title: Battle of Chapultepec

text: Scott had taken a risk by marching inland from the port of Veracruz, going beyond his supply lines. He fought a major battle at Cerro Gordo, but encountered virtually no resistance in capturing Mexico's second-largest city, Puebla. He then pushed further toward the capital. Scott avoided the direct route from Puebla to Mexico City because the road was heavily defended at El Peñon. Instead, he cut a road looping south of Lake Chalco and Lake Xochimilco to the town of San Agustín. The Mexican defenders blocked the route to the capital at Hacienda of San Antonio, with marshes to their north and a lava field to the south, known as the Pedregal. General Gideon Johnson Pillow's division cut a road for artillery through the Pedregal to engage the entrenched Mexican forces under General Gabriel Valencia at Contreras on 20 August. The Mexicans were routed and the U.S. forces pressed on. Santa Anna fortified the ex-convent at Churubusco, with fierce fighting there. A 2-week armistice followed the battle.


title: Battle of Chapultepec

text: On September 8, 1847, in the costly Battle of Molino del Rey, U.S. forces had managed to drive the Mexicans from their positions near the base of Chapultepec Castle guarding Mexico City from the west, but Army engineers were still interested in the southern causeways to the city. General Scott held a council of war with his generals and engineers on September 11. Scott was in favor of attacking Chapultepec, and only General David E. Twiggs agreed. Most of Scott's officers favored the attack through the southern gates, including Captain Robert E. Lee. A young lieutenant, P. G. T. Beauregard, gave a speech that persuaded General Franklin Pierce to change his vote in favor of the western attack. Given that Mexican forces defended fortified positions tenaciously and had inflicted severe casualties on U.S. forces at Molino del Rey and Cerro Gordo, the decision to attack Chapultepec was not taken lightly.


title: Battle of Chapultepec

text: General Lopez de Santa Anna was in command of the army at Mexico City, and understood that Chapultepec Castle was an important position for the defense of the city. The castle sat atop a 200-ft-tall hill, which was used as the Mexican Military Academy. Although Santa Anna's total forces defending Mexico City were larger than Scott's, he had to defend multiple positions, since he did not know from where the attack would come. He did not have enough troops to effectively defend both the southern causeways into Mexico City and Chapultepec Castle, at a distance from the capital. At Chapultepec, General Nicolás Bravo had fewer than 1,000 men (832: Total including 250: 10th Infantry, 115: Querétaro Battalion, 277: Mina Battalion, 211: Union Battalion, 27: Toluca Battalion and 42: la Patria Battalion with seven guns (Gen. Manuel Gamboa with two 24-lb, one 8-lb, three 4-lb. and one howitzer) to hold the hill, including 200 cadets, some as young as 13 years old. Also defending the castle was the Batallón de San Blas under the command of Lieutenant Colonel Felipe Xicoténcatl, a hero of the battle, along with six cadets who died defending the castle. Thinking that the attack would come from the south, Santa Anna devoted preparation time and troops there, both before and during the bombardment. He did not realize his mistake until the U.S. troops were actually on the hill, but that was too late.


title: Battle of Chapultepec

text: Chapultepec Castle was not built as a fortress but as a luxury residence, later converted to the military academy. It was obviously strategically positioned, but its stone walls were vulnerable to cannon fire. U.S. forces used its heavy artillery to bombard the castle before the infantry attack. The Mexican forces had attempted to fortify the defenses by digging shallow trenches and placing sandbags. During the artillery bombardment, the defenders had nowhere to shelter and they had no way to defend against this attack from a distance. Destruction of the walls, sandbags, and other defenses was demoralizing for many defenders, and some began abandoning their positions. Only when the bombardment went on all day did Santa Anna realize the main attack was to be on Chapultepec. If he sent forces there, they would be exposed to U.S. fire in the flat land below the hill, and they could not reach the hill to help the defenders there during the bombardment. Santa Anna consulted with Nicolás Bravo, confessing to him that many of his demoralized troops were also likely to melt away if sent into a situation that would have high casualties.


title: Battle of Chapultepec

text: Scott organized two storming parties of about 250 men each, including 40 Marines. The first party consisted of Captain Samuel Mackenzie's 256 men from Gideon Pillow's division, who would advance from the Molino east up the hill. The second storming party consisted of Captain Silas Casey's men from John A. Quitman's division, advancing along the Tacubaya Road, but Casey was replaced by Major Levi Twiggs. Only Twiggs' division and Bennett Riley's brigade were left on the American right flank.


title: Battle of Chapultepec

text: The U.S. forces began an artillery barrage against Chapultepec at dawn on September 12. It was halted at dark and resumed at first light on September 13. At 8:00 am, the bombardment was halted and General Scott ordered the infantry attack. Three assault columns formed. On the left were the 11th and 14th Infantry under Colonel William Trousdale moving east along the Anzures aqueduct, in the center were four companies of the Voltigeur regiment under Colonel Timothy Patrick Andrews along with the 9th under Colonel Truman Bishop Ransom and the 15th Infantry all moving through the swamp and western edge of the grove, and on the right were the remaining four Voltigeur companies under Lieutenant Colonel Joseph E. Johnston.


title: Battle of Chapultepec

text: Pillow was quickly hit in the foot and called for reinforcements, which came from John A. Quitman's division, but the attack faltered when fired upon by the Moelia Battalion battery. Andrews's column cleared the grove of Mexican troops and linked up with Johnston. The attack by the 9th and 15th Infantries stalled waiting for scaling ladders, and Col. Truman B. Ransom, commander of the 9th Infantry, was killed.


title: Battle of Chapultepec

text: Quitman sent Persifor Smith's brigade to his right and brought in James Shields, plus the New York and 2d Pennsylvania Regiments into the assault. At the same time, Newman S. Clarke's brigade arrived on the western slope, as did the scaling ladders. The Voltigeurs soon planted their flag on the parapet.


title: Battle of Chapultepec

text: By 9:00 am, General Bravo surrendered to the New York Regiment, and the American flag flew over the castle. Santa Anna watched the Americans take Chapultepec, while an aide exclaimed, "let the Mexican flag never be touched by a foreign enemy". He also exclaimed, "I believe if we were to plant our batteries in Hell, the damned Yankees would take them from us."


title: Battle of Chapultepec

text: During the battle, five Mexican military cadets, and one of their instructors, refused to fall back when General Bravo finally ordered retreat, and fought to the death. These were "teniente" (lieutenant) Juan de la Barrera and cadets Agustín Melgar, Juan Escutia, Vicente Suárez, Francisco Márquez, and Fernando Montes de Oca, all between the ages of 13 and 19. According to legend, the last of the six, Juan Escutia, grabbed the Mexican flag, wrapped it around himself, and jumped off the castle point to prevent the flag from falling into enemy hands. In 1967, Gabriel Flores painted a mural depicting "Los Niños Héroes". The mural decorates the ceiling of the palace, showing Escutia wrapped in the flag, apparently falling from above. A monument stands in Chapultepec Park commemorating their courage. The cadets are eulogized in Mexican history as "los Niños Héroes", the Child Heroes or Heroic Cadets.


title: Battle of Chapultepec

text: Thirty men from the Saint Patrick's Battalion, a group of former United States Army soldiers who joined the Mexican side, were executed "en masse" during the battle. They had been previously captured at the Battle of Churubusco. Colonel William S. Harney specified that they were to be hanged with Chapultepec in view and that the precise moment of their death was to occur when the U.S. flag replaced the Mexican tricolor atop the citadel.


title: Battle of Chapultepec

text: William J. Worth's division was sent by Scott to support Trousdale's men on La Verónica Causeway (now Avenida Melchor Ocampo) for the main attack against the San Cosme Gate. Defended by Gen. Rangel's Granaderos Battalion, part Matamoros, Morelia, and Santa Anna Battalions (Col. Gonzalez), part 3d Light (Lt. Col. Echeagaray), & 1st Light (Comdt. Marquez) Trousdale, followed by John Garland, Newman Clarke, and George Cadwalader's brigades, began advancing up the causeway.


title: Battle of Chapultepec

text: General Quitman quickly gathered the troops in Chapultepec, except the 15th Infantry, who guarded the castle and prisoners, and designed as a feint, headed down the Belén Causeway, stopping at the Belen Garita. The gate was manned by the Morelia Battalion, under the command of General Andrés Terrés' (three guns and 180 men: 2d Mexico Activos) and the "paseo" to the north by General Ramirez. Troops began to desert, and when Terres ran out of ammunition, he withdrew into the Ciudadela. Led by the Mounted Rifles (fighting on foot), Quitman breached the Belén Gate at 1:20 pm. General Scott later commented, "Brave Rifles, you have gone through fire and come out steel".


title: Battle of Chapultepec

text: Worth started his advance down the San Cosme causeway at 4:00 pm, having fended off an attack by 1,500 of Torrejon's cavalry. Garland's brigade used the arches of the aqueduct to advance on the right. Clarke's men on the right passed through a tunnel made by sappers. Lieutenant Ulysses S. Grant, and some 4th Infantry used the bell tower of San Cosme Church south of the causeway to place a mountain howitzer. On the north side of the road, naval officer Raphael Semmes repeated Grant's successful maneuver. Lt. George Terrett then led a group of U.S. Marines behind the Mexican defenders, and climbing to the roof, unleashed a deadly volley on the artillery gunners. By 6 pm, Worth had broken through the gate, and the defenders scattered, many retreating into the Ciudadela, sweeping Santa Anna along with them. As night fell, Worth lobbed five mortar rounds into the city, which fell near the National Palace.


title: Battle of Chapultepec

text: The city was yet to be taken, Santa Anna had 5,000 troops in the Ciudadela (armory) and 7,000 in other parts of the city. Six of his generals were taken prisoner. At 1 AM the next day, he ordered a withdrawal to Guadalupe Hidalgo while the city authorities appeared at Scott's headquarters at 4 AM. By 7 am, the American flag was flying over the Ciudadela. Historian K. Jack Bauer gives the Mexican casualties as approximately 3,000; including 823 taken prisoner.


title: Battle of Chapultepec

text: The efforts of the U.S. Marines in this battle and subsequent occupation of Mexico City are memorialized by the opening lines of the "Marines' Hymn", "From the Halls of Montezuma...".


title: Battle of Chapultepec

text: A number of lower-ranking U.S. Army officers participating in the invasion became generals on both sides of the American Civil War, including Daniel H. Hill, Ulysses Grant, George Pickett, James Longstreet, John C. Pemberton, Thomas Jonathan "Stonewall" Jackson, P. G. T. Beauregard, and Robert E. Lee.


title: Battle of Chapultepec

text: U.S. Marine tradition maintains that the red stripe is worn on the trousers of the blue dress uniform, commonly known as the blood stripe, because a large number of the Marine NCOs and officers of the detachment died while storming the castle of Chapultepec in 1847, though iterations of the stripe antedate the war. In 1849, the stripes were changed to a solid red from dark blue stripes edged in red, which dated from 1839.


title: Battle of Chapultepec

text: In Mexico, the battle has a complicated place in historical memory, since the capture of Chapultepec led to the fall of Mexico City to the invaders. The fierce defense of Chapultepec by military cadets at the Military Academy, six of whom died by leaping from the walls to their deaths. The Niños Héroes ("Boy Heroes") were considered martyrs fighting to maintain Mexico's honor as a nation. Their bravery and innocence was lauded in Mexico, as opposed to the Mexican Army generals, particularly Antonio López de Santa Anna, blamed for Mexico's defeat.


title: Battle of Chapultepec

text: In 1947, President Harry S. Truman laid a wreath on the 1881 cenotaph of the Niños Héroes as a gesture of goodwill after Mexico aided the U.S. in World War II.


title: Floral Shoppe

text: The album is frequently cited as an example of the then-emerging Internet-based vaporwave subgenre, along with works from other artists released by the record label Beer on the Rug. Prior to "Floral Shoppe", Ramona Andra Xavier had previously produced other releases under multiple pseudonyms, including Vektroid, Laserdisc Visions, dstnt, and New Dreams Ltd. Adam Harper of "Dummy", in an article about the vaporwave culture, described the album's content as "chopped, glitching and screwed adult contemporary soul alongside twinkling spa promotional tunes."


title: Floral Shoppe

text: Xavier takes an unorthodox approach to sampling throughout "Floral Shoppe", with "voices slowed to wordless drawls, tempos abused at whim, [and] snippets mashed over each other at clashing time signatures."


title: Floral Shoppe

text: The album's second track, "リサフランク420 / 現代のコンピュー" ("Lisa Frank 420 / Modern Computing"), has become nearly synonymous with the term "vaporwave" within popular discourse. The song currently has over 20 million views on YouTube.


title: Floral Shoppe

text: "Floral Shoppe" was released digitally to Vektroid's Bandcamp music store on December 9, 2011 by the independent record label Beer on the Rug. It received considerable online popularity, eventually becoming "the most hyped vaporwave release on the Internet."


title: Floral Shoppe

text: Vektroid later launched a line of tank tops and hoodies sporting a variation of the "Floral Shoppe" album cover.


title: Floral Shoppe

text: "Floral Shoppe" was met with polarizing reception from critics and casual listeners alike, being equally "criticized and acclaimed for [Xavier's] soulless take on muzak". Jonathan Dean of "Tiny Mix Tapes" wrote positively of "Floral Shoppe", citing the album as "one of the best single documents of the vaporwave scene yet, a series of estranged but soulful manipulations of found audio that carefully constructs its own meditative headspace through the careful accretion of defamiliarized memory triggers." YouTube music critic Anthony Fantano's review of the album has been credited with establishing the album as a representative album of the vaporwave subgenre, and also as being a pivotal moment in the decline of the subgenre as a whole. Fantano reviewed the album negatively, rating it 4/10 and concluding "certainly it sounds nice, it has style, but there's really not much there in terms of how it's assembled". In a 2019 video "10 Times I Changed My Opinion On Albums Pt. 2", Fantano reiterated feelings that the execution of the album was unsophisticated, but noted its influence on later developments in the vaporwave genre, and opined that the songs on the album have "artistic merit independent of the songs actually being sampled".


title: Floral Shoppe

text: On the year-end annual Pazz & Jop critics' poll for albums, administered by "The Village Voice", the album received two votes. "Perfect Sound Forever"s Miles Bowe cited "Floral Shoppe" as one of his year-end best albums. It was also named the sixth-best album of the year by "Tiny Mix Tapes", with reviewer James Parker opining that it "slid seamlessly between pure pop pleasure and the ironic framing of that pleasure, the presence of the artist at turns barely noticeable and dramatically foregrounded." Assessing the influence of "Floral Shoppe" on vaporwave, along with the genre's perceived decline, Parker wrote:


title: Floral Shoppe

text: "Floral Shoppe" has since been heralded as one of the most significant albums in the early days of vaporwave. In a retrospective review, Adam Downer of Sputnikmusic characterized the album as "constantly—and delightfully—unsettling" and "a beautiful record that's both warm and strange, nostalgic and futuristic, bizarre and totally simple." Writing for "Pitchfork", Miles Bowe concluded, "Nothing could change or improve its sound which, even after thousands of soundalikes, has lost none of its perception-shattering power." "Vice (Noisey)" included "Floral Shoppe" on their ranking of the 100 best albums of the 2010s.


title: Freight transport

text: Freight transport, also referred as "Freight Forwarding", is the physical process of transporting commodities and merchandise goods and cargo. The term shipping originally referred to transport by sea but in American English, it has been extended to refer to transport by land or air (International English: "carriage") as well. "Logistics", a term borrowed from the military environment, is also used in the same sense.


title: Freight transport

text: In 2015, 108 trillion tonne-kilometers were transported worldwide (anticipated to grow by 3.4% per year until 2050 (128 Trillion in 2020)): 70% by sea, 18% by road, 9% by rail, 2% by inland waterways and less than 0.25% by air.


title: Freight transport

text: Land or "ground" shipping can be made by train or by truck (British English: lorry). In air and sea shipments, ground transport is required to take the cargo from its place of origin to the airport or seaport and then to its destination because it is not always possible to establish a production facility near ports due to the limited coastlines of countries. Ground transport is typically more affordable than air, but more expensive than sea, especially in developing countries, where inland infrastructure may not be efficient.


title: Freight transport

text: Much freight transport is done by cargo ships. An individual nation's fleet and the people that crew it are referred to as its merchant navy or merchant marine. According to a 2018 report from the United Nations Conference on Trade and Development (UNCTAD), merchant shipping (or seaborne trade) carries 80-90% of international trade and 60-70% by value. On rivers and canals, barges are often used to carry bulk cargo.


title: Freight transport

text: Cargo is transported by air in specialized cargo aircraft and in the luggage compartments of passenger aircraft. Air freight is typically the fastest mode for long-distance freight transport but it is also the most expensive.


title: Freight transport

text: Cargo is shipped under a single contract but performed using at least two different modes of transport (e.g. ground and air). Cargo may not be containerized. Cargo is exchanged between different modes of transportation via transport hubs also known as transport interchanges or nodes (e.g. train stations, airports, etc.).


title: Freight transport

text: Multimodal transport featuring containerized cargo (or intermodal container) that is easily transferred between ship, rail, plane and truck.


title: Freight transport

text: For example, a shipper works together with both ground and air transportation to ship an item overseas. Intermodal freight transport is used to plan the route and carry out the shipping service from the manufacturer to the door of the recipient.


title: Freight transport

text: The Incoterms (or International Commercial Terms) published by the International Chamber of Commerce (ICC) are accepted by governments, legal authorities, and practitioners worldwide for the interpretation of the most commonly used terms in international trade. Common terms include:


title: Freight transport

text: The term "best way" generally implies that the shipper will choose the carrier who offers the lowest rate (to the shipper) for the shipment. In some cases, however, other factors, such as better insurance or faster transit time will cause the shipper to choose an option other than the lowest bidder.


title: Freight transport

text: Door-to-door (DTD or D2D) shipping refers to domestic or international shipment of cargo from the point of origin (POI) to the destination while generally remaining on the same piece of equipment and avoiding multiple transactions, transloading, and cross-docking without interim storage.


title: Freight transport

text: International DTD is a service provided by many international shipping companies and may feature intermodal freight transport using containerized cargo. The quoted price of this service includes all shipping, handling, import and customs duties, making it a hassle-free option for customers to import goods from one jurisdiction to another. This is compared to standard shipping, the price of which typically includes only the expenses incurred by the shipping company in transferring the object from one place to another. Customs fees, import taxes and other tariffs may contribute substantially to this base price before the item ever arrives.


title: Teresa (2010 TV series)

text: Teresa, is a Mexican telenovela produced by José Alberto Castro for Televisa. It is a remake of the Mexican telenovela of the same name produced in 1959.


title: Teresa (2010 TV series)

text: Angelique Boyer, Sebastian Rulli and Aarón Díaz star as the main protagonists, while Cynthia Klitbo and Ana Brenda Contreras star as the co-protagonists. Manuel Landeta, Margarita Magaña and Felicia Mercado played the main antagonists.


title: Teresa (2010 TV series)

text: Teresa Chavez is a beautiful and intelligent young woman, desperately seeking to leave the grinding poverty of the neighborhood where she lives, which causes her to have a miserable and resentful life despite her parents' love and support. After Rosa, her younger sister, dies from a heart disease, Teresa blames not having money for her sister's death. She vows that she will never be penniless again, making plans to escape the life of poverty surrounding her, using her beauty as a way to make it to the top. She is in love with Mariano, a man who lives in the same neighborhood with her and is studying to become a doctor in order to meet Teresa's expectations and fulfill all her dreams, but Teresa is impatient.


title: Teresa (2010 TV series)

text: While studying at an exclusive school on a scholarship, Teresa meets Paulo, a wealthy and popular young man. Teresa, seeing him as a way to get rich fast, breaks up with Mariano and uses her beauty to charm Paulo. They go out throughout high school, and she tries to convince him to get married, but upon discovering she is poor, he immediately breaks up with her. He offers her to stay with him as his lover, an offer which Teresa rejects. Genoveva, Paulo's mother also disapproves of Paulo ever seeing Teresa again.


title: Teresa (2010 TV series)

text: Paulo and Aida, Teresa's jealous classmate, who is in love with Paulo, humiliate Teresa in front of their classmates, publicly displaying her poverty and her lies. Teresa swears to never be trampled on again. "Entre ser y no ser, yo soy" ("Between being or not being, I am") becomes one of Teresa's mottos. After her humiliation she swears to bring vengeance on both Aida and Paulo. Teresa then befriends her teacher Arturo de la Barrera, a respected lawyer who offers to pay for her education in law school. Teresa decides to make Arturo fall in love with her. However, seeing that her best friend Aurora is in love with Mariano, she's filled with jealousy and decides to get back together with him. Luisa, Arturo's sister, at first distrusts Teresa, until her "sweetness" convinces her that Teresa is just a humble but kind girl.


title: Teresa (2010 TV series)

text: While Teresa works for Arturo as an assistant, he unintentionally falls in love with her. Luisa discovers this and convinces Arturo to confess his feelings to her. Teresa fills Arturo with hope while dating Mariano and eventually getting engaged with him. However, she breaks up with Mariano after seeing that he will take a long time to become rich and tells him that she is going to marry Arturo. This destroys Mariano's hope, and he finds solace in Aida's arms after Paulo dies of a drug overdose days before their wedding. At first, Mariano cannot get Teresa out of his head, and he constantly begs her to leave Arturo, but her ambitions keeps her with him. Arturo and Teresa travel to Cancun, and this opens Mariano's eyes, seeing the real Teresa. Teresa marries Arturo. Before this, Teresa met Fernando, Luisa's multimillionaire fiancé and Arturo's best friend. However, their marriage fails because of Arturo's jealousy of Mariano and Teresa's constant thinking of the latter, and Arturo is unfaithful to Teresa with his ex-fiancée Paloma, who discovered Teresa's earlier unfaithfulness with Mariano and dies before she could tell Arturo, Teresa finds out Arturo's secret and almost divorces Arturo. However, Arturo takes her to their belated honeymoon in Europe, and despite her efforts and her constantly thinking of Mariano, Teresa eventually falls in love with Arturo.


title: Teresa (2010 TV series)

text: Time passes and Arturo finds out that Teresa and Mariano made love the day before Arturo's wedding with Teresa, and that she only married him for his money. Arturo is then thrown into an economic crisis, and doubting the love of Teresa, decides to test her love and takes her to live in the same neighbourhood that she originated from. Tired of the economic crisis, Teresa seeks to improve their status and socio-economic position by seducing Fernando. Mariano finds out and tells Luisa about Teresa's attempt to conquer Fernando's heart, and he openly admits that he's in love with Teresa, breaking off their engagement days before their wedding. Heartbroken, Luisa slowly overcomes her pain and accepts Fernando's decision without any resentment and soon finds that she's pregnant with Fernando's child, through she makes it clear she doesn't want anything with him. Armando, Teresa's father, also finds out about his daughter's actions and, disappointed he dies of a heart attack. At this time, Teresa is now in love with Arturo, but at the same time, she believes that he should recover his status. Lucia, Luisa's real best friend, also likes Arturo, which not only proves Teresa's true love for him, but causes her to be extremely jealous of Lucia.


title: Teresa (2010 TV series)

text: As the story develops, Teresa successfully seduces Fernando, and convinces him to leave Luisa and to sign over half of his fortune to her. During an interview for their wedding, Teresa turns against her family, stating that she comes from the same socio-economic background as Fernando, and that her parents had died and Juana, her godmother, was merely her nanny. Finally seeing Teresa's true colors, Juana and Refugio, Teresa's mother, are left heartbroken. Later, Teresa tries to justify the rejection saying she felt it was necessary for the interview. All of her friends and family turn against Teresa, criticizing her for preferring money over love. Although Teresa is left alone, she dumps Fernando once she gets his money and attempts to get back Arturo's love for her and forgiveness as she feels that he's her true love. When Arturo is involved in a car accident, Teresa searches for him and he is immediately transported to a nearby hospital. As he slowly recovers, he rejects her for not loving him earlier. Teresa donates all her half of Fernando's money to Paloma's foundation for children after Fernando rejected receiving the stolen fortune. As Teresa tries to correct her mistakes, Refugio denies it as she feels that it's too early to forgive Teresa and can't be sure if her daughter's change is sincere and Juana also refuses to forgive Teresa, leaving her all alone. Back at her house, realizing and accepting that she's been left alone with no loved ones around her, she goes to her room and cries while hugging the teddy bear that Arturo gave her as a gift while stating that she'll start over again. Arturo then appears, and he picks her up from the ground, hugs her and later, they both kiss. She learned what love really is while Arturo forgave her, giving her another chance.


title: Teresa (2010 TV series)

text: There was an alternative ending that was broadcast during the popular Mexican show "Hoy." This ending had a heartbroken Teresa, finally realizing and accepting that she's all alone now, with none of her loved ones wanting anything to do with her, leaving Arturo's house to begin a new life. Six months later we see her working at a company as an assistant, where she is approached by a man, who we learn is her new boss, asking her to meet him at his office. As she makes her way, Teresa unbuttons her blouse before breaking the fourth wall by smiling seductively to the camera and saying her famous phrase, implying that she's back to her old manipulative ways.


title: Teresa (2010 TV series)

text: In this ending Teresa goes back to her house realizing that no one loves her, and she goes to her room and hugs the bear that Arturo gave her as a gift. Fernando then suddenly appears; he sees Teresa crying. Angry because Teresa ruined his life, he points a gun and shoots. She lays on the ground holding her bear and dies. The scene ends there.


title: Teresa (2010 TV series)

text: The series originally aired from August 2, 2010 to February 27, 2011 in Mexico on Canal de las Estrellas. The series aired in United States on Univision from March 30, 2011 until October 3, 2011.


title: Sara Allen

text: Sara Allen (born March 23, 1954) is an American songwriter best known for her work with the duo Hall & Oates. She was in a long-term relationship with Daryl Hall, which ended in 2001, and contributed to many of the duo's hit singles, including "You Make My Dreams", "Private Eyes", "I Can't Go for That (No Can Do)" and "Maneater".


title: Indian astronomy

text: Astronomy has long history in Indian subcontinent stretching from pre-historic to modern times. Some of the earliest roots of Indian astronomy can be dated to the period of Indus Valley civilisation or earlier. Astronomy later developed as a discipline of Vedanga, or one of the "auxiliary disciplines" associated with the study of the Vedas, dating 1500 BCE or older. The oldest known text is the "Vedanga Jyotisha", dated to 1400–1200 BCE (with the extant form possibly from 700 to 600 BCE).


title: Indian astronomy

text: Indian astronomy was influenced by Greek astronomy beginning in the 4th century BCE and through the early centuries of the Common Era, for example by the Yavanajataka and the "Romaka Siddhanta", a Sanskrit translation of a Greek text disseminated from the 2nd century.


title: Indian astronomy

text: Indian astronomy flowered in the 5th–6th century, with Aryabhata, whose work, "Aryabhatiya," represented the pinnacle of astronomical knowledge at the time. The Aryabhatiya is composed of four sections, covering topics such as units of time, methods for determining the positions of planets, the cause of day and night, and several other cosmological concepts. Later the Indian astronomy significantly influenced Muslim astronomy, Chinese astronomy, European astronomy, and others. Other astronomers of the classical era who further elaborated on Aryabhata's work include Brahmagupta, Varahamihira and Lalla.


title: Indian astronomy

text: An identifiable native Indian astronomical tradition remained active throughout the medieval period and into the 16th or 17th century, especially within the Kerala school of astronomy and mathematics.


title: Indian astronomy

text: Some of the earliest forms of astronomy can be dated to the period of Indus Valley civilisation, or earlier. Some cosmological concepts are present in the Vedas, as are notions of the movement of heavenly bodies and the course of the year. The Rig Veda is one of the oldest pieces of Indian literature. Rig Veda 1-64-11 & 48 describes time as a wheel with 12 parts and 360 spokes (days), with a remainder of 5, making reference to the solar calendar. As in other traditions, there is a close association of astronomy and religion during the early history of the science, astronomical observation being necessitated by spatial and temporal requirements of correct performance of religious ritual. Thus, the "Shulba Sutras", texts dedicated to altar construction, discusses advanced mathematics and basic astronomy. "Vedanga Jyotisha" is another of the earliest known Indian texts on astronomy, it includes the details about the Sun, Moon, nakshatras, lunisolar calendar. The Vedanga Jyotisha describes rules for tracking the motions of the Sun and the Moon for the purposes of ritual. According to the Vedanga Jyotisha, in a "yuga" or "era", there are 5 solar years, 67 lunar sidereal cycles, 1,830 days, 1,835 sidereal days and 62 synodic months.


title: Indian astronomy

text: Greek astronomical ideas began to enter India in the 4th century BCE following the conquests of Alexander the Great. By the early centuries of the Common Era, Indo-Greek influence on the astronomical tradition is visible, with texts such as the Yavanajataka and "Romaka Siddhanta".


title: Indian astronomy

text: Later astronomers mention the existence of various siddhantas during this period, among them a text known as the


title: Indian astronomy

text: "Surya Siddhanta". These were not fixed texts but rather an oral tradition of knowledge, and their content is not extant. The text today known as "Surya Siddhanta" dates to the Gupta period and was received by Aryabhata.


title: Indian astronomy

text: The "Pañcasiddhāntikā" by Varāhamihira (505 CE) approximates the method for determination of the meridian direction from any three positions of the shadow using a gnomon. By the time of Aryabhata the motion of planets was treated to be elliptical rather than circular. Other topics included definitions of different units of time, eccentric models of planetary motion, epicyclic models of planetary motion, and planetary longitude corrections for various terrestrial locations.


title: Indian astronomy

text: The divisions of the year were on the basis of religious rites and seasons ("Rtu"). The duration from mid March—mid May was taken to be spring ("vasanta"), mid May—mid July: summer ("grishma"), mid July—mid September: rains ("varsha"), mid September—mid November: autumn ("sharad"), mid November—mid January: winter ("hemanta"), mid January—mid March: the dews ("shishir").


title: Indian astronomy

text: Among the devices used for astronomy was gnomon, known as "Sanku", in which the shadow of a vertical rod is applied on a horizontal plane in order to ascertain the cardinal directions, the latitude of the point of observation, and the time of observation. This device finds mention in the works of Varāhamihira, Āryabhata, Bhāskara, Brahmagupta, among others. The Cross-staff, known as "Yasti-yantra", was used by the time of Bhaskara II (1114–1185 CE). This device could vary from a simple stick to V-shaped staffs designed specifically for determining angles with the help of a calibrated scale. The clepsydra ("Ghatī-yantra") was used in India for astronomical purposes until recent times. Ōhashi (2008) notes that: "Several astronomers also described water-driven instruments such as the model of fighting sheep."


title: Indian astronomy

text: The armillary sphere was used for observation in India since early times, and finds mention in the works of Āryabhata (476 CE). The "Goladīpikā"—a detailed treatise dealing with globes and the armillary sphere was composed between 1380 and 1460 CE by Parameśvara. On the subject of the usage of the armillary sphere in India, Ōhashi (2008) writes: "The Indian armillary sphere ("gola-yantra") was based on equatorial coordinates, unlike the Greek armillary sphere, which was based on ecliptical coordinates, although the Indian armillary sphere also had an ecliptical hoop. Probably, the celestial coordinates of the junction stars of the lunar mansions were determined by the armillary sphere since the seventh century or so. There was also a celestial globe rotated by flowing water."


title: Indian astronomy

text: An instrument invented by the mathematician and astronomer Bhaskara II (1114–1185 CE) consisted of a rectangular board with a pin and an index arm. This device—called the "Phalaka-yantra"—was used to determine time from the sun's altitude. The "Kapālayantra" was an equatorial sundial instrument used to determine the sun's azimuth. "Kartarī-yantra" combined two semicircular board instruments to give rise to a 'scissors instrument'. Introduced from the Islamic world and first finding mention in the works of Mahendra Sūri—the court astronomer of Firuz Shah Tughluq (1309–1388 CE)—the astrolabe was further mentioned by Padmanābha (1423 CE) and Rāmacandra (1428 CE) as its use grew in India.


title: Indian astronomy

text: Invented by "Padmanābha", a nocturnal polar rotation instrument consisted of a rectangular board with a slit and a set of pointers with concentric graduated circles. Time and other astronomical quantities could be calculated by adjusting the slit to the directions of α and β Ursa Minor. Ōhashi (2008) further explains that: "Its backside was made as a quadrant with a plumb and an index arm. Thirty parallel lines were drawn inside the quadrant, and trigonometrical calculations were done graphically. After determining the sun's altitude with the help of the plumb, time was calculated graphically with the help of the index arm."


title: Indian astronomy

text: The seamless celestial globe invented in Mughal India, specifically Lahore and Kashmir, is considered to be one of the most impressive astronomical instruments and remarkable feats in metallurgy and engineering. All globes before and after this were seamed, and in the 20th century, it was believed by metallurgists to be technically impossible to create a metal globe without any seams, even with modern technology. It was in the 1980s, however, that Emilie Savage-Smith discovered several celestial globes without any seams in Lahore and Kashmir. The earliest was invented in Kashmir by Ali Kashmiri ibn Luqman in 1589–90 CE during Akbar the Great's reign; another was produced in 1659–60 CE by Muhammad Salih Tahtawi with Arabic and Sanskrit inscriptions; and the last was produced in Lahore by a Hindu metallurgist Lala Balhumal Lahuri in 1842 during Jagatjit Singh Bahadur's reign. 21 such globes were produced, and these remain the only examples of seamless metal globes. These Mughal metallurgists developed the method of lost-wax casting in order to produce these globes.


title: Indian astronomy

text: According to David Pingree, there are a number of Indian astronomical texts that are dated to the sixth century CE or later with a high degree of certainty. There is substantial similarity between these and pre-Ptolemaic Greek astronomy. Pingree believes that these similarities suggest a Greek origin for certain aspects of Indian astronomy. One of the direct proofs for this approach is the fact quoted that many Sanskrit words related to astronomy, astrology and calendar are either direct phonetical borrowings from the Greek language, or translations, assuming complex ideas, like the names of the days of the week which presuppose a relation between those days, planets (including Sun and Moon) and gods.


title: Indian astronomy

text: With the rise of Greek culture in the east, Hellenistic astronomy filtered eastwards to India, where it profoundly influenced the local astronomical tradition. For example, Hellenistic astronomy is known to have been practiced near India in the Greco-Bactrian city of Ai-Khanoum from the 3rd century BCE. Various sun-dials, including an equatorial sundial adjusted to the latitude of Ujjain have been found in archaeological excavations there.


title: Indian astronomy

text: Numerous interactions with the Mauryan Empire, and the later expansion of the Indo-Greeks into India suggest that transmission of Greek astronomical ideas to India occurred during this period.


title: Indian astronomy

text: The Greek concept of a spherical earth surrounded by the spheres of planets, further influenced the astronomers like Varahamihira and Brahmagupta.


title: Indian astronomy

text: Several Greco-Roman astrological treatises are also known to have been exported to India during the first few centuries of our era. The "Yavanajataka" is a Sanskrit text of the 3rd century CE on Greek horoscopy and mathematical astronomy. Rudradaman's capital at Ujjain "became the Greenwich of Indian astronomers and the Arin of the Arabic and Latin astronomical treatises; for it was he and his successors who encouraged the introduction of Greek horoscopy and astronomy into India."


title: Indian astronomy

text: Later in the 6th century, the "Romaka Siddhanta" ("Doctrine of the Romans"), and the "Paulisa Siddhanta" ("Doctrine of Paul") were considered as two of the five main astrological treatises, which were compiled by Varāhamihira in his "Pañca-siddhāntikā" ("Five Treatises"), a compendium of Greek, Egyptian, Roman and Indian astronomy. Varāhamihira goes on to state that "The Greeks, indeed, are foreigners, but with them this science (astronomy) is in a flourishing state." Another Indian text, the "Gargi-Samhita", also similarly compliments the Yavanas (Greeks) noting that the Yavanas though barbarians must be respected as seers for their introduction of astronomy in India.


title: Indian astronomy

text: Indian astronomy reached China with the expansion of Buddhism during the Later Han (25–220 CE). Further translation of Indian works on astronomy was completed in China by the Three Kingdoms era (220–265 CE). However, the most detailed incorporation of Indian astronomy occurred only during the Tang Dynasty (618–907 CE) when a number of Chinese scholars—such as Yi Xing— were versed both in Indian and Chinese astronomy. A system of Indian astronomy was recorded in China as "Jiuzhi-li" (718 CE), the author of which was an Indian by the name of Qutan Xida—a translation of Devanagari Gotama Siddha—the director of the Tang dynasty's national astronomical observatory.


title: Indian astronomy

text: Fragments of texts during this period indicate that Arabs adopted the sine function (inherited from Indian mathematics) instead of the chords of arc used in Hellenistic mathematics. Another Indian influence was an approximate formula used for timekeeping by Muslim astronomers. Through Islamic astronomy, Indian astronomy had an influence on European astronomy via Arabic translations. During the Latin translations of the 12th century, Muhammad al-Fazari's "Great Sindhind" (based on the "Surya Siddhanta" and the works of Brahmagupta), was translated into Latin in 1126 and was influential at the time.


title: Indian astronomy

text: Many Indian works on astronomy and astrology were translated into Middle Persian in Gundeshapur the Sasanian Empire and later translated from Middle Persian into Arabic


title: Indian astronomy

text: In the 17th century, the Mughal Empire saw a synthesis between Islamic and Hindu astronomy, where Islamic observational instruments were combined with Hindu computational techniques. While there appears to have been little concern for planetary theory, Muslim and Hindu astronomers in India continued to make advances in observational astronomy and produced nearly a hundred "Zij" treatises. Humayun built a personal observatory near Delhi, while Jahangir and Shah Jahan were also intending to build observatories but were unable to do so. After the decline of the Mughal Empire, it was a Hindu king, Jai Singh II of Amber, who attempted to revive both the Islamic and Hindu traditions of astronomy which were stagnating in his time. In the early 18th century, he built several large observatories called Yantra Mandirs in order to rival Ulugh Beg's Samarkand observatory and in order to improve on the earlier Hindu computations in the "Siddhantas" and Islamic observations in "Zij-i-Sultani". The instruments he used were influenced by Islamic astronomy, while the computational techniques were derived from Hindu astronomy.


title: Indian astronomy

text: Some scholars have suggested that knowledge of the results of the Kerala school of astronomy and mathematics may have been transmitted to Europe through the trade route from Kerala by traders and Jesuit missionaries. Kerala was in continuous contact with China, Arabia and Europe. The existence of circumstantial evidence such as communication routes and a suitable chronology certainly make such a transmission a possibility. However, there is no direct evidence by way of relevant manuscripts that such a transmission took place.


title: Indian astronomy

text: In the early 18th century, Jai Singh II of Amber invited European Jesuit astronomers to one of his Yantra Mandir observatories, who had bought back the astronomical tables compiled by Philippe de La Hire in 1702. After examining La Hire's work, Jai Singh concluded that the observational techniques and instruments used in European astronomy were inferior to those used in India at the time – it is uncertain whether he was aware of the Copernican Revolution via the Jesuits. He did, however, employ the use of telescopes.


title: Indian astronomy

text: In his "Zij-i Muhammad Shahi", he states: "telescopes were constructed in my kingdom and using them a number of observations were carried out".


title: Indian astronomy

text: Following the arrival of the British East India Company in the 18th century, the Hindu and Islamic traditions were slowly displaced by European astronomy, though there were attempts at harmonising these traditions. The Indian scholar Mir Muhammad Hussain had travelled to England in 1774 to study Western science and, on his return to India in 1777, he wrote a Persian treatise on astronomy. He wrote about the heliocentric model, and argued that there exists an infinite number of universes ("awalim"), each with their own planets and stars, and that this demonstrates the omnipotence of God, who is not confined to a single universe. Hussain's idea of a universe resembles the modern concept of a galaxy, thus his view corresponds to the modern view that the universe consists of billions of galaxies, each one consisting of billions of stars.


title: Indian astronomy

text: The last known "Zij" treatise was the "Zij-i Bahadurkhani", written in 1838 by the Indian astronomer Ghulam Hussain Jaunpuri (1760–1862) and printed in 1855, dedicated to Bahadur Khan. The treatise incorporated the heliocentric system into the "Zij" tradition.


title: Indian astronomy

text: ISRO develops and delivers application specific satellite products and tools to the Nation: broadcasts, border security,communications, weather forecasts, disaster management tools, Geographic Information Systems, cartography, navigation, telemedicine, dedicated distance education satellites being some of them.


title: Indian astronomy

text: It launched Mangalyaan in 2014 with mission costed 10 times lower than US and was successful at first attempt.


title: Indian astronomy

text: Jantar Mantar is a huge complex with 19 different astronomical devices.Jantar(means Yantra or machine)Mantar(means to calculate),literally meaning machine that calculate. Jai Singh II in 18 th century started taking interest in science and astronomy and made Jantar Mantar in Jaipur, Delhi, Ujjain, Varanasi and Mathura.There are machine to know time, eclipse, location of constellation,etc. Astronomers from different countries were told to visit.


title: Indian astronomy

text: As brass time calculating devices wasn't perfect,so he built Samrat Yantra, which is the largest sundial in the world. It divides each hour into 15 minutes each, it's divided into 1 minute parts, which is further divided into 6 second and 2 seconds.


title: Indian astronomy

text: Some of the major devices here are Samrat yantra,Nadivalaya yantra,Rama Yantra,Daksinottara Bhitti,Unnatamsha Yantra,Jai Prakash yantra


title: Baka (Japanese word)

text: Baka (, in hiragana, or in katakana) means "fool", or (as an adjectival noun) "foolish" and is the most frequently used pejorative term in the Japanese language. This word "baka" has a long history, an uncertain etymology (possibly from Sanskrit or Classical Chinese), and linguistic complexities.


title: Baka (Japanese word)

text: The modern Japanese writing system transcribes the insult "baka" as in katakana, in hiragana, or ( "horse deer") in "ateji" phonetic kanji transcription; earlier "ateji" renderings included , , , or .


title: Baka (Japanese word)

text: The first written usages of "baka" were during the Nanboku-chō period (1336–1392), when the "Northern and Southern Courts" battled.


title: Baka (Japanese word)

text: In the earliest example, the "Taiheiki" historical epic records "bakamono" () being used as an insult in 1342. The Ashikaga commander Toki Yoritō () refuses to pay obeisance to retired Emperor Kōgon ( 1313–1364), "Yoritō, probably inebriated, loudly demands to know what kind of fool ("bakamono") has the temerity to order him to dismount." According to Carr, "Shinmura [Izuru] found that the original editions (fourteenth century) of the "Taiheiki" had "baka" written ; [while] later movable-type editions (c. 1600) had the characters ."


title: Baka (Japanese word)

text: A Bunmei-era (1469–1487) edition of the "Setsuyōshū" dictionary notes "baka" , which was also written (lit. "mother bride"), (lit. "horse bride"), or (lit. "break family"), means "rōzeki" "disorder; confusion".


title: Baka (Japanese word)

text: Many classical Japanese texts used "baka". For instance, the (c. 1616) "Kōyō Gunkan" military chronicle transcribed "baka" as . Ihara Saikaku's (1682) "Kōshoku Ichidai Otoko" (; "The Life of an Amorous Man"), which was a classic of the Ukiyozōshi genre, wrote "baka" with the modern kanji .


title: Baka (Japanese word)

text: Although the origins of "baka" are uncertain, Japanese scholars have proposed various etymologies and folk etymologies. The two most widely cited are a Classical Chinese idiom and a loanword from Sanskrit.


title: Baka (Japanese word)

text: First, the oldest hypothesis suggests that "baka" originated as a Chinese literary "allusion to a historical fool", the Qin Dynasty traitor Zhao Gao ( 207 BCE) from the "Records of the Grand Historian". This etymology first appears in the (c. 1548) "Unbo Irohashū" () dictionary, which glosses "baka" as meaning "point at a deer and say horse" (指鹿曰馬). Namely, the Chinese idiom "zhǐlù-wéimǎ" (; lit. "point at a deer and call it a horse", Japanese "Shika o Sashite Uma to Nasu") meaning "deliberate misrepresentation for ulterior purposes". Zhao was an infamous minister who served the first emperor Qin Shi Huang (r. 246–221 BCE) and forced the second Qin Er Shi (r. 210–207 BCE) to commit suicide.


title: Baka (Japanese word)

text: Zhao Gao was contemplating treason but was afraid the other officials would not heed his commands, so he decided to test them first. He brought a deer and presented it to the Second Emperor but called it a horse. The Second Emperor laughed and said, "Is the chancellor perhaps mistaken, calling a deer a horse?" Then the emperor questioned those around him. Some remained silent, while some, hoping to ingratiate themselves with Zhao Gao, said it was a horse, and others said it was a deer. Zhao Gao secretly arranged for all those who said it was a deer to be brought before the law. Thereafter the officials were all terrified of Zhao Gao.


title: Baka (Japanese word)

text: Kokiden flew into a rage. "A man out of favor with His Majesty is expected to have trouble feeding himself. And here he is living in a fine stylish house and saying awful things about all of us. No doubt the grovelers around him are assuring him that a deer is a horse.


title: Baka (Japanese word)

text: Second, the most linguistically sound etymology is that "baka" derives from a Sanskrit word meaning "fool". According to the Japanese linguist and lexicographer Shinmura Izuru, the Edo-period scholar Amano Sadakage (; 1663–1733) originally suggested that Japanese Buddhist priests coined the word "baka" from Sanskrit. Modern reference works give two possible Sanskrit sources for the word, "moha" (transcribed 慕何) "foolish" and "mahallaka" (摩訶羅) "stupid". Sanskrit "moha" () means "bewilderment, loss of consciousness, delusion, folly" and comes from the root "muh" meaning "bewildered, perplexed, confused". Sanskrit "mahallaka" means "senile, feeble minded, stupid, decrepit" and comes from "mūrkha" (), meaning "dull, stupid, foolish, inexperienced; fool".


title: Baka (Japanese word)

text: Other proposed etymologies for "baka" are less reliable. Two Edo-period dictionaries proposed that "baka" derived from: "ōmaka" "generous; unsparing" ("Rigen Shūran" ) or "bokeru" "grow senile; dote; become feeble-minded" ("Matsuya Hikki" ).


title: Baka (Japanese word)

text: The same 馬鹿 "horse deer" characters that transcribe "baka" are also used for names in Chinese zoological nomenclature and Japanese mythology.


title: Baka (Japanese word)

text: "Mumashika" is a rare alternate Japanese reading of that names a yōkai demon with a horse's head and deer's body. The c. 1832 "Hyakki Yagyō Emaki" (; "Hyakki Yagyō emakimono") depicts it with one eye, a horse's mouth and ears, and deer horn and hooves.


title: Baka (Japanese word)

text: Based on semantic analyses of "baka" entries in Japanese dictionaries and thesauruses, the lexicographer Michael Carr differentiates eight interrelated meanings.


title: Baka (Japanese word)

text: Three basic "fool; foolish" meanings distinguish "baka" "ass; jerk; fool", "baka" "ament; idiot; imbecile; fool" ( is a rare word for "congenitally mentally deficient"), and "baka" "blockhead; dullard; dimwit; simpleton; dolt; fool". These are found in many frequently-used Japanese expressions. Some more insulting lexemes are "bakamono" "stupid,fool,idiot", "ōbaka" "big fool damned idiot", and "baka-yarō" "stupid jerk, ass, asshole, dumbass". Some compounds are "baka yoke" "foolproof; idiot-proof", "baka warai" "foolish/horse laugh" and "baka zura" "foolish face; stupid look"; and some verb phrases are "baka ni suru" "make a fool of (someone); treat with contempt", "baka yobawarisuru" "call (someone) a fool", and "baka o miru" "make a fool/ass of (oneself)".


title: Baka (Japanese word)

text: Two extended meanings of "baka" "worthless" and "baka" "excess" expand upon "folly; foolishness". "Baka" "worthless; foolish; valueless; trifling; insignificant" is used in expressions such as "bakageta" "foolish; absurd; ridiculous"; "bakana" "foolish; silly; stupid"; and "bakarashii" , "bakabakarashii" , or "bakakusai" , all meaning "foolish; absurd; ridiculous". It is further used in phrases like "baka ie" "Nonsense!; Go on!", and "bakana mane o suru" "do a foolish thing; act foolishly". "Baka" "excess; foolish; absurd; extreme; extravagant" is found in a number of expressions: "bakani" or "bakabakashiku" "awfully; terribly; extremely"; "bakayasui" "ridiculously/dirt cheap"; "bakane" or "bakadakai" "ridiculously expensive"; "bakateinei" "excessive politeness"; and "bakashōjiki" "honest to a fault".


title: Baka (Japanese word)

text: Three special meanings are unrelated semantic connections. "Baka" "trough shell" is a truncation of "bakagai" "trough shell; "Mactra chinensis"". "Baka" "numbness (of limbs)" is used in the expression "baka ni naru" , and "baka" means "(an antique kind of) coin counter".


title: Baka (Japanese word)

text: "Baka", which originated as a 14th-century literary insult, has become "the most commonly used" swearword in contemporary Japanese. Usages of this term can be discussed in terms of pragmatic depth, dialectal variation, and proper names.


title: Baka (Japanese word)

text: The linguistic pragmatics of using insults like "baka" can be language specific. For instance, Japanese has fewer words for calling someone a "fool" than English. Jack Seward recounts asking his language teacher "to prepare a list of the most stunning and forcible insults, pejoratives, and curses in Japanese", but was surprised that the "short, unimaginative, and seeming ineffectual" list had only two words: "baka" "fool" and "chikushō" "beast".


title: Baka (Japanese word)

text: Carr proposes that intentional vagueness explains the comparatively small lexical field of Japanese insults.


title: Baka (Japanese word)

text: One likely reason for the relatively few Japanese words for 'fool' is vagueness. In both English and Japanese, the words for 'fool' have meanings that vary along scales of friendly–hostile, or joking–serious. In English, at one end of a scale are words like "silly goose" and at the other end are words like "stupid asshole". And in Japanese, at one end are words like "kamaboko baka" 'silly chump' and at the other end are words like "baka-yarō" 'damn fool'. The difference is in the degree of lexical diversification along the scales of meaning. English seems to have more 'fool' words with more specificity – Japanese seems to have fewer 'fool' words with more vagueness. There are decided pragmatic and communicative advantages to such lexical vagueness. If you call me a "stupid son-of-a-bitch", I know exactly what you mean. But if you call me a "baka-yarō", I cannot be so sure of what you mean. The expression "baka-yarō" is one of the most insulting terms in the Japanese lexicon, but it is vague and can range in meaning from an affectionate 'silly-willy' to an abusive 'jerk-off fool'. "Baka-yarō" is so widely used that it has become semantically weak and vague. Such vagueness can serve to conceal hostility and thus to maintain social harmony.


title: Baka (Japanese word)

text: Japanese dialects show regional variations between using "baka" in Kantō dialect and "aho" or "fool; idiot; jackass" in Kansai dialect. In addition, the insult "aho" has more of a slang connotation than "baka". Many Japanese dictionaries treat the words "baka" and "aho" as synonyms. "However, in Osaka and its surroundings, "aho" is a rather non-offensive word, whereas "baka" is an explosive word." Nevertheless, "In Tokyo and its surroundings, we find exactly the opposite, so you must be careful with the usage of these words."


title: Baka (Japanese word)

text: "Baka" frequently occurs in proper nouns. Examples from Japanese pop music include albums ("Pretty Little Baka Guy", "Ai no Baka" "Love Fool") and songs ("Suki Sugite Baka Mitai" "To Like [Him] Too Much and Look Like a Fool"). Some titles from modern Japanese literature are "Tsuribaka Nisshi" ("Fishing Fool's Diary"), "" ("Dog Fool"), "Karate Baka Ichidai" ("A Karate-Crazy Life"), and "Baka to Test to Shōkanjū" ("Idiots, Tests, and Summoned Creatures").


title: Baka (Japanese word)

text: During World War II, "baka" was American military slang for the Imperial Japanese Yokosuka MXY-7 Ohka kamikaze flying bomb. The earliest recorded usage was in "Newsweek" on May 7, 1945, "American forces have officially designated this bomb as 'baka', baka being Japanese for foolish, silly, or stupid." In modern times, "baka" has often been used in anime communities. This has also led to the satirical and ironic use of "baka" to call someone a fool or mock anime communities, especially in Internet meme spaces.


title: San Jose del Monte

text: San Jose del Monte, officially the City of San Jose del Monte (abbreviated as SJDM or CSJDM; ), is a 1st class component city in the province of Bulacan, Philippines. According to the 2020 census, it has a population of 651,813 people, making it the largest local government unit within the province of Bulacan and Central Luzon and the 18th most populated city in the Philippines. The City of San Jose del Monte, has proclaimed as a highly-urbanized city on December 4, 2020, by the virtue of Proclamation No. 1057, signed by President Rodrigo Duterte and shall take effect after the ratification in a plebiscite.


title: San Jose del Monte

text: Located in the southeast of the province, it is bordered by the city of Caloocan in Metro Manila to the south, by the town of Rodriguez, Rizal to the east, the towns of Santa Maria and Marilao to the west and Norzagaray to the north.


title: San Jose del Monte

text: The city is home to some of the biggest resettlement areas in the Philippines like the Sapang Palay resettlement area spread over 36 barangays, Pabahay 2000 in Barangay Muzon and Towerville in Barangay Minuyan Proper. Most of the city's population come from former informal settlers along the creeks, esteros, riverbanks and railway tracks of Metro Manila.


title: San Jose del Monte

text: Early accounts on the founding of the city, as gathered from the old people, contend that it was formerly a part of the town of Meycauayan. This is supported by a decree from the Archbishop of Manila dated March 1750 on the creation of new municipalities. The municipality of San Jose del Monte was then officially founded on March 2, 1752.


title: San Jose del Monte

text: The decree included the list of families who volunteered to be relocated. These families, most if not all from Lagulo (now Malhacan) in Meycauayan, brought with them rice, wine, nganga and salt from in exchange for the wild pigs, deer, yantok and almasigan of the Itas and Dumagats, the native inhabitants of the area. Solares, including intended lots for main roads, were peacefully distributed to the new occupants after being measured and surveyed.


title: San Jose del Monte

text: The town reportedly got its name from Saint Joseph whose statue was found in a veritable forest; the hunters called it “San Jose del Monte” ( “Saint Joseph of the Mountain”). In all probability, the hunters reported their find to the parish priest of Meycauayan. It was said that the priest built a stone church at the site where the town proper is now located. The statue was installed in the new church. Extant Catholic Church records reveal that the first parish priest was Father Antonio de Moral. He took charge of the parish in 1845.


title: San Jose del Monte

text: During the revolt against Spain, the town became a battleground between the Katipuneros and the Spanish forces. The revolutionaries lost and the vengeful Spanish soldiers burned down the settlement. The town people fled for their lives to nearby towns. At the advent of the American rule, it was made a part of Santa Maria until 1918 when the town was recreated and Ciriaco Gallardo appointed the first municipal president. Public schools were opened at the start of the American regime but due to the scarcity of the population, the highest grade organized was at the fourth grade.


title: San Jose del Monte

text: During the Japanese occupation, the town became an ideal hiding place of the local recognized guerrillas because of the town's hilly and wooden terrain. The Japanese Imperial Army took over the local government of San Jose del Monte from 1942 to 1943. In resistance, the municipality formed its own guerrilla unit. San Jose del Monte experienced large casualties when the Americans bombed the town center on January 11, 1945, and again on January 14, 1945. When the combined Filipino and American troops came, peace reigned but not for long.


title: San Jose del Monte

text: At the height of the Hukbalahap Rebellion, the town was raided on October 10, 1950. The Huks burned down the town hall. The town was raided for the second time on March 21, 1951. The Huks did not succeed because of the precautionary measures instituted by the town officials after which the Huks were gradually eliminated.


title: San Jose del Monte

text: In the 1980s, thousands of informal settlers from Metro Manila were relocated to San Jose del Monte. Bulacan Governor Roberto Pagdanganan recalled in 1996 that the relocation did not ensure new livelihoods for its informal settlers, thus turning many squatters toward criminality; he noted that the town had the highest crime rate in the province according to police reports. In 1988, Eduardo Roquero was elected mayor of the municipality by a margin of 8 votes against his closest opponent, reelectionist Reynaldo Villano.


title: San Jose del Monte

text: On September 10, 2000, San Jose del Monte was proclaimed as a Component City under Republic Act No. 8797. It became the first city in the province of Bulacán and was recorded as the 86th chartered city of the Philippines. On December 18, 2003, the City of San Jose del Monte became the 1st Lone Congressional District in Bulacán.


title: San Jose del Monte

text: On December 4, 2020, President Rodrigo Duterte declared San Jose del Monte as a highly-urbanized city through Proclamation No. 1057. However, it will have to go through a plebiscite to ratify its city charter, and it will be held four months after the 2022 national and local elections.


title: San Jose del Monte

text: The elevation of the city ranges from approximately above sea level; the relief transitions from warm lowland to cool upland as one goes eastward. This is because the city is part of the Sierra Madre mountain range. Plains and river valley flats characterize the western and southwestern quadrant. The central portion and much of its eastern section are made up of undulating hills with low relief. High relief areas moderate slopes best describe its extreme eastern and northwestern quadrant. Slopes of 3%-8% are extensively found in the city, particularly on the western half. Slopes of 30%-50% comprise the smallest portion of the total land area.


title: San Jose del Monte

text: The rivers and creeks that flow in San Jose del Monte are direct tributaries of the Angat River, which flows from the Angat Reservoir. Major natural waterways of San Jose del Monte are the Kipungok, Santo Cristo, and Santa Maria river systems. Kipungok River separates San Jose del Monte from Caloocan and Rodriguez. It is directly connected to the Marilao River, which flows downwards to Manila Bay. Draining to these rivers are creeks and streams, which act as catchment areas for the surface water runoff of the city. Among these are the Bigte, Kantulot, Katinga, and Salamin creeks.


title: San Jose del Monte

text: Growing commercial, residential, and light industrial areas, are found all over the city at major road intersections and along major thoroughfares. However, the bulk of the San Jose del Monte's built-up areas are mostly west of Quirino Highway at the primary level to gently sloping 8% terrain, dividing the city into a heavily built-up western section and the largely agricultural eastern section. Most of the city's schools, government institutions, commercial developments, industries, and other urban amenities are in this section. The largest contiguous built-up area is at Sapang Palay Resettlement Project area, followed by the conurbation in Tungkong Mangga and Muzon.


title: San Jose del Monte

text: The developments east of the Quirino Highway are mostly scattered residential areas and agricultural lands. However, there are a few subdivisions that are some distance away from Ciudad Real and take advantage of its secluded and rural atmosphere. These are the Blessed Sacrament Seminary and an Augustinian convent.


title: San Jose del Monte

text: In between the built-up clusters are pockets of agricultural lands, which are continuously converted into built-up uses. Planted in these lands are crops such as rice and corn. The clustering pattern for both built-up and agricultural uses is partly due to the decisions made by settlers with regard to the hilly conditions that dominate the topography. Most of households in the western half of San Jose del Monte opted to convert their lands to residential uses while other maintained the farms. This left upland uses, such as those pertaining to forest use, more common towards the easternmost zones.


title: San Jose del Monte

text: Most vegetative outgrowths are in areas that are difficult to build on. But there are instances when these outgrowths are integrated in the built-up areas, usually found in the west: a number of heavily vegetated areas. Supplementing these are mini forest projects of the city government. The City Agriculture Office maintains a 1.65-hectare Mini Forest Project in Barangay Muzon along the San Jose del Monte-Marilao Provincial Road and a mahogany planting site.


title: San Jose del Monte

text: San Jose del Monte is politically subdivided into 59 barangays, which handle governance in a much smaller area. These barangays are grouped into two districts, 23 barangays comprise the first district while 36 compose the second commonly known as Sapang Palay, and the city has Lone District, which is represented by a congressman in the country's House of Representatives.


title: San Jose del Monte

text: Of the 3,102 barangays in Region III, the largest in terms of population size is Muzon in the City of San Jose del Monte, Bulacan with 106,603 people.


title: San Jose del Monte

text: In the 2020 census, the population of San Jose del Monte was 651,813 people, with a density of . This makes it the largest local government unit in Bulacan province. It is also the largest city in Central Luzon (Region III).


title: San Jose del Monte

text: With the coming of settlers to San Jose Del Monte, its population increased tremendously. Its population increased dramatically since the 1950s as the population tended to move from rural areas to towns and cities. Its proximity to Manila allowed it to accommodate its spillover population. This is further hastened by the development of nearby Quezon City and the accompanying increase in population and infrastructure.


title: San Jose del Monte

text: Forced relocation of informal settlers and the lure of government to provide them their own homes allowed the town to continue to grow despite the lack of government facilities then. As such, San Jose del Monte exhibited an increasing percentage share to the provincial population from as low as 2% in 1960 to 9% in 1990 and then to 17% in 2015. The town surpassed the population of Meycauayan in 1980 census and Malolos in the 1990 census, then the largest towns of Bulacan. By 2015, it has more than two times the population of the now second place Santa Maria town (256,454 people in the 2015 Census).


title: San Jose del Monte

text: If current population growth holds (2010-2015, +4.55%), the population of San Jose del Monte is expected to double and breach one million by the 2030 Census.


title: San Jose del Monte

text: Major agricultural crops are leafy vegetables, root crops (cassava as its OTOP), pineapple, mango and coffee beans.


title: San Jose del Monte

text: The major income earner is large- and small-scale swine production. There are 60 commercial livestock and poultry farms in the city. The major poultry producers are RFM Corporation, Vitarich and FELDAN.


title: San Jose del Monte

text: The city has three major business district growth areas: Tungkong Mangga, Muzon and Sapang Palay (Sampol). They are in wholesale and retail trade.


title: San Jose del Monte

text: The minor business districts include Towerville in Minuyan Proper, Palmera in Kaypian, Northgate in Santo Cristo, Citrus, Poblacion I, Grotto in Graceville, Francisco Homes, Gumaoc and San Rafael III.


title: San Jose del Monte

text: Commercial and thrift banks, pawnshops and cooperatives provide financial services. There are two major malls: Starmall San Jose del Monte in Palmera and SM City San Jose del Monte in Tungkong Mangga.


title: San Jose del Monte

text: Mount Balagbag and Kaytitinga Falls in Barangay, San Isidro are the main tourist attractions in the city. A portion of the Angat Watershed Forest Reserve also extends to San Jose del Monte.


title: San Jose del Monte

text: VS Orchids Farm (Santo Cristo) is the biggest orchids nursery and ornamental plants farm in Bulacan (owned by Rolita Spowart, 3 Manila Seedling Bank Foundation, Quezon City). Hundreds of orchids species are nurtured in this 1.8 hectares flora haven.


title: San Jose del Monte

text: The Our Lady of Lourdes Grotto Shrine, is a Roman Catholic pilgrimage site often visited by devotees during Holy Week.


title: San Jose del Monte

text: The city is serviced by bus routes going to and from Parañaque (Baclaran), Muntinlupa (Alabang), Taguig (FTI), Makati, Quiapo and Santa Cruz districts in Manila, Novaliches district in Quezon City and the Ninoy Aquino International Airport. Jeepney routes also ply the roads between the city and neighboring cities and towns in Metro Manila and Bulacan province.


title: San Jose del Monte

text: San Jose del Monte's road network has a total length of . The following are the main arteries of San Jose del Monte's road network which link the 59 barangays with Metro Manila and the rest of Bulacan.


title: San Jose del Monte

text: The bulk of the city's water requirement is being served by the San Jose Del Monte City Water District together via Joint Venture Agreement to Prime Water Corporation.


title: San Jose del Monte

text: Power distribution is being undertaken by the Manila Electric Company (Meralco). The city hosts the biggest National Grid Corporation of the Philippines (NGCP) sub-station in the country in Barangay Dulong Bayan.


title: San Jose del Monte

text: Mobile telephone services are provided by Smart Communications, Globe Telecom and Dito Telecommunity.


title: San Jose del Monte

text: Like other cities in the Philippines, San Jose del Monte is governed by a mayor and vice mayor elected to three-year terms. The mayor is the executive head and leads the city's departments in executing the city ordinances and improving public services. The vice mayor heads a legislative council consisting of 12 members 6 from District I and 6 from District II. The council is in charge of creating the city's policies.


title: San Jose del Monte

text: San Jose del Monte, being a part of the Bulacan province, has its mayor in the city council heading the Area Integrated Development Authority (AIDA), a special committee created during the term of then Mayor Eduardo V. Roquero to concentrate on the improvement of 3 highly commercialized areas such as, Tungkong Mangga, Muzon, and Sampol areas.. This council formulates development plans that seeks to solve the problems and improve the conditions in the metropolis.


title: Notre-Dame de Paris (musical)

text: Notre-Dame de Paris is a sung-through French musical which debuted on 16 September 1998 in Paris. It is based upon the novel "Notre-Dame de Paris" (known in English as "The Hunchback of Notre-Dame") by the French novelist Victor Hugo. The music was composed by Riccardo Cocciante (also known as Richard Cocciante) and the lyrics are by Luc Plamondon.


title: Notre-Dame de Paris (musical)

text: Since its debut, it has been professionally played in Belgium, Canada, China, France, Italy, Japan, Lebanon, Luxembourg, Poland, Russia, Singapore, South Korea, Spain, Switzerland, Taiwan, Turkey, United Kingdom and United States, and has been translated into eight languages (English, Spanish, Italian, Russian, Korean, Flemish, Polish, and Kazakh). A shorter version in English was performed in 2000 in Las Vegas, Nevada (United States) and a full-length London production, also in English, ran for seventeen months. Several songs from the show, such as "Vivre", "Belle" and "Le temps des cathédrales", have been released as singles with a huge success in French speaking countries.


title: Notre-Dame de Paris (musical)

text: "Notre-Dame de Paris", according to the "Guinness Book of Records", had the most successful first year of any musical ever. The score has been recorded at least seven times to date (2007): the original French concept album, which featured Israeli singer Achinoam Nini (aka Noa) as Esmeralda was followed by a live, complete recording of the original Paris cast. A complete recording of the score in Italian was made, along with a single disc of highlights in Spanish from the Barcelona production. The original London cast album featured several of the original Paris stars, but only preserved a fraction of the score in English.


title: Notre-Dame de Paris (musical)

text: The story is set in Paris in the year 1482. The poet Gringoire, who throughout the story acts not only as a participant but also as a sort of commentator, enters to set the scene for the story; he relates how Man has written his history in the building of the cathedrals ("Le temps des cathédrales").


title: Notre-Dame de Paris (musical)

text: The homeless and refugees, led by Clopin, swarm before the entrance to the Cathedral of Notre Dame begging for help and sanctuary ("Les sans-papiers"). Frollo, the Archdeacon of Notre Dame, orders Phoebus, the Captain of the Royal Archers, to have his men disperse the crowd ("Intervention de Frollo"). As his men are driving off the refugees, Phoebus catches sight of the beautiful Romani girl Esmeralda (in later productions, the scene changes to have him see her while she is dancing before Notre Dame) and is entranced by her. Esmeralda tells him about herself, her life as a Traveller, and her dreams ("Bohémienne"). Instead of arresting her, Phoebus leaves her alone.


title: Notre-Dame de Paris (musical)

text: Clopin, who has watched over Esmeralda since she was eight years old after the death of her parents, tells her that she is no longer a child and that she has reached the age where she will discover love ("Esmeralda tu sais"). He warns her to be extremely careful, since not all men are to be trusted.


title: Notre-Dame de Paris (musical)

text: In the next number, the audience is introduced to the nobly-born and beautiful Fleur-de-Lys, to whom Phoebus is engaged to be married. Fleur-de-Lys's love for Phoebus is childish and irrational, like that of Juliet for Romeo ("Ces diamants-là").


title: Notre-Dame de Paris (musical)

text: Now begins the wild and coloured Feast of Fools, presided over by Gringoire ("La fête des fous"), the climax of which is the choosing of the King of Fools from among the group of people who can make the ugliest face; the King will be crowned by Esmeralda. Hiding in the shadows is a monstrous figure who is dragged out into the light; it is the bell-ringer of Notre Dame, the hunchbacked and facially deformed Quasimodo. By unanimous decision, Quasimodo is chosen and crowned as the King of Fools, but he knows that for all the power he has this one day nothing can make a woman such as Esmeralda care for him ("Le pape des fous").


title: Notre-Dame de Paris (musical)

text: Frollo breaks up the festivities and orders Quasimodo to kidnap Esmeralda and bring her to him that night so that she can be imprisoned as a sorceress and a violator of public decency ("La sorcière"). Quasimodo, who is devoted to Frollo for raising and educating him after he had been abandoned as a baby ("L'enfant trouvé"), says he will obey.


title: Notre-Dame de Paris (musical)

text: Night falls on Paris with its dark and hidden secrets commented on by Gringoire ("Les portes de paris"). Quasimodo stalks Esmeralda through the dark streets and is about to seize her when Phoebus and his guards arrive and arrest Quasimodo. Phoebus introduces himself to Esmeralda. He makes a date for a rendezvous with her the next night at the Cabaret du Val d'Amour. Phoebus and his men take Quasimodo away and Esmeralda darts off into the darkness ("Tentative d'enlèvement").


title: Notre-Dame de Paris (musical)

text: At the Court of the Miracles, the haven for all of the outcasts of Paris, Clopin presides over a wild revel, remarking that all are truly equal here no matter their race, religion, skin color or criminal background ("La cour des miracles"). Gringoire, who has wandered in accidentally, is seized and Clopin tells him that he will be hanged for his trespassing – unless one of the women will agree to marry him. Esmeralda who has arrived during this, agrees to marry Gringoire (in name only) and Clopin, as King of the Outcasts, unites them and they join in the wild revelry.


title: Notre-Dame de Paris (musical)

text: Later, when Gringoire and Esmeralda are left alone ("Le mot Phoebus") he introduces himself to her as "the Prince of the Streets of Paris" and assures her that while he is not a "ladies' man" ("un homme a femmes"), he would be glad if she would be his Muse and inspiration. Since Gringoire is educated, Esmeralda asks him what the word "Phoebus" means; he tells her that in Latin it means "the sun" or "sun god". Esmeralda muses on the word as it romantically relates to the man Phoebus ("Beau comme le soleil"); she is joined on stage by Fleur-de-Lys, who also muses on Phoebus (although she seems to be more apprehensive about him), but both believe that Phoebus will love them forever.


title: Notre-Dame de Paris (musical)

text: Phoebus himself is under no apprehensions about what kind of man he is – he wants both women, one as a wife and one as a temporary mistress ("Déchiré").


title: Notre-Dame de Paris (musical)

text: The next day, Frollo summons Gringoire to Notre Dame and questions him about Esmeralda, forbidding him to touch her. Gringoire changes the conversation by asking about a strange inscription in Greek on the wall of the Gallerie des Rois in Notre Dame, the word "Ananké". Frollo tells him that "Ananké" means "Fate" in Greek. They watch as Quasimodo is dragged on stage bound on The Great Wheel as sentence for his attempted kidnapping of Esmeralda ("Anarkia").


title: Notre-Dame de Paris (musical)

text: Quasimodo endures his punishment, but cries out for water ("A boire"), a plea that is ignored by everyone. Suddenly Esmeralda appears and gives him a drink of water from her cup, an act of kindness that deeply touches the poor hunchback. He is then released from the Wheel, and he, Frollo and Phoebus sing about their different feelings for Esmeralda ("Belle"): Quasimodo about his growing feelings of tenderness for her, Frollo about his growing fascination for her, and Phoebus (watched jealously by Fleur-de-Lys) about his wish for an affair with her before he marries Fleur-de-Lys.


title: Notre-Dame de Paris (musical)

text: Quasimodo leads Esmeralda into Notre Dame and tells her how the cathedral has been his home and sanctuary, and now it can be hers whenever she needs one ("Ma maison c'est ta maison"). In spite of her initial fear of this strange, deformed man, Esmeralda is touched by his gentleness and finds herself warming towards Quasimodo. Left alone, Esmeralda, who has never prayed before, prays to the Virgin Mary ("Ave Maria païen"), while Quasimodo thinks of her ("Si tu pouvais voir en moi"). Frollo, secretly spying on Esmeralda, realizes that his lust for her will destroy him, but knows that he cannot resist nor does he want to ("Tu vas me détruire").


title: Notre-Dame de Paris (musical)

text: That night, Phoebus is on his way to the Cabaret du Val d’Amour for his rendezvous with Esmeralda when he realizes he is being stalked by a shadowy figure. The figure (Frollo in disguise) warns him to go no further ("L'ombre"), but Phoebus refuses to heed the threat and continues on his way.


title: Notre-Dame de Paris (musical)

text: At Val d’Amour, Gringoire (who seems to be a regular customer) remarks how everyone, no matter the race, creed or color, comes here for a good time of one kind or another ... for a very low price ("Le Val d’Amour"). Phoebus arrives (he seems to be a regular customer here too) and meets Esmeralda in a private room ("La volupté"). They embrace and are about to make love when Frollo rushes in and stabs Phoebus with Esmeralda's knife (which she had placed on the floor earlier). Esmeralda collapses over Phoebus’ body, Frollo makes his escape and Gringoire, Clopin, Frollo, Quasimodo and the Chorus comment on the terrible power of Fate ("Fatalité").


title: Notre-Dame de Paris (musical)

text: Frollo and Gringoire discuss the events and scientific discoveries taking place and how some of them (such as Johannes Gutenberg’s printing press and Martin Luther’s doctrines) are changing the world forever ("Florence"). Gringoire notices how silent the cathedral is and Frollo tells him that Quasimodo has not rung the bells for three days.


title: Notre-Dame de Paris (musical)

text: Up in the bell tower, Quasimodo recounts how the cathedral bells are his only friends and loves ("Les cloches"), especially the three "Maries": "Little Marie" which is rung for children's funerals, "Big Marie" which is rung when ships set sail and "Great Marie" which is rung for weddings. His greatest hope is that they will ring for Esméralda to hear that he loves her.


title: Notre-Dame de Paris (musical)

text: Frollo asks Gringoire where his "wife" is ("Ou est Elle?"); Gringoire says he does not know and answers obliquely (but he tells Clopin, who has been searching for Esmeralda, that she has been imprisoned in the prison of La Sainte and that she will be hanged if Clopin doesn't save her).


title: Notre-Dame de Paris (musical)

text: In her cell, Esmeralda compares herself to a caged bird and calls to Quasimodo to save her, while back at Notre Dame Quasimodo wonders about Esmeralda's disappearance three days earlier and fears for her safety ("Les oiseaux qu'on met en cage"). Clopin and a group of outcasts are arrested and thrown into the La Sainte prison ("Condamnes") as Esmeralda is put on trial for the attempted murder of Phoebus and sorcery with Frollo as presiding judge ("Le procès" / "La torture"); when she refuses to confess, she is subjected to a foot-crushing torture until she cries out "I confess!" Frollo sentences her to death by hanging, but Esmeralda still professes her love for Phoebus and Frollo is left to suffer from the emotional torment of his unrequited passion ("Être prêtre et aimer une femme"). Esmeralda calls Phoebus to save her (“Phoebus”)


title: Notre-Dame de Paris (musical)

text: Elsewhere, a recovered Phoebus is confronted by Fleur-de-Lys, but he claims as an excuse that he was bewitched by Esmeralda's "sorcery" ("Je reviens vers toi"). Fleur-de-Lys tells him that he will still have her heart and love if he will swear to have Esmeralda executed ("La monture").


title: Notre-Dame de Paris (musical)

text: At five o'clock in the morning of the execution, Frollo visits Esméralda's cell and to her horror confesses to her that he knifed Phoebus out of love for her ("Visite de Frollo a Esmeralda" / "Un matin tu dansais") and offers her a choice: death on the gallows or life by giving him love. When Esmeralda rejects his advances, he tries to rape her, but Quasimodo (who has secretly followed him) frees Clopin and the other prisoners. Clopin attacks Frollo, knocking him unconscious, and releases Esméralda and they flee the prison to Notre Dame for sanctuary ("Liberes").


title: Notre-Dame de Paris (musical)

text: Gringoire sings to the moon ("Lune") in which he describes Quasimodo's pain and suffering because of his love for Esméralda.


title: Notre-Dame de Paris (musical)

text: Quasimodo leaves Esmeralda asleep in a safe place in Notre Dame ("Je te laisse un sifflet"), but bitterly reflects that while he will love her forever, his ugliness will ensure that she will never love him ("Dieu que le monde est injuste"). Alone, Esmeralda hopes that she will survive for the man she loves and sings about how Love has the power to change the world even should she die ("Vivre").


title: Notre-Dame de Paris (musical)

text: With Clopin and his people occupying Notre Dame, Frollo orders Phoebus and his men to break sanctuary and attack the cathedral to drive them out ("L’Attaque de Notre Dame"). Clopin and his people resist bravely but are no match for the armed soldiers, and in the first attack Clopin is fatally wounded. Dying, he begs Esmeralda to take his place as leader. The final battle has Esmeralda and her people facing off against Phoebus and his soldiers, but the result is a foregone conclusion – Esmeralda is captured and the outcasts defeated. Phoebus coldbloodedly hands Esmeralda over to be executed, orders the outcasts driven out of Paris ("Déportés") and leaves with Fleur-de-Lys.


title: Notre-Dame de Paris (musical)

text: Quasimodo, searching Notre Dame for Esmeralda, finds Frollo standing at the top of one of the towers and begs him to help Esmeralda ("Mon maitre, mon sauveur"). Frollo, finally driven insane, shows him the sight of Esmeralda being hanged and to Quasimodo's horror announces that he is responsible. As he laughs wildly, the enraged Quasimodo seizes him and hurls him down the stairs of the tower to his death. As the executioners are cutting down Esmeralda's body from the gibbet, Quasimodo appears and demands that they give him her body ("Donnez-la moi"). Driving them away, he kneels beside her body and mourns her, promising to stay with her and that even in death they will not be parted ("Danse, mon Esmeralda").


title: Notre-Dame de Paris (musical)

text: These titles follow French-language capitalization conventions (sentence case / init caps instead of title case)


title: Notre-Dame de Paris (musical)

text: English titles shown here are the title of the song in the English-language version of the production, and not necessarily a direct translation of the original song title.


title: Notre-Dame de Paris (musical)

text: Director Gilles Maheu staged the show in concert style, with the principal singers standing downstage center, with non-singing dancers upstage. The orchestra and chorus were prerecorded; the principals wore very obvious boom microphones.


title: Notre-Dame de Paris (musical)

text: Critical reception in Great Britain was mixed, with praise for the music and choreography, and general disdain for the English translation of the lyrics and the show's overall direction. For example, "The Times" praised the "doleful energy" of Garou's Quasimodo and the "occasional imaginative production touches: huge bells with writhing, upside-down humans for clappers" but concludes "Another Les Mis this isn't." According to the Oxford Encyclopedia of Popular Music, the producer of the London show Michael White fought back this criticism: "This is not a musical but a rock show with a strong storyline. I think it is difficult for dramatic critics who have to understand everything from Shakespeare to Harold Pinter to understand that." Eventually, despite initially poor reviews, "Notre-Dame de Paris" "became the most successful of the Gallic-themed shows to open in the West End during 2000".


title: Notre-Dame de Paris (musical)

text: The original production of "Notre-Dame de Paris" made musicals fashionable again in France and, since its inception, has spawned a number of other notable productions. As part of the publicity prior to the Paris opening three songs were released as singles: "Vivre", "Le temps des cathédrales", and "Belle". "Belle" became a huge hit, and was named Song of the Year in France, and nominated for Song of the Century.


title: Notre-Dame de Paris (musical)

text: Since its debut, the show has been professionally played in Belgium, Canada, China, France, Italy, Japan, Lebanon, Luxembourg, Poland, Russia, Singapore, South Korea, Spain, Switzerland, Taiwan, Turkey, United Kingdom, Ukraine and United States, and has been translated into seven languages (English, Spanish, Italian, Russian, Korean, Flemish, and Polish). A shorter version in English was performed in 2000 in Las Vegas, Nevada (United States) and a full-length London production, also in English, ran for seventeen months. Several songs from the show, such as "Vivre", "Belle" and "Le temps des cathédrales", have been released as singles with a huge success in French speaking countries. An English version of "Vivre" ("Live for the One I Love") was released by both Celine Dion and Australian chanteuse Tina Arena, and appears on the original London cast recording, even though Dion did not participate in the musical.


title: Notre-Dame de Paris (musical)

text: In 2010-2014 several concert versions of the musical which reunited the original cast were presented in Kyiv, Moscow, Saint-Petersburg, Paris and Beirut.


title: Notre-Dame de Paris (musical)

text: In February 2016 it was announced that a revival of the original musical "Notre Dame de Paris" is scheduled to open in November 2016 in the Palais des Congrès in Paris, followed by a tour in France.


title: Notre-Dame de Paris (musical)

text: "Notre-Dame de Paris", according to the "Guinness Book of Records", had the most successful first year of any musical ever. The score has been recorded at least seven times to date (2007): the original French concept album, which featured Israeli singer Achinoam Nini (aka Noa) as Esmeralda was followed by a live, complete recording of the original Paris cast. A complete recording of the score in Italian was made, along with a single disc of highlights in Spanish from the Barcelona production. The original London cast album featured several of the original Paris stars, but only preserved a fraction of the score in English.


title: Making Love Out of Nothing at All

text: "Making Love Out of Nothing at All" is a power ballad written and composed by Jim Steinman and first released by Australian soft rock band Air Supply for their 1983 compilation album "Greatest Hits". It reached number 2 on the U.S. "Billboard" Hot 100 for three weeks (behind "Total Eclipse of the Heart" by Bonnie Tyler, giving Steinman a consecutive peak of two songs). The song has been covered by other artists.


title: Making Love Out of Nothing at All

text: The song is a reworking of the main title theme from the 1980 film "A Small Circle of Friends", for which Jim Steinman wrote the score. It was first recorded by Air Supply, giving them a number two hit on the "Billboard" Hot 100 in the U.S. for three weeks. It was held off from the top spot by another Steinman production, Bonnie Tyler's recording of "Total Eclipse of the Heart". This is the group's last Top Ten hit in the United States.


title: Making Love Out of Nothing at All

text: The song was subsequently released as a new track from their 1983 greatest hits album. The B-side of the single was "Late Again". They have included the song on their numerous greatest hits and live albums, and recorded an acoustic version for their 2005 album "The Singer and the Song".


title: Making Love Out of Nothing at All

text: Steinman offered the song, along with "Total Eclipse of the Heart", to Meat Loaf for his "Midnight at the Lost and Found" album; however, Meat Loaf's record company refused to pay Steinman for the material so Meat Loaf ended up writing compositions for the album himself. Steinman's songs were then offered to Bonnie Tyler and Air Supply. However, in an interview with journalist Mick Wall shortly after the release of Meat Loaf's 2006 album, "", Steinman stated: "I didn't write [Total Eclipse of the Heart] for anyone but Bonnie." Steinman believed that CBS were expecting him to write something similar to "It's a Heartache", but he had different ideas.


title: Making Love Out of Nothing at All

text: By 1983, Air Supply had changed much of its classic musician line-up, both in the recording studio and on tour. But Steinman, known for his lavish, rock-opera-ish type productions, used Bruce Springsteen's E-Street Band members Roy Bittan on keyboards and Max Weinberg on drums, to musically underscore the recording with like energies. Rick Derringer, who was previously the guitarist for The McCoys and Johnny Winter, provided the electric guitar solo that made the sound of "Making Love Out of Nothing at All" stand so drastically apart from most other Air Supply songs. In an interview, Hitchcock and Russell confirmed Hitchcock did his vocals in one take. When Steinman asked "What do we do next?" Russell replied "We go home".


title: Making Love Out of Nothing at All

text: Two versions of the music video were produced. The initial version begins with a couple driving to an airport; the man (Graham Russell) is "leaving for a tour" and asks the woman (played by Graham Russell's real-life spouse, Jodi Russell) to join him:


title: Making Love Out of Nothing at All

text: The plane seen in the video is a Learjet 35. The remainder of the video intersperses Air Supply onstage with various scenes of the man and woman's relationship. Hitchcock and Russell leave their dressing room for the stage; as they sing with the band, the woman (Jodi Russell) is shown packing to leave. Nevertheless, she changes her mind and does a u-turn on the freeway, and now drives to the airport. She meets Russell at the side of the stage near the end of the song and they embrace.


title: Making Love Out of Nothing at All

text: The subsequent official version is set in 1960s New York City and involves a Marine and a young woman and the various challenges they encounter in their relationship, interspersed with scenes of the band singing the song.


title: Making Love Out of Nothing at All

text: + In initial releases of Air Supply's 1983 "Greatest Hits" album, Steve Buslowe was not included as the bassist in the album credits. However, this error was corrected in future pressings.


title: Making Love Out of Nothing at All

text: The song was later covered by Welsh singer Bonnie Tyler on her album "Free Spirit". It opens with a wordless choral vocal followed by sounds of thunderclaps and a bell before the melody begins, played on piano. Over the piano section is an excerpt from "Un bel dì vedremo", the aria from Puccini's "Madama Butterfly", sung by Tyler's mother Elsie Hopkins.


title: Making Love Out of Nothing at All

text: AllMusic called this version "fantastic, clocking in at nearly eight minutes, and seems perfectly suited for her voice. [Air Supply's] version was already great, but hers is awesome." It was produced by Steinman, with Steven Rinkoff as co-producer, at The Hit Factory, New York City.


title: Making Love Out of Nothing at All

text: These lines were changed for the Tyler version, and also for the subsequent Karine Hannah version, as well:


title: Making Love Out of Nothing at All

text: A version from 1982 sung by Rory Dodd also exists. The only accompaniment is Steinman playing piano, and he includes several variations on the primary melody in the intro and bridge.


title: Making Love Out of Nothing at All

text: After the bridge, there are two verses that appear before the final two verses of the Air Supply version. The verse from the Tyler version is not included.


title: Making Love Out of Nothing at All

text: Air Supply's version of the song is also featured in the 2005 film "Mr. and Mrs. Smith" during the car chase-gunfight scene, and is also featured on the film's soundtrack album. It was also used in the films "Click" and "". It was also used in the TV series "Claws" in the ending scene of episode 3 in season 2.