he could thwart an attempted 19th-century alien invasion of Earth. During most of the story, Spock has lost his memory and is cared for by Stempel, who passes him off as his nephew "Ishmael" and helps him hide his alien origins.


title: Here Come the Brides

text: At the end of the story, Captain Kirk discovers that Stempel is one of Spock's mother's ancestors, a reference to the fact that Mark Lenard also played Spock's father Sarek in episodes of the original "Star Trek" and "", as well as several of the "Star Trek" motion pictures. Also the same actor played descendants of Mr. Spock on his father's and his mother's sides of the family.


title: Here Come the Brides

text: Majel Barrett, who played Nurse Christine Chapel in "Star Trek", appeared as Tessa a dancehall woman in the first-season episode "Lovers and Wanderers".


title: Here Come the Brides

text: Jane Wyatt who played Spock's mother in the original series, made a guest appearance in the final episode of the series, "Two Women". She did not have any scenes with Mark Lenard.


title: Here Come the Brides

text: In addition to Lenard, other "Brides" actors appeared in "Star Trek": Robert Brown (both of the Lazaruses in "The Alternative Factor"), David Soul (Makora in ""), and semi-regular Carole Shelyne (the visible representation of a Metron in "", whose voice Vic Perrin provided in that installment).


title: Natalie Pinkham

text: Natalie Jane Pinkham (born 20 September 1977) is a British television presenter and Formula One pit lane reporter for Sky Sports F1, having held the same post for BBC Radio 5 Live in 2011. She is also known for hosting "Police Interceptors Special Edition" on 5*. She appeared on "Live from Studio Five" as a guest presenter and was a regular panellist on "The Wright Stuff".


title: Natalie Pinkham

text: Pinkham was born in Buckinghamshire to barrister mother Joy, and property developer John, Natalie and her older DJ brother Sam, who presents the early morning show for Virgin Radio, were raised at the family home in Northants. Pinkham was educated at Queenswood School, an independent boarding school with fellow presenter and friend Georgie Thompson; and then as a day girl at Rugby School, before studying politics at the University of Nottingham. A capable 800m runner, she gave up the event to study at university.


title: Natalie Pinkham

text: After graduation, she joined Endemol as a researcher on BBC Two's "Ready Steady Cook", and then as an assistant producer on "International King of Sports". She then worked for IMG/TWI as an assistant producer on "Superstars".


title: Natalie Pinkham

text: Moving in front of the camera, she hosted the Isle of Man TT races for Men and Motors, reported from the Tennis Masters Cup in the United States for Sky Sports and fronted Chelsea F.C.'s "Blues News". Pinkham co-hosted ITV4's "World Cuppa" with Absolute Radio's Christian O'Connell and BBC Radio Five Live's Steve Bunce during the 2006 FIFA World Cup; whilst also presenting an internet World Cup show for "Nobok Sports" site. In recent years Pinkham has also hosted the International Rugby Awards with Joel Stransky in 2004; the SALSA fashion show in 2004 with Craig Doyle; GOAL's Aura of Asia fundraising event with Liz Bonnin in 2005 and Extreme Sports Channel's coverage of the Euro Beach Soccer League and the Beach Soccer World Cup Draw with Eric Cantona in 2006. Along with ITV Fixers 'The Big Fix', The Salon Prive dinner and the Boodles Tennis Invitational, all in 2010.


title: Natalie Pinkham

text: Pinkham has also been a poker presenter, becoming the face of "The Poker Channel" for two years - hosting the British Poker Open, the World Cup of Poker, The Scandinavian Poker Awards with Mads Mikkelsen in 2007 and a "How to Play Poker" DVD for Virgin Games. She also penned interviews with some of the world's top pros and filmed the European Poker Tour for Challenge and Eurosport.


title: Natalie Pinkham

text: Scheduled to present Heart London's Friday evening show from January 2008, on 7 January 2008 it was officially announced that she would be competing in ITV1's "Dancing on Ice," partnered with Russian Andrei Lipanov and being taught to skate by ice legends Torvill and Dean. Pinkham was reported to earn £35,000 for taking part but exited in Week 2 on 20 January 2008 after a skate-off with ex-"Blue Peter" presenter Tim Vincent and his partner Viktoria Borzenkova.


title: Natalie Pinkham

text: In 2009, Pinkham co-hosted The Goodwood Festival of Speed with Steve Rider and in 2009 and 2010 co-hosted The Goodwood Revival with Craig Doyle and Ben Fogle, respectively. In 2010, Pinkham guest presented Channel 5's "Live from Studio Five" and continued to be a regular panelist on "The Wright Stuff". She also hosted the World Series of Poker Europe for ESPN.


title: Natalie Pinkham

text: It was confirmed on 13 January 2011 that Pinkham was to join BBC Radio 5 Live's Formula 1 commentary team as a pit lane reporter for the 2011 season - a role she took up beginning with the 2011 Australian Grand Prix.


title: Natalie Pinkham

text: In December 2011, it was announced she was working for Sky Sports covering the 2012 F1 season. Her main role for the 2012 season was pit reporting throughout the practice sessions, qualifying and the race alongside other commitments like interviews. For 2013, she replaced close friend Georgie Thompson as host of "The F1 Show" and over following years has become a key member of the Sky Sports F1 team.


title: Natalie Pinkham

text: In 2021, Pinkham became the first woman to commentate on a Formula One session on British television when she led Sky's commentary of first practice at the 2021 Bahrain Grand Prix, working alongside Karun Chandhok and Jenson Button.


title: Natalie Pinkham

text: Pinkham is married to Owain Walbyoff, who is Managing Director at Endemol Games. In November 2010 the couple became engaged, and married in Portugal in July 2012. On 17 January 2015, Pinkham gave birth to their first child, a son named Wilfred Otto Walbyoff. On 20 June 2016, she gave birth to their second child, a daughter named Willow Mirela Walbyoff.


title: Natalie Pinkham

text: A keen fundraiser and campaigner, Pinkham is on the board of trustees for Access Sport and is an ambassador for her mother's charity KidsAid and the Motor Neurone Disease Association. She's also a patron for Hope and Homes for Children.


title: Boy A (film)

text: Boy A is a 2007 British drama film directed by John Crowley, from a screenplay by Mark O'Rowe, based on the 2004 novel of the same name by Jonathan Trigell. The film stars Andrew Garfield as Jack Burridge (né Eric Wilson), who is re-entering society under a new name in Manchester after having served 14 years in a juvenile prison, and Peter Mullan as Terry, Jack's caseworker.


title: Boy A (film)

text: "Boy A" had its world premiere at the 32nd Toronto International Film Festival on 8 September 2007. It was released as a television film in the United Kingdom, airing on Channel 4 on 26 November 2007, and was theatrically released in the United States by The Weinstein Company on 23 July 2008. The film received generally positive reviews from critics, with Garfield winning a British Academy Television Award for his performance.


title: Boy A (film)

text: Andrew Garfield portrays Eric Wilson. The film commences when Eric is released from either a secure unit or prison under the name Jack Burridge. His past is told through flashbacks.


title: Boy A (film)

text: Eric Wilson befriends Philip Craig, who is a troublemaker and rescues him from a group of bullies. It is later disclosed that Philip is the victim of rape perpetrated by his older brother. Philip gets into an argument with a girl from their school who comes across the two boys loitering in a park. She criticizes them and refers to them as "scum" when she witnesses Philip vandalising a park sign with a Stanley knife. Philip approaches her and starts slashing at her forearms with the knife. He grabs the girl and drags her under a bridge. When Philip drops the knife, Eric picks it up, and follows them under the bridge. The girl is killed, although the film shows neither who kills her nor how. Eric (dubbed as Boy A during the trial) and Philip are remanded into custody at secure units. Philip ends up dead, assumed to be suicide, but Eric believes that he may have been killed by youth offenders.


title: Boy A (film)

text: Eric is later released and is guided by social worker Terry (Peter Mullan). Eric, shy and eager to be a good citizen again, builds up a new life under the name Jack Burridge. He finds a job, befriends his colleague Chris (Shaun Evans), falls in love with the office girl, Michelle (Katie Lyons), and rescues a little girl who would otherwise have died after a car crash. An article in a local newspaper portrays him as a hero and includes a picture of both boys in the story. Eric wants to be honest with Michelle and reveal his past, but Terry urges him not to do so because it is too dangerous. Terry is afraid that people may attack Eric because there is a reward of £20,000 for finding him. Terry argues that it is not dishonest because "Eric is history and Jack is a new person".


title: Boy A (film)

text: The rehabilitation worker is less satisfied with his own son. The son discovers Eric's true identity from newspaper articles about him being released, his new role as the hero and information he looks up without permission on his father's computer. Out of jealousy, he reveals this to the public and as a result, Eric loses his job and his best friend Chris distances himself from him. Michelle goes missing, and people suspect that Eric is somehow involved, though it is later revealed she has sequestered herself at home, devastated about the revelation that Jack is actually Eric.


title: Boy A (film)

text: Eric repeatedly tries to phone Terry but gets his voicemail. He flees from his home to avoid reporters and travels to Blackpool. There he meets (or imagines meeting) Michelle, who tells him she was not the one who revealed his past and would have eventually understood if he told her the truth, and then leaves. After saying farewell messages in voicemails to Terry and Chris, the film concludes with Eric standing over the edge of a pier.


title: Boy A (film)

text: "Boy A" received a limited release in North America in 10 theatres and grossed $113,662. The film grossed $1,647,281 in other territories for a worldwide total of $1,760,943.


title: Boy A (film)

text: On review aggregator website Rotten Tomatoes, "Boy A" has a 88% "certified fresh" rating based on 60 reviews. On Metacritic, it has a weighted average score of 75 out of 100, based on 22 critics, indicating "generally favorable reviews".


title: Boy A (film)

text: Stephen Holden of "The New York Times" called the film a "wrenching melodrama". Wesley Morris of "The Boston Globe" praised Garfield's performance, writing that "the movie is worth seeing for Garfield".


title: English medieval clothing

text: The Medieval period in England is usually classified as the time between the fall of the Roman Empire to the beginning of the Renaissance, roughly the years AD 410–1485. For various peoples living in England, the Anglo-Saxons, Anglo-Danes, Normans and Britons, clothing in the medieval era differed widely for men and women as well as for different classes in the social hierarchy. The general styles of Early medieval European dress were shared in England. In the later part of the period, men's clothing changed much more rapidly than women's styles. Clothes were very expensive and both the men and women of lower social classes continued also divided social classes by regulating the colors and styles these various ranks were permitted to wear. In the early Middle Ages, clothing was typically simple and, particularly in the case of lower-class peoples, served only basic utilitarian functions such as modesty and protection from the elements. As time went on the advent of more advanced textile techniques and increased international relations, clothing gradually got more and more intricate and elegant, even with those under the wealthy classes, up into the renaissance.


title: English medieval clothing

text: The normal women's costume of this era was a long "peplos"-like garment, pulled up to the armpit and worn over a sleeved undergarment (usually another dress). The garment was clasped front to back by fastening brooches at the shoulders. The dress could be belted or girdled, with tools and personal items suspended from the belt. Women in this period may or may not have worn a head covering.


title: English medieval clothing

text: Fleeces and furs were probably used as garment lining or as warm outer garments. A simple poncho made with a neck-opening for the head could have been made from skins of domesticated sheep or cattle.


title: English medieval clothing

text: There is little evidence of footwear until the late sixth and seventh centuries. Agricultural laborers shown plowing and sowing in Anglo-Saxon illustrated manuscripts work barefoot, which may indicate that footwear was not the norm until the middle Anglo-Saxon era.


title: English medieval clothing

text: Changes in Anglo-Saxon women's dress began in the latter half of the sixth century in Kent and spread to other regions at the beginning of the seventh century. These fashion changes show the decreasing influence of Northern Europe and the increasing influence of the Frankish Kingdom and the Byzantine Empire and a revival of Roman culture. Linen is used more widely for garments and under-garments. Although there is little evidence to show whether women wore leggings or stockings under their gowns, it is more than likely that leg-coverings were worn by women during this period.


title: English medieval clothing

text: Women typically wore a sleeveless overgarment, with or without a hood. If a hood was worn, it was either a scarf wrapped around the head and neck or an unconnected head covering with an opening for the face. It was assumed that the hooded style was influenced by Near Eastern art.


title: English medieval clothing

text: In contemporary art of this period, women are shown wearing ankle-length, tailored gowns. Gowns are often shown with a distinct border, sometimes in a contrasting color. Arms were usually covered; sleeves were often straight with a slight flare at the end. Braided or embroidered borders often decorated sleeves. By the eleventh century, multiple sleeve styles had come into fashion.


title: English medieval clothing

text: The girdles and buckled belts that were popular in the fifth and sixth century, with tools and personal items suspended from the belt, had gone out of fashion. Women wore simple ankle shoes and slippers. Archaeological evidence suggests that a variety of shoe styles were available.


title: English medieval clothing

text: Around the year 1300, well-off women's gowns began fitting more tightly and had lower necklines. Clothing was layered and these layers were tightly bound to the body. Around this time, the surcoat came into use. By the end of the 14th century, the dress had replaced all garment items aside from the surcoat.


title: English medieval clothing

text: Basic garments now consisted of the smock, hose, kirtle, dress, belt, surcoat, girdle, cape, hood, and bonnet. Wealthier women would use fabrics and materials such as silk and fine linen; the lower classes would use wool and coarser linen. The skirt was developed during this period, and quickly eclipsed the petticoat in both popularity and use; use of a headdress, in various forms, (culminating in the hennin) was now an important element too.


title: English medieval clothing

text: The importation of luxurious fabrics increased over the period, and their use widened somewhat, but clothing remained very expensive. Very few women owned more than a few items of clothing.


title: English medieval clothing

text: Early Anglo-Saxon men, regardless of social rank, wore a cloak, tunic, trousers, leggings, and accessories. The short, fur-lined cloak was designed so that the skin of the animal faced outward and the fur brushed against the undergarments. However, woolen cloaks have also been found. The garment opened either at the front or at the right shoulder. A single brooch, usually circular in shape, fastened the square or rectangular cloak. Other means of fastening the cloth together included tying, lacing, or using a clasp, often made of natural materials such as thorn, bones, wood, or horns. The less prosperous wore woolen cloaks.


title: English medieval clothing

text: The tunic ended between the hip and the knee and had either long or short sleeves. Clasps were not needed to hold the tunic together because when pulled over the head it would sit snugly around the neck without the use of lacing or ties, indicating that the garment was one continuous piece. A belt or girdle was usually worn with the tunic and might have had a buckle, and, as Gale Owen-Crocker states, "pouched over the belt". Multiple tunics were worn at once so that the lower one, often short-sleeved, served as a shirt.


title: English medieval clothing

text: Trousers, traditionally worn under a short tunic or with a small cloak, were ankle length. If loose, the excess material was bunched around the waist and, as Owen-Crocker describes, "hung in folds around the legs". Garters or leggings accompanied narrow trousers. Pieces of fabric attached to the trousers forming belt loops so that the garment could be at held in place at the waist by a belt.


title: English medieval clothing

text: Leggings, usually worn in pairs, acted as additional protection for the legs. The first legging referred to as the legging proper or stocking, consisted of woven fabric or leather. The second was simply leather or fabric used to tie on the leggings or, if worn around the shin or foot, providing warmth and protection. The lower caste wore leggings made of ripped or cut cloth from old clothes, blankets, or bags whereas the upper caste had custom made leggings. The very rich people sometimes wore jewels.


title: English medieval clothing

text: Belts worn at the hips were more of a necessity rather than a luxury. Buckles were common and most faced the front; however, others have been found to face both sides or even, in some cases, were placed at the back of the body. Owen-Crocker mentions that "belt ornaments and tags" dangled from the belts of the Anglo-Saxons in addition to everyday equipment. Beads occasionally acted as alternatives, although not often. Leather belts, often decorated, were the most common. Intricate belts, worn to be seen, were placed in view while an additional belt or girdle held the trouser in place under the tunic.


title: English medieval clothing

text: The Anglo-Saxons usually covered their bare feet, except when working. Shoes were made of leather and secured with straps. Hats and hoods were commonly worn as were gloves and mittens.


title: English medieval clothing

text: Clothing of the seventh through the 9th centuries was similar to that of previous centuries and again all classes generally wore the same clothing, although distinctions among the social hierarchy began to become more noticeable through ornamented garments. These common pieces consisted of tunics, cloaks, jackets, pants, and shoes. As in the 5th and 6th centuries, a linen shirt acted as an undergarment. Men generally wore a knee-length linen or woolen tunic, depending on the season, over their shirts. The sleeves of the tunic were long and close-fitting and excess material was pushed up the arm from the elbow to the wrist so that "rolls" were formed in the material. The neck of the tunic opened as did both sides and a belt or girdle was usually worn around the waist. According to rank, embellishments adorned the collar of the tunic, waist, or border and for peasants, or the working classes, a plain tunic with sleeves was generally worn. Examples of these decorations included, as James Planché states, "gold and silver chains and crosses, bracelets of gold, silver or ivory, golden and jeweled belts, strings of amber and other beads, rings, brooches, [and] buckles". The nobility tended to wear longer tunics than the lower social classes.


title: English medieval clothing

text: A cloak, worn over the tunic, fastened on either the breast or a shoulder with the assistance of a brooch. Once in place, the brooch was left attached to the garment so that the cloak was slipped over the head. The cloak, knee-length and rectangular in shape, was fastened so that it appeared to be pleated or folded. Hoods and collars began to appear in the 9th century, and around the same time, the cloak began to be curbed by the same belt that was worn over the tunic. The wrap-over coat also made an appearance during this era. This knee-length coat wrapped over the front of the body. Its sleeves were, as Owen-Crocker says, "deep, [with] decorated cuffs which [were] mostly straight". For the lower classes, this coat tended to be plainer than that of the nobility.


title: English medieval clothing

text: The waistcoat or jacket appeared during this time as well. For those who could afford it, the jacket was made of fur while less costly ones were made of linen. This jacket was waist-length and tended to have a broad collar.


title: English medieval clothing

text: The trousers in this era were shortened to mid-thigh and stockings, made of leather, met them there. Atop the stockings, rounds of cloth, linen, or leather were worn which started at the ankle and ended just below the knee, as Planché explains, in "close rolls… or crisscrossing each other sandal-wise". Planché states that socks began to be worn over the stocking and were "banded at the top". Shoes of this era, painted black, had an opening down the instep and were secured with straps. Anglo-Saxons appreciated shoes and thus all classes wore them. Common colors for this era consisted of red, blue, and green.


title: English medieval clothing

text: Until the 9th century, the king or reigning authority wore ringed byrne which, as Planché explains, was "formed of rings sewn flat upon a leather tunic". This person also carried a projecting shield and "long, broad, straight iron sword" as Planché states. A square crown was worn as was a longer cloak. Beginning in the 9th century, the metal of the king was inscribed and later in the century silk began to be worn by both the king and the nobility.


title: English medieval clothing

text: Well-armed Anglo-Saxon soldiers wore wrap-over coats decorated like chain mail with sleeves that narrowed at the wrists, these were often embroiled with flowers or plants. Owen-Crocker explains that the belts of commanders were elaborate, wide, and fastened by "a narrow strap which was riveted to the broad belt and passed through a buckle which was much narrower than the belt itself" leaving the end of the belt to hang down. Also attached to the belt were pouches which allowed soldiers to carry their weapons. In the 9th and 10th centuries, military attire did not differ much from that of civil attire. The only changes were in the form of short linen tunics with metal collars and the addition of a sword, spear, shield, and helmet. Weapons and clothes fittings worn on the battlefield were highly decorated with jewelry techniques, as seen in the discoveries at Sutton Hoo and in the Staffordshire Hoard; the concept of parade wear did not exist for the Anglo-Saxons.


title: English medieval clothing

text: Planché asserts that the clergy of the 9th and 10th centuries dressed similarly to the laity, except when saying mass. Beginning in the later 8th century, the clergy were forbidden to wear bright colors or expensive or valuable fabrics. Owen-Crocker mentions that their twill cloaks were generally shorter than those of the laity, reaching just below the waist, and Planché adds, that they wore linen stocking.


title: English medieval clothing

text: Planché explains that in the 11th century, shortened tunics became popular as did shorter hairstyles and beard lengths. Piercings also became fashionable for men as did golden bracelets. During this era, men continued to wear tunics, cloaks, and trousers which did not vary much from their previous counterparts. Coifs became popular head-coverings and appeared to be "flat round cap[s]". Long stockings, with feet attached, were in style, and leg bandages and shoes continued to be worn. Short boots, those only extending to the ankle, were introduced in the latter part of the century.


title: English medieval clothing

text: Military attire was simply regular clothing with the addition of adornments depending on the number of "marks" a soldier had. These additions consisted of a spear, ax, sword, bow, shield, steel cap, helmet, an iron coat, or a linen or cloth tunic. During this era, soldiers carried either round or crescent shaped shields usually painted red. Higher-ranking officials decorated their swords with various colors and insignias. In the middle half of the century, armor began to be made of leather and weapons were made light-weight. Previous mail tunics, found to be too heavy preventing the soldier from properly fighting, were replaced by the new leather armor, which consisted of overlapping flaps, cut like scales or leaves and each dyed a different color.


title: English medieval clothing

text: In the latter half of the century, warriors shaved their heads to resemble the clergy in order to confuse foreign spies. The cowl, which was covered in rings, emerged during this time and was worn under the helmet, which also had a new addition, the nose piece. The ringed knee-length tunic was slit in the front and back to allow for more comfortable riding. The length of the trousers became shorter. "Mascled armor" began to replace the traditional ringed armory. These new iron pieces were assembled to look like mesh or nets but a combination of the two patterns have been found to be used. Another variation included covering the body in rings and removing the sleeves from the tunic. Planché mentions that a "square pectoral" was added to the breast of the armor as added protection and were "quilted or covered with rings". A yellow border was added to the pectorals, sleeves, and skirts. Shields had two new adjustments: one strap looped around the arm while a second strap circled around the neck, allowing the soldier the use of both his hands.


title: English medieval clothing

text: The clergy of the 11th century had shaved heads and wore bonnets, which, according to Planché, were "slightly sinking in the centre, with the pendent ornaments of the mitre attached to the side of it". Other garments included the chasuble, the outermost liturgical vestment, which retained its shape, and the dalmatics, a tunic-like vestment with large, bell-shaped sleeves, which tended to be arched on the sides. The pastoral staff was generally found to be plain in colour and ornamentation.


title: English medieval clothing

text: The 12th century brought changes in the civil attire for the inhabitants of the British Isles. The tunic was now close fitting with a long skirt. There was, as C. Willett and Phillis Cunnington describe, a "slit up in front to the thigh level" and the sleeves, now close fitting, were "bell-shaped" at the wrist or, the "lower portion [hung] to form a pendulous cuff which might be rolled up for action". Peasants wore tunics which were shorter and the sleeves were "tubular…[and] rolled back". The tunic could be worn with or without the girdle, which now carried the sword. Neck lines were either diagonal, from the neck moving across the chest, or horizontal, from the neck to the shoulder. The super tunic, worn with a girdle, was occasionally worn alone but was never paired with the aforementioned tunic. The sleeves of this super tunic had, as the Cunningtons state, "pendulous cuffs", which were uncommon, or were "loose and often elbow-length only". The super tunic was occasionally lined with fur.


title: English medieval clothing

text: The cloak and mantle, a cloak resembling a loose cape, were fastened either with a brooch or clasp, or as the Cunningtons describe, "the corner of the neck edge on one side was pulled through a ring sewn to the opposite corner, and then knotted to keep in position". For the rich, the cloak was lined with fur and for all classes beneath, the cloak was hooded and made of animal hide, with the hair facing out.


title: English medieval clothing

text: For the first half of the 13th century, linen braies were worn and then shortened to the knee in the second half of the century, which then became drawers or undergarments. Short stockings ended just below the knee and the border was occasionally decorated. Longer stockings, mid thigh length, could also be worn: as C. Willett and Phillis Cunnington say, they were "shaped to fit the leg, widening above the knee so that they could be pulled up over the braies". The stockings and girdle were tied together at a point in the top front of the stocking by which to keep it in place. Some stockings had stirrups, whole feet, or no feet. For hosiery, made of wool or leather, a "thin leather sole was attached" so that shoes would not need to be worn. Leg wear during the 12th century tended to be brightly coloured and stripes were popular.


title: English medieval clothing

text: All classes of men during the 12th century wore shoes or boots. Shoes, as the Cunningtons say, were "open over the foot and fastened in front of the ankle with a strap secured by a brooch or buckle". For the wealthy, the bands on shoes were decorated and designs were often found "over the foot or around the heel". Different styles of shoes began to appear during this era. One such, as the Cunningtons state, was "high around the ankle and slit down the sides or in front" while others were laced or had "short uppers but cut high behind the heel". Boots were most notably mid calf or knee length and laced down the front or along the inner side. These boots tended to be brightly coloured and had, in the Cunningtons' words, "turn over tops". Shorter boots, with pointed toes, were also worn and ended just above the ankle. Boots were made of leather from a cow or ox, cloth, fish skin, or, for those who could afford it, silk.


title: English medieval clothing

text: Separate hoods also made an appearance. They were loose with, as the Cunningtons describe, a "pointed cowl" and were attached to a robe stretching to the shoulders. The cape was usually a single piece of material and thus had to be put on over the head. The Cunningtons state that the "pointed Phrygian cap," or the "small, round cap with stalk or with a rolled brim and with or without the stalk" or the "stalked soft cap, resembling a beret" were worn. Travelers wore "hats with large brims and low crowns…over the hood" which tied under the chin. Small hats with round crowns and, the Cunningtons say, "turned-down brim, decorated with a knob instead of a stalk" were also worn, as were coifs, which was a "close fitting plain linen bonnet which covered the ears and confined the hair" and tied under the chin. The coif could be worn with other hats or hoods.


title: English medieval clothing

text: Accessories for 12th century English men became more decorated. The girdle, mid century, became more elaborate in its ornamentation and in the latter half of the century, was, "tied like a sash in front with hanging ends" or, if "long and elaborate, was fastened with ornamental buckles" as the Cunningtons depict. Wallets and purses, in the early half of the century, were hung from the girdle or the breech girdle and in the latter half were placed under the tunic, out of sight. During this era gloves became fashionable for the nobility, although they were seldom worn. Rings, brooches, buckles, clasps, and "ornamental fillets of gold and silver", according to the Cunningtons, were worn by the ruling classes. Wool, linen, and silk continued to be used, as was leather, which the peasants used for tunics and mantle and left the hair on facing outward. Garments were also embroidered during this era.


title: English medieval clothing

text: Men continued to wear both short and long tunics with a girdle; however the slit up the front was removed. A new style was introduced in this era in which the sleeves and body were cut from one piece of material. A wide armhole, which extended to the waist, was left open and the sleeves were cut in order to, as the Cunningtons state, "slope off to a narrow tight cuff at the wrist". The super tunic of the 11th century continued to be worn by the less fashionable, the lower classes of society, and the girdle was optional.


title: English medieval clothing

text: Five new styles of the super tunic were introduced in this era. The first consisted of a front and back panel which extended from the shoulders to the calf level. The two panels were sewn together or clasped together near the waist, where they were met by a slit up the front. The neck opening was large so that the tunic could be put on over the head and a belt was not usually worn with this tunic. The second new style was more "voluminous" as the Cunningtons describe it, and hung in folds to a length between the knees and the ankles. The sleeves gathered at the shoulders and extended beyond the hands. A vertical slit was cut in the upper arm of the sleeve to allow unrestrained movement. This garment, like the previous, was put on over the head and a hood was often attached. The third style was much looser than the previous ones. The sleeves could extended to just below the elbow or could be worn short and wide. A buckled belt was optional. The fourth super tunic, or garnache, was knee length and the material was cut wide at the shoulders to allow the material to "fall down on each side, predicting cape-like sleeves," as the Cunningtons put it. The sides of this tunic could be clasped at the waist, sewn from the waist to the hem, or left open and was traditionally beltless. The last style was simply sleeveless and worn with a belt. For these cloaks and hoods red, Irish cloth was popular.


title: English medieval clothing

text: Fitchets, resembling modern day pockets, also appeared in the 13th century. Vertical slits were cut in the super tunic, which did not have any side openings, to allow access to purse or keys slung from the girdle of the tunic.


title: English medieval clothing

text: Men's headwear of the 13th century, as the Cunningtons illustrate, consisted of the hood, which was sometimes buttoned, and stalked round caps and large rimmed traveling hats, both seen in the previous century. New to this era were hats with "round brim[s] turned up at the back which could be worn reversed with the turn-up in front". Hats with round crowns also made an appearance and were sometimes found with a "knob on the crown" or with a "moderate brim with a downward slope or a rolled brim". The coif continued to be worn much more frequently.


title: English medieval clothing

text: During this era garments such as cloaks, mantles, and stockings remained unchanged. However, during this era, stockings were sometimes tied with narrow strips of material below the knee to hold the stocking in place. Leg bandages for the nobility became popular which criss-crossed and extended above the knee.


title: English medieval clothing

text: Shoes during this era were designed so that each shoe was cut explicitly for an individual's foot. Shoes were plain, and most were closed around the ankle and were laced or buckled along the inner side of the foot. Other shoes exposed the top of the foot and either stretched high behind the ankle or were clasped near the ankle by an instep strap. Boots, as the Cunningtons describe, were briefly coloured along the top, had a much looser fit, and were barely extended to the calf. Calthrop adds that boots were "turned over a little at the top".


title: English medieval clothing

text: Men's accessories were similar to those of the 11th century. Gloves continued to be worn by the nobility and could be long, stretching to the elbow, or short, wrist length, and began to be decorated, the Cunningtons explain, "with a broad strip of gold embroidery down the back as far as the knuckles". By the end of the century, gloves were more widely worn and were ornamented with silver or gilded buttons. Calthrop also includes that long hair and neatly trimmed beards were in style for 13th century men.


title: English medieval clothing

text: Men's clothing of the 14th century was much more form fitting than its 13th century counterparts. During this era, many of the standard pieces that had been worn by the Britons evolved into new garments and took on different names. P. Cunnington explains that loose garments, such as the tunic and super tunic, from previous centuries continued to be worn by the lower classes who were less concerned with fashion. These loose garments, as C. Cunnington states, were slit up the front, had sleeves, and were worn with a girdle. In addition, they could be shortened to the hip. The gipon, also called a pourpoint or doublet, emerged during the 14th century. It replaced the tunic and was knee length and close-fitting. The gipon was not designed with any folds or gathers as the tunic was. The sleeves were long and tight and the neck was low. The bodice was padded and the garment was either buttoned or laced down the front, but for the lower classes it was only buttoned to the waist. The gipon was traditionally worn over a shirt and if worn with an outer garment, a belt was not worn. At the end of the century, the gipon was shortened to above the mid-thigh and was worn with a belt at hip level


title: English medieval clothing

text: The outer garment of this era was known as the cote-hardie and replaced the super tunic of previous centuries. This new low necked, knee length piece was tight fitting and buttoned or laced down the front to waist level, where it then "flared into a full skirt which was open in the front" as C. Cunnington describes. The complex sleeves of the cote-hardie extended, in the front, to the elbow and, in back, hung in flaps which tapered and elongated. Sleeves during this era were decorated. A belt or girdle was worn with this new garment. The less fortunate wore looser cote-hardies which did not fasten in the front. Instead, they were one piece and were put on over the head. Cloaks and capes continued to be worn as outdoor wear and didn't change from the previous century.


title: English medieval clothing

text: Men's stockings of the 14th century were lengthened and tied to the region, so that it was hidden under the skirt. Shorter stockings were tied to garters with stripes of wool or linen. Shorter boots and shoes also become fashionable. Woolen soles were added to shoes as were straps.


title: English medieval clothing

text: The hood continued to be worn by men during this era. However, its shape changed. The pointed cowl was lengthened as P. Cunnington describes, "into a long streamer..and from this another head-dress was made which was made in the form of a turban with a fall-over flap made from the hood cape". Stalked caps remained popular and small hats with close, turned up brims emerged. Toward the end of the century men began putting feathers in their hats for decoration.


title: English medieval clothing

text: Gloves spread amongst the social hierarchy so that even those of the working class were wearing them in the 14th century. For this class, only the thumb and two sections existed for the fingers.


title: English medieval clothing

text: The lowest classes in the Middle Ages did not have access to the same clothing as nobility. Poor men and women working in the fields or wet or muddy conditions often went barefoot. Upper and middle-class women wore three garments and the third garment was either a surcoat, bliaut, or cotehardie. These were often lavish garments, depending on the wealth of the person wearing them, and could have trimmings in fur or silk decorated with elaborate designs. Because of the cost of fabric, the working classes hardly wore this third garment.


title: English medieval clothing

text: Another marker of the upper classes was an elaborate headdress. These could involve wires, draping fabric and pointed caps. Again, because of the cost the poor could not afford these and instead wore simple cloth veils called wimples that "draped over the head, around the neck and up to the chin". Working women wore ankle length dresses and men wore short tunics and breeches. The longer the garment, the higher in station a person was. This is evident in the sumptuary laws of 1327 which states "coming to the lowest class no serving man is to use 2½ yards in a short gown or 3 in a long one". Also, serving men such as servants or attendants usually did not wear cloaks, and for the nobles who did it served to distinguish them from the masses.


title: English medieval clothing

text: While most of the peasant women wove their fabric and then made their own clothing, the wealthy were able to afford tailors, furriers, and embroiderers. The wealthiest, such as royalty, would have "all these craftsmen on staff, sometimes one per each adult in the household".


title: English medieval clothing

text: Social status was of the utmost importance during the Middle Ages, and this idea was exemplified through fashion. For example, it was generally understood that scarlet tones, such as red and purple, were important items in the wardrobes of royalty. More specifically, these colours became reserved for Kings and Princes, and denoted luxury and wealth. The medieval sumptuary laws or "acts of apparel" were put into place to regulate the clothing choices of people during that time. Those who supported the enactment of such laws did so because the laws emphasized the differences between the classes, and clearly defined what those differences are. For example, the 1363 statute to the Clothing Law of 1337 states that wives of yeomen and handicraftsmen may not wear any veil or kerchief made of silk...the higher-status groups, however, are allowed to wear whatever imported items they want. This clearly states the understood division between the rich and poor during this era, and the importance of keeping the classes defined as separate entities. There were rules for every item of clothing; lower-class women were banned from wearing expensive veils. Only wives and daughters of wealthy men could wear velvet or satin. There was an unfair discontinuity in the rules; lower class citizens could never wear an item designated for the upper class, whereas the upper class could wear anything that suited them. For example, wives and daughters of servants were not to wear veils that cost more than twelve pence.


title: English medieval clothing

text: The English sumptuary acts of 1363 go into explicit detail about clothing items which were reserved for those below the king's status, putting restrictions on coat length and shoe height. In this legislation, the intention was to prevent men from acting as if they were from a higher class by way of how they dressed. The laws specifically stated that a man was to dress within the status in which he was born. The acts depicted what clothing was to be worn and also clearly stated how the classes were ranked, with kings and royalty at the top and servants at the bottom. Most of these organized lists did not include all groups of people. The majority of the lists consisted of divisions of the upper and middle classes, while the lower classes were neglected altogether. This was because the middle class was considered most likely to violate the clothing laws because they were supposedly most influenced by social pressures, whereas lower-class people did not have the capabilities to dress according to a higher ranking even if they desired to do so. In fact, any mention of lower classes was done so out of necessity in order to complete the social hierarchy.


title: English medieval clothing

text: The most common material used was wool, with the wool ranging in texture and quality based on the type of sheep it came from. The quality could range from the very coarse and undyed for the lower class to extremely fine with designs and colour for the upper class. Linen and hemp were other fabrics used, and were utilized often by the lower classes as undergarments and head coverings. Also, silk was a popular material used by the wealthy and was imported from Asia. After the crusades, fabrics such as damasks, velvets, and satin were brought back to England, as was samite. Animal skins were also used such as "sheep-skin cloaks… in winter to keep out the cold and rain". Leather was used to produce items such as shoes, belts, gloves and armor.


title: English medieval clothing

text: The middle class could usually afford to dye their wool colours like blue and green. The wealthy could afford to add elaborate designs to their clothing as well as dying it red and black, expensive colours for the time. Purple was also considered a colour of royalty and was reserved for kings or religious figures such as the pope.


title: Cleo Laine

text: Dame Cleo Laine, Lady Dankworth (born Clementine Dinah Bullock; 28 October 1927) is an English jazz and pop singer and an actress, known for her scat singing and for her vocal range. Though her natural range is that of a contralto, she is able to produce a G above high C, giving her an overall compass of well over three octaves. Laine is the only female performer to have received Grammy nominations in the jazz, popular and classical music categories. She is the widow of jazz composer and musician Sir John Dankworth.


title: Cleo Laine

text: Laine was born Clementine Dinah Bullock in Southall, London to Alexander Sylvan Campbell, a black Jamaican who worked as a building labourer and regularly busked, and Minnie Bullock, a white English farmer's daughter from Swindon, Wiltshire, whose maiden name was reportedly Hitching.


title: Cleo Laine

text: The family moved constantly, but most of Laine's childhood was spent in Southall. She attended the Board School there on Featherstone Road (later known as Featherstone Primary School) and was sent by her mother for singing and dancing lessons at an early age. She went on to attend Mellow Lane Senior School in Hayes before going to work as an apprentice hairdresser, a hat-trimmer, a librarian, and in a pawnbroker's shop.


title: Cleo Laine

text: In 1946, under the name Clementina Dinah Campbell, Laine married George Langridge, a roof tiler, with whom she had a son, Stuart. The couple divorced in 1957. It was not until 1953, when she was 26 and applying for a passport for a forthcoming tour of Germany, that Laine found out her real birth name, owing to her parents not being married at the time and her mother registering her under her own name (Hitching).


title: Cleo Laine

text: Laine auditioned successfully, at the age of 24, for John Dankworth's small group, the Dankworth Seven, and later his orchestra, with which she performed until 1958. Dankworth and Laine married that year. She played the lead in a new play at London's Royal Court Theatre, home of the new wave of playwrights of the 1950s such as John Osborne and Harold Pinter. This led to other stage performances, such as the musical "Valmouth" in 1959, the play "A Time to Laugh" (with Robert Morley and Ruth Gordon) in 1962, "Boots With Strawberry Jam" (with John Neville) in 1968, and eventually to her role as Julie in Wendy Toye's production of "Show Boat" at the Adelphi Theatre in London in 1971. "Show Boat" had its longest run to date in that London season with 910 performances staged.


title: Cleo Laine

text: During this period, she had two major recording successes. "You'll Answer to Me" reached the British Top 10 while Laine was "prima donna" in the 1961 Edinburgh Festival production of Kurt Weill's opera/ballet "The Seven Deadly Sins", directed and choreographed by Kenneth MacMillan. In 1964 her "Shakespeare and All that Jazz" album with Dankworth was well received. Dankworth and Laine founded the Stables theatre in 1970 in what was the old stables block in the grounds of their home. It eventually hosted over 350 concerts per year.


title: Cleo Laine

text: Laine's international activities began in 1972, with a successful first tour of Australia, where she released six top-100 albums throughout the 1970s. Shortly afterwards, her career in the United States was launched with a concert at New York's Lincoln Center, followed in 1973 by the first of many Carnegie Hall appearances. Coast-to-coast tours of the US and Canada soon followed, and with them a succession of record albums and television appearances, including "The Muppet Show" in 1977. This led, after several nominations, to her first Grammy award, in recognition of the live recording of her 1983 Carnegie concert. She has continued to tour periodically, including in Australia in 2005.


title: Cleo Laine

text: She has collaborated with James Galway, Nigel Kennedy, Julian Lloyd Webber and John Williams. Other important recordings during that time were duet albums with Ray Charles ("Porgy and Bess") as well as Arnold Schoenberg's "Pierrot Lunaire", for which she received a Grammy Award nomination.


title: Cleo Laine

text: Laine's relationship with the musical theatre started in Britain and continued in the United States with starring performances in Sondheim's "A Little Night Music" and Franz Lehár's "The Merry Widow" (Michigan Opera). In 1980 she starred in "Colette", a musical by Dankworth. The show began at the Stables theatre, Wavendon, in 1979 and transferred to the Comedy Theatre, London, in September 1980. In 1985 she originated the role of Princess Puffer in the Broadway musical "The Mystery of Edwin Drood", for which she received a Tony nomination. In 1989, she received the Los Angeles critics' acclaim for her portrayal of the Witch in Sondheim's "Into the Woods". In May 1992, Laine appeared with Frank Sinatra for a week of concerts at the Royal Albert Hall in London.


title: Cleo Laine

text: Laine is famed for not only her interpretative style, but also her almost-four-octave range and vocal adaptability. As well as hitting deep soulful notes, Laine's scatting and top notes have become her signature. Though her natural range is that of a contralto, she is able to produce a G above high C. Derek Jewel of the "Sunday Times" dubbed her "quite simply the best singer in the world."


title: Cameron Dallas

text: Cameron Alexander Dallas (born September 8, 1994) is an American Internet personality, actor and singer best known for his prominence on the video applications Vine and YouTube. Dallas starred in two films in 2014 and 2015; "Expelled" and "The Outfield". In 2016 Cameron starred on his Netflix reality show "Chasing Cameron" which followed him on his singing tour of Europe. In 2020 he took over the role of Aaron Samuels in the "Mean Girls" musical on Broadway in January and then on the 8th of September he released "Dear Scarlett", his first album.


title: Cameron Dallas

text: Dallas began his career in September 2012 posting Vines of himself playing jokes and pranks on his friends and family. In 2014, Dallas had 8.1 million followers on Vine, making him the 11th most followed account, and 11.3 million followers on Twitter. As of 2017, Dallas had over 20 million followers on Instagram, which at the time placed him as the second most popular Instagram account and made him approximately $17,000 per a sponsored post.


title: Cameron Dallas

text: In April 2014, AwesomenessTV CEO Brian Robbins announced he was making a film starring Dallas. The film, titled "Expelled", was the story of a prankster expelled from school, and was released later that year, on December 12, 2014.


title: Cameron Dallas

text: In May 2015, Dallas starred in two episodes of the NBC thriller television series "American Odyssey". That same year, Dallas appeared in "The Outfield" opposite Nash Grier, and Caroline Sunshine. The film was released on November 10, 2015, through video on demand. In November 2015, it was revealed Dallas had been cast in "". However, his scenes were cut.


title: Cameron Dallas

text: On April 20, 2015, Dallas released his debut single "She Bad". He also was later featured in Daniel Skye's track "All I Want Is You". In June 2016, Dallas announced that he would be starring in an upcoming Netflix reality series "Chasing Cameron". It premiered on December 27, 2016. By July 2017, he had reached 20 million followers on Instagram and 11 million on Twitter.


title: Cameron Dallas

text: In 2020, Dallas made his Broadway debut as Aaron Samuels in "Mean Girls", while the originator of the role, Kyle Selig, took a leave of absence. That year, Dallas also released his first album, Dear Scarlett, on September 8.


title: Cameron Dallas

text: On December 31, 2018, New Year's Eve, Dallas was arrested and charged with assault for allegedly punching a man in the face at the Hyatt Residence Club Grand Aspen in Aspen, Colorado. He had previously been arrested on felony vandalism charges in 2015.


title: Cameron Dallas

text: On August 23, 2019, Dallas announced on social media that for the past 2.5 years he had been struggling with addiction, depression, and family trauma. On October 15, 2019, he ran in a charity that helped raise money for those struggling with addiction and to help them get access to treatment.


title: Sinop, Turkey

text: Sinop, historically known as Sinope (; ), is a city on the isthmus of İnce Burun (İnceburun, Cape Ince), near Cape Sinope (Sinop Burnu, Boztepe Cape, Boztepe Burnu) which is situated on the northernmost edge of the Turkish side of the Black Sea coast, in the ancient region of Paphlagonia, in modern-day northern Turkey. The city serves as the capital of Sinop Province.


title: Sinop, Turkey

text: Over a period of approximately 2,500 years, Sinope has at various times been settled by Colchians, Greeks (in the late 7th, late 5th, and 4th–3rd centuries BC), by Romans in the mid-1st century BC, and by Turkic people beginning in the 12th century. In the 19th and 20th centuries it was also settled by the "muhacir" who immigrated from the Balkans and Caucasus.


title: Sinop, Turkey

text: Evidence for Hittite Kingdom settlement along the Black Sea's southern shore remains murky. Researchers in the 1940s and 50s debated whether the "Great Sea", mentioned on the Boghazkoy tablets describing war between the Kizzuwatna tribe and the Hittites, could mean the Black Sea. Albrecht Goetze argued that the Hittites had never reached the northern Black Sea shore, instead drawing the northernmost boundary of the Hittite Kingdom to the south of the North Anatolia mountain range. D.S. Hogarth similarly concluded that the northern boundary of the Hittites never reached the shore. Hogarth's boundary was based on the distribution of Hittite monuments. Some objects found at Sinope are believed to be of Hittite origin.


title: Sinop, Turkey

text: The Greek colony of Sinope () was founded by Ionians from the city of Miletus. Sinope issued its own coinage, founded colonies, and gave its name to a red earth pigment called sinopia, which was mined in Cappadocia for use throughout the ancient world. Some scholars have dated the earliest Greek colonization of Sinope to the 7th c. BC, while others have proposed an earlier date in the 8th c. While literary evidence exists supporting earlier settlement, archaeological evidence has been found of Greek settlement around the Black Sea region beginning in the late 7th century.


title: Sinop, Turkey

text: Sinope was strategically located among the trade routes that were developing on the southern Coast of the Black Sea, but remained relatively isolated from other inland communities until the 4th century BC. There is literary evidence of early links between Colchis and Sinope in mythological tradition. Strabos writings link the legendary founder of Sinope, Autolycus, with Jason and the Argonauts. Polybius described Sinope as being "on the way to Phasis". The Persian Achaemenid Empires northward expansion in the 4th century disrupted Sinope's control over its eastern colonies, including Trapezus (present day Trabzon). The satrap Datames briefly occupied the city around 375 BC. There is archaeological evidence of increased economic activity between the port city of Sinope and the surrounding inland areas during between 4th and 1st c. BC. Sinope appears to have maintained its independence from the dominion of Alexander the Great, and with the help of Rhodes turned back an assault led by Mithridates II of Pontus in 220 BC. Sinope eventually fell to Pharnaces I in 183 BC, after which it became the capital of the Pontic Kingdom.


title: Sinop, Turkey

text: The Roman general Lucullus conquered Sinope in 70 BC, and Julius Caesar established a Roman colony there, Colonia Julia Felix, in 47 BC. Mithradates Eupator was born and buried at Sinope, and it was the birthplace of Diogenes, of Diphilus, poet and actor of the New Attic comedy, of the historian Baton, and of the Christian heretic of the 2nd century AD, Marcion.


title: Sinop, Turkey

text: After the division of the Roman Empire in 395, Sinope remained with the Eastern Roman Empire. Its history in the early Byzantine period is obscure, except for isolated events: it was used by Justinian II as a base from which to reconnoitre Cherson, participated in the rebellion of the Armeniac Theme in 793, was the site of Theophobos' proclamation as emperor by his Khurramite troops in 838, and suffered its only attack by the Arabs in 858.


title: Sinop, Turkey

text: In 1081, the city was captured by the Seljuk Turks, who found there a sizeable treasury, but Sinope was soon recovered by Alexios I Komnenos, ushering a period of prosperity under the Komnenian dynasty. After the sacking of Constantinople by the Fourth Crusade in 1204, it was captured for the Empire of Trebizond by David Komnenos, until the Seljuk Turks of Rûm successfully captured the city in 1214. The city returned briefly to Trapezuntine rule in 1254, but returned to Turkish control in 1265, where it has remained since.


title: Sinop, Turkey

text: After 1265, Sinop became home to two successive independent emirates following the fall of the Seljuks: the Pervâne and the Jandarids. The Ottoman Sultan Mehmet II overawed Ismail, the emir of Sinope on his march on Trebizond, and forced him to surrender the city to the Sultan late June 1461 without a fight. The emir was exiled to Philippopolis (modern Plovdiv) in northern Thrace.


title: Sinop, Turkey

text: Ibn Battuta visited the city and stayed for about forty days. He noted it was "a superb city which combines fortification with beautification."


title: Sinop, Turkey

text: In 1614, Sinop was targeted by Cossack raiders and extensively looted and burned in an event which shocked Ottoman contemporaries.


title: Sinop, Turkey

text: In November 1853, at the start of the Crimean War, in the Battle of Sinop, the Russians, under the command of Admiral Nakhimov, destroyed an Ottoman frigate squadron in Sinop, leading Britain and France to declare war on Russia.


title: Sinop, Turkey

text: In the late 19th and early 20th century, Sinop was part of the Kastamonu Vilayet of the Ottoman Empire.


title: Sinop, Turkey

text: As of 1920, Sinop was described as populated mainly by Greeks with an approximate population of 8,000. It was also considered the "safest" port "between Bosphorus and Batum", at the time. During this period, the port was exporting wheat, tobacco, seeds, timber and hides. They imported produce, coal and hardware.


title: Sinop, Turkey

text: Sinop hosted a US military base and radar that was important for intelligence during the Cold War era. The US base was closed in 1992.


title: Sinop, Turkey

text: Explorer Robert Ballard discovered an ancient ship wreck north west of Sinop in the Black Sea and was shown on National Geographic.


title: Sinop, Turkey

text: Greek coins featuring an eagle holding a dolphin or marine animal in its talons have been found in Sinope, Istria and Olbia. Located in present-day Turkey, Romania and Ukraine respective, all three were colonies of Miletus. The coins circulated between c. 450 and 325 BC. Coins of the "Sinope type" continued to be issued by Persians under Achaemenid rule in the 4th century BC. At least two Persian issuers of such coins have been studied in some detail: the satrap Datames in Cappadocia and Ariarathes.


title: Sinop, Turkey

text: Sinop is located on a promontory at the narrowest point of the Black Sea. It has two harbors and is located along the southern shore of the Black Sea, near the shortest crossing to the Crimea. The nearby mountainous terrain is green and noted for its timber.


title: Sinop, Turkey

text: Sinop has warm summers with an average daytime high of 26 °C (79 °F), and temperatures rarely exceed 30 °C (86 °F). The winters are cool and wet, the average for February is just below . Snowfall is occasional December to March, sometimes lasting a week or two.


title: Sinop, Turkey

text: As of 1920, Sinop was producing embroidered cotton cloth. They also were known for boatbuilding. The boats produced in Sinop were described by a British observer as being of "primitive design but sound workmanship."


title: Sinop, Turkey

text: Sinop was slated to be the site of the Sinop Nuclear Power Plant, a $15.8 billion nuclear power plant to be developed by Elektrik Üretim, Engie, Mitsubishi Heavy Industries and Itochu. The plant would consist of four reactors, with construction to begin in 2017 and completion by 2028. The project was cancelled in 2018.


title: Sinop, Turkey

text: Pasha Bastion () is a half-moon coastal bastion, a semi-circular fortification, situated southeast of Sinop Peninsula. It was constructed to protect the city against attacks coming from the Black Sea during the Russo-Turkish War, Crimean War (1853–1856). It features an artillery battery of eleven cannons, an arsenal and basement. Today, it is used as a place for refreshments premise.


title: Sinop, Turkey

text: Historic Water Tunnel () is an ancient underground water supply channel situated at Sülüklü Göl (literally: Lake of Leeches. Dug in rock, it is about long and has a clearance of . There exists a high cylindrical ventilation shaft of diameter.


title: Sinop, Turkey

text: Balatlar Church () is a ruined church from the Byzantine Empire period. It is partly preserved as only the chapel vault is in undamaged condition while other parts of the church have no roof any more. Fresco paintings on the chapel's ceiling and on the nave walls are still intact.


title: Sinop, Turkey

text: Serapeum is a ruined temple dedicated to the combined Hellenistic-Ancient Egyptian deity Serapis, situated in the southwestern corner in the yard of Sinop Archaeological Museum.


title: Sinop, Turkey

text: Alaaddin Mosque is a 13th-century mosque of Seljuk architecture named after its endower Sultan Alaaddin Kayqubad I (1188–1237).


title: Sinop, Turkey

text: Pervane Medrese is a former Islamic religious school, which was closed down after the proclamation of the Republic. The 13th-century building was used as a depot for archaeological artifacts and ethnographic items from 1932 on, and served as a museum between 1941 and 1970. It hosts souvenir shops today.


title: Sinop, Turkey

text: Sinop Fortress () is a fortification surrounding the peninsula and the isthmus of Sinop. It was built initially by migrants from Miletus in the 8th century BC. The fortress underwent reparation and expansion to its current extent during the reign of King Mithridates IV of Pontus in the 2nd century BC after its destruction by the Cimmerians in the 7th century BC. Some parts of the fortress, especially the north walls, are ruined.


title: Sinop, Turkey

text: Sinop Fortress Prison () is a defunct state prison situated inside the Sinop Fortress. Served between 1887 and 1997, the prison rose to fame when it featured in many literature works of notable authors, who were inmates of the prison for political reasons. It became also a shooting set for many movies and television series. It is a prison museum today.


title: Sinop, Turkey

text: Sinop Archaeological Museum () is a 1941-established archaeological museum exhibiting artifacts dating back to Early Bronze Age and from the Hellenistic, Roman, Byzantine, Seljuk and Ottoman periods as well.


title: Sinop, Turkey

text: Sinop Ethnographic Museum () is a museum of ethnographic exhibits belonging to the cultural history of the region. It is situated in a large 18th-century mansion.


title: Sinop, Turkey

text: Statue of Diogenes () is a monument to the Ancient Greek philosopher Diogenes of Sinope born in Sinop in about 412 BC.


title: Sinop, Turkey

text: Sinope has given its name to the outermost satellite of Jupiter. A crater on Mars is named after Sinop too.


title: Marine Corps Martial Arts Program

text: The Marine Corps Martial Arts Program (MCMAP, ) is a combat system developed by the United States Marine Corps to combine existing and new hand-to-hand and close quarters combat techniques with morale and team-building functions and instruction in the warrior ethos. The program, which began in 2001, trains Marines (and U.S. Navy personnel attached to Marine units) in unarmed combat, edged weapons, weapons of opportunity, and rifle and bayonet techniques. It also stresses mental and character development, including the responsible use of force, leadership, and teamwork.


title: Marine Corps Martial Arts Program

text: The MCMAP was officially created by Marine Corps Order 1500.54, published in 2002, as a "revolutionary step in the development of martial arts skills for Marines and replaces all other close-combat related systems preceding its introduction." MCMAP comes from an evolution dating back to the creation of the Marine Corps, beginning with the martial abilities of Marine boarding parties, who often had to rely on bayonet and cutlass techniques. During World War I these bayonet techniques were supplemented with unarmed combat techniques, which often proved useful in trench warfare. Between the world wars, Colonel Anthony J. Biddle began the creation of standardized bayonet and close combat techniques based on boxing, wrestling, savate and eskrima. Also during this period, Captains Wallace M. Greene and Samuel B. Griffith learned Kung Fu techniques from Chinese American Marines and brought this knowledge to other Marines throughout the Marine Corps.


title: Marine Corps Martial Arts Program

text: In 1956, at Marine Corps Recruit Depot (MCRD) San Diego, Lieutenant Colonel Ralph Hayward (captain of the Judo team at MCRD) made Gunnery Sergeant Bill Miller the new Non-Commissioned Officer in Charge of hand-to-hand combat. Miller was ordered to develop a new curriculum that any Marine could use to quickly kill the enemy. Miller created the program from various martial arts such as Okinawan karate, judo, taekwondo, boxing, and jujutsu. Every Marine recruit that went through MCRD was instructed in Miller's combat curriculum. This also included special operations forces from all branches of the military and civilian entities. Later in 2001, retired Gunnery Sergeant Bill Miller was awarded the Black Belt Emeritus "for pioneering Martial Arts in the United States Marine Corps."


title: Marine Corps Martial Arts Program

text: Eventually these different techniques evolved into the LINE System in the early 1980s. Later, the system was found to be lacking in flexibility and techniques for use in situations that did not require lethal force, such as peacekeeping operations. The Marine Corps began searching for a more effective system. The result was the Marine Corps close combat training program implemented in 1997–1999. MCMAP was implemented as part of a Commandant of the Marine Corps initiative in summer 2000. Commandant James L. Jones assigned Lieutenant Colonel George Bristol and Master Gunnery Sergeant Cardo Urso, with almost 70 years of martial arts experience between them, to establish the new MCMAP curriculum.


title: Marine Corps Martial Arts Program

text: The program uses an advancement system of colored belts similar to that of most martial arts. The different levels of belts are:


title: Marine Corps Martial Arts Program

text: There are an additional five degrees of black belt, with several of the same common prerequisites, including recommendation of reporting senior, appropriate level of professional military education completed, and current instructor status. Black belt 2nd degree to 6th degree signify that the holder is an authority in the Marine Corps Martial Arts Program. In addition to the above prerequisite, each belt also has its own rank requirements.


title: Marine Corps Martial Arts Program

text: Because the belts are worn with the Marine Corps Combat Utility Uniform, the complete range of belt colors such as red, yellow, or purple are excluded as a practical consideration. Once Marines obtain their green belt, they can attend an additional training course (such as those at the two Schools of Infantry) to become a martial arts instructor (secondary Military Occupational Specialty (MOS) 0916, formerly 8551).


title: Marine Corps Martial Arts Program

text: MCMAP instructors can train and certify other Marines up to their current belt level. The instructor status is signified by one vertical tan stripe on the MCMAP belt. A Marine must have attended at least the Martial Arts Instructor (MAI) course to advance beyond first degree black belt. The only one who can train a Marine to be an instructor are black belt Martial Arts Instructor-Trainers (MAIT). An instructor-trainer's status is signified by a vertical red stripe on the MCMAP belt and a secondary MOS of 0917 (formerly 8552). To become a MAIT, a Marine must have already completed a local MAI course. The Marine then attends the MAIT course at the Martial Arts Center of Excellence located at Raider Hall at Marine Corps Base Quantico.


title: Marine Corps Martial Arts Program

text: MCMAP techniques can be taught to other services and to foreign military members, and belts are awarded to those who complete the course.


title: Marine Corps Martial Arts Program

text: "MCMAP is a synergy of mental, character, and physical disciplines with application across the full spectrum of violence." The disciplines are the foundation of the MCMAP system, as it serves a dual purpose. MCMAP was implemented to increase the combat efficiency, as well as to increase the confidence and leadership abilities, of Marines. Marines are required to develop the mind, body and spirit simultaneously and equally. Safety is also of importance, so equipment such as mouthguards and pads are used in conjunction with techniques such as half-speed practice and break-falls to prevent injury.


title: Marine Corps Martial Arts Program

text: The Commandant of the Marine Corps determined that the disciplines studied in MCMAP are integral to the function of Marines and had ordered that all Marines attain a tan belt qualification by the end of 2007. Additionally, all infantry Marines are required to attain a green belt qualification, and other combat arms must attain a gray belt.


title: Marine Corps Martial Arts Program

text: Warrior Studies focus on individuals that have shown exemplary service on the battlefield, as well as discussion and analysis of combat citations. Martial culture studies focus on societies that produce warriors either primarily or exclusively. Some of the martial cultures that are studied are the Marine Raiders, Spartans, Zulu and Apache. By studying these cultures, Marines learn fundamental tactics and methods of the past and reconnect themselves with the warrior ethos of the Marine Corps. Combative behavior studies interpersonal violence, as well as rules of engagement and the force continuum (which dictates when and how much force can be used in response to the mission, up to and including lethal force). The development of this discipline also stresses situational awareness, tactical and strategic decision-making, and operational risk management.


title: Marine Corps Martial Arts Program

text: The purpose of this discipline is to create "ethical warriors." It involves discussion on Marine Corps core values, ethics, and good citizenship. An instructor can fail a Marine if he or she feels that the student does not adequately possess honor, courage, and commitment. Some belts also require the approval of the commanding officer before being awarded. The force continuum is discussed, allowing a Marine to responsibly use the minimum amount of force necessary, including lethal force. Leadership qualities are also stressed.


title: Marine Corps Martial Arts Program

text: In MCMAP, only a third of the training involves techniques and physical development. The physical discipline includes the training of fighting techniques, strength, and endurance.


title: Marine Corps Martial Arts Program

text: This discipline also includes sustainment of skills and techniques already taught, in order to improve skill as well as develop weak-side proficiency. Ground fighting, grappling, pugil bouts, bayonet dummies, and other techniques are used to familiarize Marines with the application of the techniques used. In addition, physical strength and endurance are tested and improved with various techniques that often require teamwork or competition, such as calisthenics, running with full gear, log carries, and boxing matches. Techniques can also be practiced in water or in low-light conditions to simulate combat stress.


title: Marine Corps Martial Arts Program

text: MCMAP draws influences from several disciplines including Brazilian jiu-jitsu, Wrestling, Judo, Capoeira, Sambo, Bujinkan Budo Taijutsu, boxing, Savate, kickboxing, Isshin-ryū Karate, Muay Thai, Taekwondo, Kung Fu, Aikido, Hapkido, Eskrima, Sayoc Kali, Jujutsu, Krav Maga, Iaido, Kendo, and Kobudo.


title: Marine Corps Martial Arts Program

text: The techniques used by MCMAP vary in degrees of lethality, allowing the user to select the most appropriate (usually the least) amount of force. For example, a Marine facing a nonviolent but noncompliant subject can use an unarmed restraint to force compliance with minimal damage and pain. A more aggressive subject could be met with a choke, hold, or a strike. Lethal force can be used on a subject as a last resort. The majority of techniques can be defensive or offensive in use, with or without a weapon; allowing Marines flexibility in combat and operations other than war (such as civil control or humanitarian missions, as well as self-defense).


title: Marine Corps Martial Arts Program

text: An instructor can augment the circumstances of training to better fit the unit's mission, such as military police practicing after being exposed to pepper spray.


title: Marine Corps Martial Arts Program

text: The tan belt syllabus focuses on the development of the basics of armed and unarmed combat. Students start with the basic warrior stance and break-falls are taught for safety, then move to:


title: Marine Corps Martial Arts Program

text: In order to obtain a tan belt the student must score 80 %, students can fail no more than 10 techniques. If a student fails testing, he/she must wait a minimum of 24 hours before retesting. The tan belt syllabus is part of The Basic School and recruit training curriculum.


title: Marine Corps Martial Arts Program

text: In addition to the new techniques learned, the student must show knowledge of the previous belt by executing 5 techniques from tan belt.


title: Marine Corps Martial Arts Program

text: In order to obtain a gray belt the student must score 80 %, students can fail no more than 10 techniques. If a student fails testing, he/she must wait a minimum of 24 hours before retesting.


title: Cognitive skill

text: Cognitive skills, also called cognitive functions, cognitive abilities or cognitive capacities, are brain-based skills which are needed in acquisition of knowledge, manipulation of information and reasoning. They have more to do with the mechanisms of how people learn, remember, solve problems and pay attention, rather than with actual knowledge. Cognitive skills or functions encompass the domains of perception, attention, memory, learning, decision making, and language abilities.


title: Cognitive skill

text: Cognitive science has provided theories of how the brain works, and these have been of great interest to researchers who work in the empirical fields of brain science. A fundamental question is whether cognitive functions, for example visual processing and language, are autonomous modules, or to what extent the functions depend on each other. Research evidence points towards a middle position, and it is now generally accepted that there is "a degree" of modularity in aspects of brain organisation. In other words, cognitive skills or functions are specialised, but they also overlap or interact with each other. Deductive reasoning, on the other hand, has been shown to be related to either visual or linguistic processing, depending on the task; although there are also aspects that differ from them. All in all, research evidence does not provide strong support for classical models of cognitive psychology.


title: Cognitive skill

text: Cognitive functioning refers to a person's ability to process thoughts. It is defined as "the ability of an individual to perform the various mental activities most closely associated with learning and problem-solving. Examples include the verbal, spatial, psychomotor, and processing-speed ability." Cognition mainly refers to things like memory, speech, and the ability to learn new information. The brain is usually capable of learning new skills in the aforementioned areas, typically in early childhood, and of developing personal thoughts and beliefs about the world. Old age and disease may affect cognitive functioning, causing memory loss and trouble thinking of the right words while speaking or writing ("drawing a blank"). Multiple sclerosis (MS), for example, can eventually cause memory loss, an inability to grasp new concepts or information, and depleted verbal fluency.


title: Cognitive skill

text: Humans generally have a high capacity for cognitive functioning once born, so almost every person is capable of learning or remembering. Intelligence is tested with IQ tests and others, although these have issues with accuracy and completeness. In such tests, patients may be asked a series of questions, or to perform tasks, with each measuring a cognitive skill, such as level of consciousness, memory, awareness, problem-solving, motor skills, analytical abilities, or other similar concepts. Early childhood is when the brain is most malleable to orientate to tasks that are relevant in the person's environment.


title: Borders of China

text: China shares international land borders with 14 sovereign states. In addition, there is a internal border with the special administrative region of Hong Kong, which was a British dependency before 1997, and a internal border with Macau, a Portuguese territory until 1999. With land borders of in total, China has the longest aggregate land borders of any country.


title: Borders of China

text: The table below, is a table of countries and territories who share a land border with China around its perimeter. The in parenthesis are their lengths in miles.


title: Hutch Dano

text: Hutch Dano ( ; born May 21, 1992) is an American actor. He is known for playing co-lead character Zeke Falcone in the Disney Channel comedy series "Zeke and Luther".


title: Hutch Dano

text: Dano was born in Santa Monica, California. He comes from a family of actors, including his father Rick Dano and grandfather Royal Dano. His great-grandmother Virginia Bruce was an actress in the 1930s and 1940s and his great-grandfather J. Walter Ruben was a writer and director.


title: Hutch Dano

text: Dano was cast in his first commercial at the age of five, when his mother and father, also actors, took him along to their commercial audition. Dano began doing summer theater for four years before being discovered by casting director Orly Sitowitz at the age of 15. He started taking acting classes with Gary Marks and also with Jorge Luis Pallo at the Scott Sedita Studios.


title: Hutch Dano

text: Dano was booked for the lead role of Zeke in the pilot episode of "Zeke and Luther" (2009) for Disney's XD Channel. After wrapping his first season, Hutch booked the role of Henry, starring opposite Selena Gomez in the 20th Century Fox feature "Ramona and Beezus" (2010), playing Beatrice "Beezus" Quimby's friend Henry Huggins. Dano also guest-starred on Disney Channel's "The Suite Life on Deck" (2008).


title: Hutch Dano

text: Dano guest starred on "" in 2010, for which he received a nomination in the 32nd Young Artist Awards in the Guest Starring Young Actor 18-21 category for a performance in a TV series. He also appeared in an episode of "White Collar" in 2011. In 2014, Dano played the role of Sam, the cheating boyfriend who gets his just reward in the horror comedy "Zombeavers". In 2017, he featured in the horror movie "Behind the Walls". In 2019, Dano starred in the film "Hoax", and in the film "Disappearance", which he also co-wrote.


title: Raphael Assunção

text: Raphael Oliveira Assunção (born 19 July 1982) is a Brazilian mixed martial artist who competes in the Bantamweight division of the Ultimate Fighting Championship (UFC).


title: Raphael Assunção

text: Born in Recife in Northeast Brazil, Assunção moved to United States with his immigrant parents when he was a child. He now lives and trains in Atlanta with Ascension MMA under Manu N'toh. He is also the brother of Júnior Assunção and Freddy Assunção who also fight as mixed martial artists. Assunção has a daughter.


title: Raphael Assunção

text: Assunção joined the WEC in 2009, with a 12–1 professional record. He made his promotional debut on 5 April 2009 at WEC 40 against Jameel Massouh. He won the fight via unanimous decision.


title: Raphael Assunção

text: He faced Yves Jabouin on 2 September 2009 at WEC 43. Assunção won the back and forth fight by split decision.


title: Raphael Assunção

text: Assunção faced Urijah Faber on 10 January 2010 at WEC 46. Faber won the fight via third-round submission.


title: Raphael Assunção

text: Assunção faced LC Davis on 11 November 2010 at WEC 52. Assunção won the fight via unanimous decision.


title: Raphael Assunção

text: On 28 October 2010, World Extreme Cagefighting merged with the Ultimate Fighting Championship. As part of the merger, all WEC fighters were transferred to the UFC.


title: Raphael Assunção

text: Assunção was expected to face Manvel Gamburyan on 19 March 2011 at UFC 128, but Gamburyan was forced out of the bout with a back injury and replaced by Erik Koch. He lost the fight via knockout in the first round.


title: Raphael Assunção

text: Assunção next faced UFC newcomer Johnny Eduardo on 27 August 2011 at UFC 134. He won the fight via unanimous decision and was out up to 6 months with a possible nasal fracture.


title: Raphael Assunção

text: Assunção faced Mike Easton on 8 December 2012, at UFC on Fox 5, replacing an injured Bryan Caraway. He won the fight via unanimous decision despite suffering a broken arm during the first round.


title: Raphael Assunção

text: Assunção faced Vaughan Lee on 8 June 2013 at . He won the fight via armbar submission in the second round.


title: Raphael Assunção

text: Assunção was expected to face T.J. Dillashaw on 4 September 2013 at UFC Fight Night 28. However, the pairing was delayed and was rescheduled for a future event due to a minor medical issue for Assunção. The bout with Dillashaw was rescheduled and took place on 9 October 2013, at UFC Fight Night 29. Assunção defeated Dillashaw via split decision. The back and forth action earned both the participants "Fight of the Night" honors.


title: Raphael Assunção

text: Assunção was expected to face Francisco Rivera at UFC 170. However, Rivera was forced from the bout due to a hand injury. Assunção instead faced touted UFC newcomer Pedro Munhoz. He won the fight via unanimous decision.


title: Raphael Assunção

text: Assunção was briefly linked to a Bantamweight Championship bout against Renan Barão on 24 May 2014 at UFC 173. However, Assunção opted to decline the bout as a rib injury sustained in his last bout at UFC 170 had not healed enough to resume the proper training in advance of the event. Barão instead faced, and was ultimately defeated by T.J. Dillashaw.


title: Raphael Assunção

text: Assunção faced Bryan Caraway on 4 October 2014 at . He doubled the numbers of strikes Caraway threw and caught him with knees to win a unanimous decision victory.


title: Raphael Assunção

text: On 22 December 2014, Assunção announced that he had suffered a broken ankle during training that would not require surgery, but is expected to be sidelined for up to 10 weeks.


title: Raphael Assunção

text: A rematch with perennial contender Urijah Faber was expected to headline UFC Fight Night 62 on 21 March 2015. However, Assunção was forced out of the bout as an ankle first injured in mid-December 2014 was slow to heal and that he was unable to resume the proper training to prepare for the fight in that time frame. Subsequently, in August 2015, Assunção's management team announced that he would undergo surgery on the ankle and hoped to return by the end of the year.


title: Raphael Assunção

text: A rematch with T.J. Dillashaw took place on 9 July 2016 at UFC 200. He lost the fight via unanimous decision.


title: Raphael Assunção

text: Assunção was expected to face Aljamain Sterling on 9 December 2016 at UFC Fight Night 102. However, Sterling pulled out of the fight on 23 November citing injury. Assunção was subsequently removed from the card. The bout with Sterling was rescheduled and took place on 28 January 2017 at UFC on Fox 23. Assunção won the fight via split decision.


title: Raphael Assunção

text: Assunção faced Marlon Moraes on 3 June 2017 at UFC 212. He won the back-and-forth fight by split decision.


title: Raphael Assunção

text: Assunção faced Matthew Lopez on 11 November 2017 at . At the weigh-ins, Lopez missed weight, weighing in at 138.5 lbs., three and a half pounds over the Bantamweight limit. As a result, he forfeited 20% of his purse to Assunção and the bout proceeded as Catchweight. He won the fight via knock out in the third round. This win also earned him a Performance of the Night bonus award.


title: Raphael Assunção

text: Assunção faced Marlon Moraes in a rematch on 2 February 2019 in the main event at UFC Fight Night 144. Assunção won the first fight by split decision at UFC 212 on 3 June 2017. Before accepting the rematch, Assunção negotiated a new contract with the UFC. Assunção lost the rematch in the first round after being dropped by two punches and then submitted via a guillotine choke.


title: Raphael Assunção

text: Assunção was scheduled to face Cody Garbrandt as the co-main event on 28 March 2020 at UFC on ESPN 8. However, Garbrandt pulled out on 12 March due to kidney issues. As of now, Assunção is expected to remain on the card against an unknown opponent. Due to the COVID-19 pandemic, the event was eventually postponed. Instead the fight was rescheduled and took place on 6 June 2020 at UFC 250. Assunção lost the bout via second-round knockout.


title: Raphael Assunção

text: Assunção was scheduled to face Raoni Barcelos on 27 February 2021 at UFC Fight Night 186. However, Assunção pulled out of the fight in early February after testing positive for COVID-19.


title: Raphael Assunção

text: Assunção was scheduled to face Kyler Phillips on 24 July 2021 at . However, Assunção suffered a biceps injury in late June and was replaced by Raulian Paiva.


title: Raphael Assunção

text: Assunção faced Ricky Simón on 18 December 2021 at UFC Fight Night: Lewis vs. Daukaus. He lost the bout via knockout in the second round.


title: Raphael Assunção

text: Assunção faced Victor Henry on October 15, 2022, at UFC Fight Night 212. He won the fight via unanimous decision.


title: Anthem of the Sun

text: Anthem of the Sun is the second album by rock band the Grateful Dead, released in 1968 on Warner Bros/Seven Arts. It is the first album to feature second drummer Mickey Hart. The band was also joined by Tom Constanten, who contributed avant-garde instrumental and studio techniques influenced by composers John Cage and Karlheinz Stockhausen.


title: Anthem of the Sun

text: The album was assembled through a collage-like editing approach helmed by members Jerry Garcia and Phil Lesh (along with soundman Dan Healy), in which disparate studio and live performance tapes were spliced together to create new hybrid recordings. The band also supplemented their performances with instruments such as prepared piano, kazoo, harpsichord, timpani, trumpet, and güiro. The result is an experimental amalgam that is neither a studio album nor a live album, but both at the same time.


title: Anthem of the Sun

text: In 1972, a more commercial alternate mix of the album was officially released to capitalize on the band's recent success. A 2018 reissue on Rhino Records collects both the 1968 and 1972 mixes. The album was ranked number 288 on "Rolling Stone" magazine's list of the 500 greatest albums of all time, in both the 2003 and 2012 iterations of the list. It was voted number 376 in Colin Larkin's "All Time Top 1000 Albums".


title: Anthem of the Sun

text: The band entered American Studios in Los Angeles in November 1967 with David Hassinger, the producer of their eponymous debut album. However, determined to make a more complicated recorded work than their debut release, as well as attempt to translate their live sound into the studio, the band and Hassinger changed locations to New York City. By December they had gone through two other studios, Century Sound and Olmstead Studios (both "highly regarded eight-track studios").


title: Anthem of the Sun

text: Eventually, Hassinger grew frustrated with the group's slow recording pace and quit the project entirely while the band was at Century Sound, with only a third of the album completed. It has been reported that he left after guitarist Bob Weir requested creating the illusion of "thick air" in the studio by mixing recordings of silence taken in the desert and the city. Hassinger commented that "Nobody could sing [the new tracks recorded in NYC], and at that point they were experimenting too much in my opinion. They didn't know what the hell they were looking for." Garcia noted that "we want[ed] to learn how the studio work[ed]. We [didn't] want somebody else doing it. It's our music, we want[ed] to do it."


title: Anthem of the Sun

text: Returning to San Francisco's Coast Recorders, the band recruited their soundman, Dan Healy, to help produce. In between studio sessions, the band also began recording their live dates. Lesh commented that this was in part because the songs were not "road tested." Healy, Garcia, and Lesh then took these concert tapes (encompassing two Los Angeles shows from November 1967, a tour of the Pacific Northwest in January and early February 1968, and a California tour from mid-February to mid-March 1968) and began interlacing them with existing studio tracks. Garcia called this "mix[ing] it for the hallucinations". Kreutzmann explained, "Phil and Jerry were the ones who figured out that we could exploit studio technology to demonstrate how these songs were mirrors of infinity, even when they adhered to their established arrangements. It's the old paradox of 'improvisational compositions'. Jazz artists knew all about the balance between freedom and structure, but a few rock bands were now catching on. Most rock bands, however, tended to head in an opposite direction, afraid of the uncertainty of improvisation. We decided that "Anthem of the Sun" was going to be our statement on the matter". Drummer Bill Kreutzmann's description of the production process describes the listening experience of the album as well: ...Jerry [Garcia] and Phil [Lesh] went into the studio with [Dan] Healy and, like mad scientists, they started splicing all the versions together, creating hybrids that contained the studio tracks and various live parts, stitched together from different shows, all in the same song — one rendition would dissolve into another and sometimes they were even stacked on top of each other... It was easily our most experimental record, it was groundbreaking in its time, and it remains a psychedelic listening experience to this day."


title: Anthem of the Sun

text: Tom Constanten, a friend of Lesh and Garcia, joined the band in the studio while on leave from the United States Air Force to provide piano, prepared piano, and electronic tape effects influenced by John Cage and Stockhausen. Constanten would formally join the band following his discharge in November 1968; however, his contributions to the band's sound were more evident in the studio than in live shows, and "Anthem of the Sun" was no exception. Constanten developed piano pieces that sounded like three gamelan orchestras playing at once and created effects by setting a spinning gyroscope on the piano soundboard. Likewise, the rest of the band used a large assortment of instruments in the studio to augment the live tracks that were the base of each song, including kazoos, crotales, harpsichord, timpani, trumpet, and a güiro. Garcia commented that parts of the album were "far out, even too far out... We weren't making a record in the normal sense; we were making a collage." He also acknowledged the influence of Lesh's study of Stockhausen and other avant-gardists. Warner Bros. executive Joe Smith was noted as characterizing "Anthem of the Sun" as "the most unreasonable project with which we have ever involved ourselves."


title: Anthem of the Sun

text: Jerry Garcia's longtime friend and songwriting partner, Robert Hunter, had made his first lyrical contributions to the band the previous year for "Dark Star". He added words to the Lesh/Pigpen composition "Alligator" on this album.


title: Anthem of the Sun

text: As much as the entire album can be seen as an "Anthem", it is one of rock music's earliest song cycles, or perhaps concept albums. The front cover art, by Bill Walker, resembles a mandala and incorporates the likenesses of the band members' heads. The back cover features a circular fisheye group shot, photographed by Thomas Weir.


title: Anthem of the Sun

text: On the original pressing, all of the songs were credited to the band as a whole. Individual writing credits were subsequently published. In order to increase royalty points on the album, the band divided opening track "That's It for the Other One" into four somewhat arbitrary movements. The opening section, the Garcia-sung "Cryptical Envelopment", was dropped from live performances of the suite after 1971 (though it reappeared a few times in 1985). The second section, ostensibly a quodlibet (misspelled as "quadlibet"), is a short jam connecting to the main section, sung by Weir ("Spanish lady comes to me, she lays on me this rose"), with a short reprise of "Cryptical Envelopment". Though labeled as "The Faster We Go, the Rounder We Get", played live, Weir's section became known simply as "The Other One". The final section is a Constanten piece featuring the aforementioned prepared piano and sound effects (this section is missing from the album cover on original pressings).


title: Anthem of the Sun

text: The "Dark Star" single, released just prior to "Anthem of the Sun", is not included on the album, but its B-side, "Born Cross-Eyed", is included in a stereo mix, without the "Feedback" ending.


title: Anthem of the Sun

text: Early pressings of the album include the phrase "The faster we go, the rounder we get" inscribed on the vinyl in the run-out matrix around the label area. This was the inspiration for Rounder Records' name.


title: Anthem of the Sun

text: The album was remastered for the 2001 box set "The Golden Road". This version includes four bonus tracks (the single version of "Born Cross-Eyed" plus contemporaneous live tracks) and was issued separately in 2003.


title: Anthem of the Sun

text: The making of "Anthem of the Sun", "Aoxomoxoa", "Workingman's Dead", and "American Beauty" is described by former members and associates of the Grateful Dead in the 1997 "Classic Albums" documentary "Anthem to Beauty".