title: Wendy James

text: Born in London to Norwegian parents, James was adopted soon after birth. She left home at the age of sixteen, moving to the East Sussex seaside resort town of Brighton. There she met Nick Christian Sayer, who became her boyfriend and musical collaborator. Sayer and James moved to London, where they teamed up with friends Dave Parsons, Tex Axile and Pol Burton, with whom they formed the pop-punk band Transvision Vamp. James was the lead singer and focal point of the group, and attracted media attention with her sexually charged and rebellious image.


title: Wendy James

text: The band was signed by MCA in December 1986 and released a cover version of the Holly and the Italians song "Tell That Girl to Shut Up" in late 1987. Months later the follow-up single "I Want Your Love", with its pop/punk crossover appeal, entered the Top 10 in the UK Singles Chart. The band went on to release the hit album "Pop Art" in October. 1989 was the band's most successful year, with the number 3 hit single "Baby I Don't Care" and hit album "Velveteen" which entered the UK Albums Chart at number 1 and was a hit worldwide.


title: Wendy James

text: When the decision had been made for Transvision Vamp to split, James wrote to Elvis Costello asking for his guidance. In response Costello, collaborating with his then wife Cait O'Riordan on five of the ten songs, wrote a full album's worth of material for James. These songs made up the tracks on her 1993 solo album "Now Ain't the Time for Your Tears". Produced by Chris Kimsey, it reached No. 43 in the UK Albums Chart in March 1993. However the album failed to sell in significant numbers, and James "dropped from the music scene". She signed to One Little Indian and began work on an album entitled "Lies in Chinatown", which was not completed.


title: Wendy James

text: James formed a band named Racine in 2004. The group released two albums, "Number One" and "Racine 2".


title: Wendy James

text: Racine broke up in December 2008, prior to shutting down their official website. The members of the band went on to join other bands and none of them worked on James's next album.


title: Wendy James

text: James announced on her MySpace blog that she had been working on an album entitled "I Came Here to Blow Minds", which was recorded in Paris in 2009 and mixed in Australia later that year. Finally, a release date of 19 October 2010 (for digital release) was posted on James's official Facebook page in August 2010. One track from the album had already been made available for download on RCRD LBL. since May 2009.


title: Wendy James

text: In October 2019, James was touring as "The Wendy James Band" in support of the Psychedelic Furs, promoting a new album, "Queen High Straight".


title: Phrygian language

text: The Phrygian language () was the Indo-European language of the Phrygians, spoken in Anatolia (modern Turkey), during classical antiquity (c. 8th century BC to 5th century AD).


title: Phrygian language

text: Phrygian ethno-linguistic homogeneity is debatable. Ancient Greek authors used "Phrygian" as an umbrella term to describe a vast ethno-cultural complex located mainly in the central areas of Anatolia rather than a name of a single "tribe" or "people". Plato observed that some Phrygian words resembled Greek ones.


title: Phrygian language

text: Because of the fragmentary evidence of Phrygian, its exact position within the Indo-European language family is uncertain. Phrygian shares important features with Greek and Armenian. Evidence of a Thraco-Armenian separation from Phrygian and other Paleo-Balkan languages at an early stage, Phrygian's classification as a centum language, and the high frequency of phonetic, morphological, and lexical isoglosses shared with Greek, have led to a current consensus which regards Greek as the closest relative of Phrygian.


title: Phrygian language

text: Ancient authors like Herodotus and Hesychius have provided us with a few dozen words assumed to be Phrygian, so-called glosses. In modern times the first monument with a Phrygian text, found at Ortaköy (classical Orcistus), was described in 1752. In 1800 at Yazılıkaya (classical Nakoleia) two more inscriptions were discovered. On one of them the word ΜΙΔΑΙ, 'to Midas', could be read, which prompted the idea that they were part of a building, possibly the grave, of the legendary Phrygian king Midas. Later, when Western archeologists, historians and other scholars began to travel through Anatolia to become acquainted with the geographical background of Homer's world and the New Testament, more monuments were discovered. By 1862 sixteen Phrygian inscriptions were known, among them a few Greek-Phrygian bilinguals. This allowed German scholar Andreas David Mordtmann to undertake the first serious attempt to decipher the script, though he overstressed the parallels of Phrygian to Armenian, which led to some false conclusions. After 1880, the Scottish Bible scholar William Mitchell Ramsay discovered many more inscriptions. In the 20th century, the understanding of Phrygian has increased, due to a steady flow of new texts, more reliable transcriptions, and better knowledge of the Indo-European sound change laws. The alphabet is now well-known, though minor revisions of the rarer signs of the alphabet are still possible, one sign ( = /j/, transcribed "y") was only securely identified in 1969.


title: Phrygian language

text: Phrygian is a member of the Indo-European linguistic family, but because of the fragmentary evidence, its exact position within that family is uncertain. Phrygian shares important features with Greek and Armenian. Between the 19th and the first half of the 20th century, Phrygian was mostly considered a satem language, and thus closer to Armenian and Thracian, while today it is commonly considered to be a centum language and thus closer to Greek. The reason that in the past Phrygian had the guise of a satem language was due to two secondary processes that affected it. Namely, Phrygian merged the old labiovelar with the plain velar, and secondly, when in contact with palatal vowels /e/ and /i/, especially in initial position, some consonants became palatalized. Furthermore, Kortlandt (1988) presented common sound changes of Thracian and Armenian and their separation from Phrygian and the rest of the palaeo-Balkan languages from an early stage.


title: Phrygian language

text: Modern consensus views Greek as the closest relative of Phrygian, a position that is supported by Brixhe, Neumann, Matzinger, Woodhouse, Ligorio, Lubotsky, and Obrador-Cursach. Furthermore, out of 36 isoglosses collected by Obrador Cursach, Phrygian shared 34 with Greek, with 22 being exclusive between them. The last 50 years of Phrygian scholarship developed a hypothesis that proposes a proto-Graeco-Phrygian stage out of which Greek and Phrygian originated, and if Phrygian was more sufficiently attested, that stage could perhaps be reconstructed.


title: Phrygian language

text: An alternative theory, suggested by Eric P. Hamp, is that Phrygian was most closely related to Italo-Celtic languages.


title: Phrygian language

text: The Phrygian epigraphical material is divided into two distinct subcorpora, Old Phrygian and New Phrygian. These attest different stages of the Phrygian language, are written with different alphabets and upon different materials, and have different geographical distributions.


title: Phrygian language

text: Old Phrygian is attested in 395 inscriptions in Anatolia and beyond. They were written in the Phrygian alphabet between 800 and 330 BCE. The "Corpus des inscriptions paléo-phrygiennes" (CIPPh) and its supplements contain most known Old Phrygian inscriptions, though a few graffiti are not included. The oldest inscriptions—from the mid-8th century BCE—have been found on silver, bronze, and alabaster objects in tumuli (grave mounds) at Gordion (Yassıhüyük, the so-called "Midas Mound") and Bayındır (East Lycia).


title: Phrygian language

text: New Phrygian is attested in 117 funerary inscriptions, mostly curses against desecrators added after a Greek epitaph. New Phrygian was written in the Greek alphabet between the 1st and 3rd centuries CE and is restricted to the western part of ancient Phrygia, in central Anatolia. Most New Phrygian inscriptions have been lost, so they are only known through the testimony of the first compilers. New Phrygian inscriptions have been cataloged by William M. Ramsay (ca. 1900) and by Obrador-Cursach (2018).


title: Phrygian language

text: Some scholars identify a third division, Middle Phrygian, which is represented by a single inscription from Dokimeion. It is a Phrygian epitaph consisting of six hexametric verses written in eight lines, and dated to the end of the 4th century BCE, following the Macedonian conquest. It is considered the first Phrygian text to be inscribed with the Greek alphabet. Its phraseology has some echoes of an Old Phrygian epitaph from Bithynia, but it anticipates phonetic and spelling features found in New Phrygian. Three graffiti from Gordion, from the 4th to the 2nd centuries BCE, are ambiguous in terms of the alphabet used as well as their linguistic stage, and might also be considered Middle Phrygian.


title: Phrygian language

text: The last mentions of the language date to the 5th century CE, and it was likely extinct by the 7th century CE.


title: Phrygian language

text: From ca. 800 till 300 BCE, Phrygians used the Old-Phrygian alphabet of nineteen letters derived from the Phoenician alphabet. This script was usually written from left to right ("dextroverse"). The signs of this script are:


title: Phrygian language

text: About 15 percent of the inscriptions are written from right to left ("sinistroverse"), like Phoenician; in those cases, the signs are drawn mirrored:... etc. instead of BΓ... A few dozen inscriptions are written in alternating directions (boustrophedon).


title: Phrygian language

text: From ca. 300 BCE, this script was replaced by the Greek alphabet. A single inscription dates from ca. 300 BCE (sometimes called "Middle-Phrygian"), all other texts are much later, from the 1st till 3rd centuries CE (New-Phrygian). The Greek letters Θ, Ξ, Φ, Χ, and Ψ were rarely used—mainly for Greek names and loanwords (Κλευμαχοι, "to Kleomakhos"; θαλαμει, "funerary chamber").


title: Phrygian language

text: It has long been claimed that Phrygian exhibits a sound change of stop consonants, similar to Grimm's Law in Germanic and, more to the point, sound laws found in Proto-Armenian; i.e., voicing of PIE aspirates, devoicing of PIE voiced stops and aspiration of voiceless stops. This hypothesis was rejected by Lejeune (1979) and Brixhe (1984) but revived by Lubotsky (2004) and Woodhouse (2006), who argue that there is evidence of a partial shift of obstruent series; i.e., voicing of PIE aspirates ("*bʱ" > "b") and devoicing of PIE voiced stops ("*d" > "t").


title: Phrygian language

text: The grammatical structure of Phrygian, what can be recovered of it, was typically Indo-European. Declensions and verbal conjugations are strikingly similar to ancient Greek.


title: Phrygian language

text: Phrygian nouns belong to three genders; masculine, feminine, and neuter. Forms are singular or plural; dual forms are not known. Four cases are known: nominative, accusative, genitive, and dative.


title: Phrygian language

text: Nouns belong to three stem groups: "o"-stems, "a"-stems, and consonant stems (""C"-stems"); the latter group also includes "i"- and "u"-stems. In addition there is a group of personal names with an e-stem.


title: Phrygian language

text: The paradigm for nouns is as follows (to keep the paradigm clear, the many minor spelling variants, including New-Phrygian ones in Greek characters, are omitted):


title: Phrygian language

text: The most frequently used pronouns are demonstrative, relative, and anaphoric. Their declensions are similar to those of nouns. Two rare pronouns, "autos" and "tis", may be loanwords from Greek.


title: Phrygian language

text: The relative pronoun is "yos" ("who, whoever"). Though appearing often, only three different cases are attested. Paradigm:


title: Phrygian language

text: An anaphoric pronoun is "tos" ("the one mentioned, this one, he"). It is often used in the standard expression ιος νι..., τος νι...: "whoever (damages this tomb), this one (will be damned)"; "whoever (...), he (...)".


title: Phrygian language

text: "Tos" has a particle variant, τι, του, "-t, -τ". The particles τι and του, used after a demonstrative pronoun, or suffixed to it as "-t" or -τ, seem to emphasize the following noun: ("whoever does damage") σεμουν του κνουμανει, "to this very tomb".


title: Phrygian language

text: Another anaphoric pronoun is "oy" / "ioi". It only occurs as a Dative Singular, "oy", ιοι, οι ("to him, to her").


title: Phrygian language

text: The emphatic pronoun "autos" ("the very one, the same"; cf. Greek αὐτός) can also be used anaphorically. Its composite "ve(n)autos" is a reflexive pronoun, "himself" (Greek ἑαυτός).


title: Phrygian language

text: The indefinite pronoun "kos" ("somebody, something") is only attested in the nominative singular: masculine kos, κος; neuter kin, κιν. A synonym is the very rare Greek loanword "tis" (τις, neuter τι).


title: Phrygian language

text: The personal or possessive pronoun "her" (only the feminine is attested) is "va" (Nom. va, ουα; Acc. ουαν, οαν; Gen. vay).


title: Phrygian language

text: Examples (note that "mekas" corresponds to Greek μέγας, "big, great", and that -τετικμενος and γεγρειμενος parallel Greek Perfect Passive participles with reduplication and ending in "-menos"):


title: Phrygian language

text: Due to the limited textual material, the conjugation of Phrygian verbs can only be determined very incompletely. However, it is clear that it closely resembles the ancient Greek verbal system. Three tenses are known: Present, Aorist (with augment and "-s-" infix), and Perfect. Future forms have not yet been discovered. Neither has a Pluperfect; a few forms may be an Imperfect. There are two voices, Active and Mediopassive. As to mood, indicative and imperative are clearly documented, but suspected subjunctive forms and an optative (the latter with typical "-oi-" infix) need confirmation. Participles are present, most of them Perfect Passive forms with reduplication and ending in "-menos". Infinitives are not known. As to person and number, most finite forms are 3rd person Singular, a few 3rd person Plural, and only very few 1st person Singular.


title: Phrygian language

text: The augment Phrygian seems to exhibit, is like Greek, Indo-Iranian, and Armenian; cf. , probably corresponding to Proto-Indo-European ' (' with loss of the final "t", ")", although comparison to examples like "ios... addaket" 'who does... to', which is not a past tense form (perhaps subjunctive), shows that "-et" may be from the Proto-Indo-European (PIE) primary ending .


title: Phrygian language

text: Normal word order in Phrygian sentences is Subject - Object - Verb ("SOV"). However, if a direct object (DO) needs to be emphasized, it may be placed at the head of the sentence, before the subject. Part of an indirect object (IO) may be placed after the verb. Example:


title: Phrygian language

text: The function of the several nominal cases (nominative, accusative, etc.) presents no surprises. The dative is perhaps also used as a locative. When the subject of a sentence is compounded of more than one item (""A and B and C...""), that vary in gender or number, the verb or predicate agrees in gender and number with the "first" item ("A") (Lubotsky's rection rule). Adjectives follow their noun, except when emphasis is intended.


title: Phrygian language

text: A few hundred Phrygian words are attested; however, the meaning and etymologies of many of these remain unknown.


title: Phrygian language

text: A famous Phrygian word is "bekos", meaning 'bread'. According to Herodotus ("Histories" 2.2), Pharaoh Psammetichus I wanted to determine the oldest nation and establish the world's original language. For this purpose, he ordered two children to be reared by a shepherd, forbidding him to let them hear a single word, and charging him to report the children's first utterance. After two years, the shepherd reported that on entering their chamber, the children came up to him, extending their hands, calling "bekos". Upon enquiry, the pharaoh discovered that this was the Phrygian word for 'wheat bread', after which the Egyptians conceded that the Phrygian nation was older than theirs. The word "bekos" is also attested several times in Palaeo-Phrygian inscriptions on funerary stelae. It may be cognate to the English "bake" (PIE *"bʰeh₃g-"). Hittite, Luwian (both also influenced Phrygian morphology), Galatian and Greek (which also exhibits a high amount of isoglosses with Phrygian) all influenced Phrygian vocabulary.


title: Phrygian language

text: According to Clement of Alexandria, the Phrygian word "bedu" () meaning 'water' (PIE *"wed-") appeared in Orphic ritual.


title: Phrygian language

text: The Greek theonym Zeus appears in Phrygian with the stem "Ti-" (genitive "Tios" = Greek "Dios", from earlier "*Diwos"; the nominative is unattested); perhaps with the general meaning 'god, deity'. It is possible that "tiveya" means 'goddess'. The shift of "*d" to "t" in Phrygian and the loss of "*w" before "o" appears to be regular. Stephanus Byzantius records that according to Demosthenes, Zeus was known as "Tios" in Bithynia.


title: Phrygian language

text: Another possible theonym is "bago-" (cf. Old Persian "baga-", Proto-Slavic "*bogъ" "god"), attested as the accusative singular "bag̣un" in G-136. Lejeune identified the term as "*bʰagom", in the meaning 'a gift, dedication' (PIE "*bʰag-" 'to apportion, give a share'). But Hesychius of Alexandria mentions a "Bagaios, Phrygian Zeus" () and interprets the name as 'giver of good things'. Mallory and Adams agree that the word "Bagaios" was an epithet to the Phrygian worship of Zeus that derived from the same root.


title: Phrygian language

text: Phrygian poetry is rare. The only examples date from after Alexander the Great's conquest of Asia Minor (334 BCE), and they probably originated in imitation of Greek metrical epitaphs. The clearest example is the so-called "Middle Phrygian" inscription mentioned above, which consists of six dactylic hexameter lines. Also, as Lubotsky has proposed, the traditional Phrygian damnation formula on grave monuments may have been slightly reformulated to fit into a two-line hexametric shape (the stress accents, or ictus, on the first syllable of each dactylus are in boldface):


title: Phrygian language

text: Alliteration "('b-, b-, b-')" may be intended in a peculiar clause found on two New-Phrygian grave monuments from Erten (near Yazılıkaya) and Güney:


title: Old maid (card game)

text: Old Maid is a Victorian card game for two or more players probably deriving from an ancient gambling game in which the loser pays for the drinks.


title: Old maid (card game)

text: The rules of the game are first recorded in 1884 by Charles M. Green and referred to in "Bazaar, Exchange and Mart" in 1883 as a "newly invented game". However, it may well be much older and derived from the French game of Vieux Garçon, whose rules first appear in 1853, or from the German game of Black Peter whose rules are recorded as early as 1821. All these games are probably ancient and derived from simple gambling games in which the aim was to determine a loser who had to pay for the next round of drinks (c.f. drinking game).


title: Old maid (card game)

text: They originally employed a pack of 32 or 52 French cards, the queen of diamonds or jack of spades typically being the odd card and the player who is last in and left holding a single queen or jack becoming the "old maid", "", or "Black Peter" depending on the game. The term "old maid" predates the game, and is a way to refer to a childless or unmarried woman.


title: Old maid (card game)

text: There are retail card decks specifically designed for playing Old Maid, but the game can just as easily be played with a standard 52-card deck. When using a regular deck, a card is either added or removed, resulting in one unmatchable card. The most common choices are to remove the Queen of Clubs or to add a single Joker. It is also possible to remove one card face-down from the top of the deck before hands are dealt; if this is done, players will not know which card is unmatchable. The unmatchable card becomes the "old maid", and whoever holds it at the end of the game is the loser.


title: Old maid (card game)

text: The dealer shuffles and deals all of the cards to the players, one card at a time. Some players may have one more card than others; this is acceptable. Players look at their cards and discard any pairs they have (e.g., two kings) face up. Players can only discard pairs, so a three-of-a-kind is prohibited. In common variants, the suit colors of a discarded pair must match: Spades () must match with Clubs () and Diamonds () must match with Hearts ().


title: Old maid (card game)

text: Beginning with the dealer, each player takes turns offering their hand face-down to the player on their left. That player selects a card without looking and adds it to their hand. This player then sees if the selected card makes a pair with any of their original cards. If so, the pair is discarded face up as well. The player who just took a card then offers their hand to the person on their left, and so on.


title: Old maid (card game)

text: The game continues with players taking cards and discarding pairs until no more pairs can be made. The player with the card that has no match is "stuck with the old maid" and loses. When playing with more than two players, the game is somewhat unusual in that there is one single loser rather than one distinct winner.


title: Old maid (card game)

text: Scabby queen is a variation of Old Maid played with a standard pack of cards from which the Queen of Clubs has been removed. The player left with the "scabby queen" (Queen of Spades) is the loser and receives a number of raps on the knuckles with the edge of the pack. The number of raps is decided by reshuffling the pack and getting the loser to draw a card. He or she get the number of raps based on the face value of the card or, if it is a jack or king, 10 raps; if it is a queen, 21 raps. If the loser draws a red card he or she receives soft raps; if a black card, hard raps.


title: Old maid (card game)

text: The equivalent game in many European countries is known (in each country's own language) as "Peter" or "Black Peter", and is played with special cards, typically 31 or 37, in which the odd one out is typically a chimney sweep or a black cat. The game can also be played with a standard 32-card pack from which a black jack is removed. The loser often gets a smudge on his or her face with a piece of soot or piece of burnt cork.


title: Red Granite Pictures

text: Red Granite Pictures was an American film production and distribution company, co-founded by Riza Aziz and Joey McFarland in 2010. Its productions included "The Wolf of Wall Street" and "Dumb and Dumber To". It was dissolved in 2018 after being implicated in the 1Malaysia Development Berhad corruption scandal.


title: Red Granite Pictures

text: Red Granite Pictures made its debut with "Friends with Kids", a romantic comedy written and directed by Jennifer Westfeldt. They then executive-produced the thriller "Out of the Furnace" as well as the 2013 film "The Wolf of Wall Street". The latter was directed by Martin Scorsese and stars Leonardo DiCaprio, Margot Robbie and Jonah Hill. The film is based on the memoir of the same name by former stockbroker Jordan Belfort. Red Granite Pictures then produced films such as "Dumb and Dumber To" and the 2017 film "Papillon" which was based on the best-selling autobiography by the French convict Henri Charrière. They went defunct in 2018 due to an embezzlement scandal, And relaunched in 2021, starting with break In story the movie


title: Red Granite Pictures

text: The producers of the 1994 film "Dumb and Dumber" claimed Red Granite Pictures pushed them out of producing the 2014 sequel. On July 16, 2014, plaintiffs withdrew their racketeering claim with prejudice, meaning it could not be refiled, which was characterized as a strong suggestion that the lawsuit underlying it had been settled. On July 18, 2014, a request for dismissal was filed in Los Angeles Superior Court and the case was officially settled. The announcement of the settlement lists the plaintiffs as executive producers, and all claims of racketeering made against Red Granite, Riza Aziz and Joey McFarland were withdrawn. The plaintiffs said in a statement, “We apologize for naming Riza Aziz and Joey McFarland as individual defendants rather than just Red Granite.”


title: Red Granite Pictures

text: Red Granite Pictures was caught up in the 1Malaysia Development Berhad scandal. The alleged use of funds stolen from 1MDB is detailed in the book "Billion Dollar Whale" by Tom Wright and Bradley Hope. In 2016, the FBI issued subpoenas to several past and present employees of the company in regard to allegations that US$155 million was diverted from 1MDB to help finance the 2013 film "The Wolf of Wall Street". Red Granite Pictures, which has the ex-Malaysian Prime Minister's stepson, Riza Aziz, as its co-founder and chairman, denied any wrongdoing. However, in March 2018, Red Granite Pictures agreed to pay $60 million to the US government in order to settle a civil lawsuit alleging that its movies were funded in part by money siphoned from 1MDB.


title: Ely Buendia

text: Ely Eleandre Basiño Buendia (born November 2, 1970), popularly known as Ely Buendia, is a Filipino musician, singer, songwriter, author and film director who gained fame as the guitarist, lead vocalist and principal songwriter of the famed Filipino rock band, the Eraserheads and also the lead vocalist/rhythm guitarist of Pupil. Widely regarded as a legendary musical icon in the country, his songs continue to amass remarkable commercial success and critical acclaim, topping various music charts and leaving behind an enduring legacy in Philippine popular culture. He currently performs as the guitarist and singer-songwriter of the band, Apartel.


title: Ely Buendia

text: Buendia was born in his parents' home in Naga City at 6:20 am on November 2, 1970. He is the second child of Ely Revilla Buendia (born c. 1942 in Goa, Camarines Sur) and Lisetta Ruiz Basiño (March 22, 1942 in Caramoan, Camarines Sur – August 28, 2008 in Manila). His parents were married on October 30, 1964 in Ragay, Camarines Sur. He first learned Kundiman from his mother while he started playing the guitar at the age of 7 years old. Buendia finished his elementary grades in Pasig Catholic College, Pasig, in 1983; and high school in University of Perpetual Help, Rizal. Buendia later enrolled in the University of the Philippines Diliman where he formed several bands like "Bluidie Tryste" and "Sunday School", and finally the "Eraserheads".


title: Ely Buendia

text: Buendia has two children, Una Aurea (with his first wife, Vicky Cayago), and Eon Drake, (with Pupil co-manager Diane Ventura). He had a relationship with Andi Trinidad of Mega Magazine and reportedly dated TV5 news anchor and model Shawn Yao.


title: Ely Buendia

text: In December 1989, Ely Buendia, Raimund Marasigan, Marcus Adoro and Buddy Zabala formed their band, the "Eraserheads", in the University of the Philippines Diliman, where Buendia majored in film at the College of Mass Communications (he began his first year in college in 1987). The band found that they weren't good at covering other people's hits, so they focused on writing their own material instead. In 1991, Buendia explained, ""After all, if we committed a mistake no one would recognize it since they don't know the song, right?"" Performing their original songs before live audiences soon earned them a cult following within the University, that gradually spread outside the campus. One of the songs, a pop song entitled "Pare Ko", which Buendia wrote, caused a stir, partly because of the lyrics that included swear words.


title: Ely Buendia

text: The Eraserheads eventually signed a 3-year deal with BMG Pilipinas. Their debut album, "Ultraelectromagneticpop!", featured no less than the chart-topping "Pare Ko" and a host of other novelty pieces that had people listening and discovering more about the quartet. The album also brought the fledgling underground college rock scene to public awareness. 1993 saw the emergence of "Eraserheadsmania" because of their successive hit singles, sold-out concerts and thousands of fans.


title: Ely Buendia

text: Buendia continued to write songs for the band, many of which became hit singles and band classics. Eraserheads lasted for ten years before finally breaking up with Buendia and Adoro's departure. During its 10-year stint, the band produced eight studio albums along with other EPs and singles. Their gigs took them out of the country, with tours in the United States and other countries. One album, "Aloha Milkyway", was released in the Asia-Pacific region. Eraserheads were also the first ever Filipino act to receive the "Moon Man" trophy for winning the 1997 MTV Asia Viewer's Choice Award for the music video of their hit song, "Ang Huling El Bimbo". The latter was also written by Buendia, among many which the band released.


title: Ely Buendia

text: After weeks of speculation, it was confirmed that Buendia had left the band in mid-March 2002 for "reasons unknown". However, in subsequent interviews, Buendia referred to business matters as the cause of the band's break-up.


title: Ely Buendia

text: In an interview, Marasigan said he was eating in SM Megamall, a local shopping mall, when he heard of the news (how he heard of it, was not clear). He said he was "semi-surprised" and wondered if Zabala already knew about it. Adoro told of the story now famous among Eraserheads fans about Buendia's cryptic SMS text message. He said Buendia sent in the text message that it's already time to "graduate". Adoro quipped in the same interview that Buendia's being the first to graduate was natural, since he was in Batch 1987 in the (UP, Diliman), while they were in Batch 1988.


title: Ely Buendia

text: Zabala confessed in an interview that disbanding was not far from the members' minds. He mentioned that there were many occasions where they could have disbanded but they did not. Adoro expressed the belief of some people that the band was getting too old and that it was "selfish" for the band to continue, likely referring to comments about how it's time for other bands besides Eraserheads to shine. The band made it clear, though, that Buendia's departure from the band wasn't in any way violent and there was no shouting ("sigawan") or any confrontation.


title: Ely Buendia

text: Without giving up, the three remaining original Eraserheads decided to continue on. Within just a few weeks, the "new" Eheads debuted at the local Hard Rock Cafe in Makati on April 19 featuring a female singer-guitarist, Kris Gorra-Dancel from the band, "Fatal Posporos". However, after a few months, Adoro quit the band as well. The remaining members of Eraserheads, Marasigan and Zabala, thereafter added Diego Mapa and Ebe Dancel to their lineup and renamed their band, "Cambio".


title: Ely Buendia

text: The Eraserheads went onstage staged a reunion concert on August 30, 2008 at the Fort Open Field, Taguig, but which was cut short unexpectedly. The continuation of the concert was held at the SM Mall of Asia Concert Grounds on March 7, 2009.


title: Ely Buendia

text: After Ely's departure from the Eraserheads, he would invite musicians and jam together. He had no definite line-up at that time, "I have, like, 10 members in the band right now. I have two drummers, two bass players..." according to Ely in an interview with Martin Nievera. This jamming together with friends would eventually evolve into The Mongols. It was composed of guitarist J. Astro (also known as Jerome Velasco) (of The Teeth), bassist Yan Yuzon, drummer Bogs "Boga Man" Jugo (of the indie pop band Daydream Cycle), and Buendia on guitars and vocals, under the stage name Jesus "Dizzy" Ventura. The band was managed by Day Cabuhat, one of Eraserheads' former managers.


title: Ely Buendia

text: According to one of Eraserhead's event producers, Ely's "Jesus" stage name was from an inside joke during Eraserhead's US Tour. Ely and Marcus bought replica sheriff badges at the Universal Studios Hollywood and Ely got a badge with the name "Jesus" while Marcus' was "Cesar".


title: Ely Buendia

text: The Mongols released a self-produced underground EP in CD-R format with factory-printed sleeves in April 2003, "A Fraction of A Second". It contains five tracks, "Case Logic", "No", "Tomorrowland", "KSP" and "Abstraction of A Second". It was released under Redrum Records.


title: Ely Buendia

text: After a few months, the Mongols decided to have their self-produced album distributed by Neo Records Inc. under the major label VIVA Records. The result is a thirteen-track album called "Buddha's Pest" released in November 8, 2003. Its tracks include "Keeper", "Bulakbol", "Bakit Nga Ba?", "Pony", "Teka Muna", "Candy Flip", "Heroine", "Wig Out", "It's Over", "Irish Spring", "Odd Even", "Your Bushido", plus an untitled instrumental track. It was produced by The Genghis Klan under Criminal Records.


title: Ely Buendia

text: Shortly after The Mongols' guitarist, J. Astro, left the band, the remaining members renamed their group Pupil. Buendia chanced upon the band name while reading a medical book. The band gained mainstream popularity, in contrast to the Mongols. Bogs left the band after their 1st album "Beautiful Machines", and was succeeded by Wendell Garcia. Pupil's guitarist Yanny Yuzon also left the band in 2013. Day Cabuhat Pupil's Manager announced that ""Yanny is no longer. Transitions and changes are normal within any band structure and we all thank you for the understanding and continued support of all of our projects...""


title: Ely Buendia

text: The band consists of Ely Buendia as the frontman, Nitoy Adriano as the lead guitarist, Chris Padilla also in Guitars, Ivan Garcia on bass and Bobby Padilla on drums. "Nitoy Adriano is a former member of quintessential Filipino rock band The Jerks. They are the original alternative and blues band of the Philippines. Current and past members are considered icons in the local music scene," MCA Music, Inc. said. "Chris Padilla, Bobby Padilla and Ivan Garcia are actually a three piece rockabilly group called Hilera. They may be new players in the scene compared to the other two members but they have already made quite an impact by winning the Nescafe sound school competition in 2005 and by being nominated and winning various rock awards," MCA added.


title: Ely Buendia

text: How the band was formed, MCA Music, Inc. said, "The members have collaborated several times before most notably when Hilera took part in the production of Buendia's project with Francis Magalona entitled 'In Love and War'. However, the band was officially formed almost exactly a year ago when they first went onstage as "Oktaves" when they performed at the inaugural Esquire (magazine) ball."


title: Ely Buendia

text: "The collaboration turned into a headlining band which now plays in the best rock venues in the country. They now have a repertoire of original songs and also perform a good number of classic rock anthems. Oktaves' brand of music is straight up rock n' roll. Their music is very relatable to various audiences of different generations. Whilst their sound is classy and sophisticated, they are also very appealing to the mainstream crowd," MCA Music Inc. said.


title: Ely Buendia

text: Their 1st album was the self-titled album "The Oktaves" it has 12 tracks including their 1st single "K.U.P.A.L (K.P.L)", their another single "Paakyat ka pa lang, Pababa na ako" and the song "Bungo Sa Bangin" by Ely Buendia feat. Turbogoth and Pepe Smith from the album "Rock Rizal", an album tribute for José Rizal, it consist of Various Artists including Ely Buendia.


title: Ely Buendia

text: In 2016, Buendia launched a new band with Jay Ortega (of DRT, Gnash, Wally Gonzalez, and Tres), which is primarily focused on soul music, RnB, funk, and semblances of jazz. Buendia met Ortega during the latter's launch of his bar and cafe called Spin Cafe. The two later collaborated and started to form a group, with members and contributors Pat Sarabia (drums), Coco Coo (guitars), RJ Pineda (keyboards), Redge Concepcion (guitars), Louie Talan (bass), Carissa Ramos (bass), Deej Rodriguez (percussion), Roxy Modesto (saxophone), Wowie Ansano (trumpet), Pards Tupas (trombone), Joseph Cabañero (saxophone), Donna Sagun Señoran(harp and backup vocals), and Ramonne Rodriguez (backup vocals). Buddy Zabala (bass), Nitoy Adriano (guitars), Cooky Chua (backup vocals), Wendell Garcia (drums), and the group Bras Pas Pas Pas (horns), also shared their expertise to the band's album tracks. Entitled "Inner Play", the band's first album was released digitally on September 29, 2016. The double album 45RPM vinyl version was manufactured in Japan, and the band opted not to release in CD format due to piracy and decreasing number of CD users, which was released on November 12, 2016 at the HiFi Show, Dusit Thani Hotel. Inner Play will be released under Buendia and Ortega's own record label called Offshore Music. According to Buendia in an interview with Myx, their band name was inspired by the 1980s new wave band, The Motels. However, according to Buendia, Apartel's sound is a tribute to 1970s music, such as Stax Records, Motown, Manila Sound, APO Hiking Society, VST & Co., and Rico J. Puno. The band launched its first music video for their single "Is It Hip?" on September 17, 2016, in Victoria Court, Malate, and was directed by Marie Jamora and produced by Artikulo Uno Productions. On January 16, 2017 Jay Ortega left the band to pursue a solo career. The band also covers songs from its influences such as Sly & Family Stone's "Thank You For Talking To Me Africa". The band released Inner Play (Remixes) in 2017. Its latest album, "Full Flood", was released in 2018.


title: Ely Buendia

text: On January 7, 2007, Ely Buendia suffered a heart attack or acute myocardial infarction secondary to arterial blockage. It began when Buendia complained about finding it a bit hard to breathe while they were on the way to a gig in Laguna. But he dismissed it as mere heartburn. After some time, Buendia was reportedly in the middle of a song during a gig in Calamba, Laguna when he felt a sudden pain in his chest and left arm. He was rushed to an intensive care unit at the Asian Hospital and Medical Center in Alabang, Muntinlupa. "It turns out that he'd been having a heart attack for the last twenty five hours." according to ex-eheads manager Jessica Zafra. Doctors performed an angiogram on the frontman and it confirmed the heart attack as two of his arteries were blocked. Buendia's condition was confirmed stable after an emergency angioplasty operation headed by Dr. Benjie Luna during the same night. According to Dok Sergio, "Ely is fine, successful "yung" surgery last night. (Last night's surgery was a success)."


title: Ely Buendia

text: The second angioplasty operation conducted on Ely Buendia on January 10, 2007 was successful and is secured from having heart attack recurrence. "The operation was a super success. He is totally out of danger and heart attack recurrence is not expected." according to Buendia's attending physician and cardiac surgeon, Dr. Wilfred Dee.


title: Ely Buendia

text: On behalf of Pupil, Ms. Day Cabuhat and Diane Ventura gave major thanks to everyone who called, visited and expressed their concerns to Buendia's condition such as fans, writers, editors, media, sponsors, networks, producers, and most especially to local musicians such as Yael Yuzon, Japs Sergio, Francis Magalona, Parokya ni Edgar, Kamikazee, Kiko Machine, Menaya, Rico Blanco, Urbandub, Buddy Zabala, Marcus Adoro and many others. Buendia was finally released from hospital and was allowed to stay home and rest by his doctors by the night of January 15, 2007. "I've got a bionic heart now," joked by Buendia.


title: Ely Buendia

text: This event prompted rap artist Francis Magalona, a longtime friend of Buendia and the other Eraserheads, to state the following in his personal blogsite: "Fast forward to right now, 9:58 am, Jan. 9, a lot of what ifs scenarios pop in my head. What if the E-heads members are back, like long-lost blood brothers? What if "the most significant OPM band of Pinoy Rock" would be in one room, what would happen?" And in postscript he adds, "Para sa akin panahon na para mag-reunite ang E-heads. Sugod na mga kapatid...rock & roll na hanggang umaga.", which roughly translates, "For me, it's time for E-Heads to reunite. Let's go brothers...rock & roll until the morning comes."


title: Ely Buendia

text: Ely's first on-stage public appearance after his heart attack was on Saturday, February 10, 2007 as his band, Pupil, performed at The Music Hall in SM Mall of Asia, in an Animax event called "Love Is In The Air". The event featured a speed dating event as a welcome celebration for Valentine's Day and live performances from other local artists such as Callalily and Amber. Pupil is also part of "Super Proxy Jam". It is an event that is hoping to spread awareness for the importance of Cardiovascular Health and for the benefit of The Heartist Foundation Inc. Francis Magalona & The Hardware Syndrome, Parokya Ni Edgar, Gloc-9, Dicta License, PiKaSO, and Dice & Mobbstar are also participants in the said event. Heartist Foundation Inc. is another collaborative effort between Ely Buendia and Francis Magalona that aims to help Filipino artists with health problems.


title: Ely Buendia

text: Buendia joined Marasigan, Adoro, and Zabala for a one-night-only reunion show on August 30, 2008, at The Fort Open Grounds, In Bonifacio Global City, Taguig. The concert, however, was cut short after Buendia collapsed due to emotional stress. They were already halfway of a planned 30-song setlist as Ely reportedly collapsed backstage during a break and was rushed to the Makati Medical Center. He was, however, reported to be in stable condition. Buddy had checked on Ely in his tent right after they went to their planned 20 minute break and saw that he already was on an oxygen mask with paramedics checking his blood pressure. As he left and came back, paramedics already took Ely on an ambulance. Bandmates Buddy, Raimund and Marcus further said that they had no idea that Ely was already having difficulty performing. Results showed that Buendia suffered from a slight attack and Hypokalemia. The doctors at Philippine Heart Center had found another blocked artery and performed angioplasty right away, which is Buendia's third since 2007. On September 5, 2008, Buendia was discharged from the hospital.


title: Ely Buendia

text: Buendia is a supporter of PETA's campaign to free Mali from captivity in the Manila zoo and have her moved to Boon Lott's Elephant Sanctuary in Thailand."I am urging my fans to raise their voices to help free Mali,[She] has been lonely for more than 36 years," the 43-year-old musician thinks that "a sanctuary can give her (Mali) the kind of life that she needs and deserves."


title: Ely Buendia

text: "If you can't imagine how that feels, just try to remember what you were doing in 1979. That's the last time Mali saw another elephant," Ely added. The frontman of "Pupil" and "Oktaves" hopes that "people will join me in calling for Mali's transfer to a sanctuary where she can finally be free to act like an elephant and engage in the behavior that comes naturally to her."


title: Two for the Money (2005 film)

text: Two for the Money is a 2005 American sports-drama film directed by D. J. Caruso and starring Al Pacino, Matthew McConaughey, Rene Russo, Armand Assante, and Carly Pope. The film is about the world of sports gambling. It was released on October 7, 2005. This was the first Morgan Creek movie distributed by Universal Pictures since "Coupe de Ville" in 1990.


title: Two for the Money (2005 film)

text: Brandon Lang is a former college football star who, after sustaining a career-ending injury, takes a job handicapping football games. His success at choosing winners catches the eye of Walter Abrams, the slick head of one of the biggest sports consulting operations in the United States. Walter takes Brandon under his wing, and soon they are making tremendous amounts of money.


title: Two for the Money (2005 film)

text: Lang's in-depth knowledge of the game, leagues, and players brings in big winnings and bigger clients. Abrams's cable television show, "The Sports Advisors", skyrockets in popularity when he adds Lang's slick "John Anthony" persona to the desk, infuriating Jerry Sykes, who up to now has been Walter's in-house expert. Lang's total image is remade with a new car, new wardrobe, and a new look, with the assistance of Walter's wife, Toni, a hair stylist.


title: Two for the Money (2005 film)

text: Things suddenly go south, however, when Lang begins playing his hunches instead of doing his homework. He loses his touch and is even physically assaulted by the thugs of a gambler who lost a great deal of money following Lang's advice. Abrams and Lang's once-solid relationship sours.


title: Two for the Money (2005 film)

text: Lang's new high-rolling lifestyle depends entirely on his ability to predict the outcomes of the games. Millions are at stake by the time he places his last bet, and Abrams, a recovering gambling addict and alcoholic, grows increasingly unstable. He secretly begins gambling all of his own money on Lang's picks and becomes suspicious that Lang is having an affair with his wife.


title: Two for the Money (2005 film)

text: The film concludes with Lang's predictions coming true for the last game, both of which he allegedly determines by flipping coins in a bathroom, as he leaves New York and takes a job as coach of a junior league football team.


title: Two for the Money (2005 film)

text: "Two for the Money" received generally negative reviews from critics. Rotten Tomatoes reported that 22% of critics gave the film positive reviews based on 110 reviews with an average score of 4.7/10. Its consensus states that "Despite its sportsmanlike swagger, "Two for the Money"s aimless plot isn't worth betting on." The film's box office receipts came to only $22,991,379 in the United States and $30,526,509 worldwide, against a production budget of $35 million. The film also got mixed to average reviews on review aggregator Metacritic, where it scored 50 out of a 100, based on 29 critical reviews. Roger Ebert gave the film 3.5 out of 4, while Nick Schager of "Slant Magazine" gave it 2 out of 4, and saying in his opening comments: "Substitute The Devil’s Advocate’s satanic legal scheming with unethical sports gambling practices and you’ve got Two for the Money." "Two for the Money" also received 48% from Cinafilm, who was basing it on 507 reviews, as well as a C from Reeling Reviews.


title: Two for the Money (2005 film)

text: "Two for the Money" was released on DVD and VHS on January 17, 2006. It was the last film released by Morgan Creek Productions to receive a VHS release.


title: Trinitron

text: Trinitron was Sony's brand name for its line of aperture-grille-based CRTs used in television sets and computer monitors. One of the first truly innovative television systems to enter the market since the 1950s, the Trinitron was announced in 1968 to wide acclaim for its bright images, about 25% brighter than common shadow mask televisions of the same era. Constant improvement in the basic technology and attention to overall quality allowed Sony to charge a premium for Trinitron devices into the 1990s.


title: Trinitron

text: Patent protection on the basic Trinitron design ran out in 1996, and it quickly faced a number of competitors at much lower prices. Sony responded by introducing their flat-screen FD Trinitron designs (WEGA), which maintained their premier position in the market into the early 2000s. However, these designs were surpassed relatively quickly by plasma and LCD designs. Sony removed the last Trinitron televisions from their product catalogs in 2006, and ceased production in early 2008. Video monitors are the only remaining Trinitron products being produced by Sony, at a low production rate, although the basic technology can still be found in downmarket televisions from third parties.


title: Trinitron

text: The name Trinitron was derived from "trinity", meaning the union of three, and "tron" from elec"tron" tube, after the way that the Trinitron combined the three separate electron guns of other CRT designs into one.


title: Trinitron

text: Color television had been demoed since the 1920s starting with John Logie Baird's system. However, it was only in the late 1940s that it was perfected by both CBS and RCA. At the time, a number of systems were being proposed that used separate red, green and blue signals (RGB), broadcast in succession. Most systems broadcast entire frames in sequence, with a colored filter (or "gel") that rotated in front of an otherwise conventional black and white television tube. Because they broadcast separate signals for the different colors, all of these systems were incompatible with existing black and white sets. Another problem was that the mechanical filter made them flicker unless very high refresh rates were used. In spite of these problems, the United States Federal Communication Commission selected a sequential-frame 144 frame/s standard from CBS as their color broadcast in 1950.


title: Trinitron

text: RCA worked along different lines entirely, using the luminance-chrominance system. This system did not directly encode or transmit the RGB signals; instead it combined these colors into one overall brightness figure, the "luminance". Luminance closely matched the black and white signal of existing broadcasts, allowing it to be displayed on existing televisions. This was a major advantage over the mechanical systems being proposed by other groups. Color information was then separately encoded and folded into the signal as a high-frequency modification to produce a composite video signal – on a black and white television this extra information would be seen as a slight randomization of the image intensity, but the limited resolution of existing sets made this invisible in practice. On color sets the signal would be extracted, decoded back into RGB, and displayed.


title: Trinitron

text: Although RCA's system had enormous benefits, it had not been successfully developed because it was difficult to produce the display tubes. Black and white TVs used a continuous signal and the tube could be coated with an even deposit of phosphor. With the compatible color encoding scheme originally developed by Georges Valensi in 1938, the color was changing continually along the line, which was far too fast for any sort of mechanical filter to follow. Instead, the phosphor had to be broken down into a discrete pattern of colored spots. Focusing the proper signal on each of these tiny spots was beyond the capability of electron guns of the era, and RCA's early experiments used three-tube projectors, or mirror-based systems known as "Triniscope".


title: Trinitron

text: RCA eventually solved the problem of displaying the color images with their introduction of the shadow mask. The shadow mask consists of a thin sheet of steel with tiny holes photo etched into it, placed just behind the front surface of the picture tube. Three guns, arranged in a triangle, were all aimed at the holes. Stray electrons at the edge of the beam were cut off by the mask, creating a sharply focused spot that was small enough to hit a single colored phosphor on the screen. Since each of the guns was aimed at the hole from a slightly different angle, the spots of phosphor on the tube could be separated slightly to prevent overlap.


title: Trinitron

text: The disadvantage of this approach was that for any given amount of gun power, the shadow mask filtered out the majority of the energy. To ensure there was no overlap of the beam on the screen, the dots had to be separated and covered perhaps 25% of its surface. This led to very dim images, requiring much greater electron beam power in order to provide a useful picture. Moreover, the system was highly dependent on the relative angles of the beams between the three guns, which required constant adjustment by the user to ensure the guns hit the correct colors. In spite of this, the technical superiority of the RCA system was overwhelming compared to the CBS system, and was selected as the new NTSC standard in 1953. The first broadcast using the new standard occurred on New Year's Day in 1954, when NBC broadcast the Tournament of Roses Parade.


title: Trinitron

text: In spite of this early start, only a few years after regularly scheduled television broadcasting had begun, consumer uptake of color televisions was very slow to start. The dim images, constant adjustments and high costs had kept them in a niche of their own. Low consumer acceptance led to a lack of color programming, further reducing the demand for the sets in a supply and demand problem. In the United States in 1960, only 1 color set was sold for every 50 sets sold in total.


title: Trinitron

text: Sony had entered the television market in 1960 with the black and white TV8-301, the first non-projection type all-transistor television. A combination of factors, including its small screen size, limited its sales to niche markets. Sony engineers had been studying the color market, but the situation in Japan was even worse than the U.S.; they accounted for only 300 of the 9 million sets sold that year. But by 1961, dealers were asking the Sony sales department when a color set would be available, and the sales department put pressure on engineering in turn. Masaru Ibuka, Sony's president and co-founder, steadfastly refused to develop a system based on RCA's shadow mask design, which he considered technically deficient. He insisted on developing a unique solution.


title: Trinitron

text: In 1961, a Sony delegation was visiting the IEEE trade show in New York City, including Ibuka, Akio Morita (Sony's other co-founder) and Nobutoshi Kihara, who was promoting his new CV-2000 home video tape recorder. This was Kihara's first trip abroad and he spent much of his time wandering the trade floor, where he came across a small booth by the small company Autometric. They were demonstrating a new type of color television based on the Chromatron tube, which used a single electron gun and a vertical grille of electrically charged thin wires instead of a shadow mask. The resulting image was far brighter than anything the RCA design could produce, and lacked the convergence problems that required constant adjustments. He quickly brought Morita and Ibuka to see the design, and Morita was "sold" on the spot.


title: Trinitron

text: Morita arranged a deal with Paramount Pictures, who was paying for Chromatic Labs' development of the Chromatron, taking over the entire project. In early 1963, Senri Miyaoka was sent to Manhattan to arrange the transfer of the technology to Sony, which would lead to the closing of Chromatic Labs. He was unimpressed with the labs, describing the windowless basement as "squalor". The American team was only too happy to point out the serious flaws in the Chromatron system, telling Miyaoka that the design was hopeless. By September 1964, a 17-inch prototype had been built in Japan, but mass-production test runs were demonstrating serious problems. Sony engineers were unable to make a version of Chromatron that could be reliably mass-produced.


title: Trinitron

text: When sets were finally made available in late 1964, they were put on the market at a competitive 198,000 yen (US$550), but cost the company over 400,000 yen (US$1111.11) to produce. Ibuka had bet the company on Chromatron and had already set up a new factory to produce them with the hopes that the production problems would be ironed out and the line would become profitable. After several thousand sets had shipped, the situation was no better, while Panasonic and Toshiba were in the process of introducing sets based on RCA licenses. By 1966, the Chromatron was breaking the company financially.


title: Trinitron

text: In the autumn of 1966, Ibuka finally gave in, and announced he would personally lead a search for a replacement for Chromatron. Susumu Yoshida was sent to the U.S. to look for potential licenses, and was impressed with the improvements that RCA had made in overall brightness by introducing new rare-earth phosphors on the screen. He also saw General Electric's "Porta-color" design, using three guns in a row instead of a triangle, which allowed a greater portion of the screen to be lit. His report was cause for concern in Japan, where it seemed Sony was falling ever-farther behind the U.S. designs. They might be forced to license the shadow mask system if they wanted to remain competitive.


title: Trinitron

text: Ibuka was not willing to give up entirely, and had his 30 engineers explore a wide variety of approaches to see if they could come up with their own design. At one point, Yoshida asked Senri Miyaoka if the in-line gun arrangement used by GE could be replaced by a single gun with three cathodes; this would be more difficult to build, but be lower cost in the long run. Miyaoka built a prototype and was astonished by how well it worked, although it had focusing problems. Later that week, on Saturday, Miyaoka was summoned to Ibuka's office while he was attempting to leave work to attend his weekly cello practice. Yoshida had just informed Ibuka about his success, and the two asked Miyaoka if they could really develop the gun into a workable product. Miyaoka, anxious to leave, answered yes, excused himself, and left. The following Monday, Ibuka announced that Sony would be developing a new color television tube, based on Miyaoka's prototype. By February 1967, the focusing problems had been solved, and because there was a single gun, the focusing was achieved with permanent magnets instead of a coil, and required no manual adjustments after manufacturing.


title: Trinitron

text: During development, Sony engineer Akio Ohgoshi introduced another modification. GE's system improved on the RCA shadow mask by replacing the small round holes with slightly larger rectangles. Since the guns were in-line, their electrons would land onto three rectangular patches instead of three smaller spots, about doubling the lit area. Ohgoshi proposed removing the mask entirely and replacing it with a series of vertical slots instead, lighting the entire screen. Although this would require the guns to be very carefully aligned with the phosphors on the tube in order to ensure they hit the right colors, with Miyaoka's new tube, this appeared possible. In practice, this proved easy to build but difficult to place in the tube – the fine wires were mechanically weak and tended to move when the tubes were bumped, resulting in shifting colors on the screen. This problem was solved by running several fine tungsten wires across the grille horizontally to keep the vertical wires of the grille in place.


title: Trinitron

text: The combination of three-in-one electron gun and the replacement of the shadow mask with the aperture grille resulted in a unique and easily patentable product. In spite of Trinitron and Chromatron having no technology in common, the shared single electron gun has led to many erroneous claims that the two are very similar, or the same.


title: Trinitron

text: Officially introduced by Ibuka in April 1968, the original 12 inch Trinitron had a display quality that easily surpassed any commercial set in terms of brightness, color fidelity, and simplicity of operation. The vertical wires in the aperture grille meant that the tube had to be nearly flat vertically; this gave it a unique cylindrical look. It was also all solid state, with the exception of the picture tube itself, which allowed it to be much more compact and cool running than designs like GE's Porta-color. Some larger models such as the KV-1320UB for the United Kingdom market were initially fitted with 3AT2 valves for the extra high tension (high voltage) circuitry, before being redesigned as solid state in the early 70s.


title: Trinitron

text: Ibuka ended the press conference by claiming that 10,000 sets would be available by October, well beyond what engineering had told him was possible. Ibuka cajoled Yoshida to take over the effort of bringing the sets into production, and although Yoshida was furious at being put in charge of a task he felt was impossible, he finally accepted the assignment and successfully met the production goal. The KV-1210 was introduced in limited numbers in Japan in October as promised, and in the U.S. as the KV-1210U the following year.


title: Trinitron

text: Early color sets intended for the UK market had a PAL decoder that was different from those invented and licensed by Telefunken of Germany, who invented the PAL color system. The decoder inside the UK-sold Sony color Trinitron sets, from the KV-1300UB to the KV-1330UB, had an NTSC decoder adapted for PAL. The decoder used a 64 microsecond delay line to store every other line, but instead of using the delay line to average out the phase of the current line and the previous line, it simply repeated the same line twice. Any phase errors could then be compensated for by using a tint control knob on the front of the set, normally unneeded on a PAL set.


title: Trinitron

text: Reviews of the Trinitron were universally positive, although they all mentioned its high cost. Sony won an Emmy Award for the Trinitron in 1973. On his 84th birthday in 1992, Ibuka claimed the Trinitron was his proudest product.


title: Trinitron

text: New models quickly followed. Larger sizes at 19" and then 27" were introduced, as well as smaller, including a 7" portable. In the mid-1980s, a new phosphor coating was introduced that was much darker than earlier sets, giving the screens a black color when turned off, as opposed to the earlier light grey. This improved the contrast range of the picture. Early models were generally packaged in silver cases, but with the introduction of the darker screens, Sony also introduced new cases with a dark charcoal color, following a similar change in color taking place in the hi-fi world. This line expanded with 32", 35" and finally 40" units in the 1990s. In 1990, Sony released the first HD Trinitron TV set, for use with the Multiple sub-Nyquist sampling encoding standard.


title: Trinitron

text: In 1980, Sony introduced the "ProFeel" line of prosumer component televisions, consisting of a range of Trinitron monitors that could be connected to standardized tuners. The original lineup consisted of the KX-20xx1 20" and KX-27xx1 27" monitors (the "xx" is an identifier, PS for Europe, HF for Japan, etc.) the VTX-100ES tuner and TXT-100G TeleText decoder. They were often used with a set of SS-X1A stereo speakers, which matched the grey boxy styling of the suite. The concept was to build a market similar to contemporary stereo equipment, where components from different vendors could be mixed to produce a complete system. However, a lack of any major third party components, along with custom connectors between the tuner and monitors, meant that systems mixing fully compatible elements were never effectively realized. They were popular high-end units, however, and found a strong following in production companies where the excellent quality picture made them effective low-cost monitors. A second series of all-black units followed in 1986, the ProFeel Pro, sporting a space-frame around the back of the trapezoidal enclosure that doubled as a carrying handle and holder for the pop-out speakers. These units were paired with the VT-X5R tuner and optionally the APM-X5A speakers.


title: Trinitron

text: Sony also produced lines of Trinitron professional studio monitors, the PVM (Professional Video Monitor) and BVM (Broadcast Video Monitor) lines. These models were packaged in grey metal cubes with a variety of inputs that accepted practically any analog format. They originally used tubes similar to the ProFeel line, but over time, they gradually increased in resolution until the late 1990s when they offered over 900 lines. When these were cancelled as part of the wider Trinitron shutdown in 2007, professionals forced Sony to re-open two of the lines to produce the 20 and 14 inch models.


title: Trinitron

text: Among similar products, Sony produced the KV-1311 monitor/TV combination. It accepted NTSC-compatible video from various devices as well as analog broadcast TV. Along with its other functions, it had video and audio inputs and outputs as well as a wideband sound-IF decoded output. Its exterior looks much like the monitor illustrated here, with added TV controls.


title: Trinitron

text: By this time, Sony was well established as a supplier of reliable equipment; it was preferable to have minimal field failures instead of supporting an extensive service network for the entire United States.


title: Trinitron

text: Sony started developing the Trinitron for computer monitor use in the late 1970s. Demand was high, so high that there were examples of third party companies removing Trinitron tubes from televisions to use as monitors. In response, Sony started development of the GDM (Graphic Display Monitor) in 1983, which offered high resolution and faster refresh rates. Sony aggressively promoted the GDM and it became a standard on high-end monitors by the late 1980s. Particularly common models include the Apple Inc. 13" model that was originally sold with the Macintosh II starting in 1987. Well known users also included Digital Equipment Corporation, IBM, Silicon Graphics, Sun Microsystems and others. Demand for a lower cost solution led to the CDP series. In May 1988, the high-end 20 inch DDM model (Data Display Monitor) was introduced with a maximum resolution of 2,048 by 2,048, which went on to be used in the FAA's Advanced Automation System air traffic control system.


title: Trinitron

text: These developments meant that Sony was well placed to introduce high-definition televisions (HDTV). In April 1981, they announced the High Definition Video System (HDVS), a suite of MUSE equipment including cameras, recorders, Trinitron monitors and projection TVs.


title: Trinitron

text: Sony shipped its 100 millionth Trinitron screen in July 1994, 25 years after it had been introduced. New uses in the computer field and the demand for higher resolution televisions to match the quality of DVD when it was introduced in 1996 led to increased sales, with another 180 million units delivered in the next decade.


title: Trinitron

text: Sony's patent on the Trinitron display ran out in 1996, after 20 years. After the expiration of Sony's Trinitron patent, manufacturers like Mitsubishi (whose monitor production is now part of NEC Display Solutions) were free to use the Trinitron design for their own product line without license from Sony although they could not use the Trinitron name. For example, Mitsubishi's are called "Diamondtron". To some degree, the name Trinitron became a generic term referring to any similar set.


title: Trinitron

text: Sony responded with the FD Trinitron, which used computer-controlled feedback systems to ensure sharp focus across a flat screen. Initially introduced on their 27, 32 and 36 inch models in 1998, the new tubes were offered in a variety of resolutions for different uses. The basic WEGA models supported normal 480i signals, but a larger version offered 16:9 aspect ratios. The technology was quickly applied to the entire Trinitron range, from 13 to 36 inch. High resolution versions, Hi-Scan and Super Fine Pitch, were also produced. With the introduction of the FD Trinitron, Sony also introduced a new industrial style, leaving the charcoal colored sets introduced in the 1980s for a new silver styling.


title: Trinitron

text: Sony was not the only company producing flat screen CRTs. Other companies had already introduced high-end brands with flat-screen tubes, like Panasonic's Tau. Many other companies entered the market quickly, widely copying the new silver styling as well. The FD Trinitron was unable to regain the cachet that the Trinitron brand had previously possessed; in the 2004 Christmas season, they increased sales by 5%, but only at the cost of a 75% plunge in profits after being forced to lower costs to compete in the market.


title: Trinitron

text: At the same time, the introduction of plasma televisions, and then LCD-based ones, led to the high-end market being increasingly focused on the "thin" sets. Both of these technologies have well known problems, and for some time Sony explored a wide array of technologies that would improve upon them in the same way the Trinitron did on the shadow mask. Among these experiments were organic light-emitting diodes (OLED) and the field-emission display, but in spite of considerable effort, neither of these technologies matured into competitors. Sony also introduced their Plasmatron displays, and later LCD as well, but these had no inherent technical advantages over similar sets from other companies. From 2006, all of Sony's BRAVIA television products are LCD displays, initially based on screens from Samsung, and later Sharp.


title: Trinitron

text: Sony eventually ended production of the Trinitron in Japan in 2004. In 2006, Sony announced that it would no longer market or sell Trinitrons in the United States or Canada, but it would continue to sell the Trinitron in China, India, and regions of South America using tubes delivered from their Singapore plant. Production in Singapore finally ended in March 2008, only months after ending production of their rear-projection systems. Two lines of the factory were later brought back online to supply the professional market.


title: Trinitron

text: The Trinitron design incorporates two unique features: the single-gun three-cathode picture tube, and the vertically aligned aperture grille.


title: Trinitron

text: The single gun consists of a long-necked tube with a single electrode at its base, flaring out into a horizontally-aligned rectangular shape with three rectangular cathodes inside. Each cathode is fed the amplified signal from one of the decoded RGB signals.


title: Trinitron

text: The electrons from the cathodes are all aimed toward a single point at the back of the screen where they hit the aperture grille, a steel sheet with vertical slots cut in it. Due to the slight separation of the cathodes at the back of the tube, the three beams approach the grille at slightly different angles. When they pass through the grille they retain this angle, hitting their individual colored phosphors that are deposited in vertical stripes on the inside of the faceplate. The main purpose of the grille is to ensure that each beam strikes only the phosphor stripes for its color, much as does a shadow mask. However, unlike a shadow mask, there are essentially no obstructions along each entire phosphor stripe. Larger CRTs have a few horizontal stabilizing wires part way between top and bottom.


title: Trinitron

text: In comparison to early shadow mask designs, the Trinitron grille cuts off much less of the signal coming from the electron guns. RCA tubes built in the 1950s cut off about 85% of the electron beam, while the grille cuts off about 25%. Improvements to the shadow mask designs continually narrowed this difference between the two designs, and by the late 1980s the difference in performance, at least theoretically, was eliminated.


title: Trinitron

text: Another advantage of the aperture grille was that the distance between the wires remained constant vertically across the screen. In the shadow mask design, the size of the holes in the mask is defined by the required resolution of the phosphor dots on the screen, which was constant. However, the distance from the guns to the holes changed; for dots near the center of the screen, the distance was its shortest, at points in the corners it was at its maximum. To ensure that the guns were focused on the holes, a system known as dynamic convergence had to constantly adjust the focus point as the beam moved across the screen. In the Trinitron design, the problem was greatly simplified, requiring changes only for large screen sizes, and only on a line-by-line basis.


title: Trinitron

text: For this reason, Trinitron systems are easier to focus than shadow masks, and generally had a sharper image. This was a major selling point of the Trinitron design for much of its history. In the 1990s, new computer-controlled real-time feedback focusing systems eliminated this advantage, as well as leading to the introduction of "true flat" designs.


title: Trinitron

text: Even small changes in the alignment of the grille over the phosphors can cause the color purity to shift. Since the wires are thin, small bumps can cause the wires to shift alignment if they are not held in place. Monitors using Trinitron technology have one or more thin tungsten wires running horizontally across the grille to prevent this. Screens 15" and below have one wire located about two thirds of the way down the screen, while monitors greater than 15" have 2 wires at the one-third and two-thirds positions. These wires are less apparent or completely obscured on standard definition sets due to wider scan lines to match the lower resolution of the video being displayed. On computer monitors, where the scan lines are much closer together, the wires are often visible. This is a minor drawback of the Trinitron standard which is not shared by shadow mask CRTs. Aperture grilles are not as mechanically stable as shadow or slot masks; a tap can cause the image to briefly become distorted, even with damping/support wires. Some people may find the wires to be distracting.


title: Trinitron

text: A polyurethane sheet coated to scatter reflections is affixed to the front of the screen, where it can be damaged.


title: Oxygen (2017 film)

text: Oxygen is a 2017 Indian Telugu-language action thriller film produced by S. Aishwarya on Sri Sai Raam Creations banner, presented by A. M. Rathnam and directed by A. M. Jyothi Krishna. The film stars Gopichand, Raashi Khanna, and Anu Emmanuel, while Jagapathi Babu, Shaam and Abhimanyu Singh play supporting roles and music was composed by Yuvan Shankar Raja. Formally launched on 17 December 2015, the film was released theatrically on 30 November 2017. It was released in Tamil as "Asuravettai" in 2020.


title: Oxygen (2017 film)

text: Raghupati is a landlord who lives with his brothers Sripathi, Chalapathi, and Ganapathi along with their family. He decides to get his daughter Shruti married to an NRI Krishna Prasad for her safety after his brother Sripathi is killed by two mysterious attackers. Contrary to the family's expectations, Krishna turns out to be a well-cultured man and wins over everyone with his nature, but Shruti doesn't want to leave her family after their marriage. Raghupati's enemies continue trying to kill his family members, and in one such encounter with Veerabhadram, who wants Raghupati's family killed,


title: Oxygen (2017 film)

text: Krishna warns Veerabhadram not to target the family again. Shruti has a change of heart but pleads with Krishna to leave behind his business and stay in the village. He accepts before the two attackers arrive. However, Krishna Beheads Shruthi's brother Mahendra and kills other men with the help of the killers. He also kills Ganapathi and holds Shruthi hostage. Upon being questioned by Shruthi for his deeds, Krishna reveals his past.


title: Oxygen (2017 film)

text: Past: Krishna is revealed to be Sanjeev, an Indian Army Major, and the killers are none other than his colleagues, Captain Amit and Sathya. When Krishna's brother Ajay commits suicide due to lung cancer caused by chain-smoking, he investigates with the help of microbiologist friend Geetha. They find a heavy dose of opium mixed in cigarettes manufactured by the Tiger brand. Sanjeev and his higher officers start "MISSION OXYGEN" and get the brand destroyed. While returning to duty, Sanjeev learns that someone was trying to inquire about him and his family and warns Geetha.


title: Oxygen (2017 film)

text: It is revealed that Raghupati's brothers are the real owners of the Tiger Brand where they killed Sanjeev's parents. To prevent them from knowing about Sanjeev, Geetha leaks the gas cylinder and causes an explosion which kills her. However, the men survived and escaped while Sanjeev was shattered after listening to everything on his phone. Amit and Sathya killed Sripathi, who learned that Sanjeev was inquiring about the attackers. His death terrified Raghupathi's family members, who stopped leaving the house. Sanjeev sent details about the marriage to Raghupati via Sripathi's phone, and thus came as Krishna Prasad to kill the family members responsible for destroying his family.


title: Oxygen (2017 film)

text: Present: Shruti is now convinced and decides to help Sanjeev by retrieving the cigar formula. They manage to retrieve the black money locked in a safe by Raghupati's brothers and distribute it to the affected parties. Learning from Chalapathi about Sanjeev's truth and Shruti's kidnapping, Raghupati is shocked and suffers a heart stroke where he is admitted to the hospital. A CBI officer tries to catch Sanjeev after the money distribution but in vain. Sanjeev and his colleagues break into the factory to retrieve the formula while Shruti uploads the link to a live broadcast of the operation. A fight leads to Amit, Sathya's, and Chalapathi's death and Sanjeev getting shot by Raghupati.


title: Oxygen (2017 film)

text: Raghupathi reveals himself to be the real creator of the formula and has the formula hidden in his mind. Through Live broadcast. everyone learns of Raghupathi's true nature. Sanjeev urges people by saying "No Smoking" for the last time and then proceeds to jump into the fire along with Raghupati, killing him and blasting the factory. The public is motivated to give up smoking, while the police close the case and declare Sanjeev dead. However, he is revealed to be alive in Bombay after the CBI officer, who tried to catch him assures support whenever needed.


title: Oxygen (2017 film)

text: Music composed by Yuvan Shankar Raja. Music released on ADITYA Music Company. The audio launch function held on 23 October 2017 at Hyderabad.


title: Oxygen (2017 film)

text: The film received mixed reviews from critics with praise towards the cast performances, action sequences, music and direction, but criticism for writing, narration and background score.


title: Oxygen (2017 film)

text: "The Times of India" gave the film a rating of two out of five stars and wrote that "‘Oxygen’ is a film with a story and cast that had a lot of potential, if only it was made differently. Steer clear of this one, unless you have some time to kill". "Sify" wrote that "This Gopichand starrer is like watching two films on a single ticket. The entire first half runs on flimsy sequences. While the second half is handled fairly better but by then we lose all interest in the movie. Uneven narration is a major issue". "The Indian Express" gave the film a rating of two out of five stars and noted that " Except for our common sense, this film can't offend any section of the society". "Deccan Chronicle" gave the film a rating of two out of five stars and wrote that "Jyothi Krishna's take on the illegal tobacco trade is fresh, but suffers in the narration. He takes almost the entire first half to establish his point, which could be a tad too late".


title: Aahat

text: Aahat (English: "An approaching sound") is an Indian thriller/horror television anthology series created by B. P. Singh for Sony Entertainment Television. The series premiered on 5 October 1995. The episodes of first, second and fifth seasons were half-hourly, while episodes of third, fourth and sixth seasons were one-hourly. Om Puri, Mandira Bedi, Tom Alter, Ashutosh Rana, Shivaji Satam, Virendra Saxena Nivaan Sen and noted theater personality Satyadev Dubey have starred in the show. Canadian actor, Remi Kaler also worked in the series in 1999 and 2000. The sixth season premiered on 18 February 2015, starring Shakti Anand and ended on 4 August 2015.


title: Aahat

text: The first season was mostly a crime thriller-whodunit with only occasional episodes on the supernatural. After the first season, each story focused on a different aspect of paranormal activity, such as ghosts, zombies, phantoms, undead persons, possessed objects and witches and wizards.


title: Aahat

text: "Aahat" was first shot in 1994 as a suspense thriller, and began broadcast on 5 October 1995, each story being split across two episodes. The season aired on Thursday nights, later shifting to every Friday nights. After about 40 episodes with the same theme, one episode with a supernatural theme was made and when audiences for the series rose sharply, it made the switch.


title: Aahat

text: Due to the popularity of the first season, Sony TV decided to bring back the series in its second season. The second season aired on Friday nights. The episode format was same as of the first season. This time the season failed to gain TRP ratings.


title: Aahat

text: The third season was titled as "Aahat: Dahshat Ki Teesri Dastak" (English: "An approaching sound: The Third Coming of Horror"). The season aired on Saturday nights, each story being shown in a single episode. This time too the season didn't manage to gain TRP ratings and the season was shut down soon.


title: Aahat

text: The fourth season was titled "Aahat: The All New Series", which aired on every Friday and Saturday nights. In the season, Durjan, head of Paranormal And Supernatural Activities Research who used to collect powers from the spirits for his boss sends Harsh (Chaitanya Choudhury), Raghav (Vishal Gandhi) and Yamini (Krystle D'Souza) to cope up


title: Aahat

text: with a new supernatural power every week with the story being split into two episodes. The season had three crossover episodes with the series "CID". Once in November 2009, second time in February 2010 and third time in June 2010.


title: Aahat

text: Due to the huge popularity of the fourth season, Sony TV decided to telecast the series four days a week. The fifth season aired on every Monday to Thursday nights. Every week, two stories were telecast, each story being split across two episodes. But this idea didn't take off; the TRP ratings dropped once again and the channel had to shut down the series on 25 November 2010.


title: Aahat

text: To celebrate 15 years of the series, this season featured a 16 - episode arc titled "Maut Ka Khel" (English: "The Game of Death") which aired starting 20 September 2010. This was heavily inspired by the 1999 Hollywood horror film House On Haunted Hill. The storyline follows celebrities (Sidharth Shukla, Roshni Chopra, Aashka Goradia, Vivan Bhatena, Gautam Rode, Ketki Dave, Tanaaz Irani, Bakhtiyaar Irani, Aryan Vaid, Bobby Darling, Karishma Tanna, Sanjeet Bedi and Shahbaz Khan) who lived in a 200-year-old haunted house.


title: Aahat

text: The first episode of the sixth installation of the series premiered on 18 February 2015. Initially, the series was aired bi-weekly on every Wednesday and Thursday nights. The first episode of the series had gained a TRP rating of 2.9. Due to high ratings, the channel decided to telecast the season four days on every Monday to Thursday nights. But after a couple of weeks, the TRP ratings dropped, and the channel had to shut down the season on 4 August 2015.


title: Aahat

text: The first five seasons of the series received general acclaim but response for the sixth season was quite mixed. Vineeta Kumar of "India TV" stated, "As against everybody's expectations, "Aahat" (season 6) doesn't seem that impressive."


title: Aahat

text: Sweta Kaushal of "Hindustan Times" stated, "The new episode of "Aahat" (season 6) does not scare at all and lives up to all the comic cliches that Indian horror shows have been following till date. At best, it is hilarious."


title: Aahat

text: Vineeta Kumar of "India TV" gave the sixth season 2/5 stars, and further stated, "For all those who would be expecting grand with the elements of horror and spook in it, "Aahat" has come with a slight disappointment."


title: Aahat

text: Sweta Kaushal of "Hindustan Times" giving the same ratings to the sixth season, further stated, "The new episode shows women with bad make-up as the ghosts."


title: Aahat

text: Fireworks Productions was nominated for Best Continuing TV Programme and for Best Thriller/Horror Show Of The Year of Indian Telly Awards in 2002. Sujit Pattnaik and Tanmoy Ghosh won Indian Television Academy Awards for Best Visual Effects in 2010, while Himanshu, Yogen and Kamal were nominated for the same category of the same award in 2005 and 2012, however, winning in 2011.


title: Delhi Ganesh

text: Delhi Ganesh is an Indian actor who mostly acts in supporting roles in Tamil cinema and serials. He has acted in more than 400 films from 1976 to present. Before films, he was a member of the Delhi-based theatre troupe, "Dakshina Bharata Nataka Sabha". Ganesh served in the Indian Air Force from 1964 to 1974 before quitting in favour of films. He was given the stage name Delhi Ganesh by K. Balachander.


title: Delhi Ganesh

text: He was introduced to Tamil Film Industry by K. Balachander in the film "Pattina Pravesam" (1976). Ganesh played the hero in the 1981 film "Engamma Maharani". His most popular roles have been as a supporting actor or a comedian, but he has also played villainous roles in films like "Apoorva Sagodharargal" (1989).


title: Delhi Ganesh

text: He won the Tamil Nadu State Film Award Special Prize for his performance in "Pasi" (1979). He also received various state awards like Kalaimamani (1994) given by the then Chief Minister J. Jayalalithaa.


title: Delhi Ganesh

text: His most notable films are "Sindhu Bhairavi" (1985), "Nayakan" (1987), "Michael Madana Kama Rajan" (1990), "Aahaa..!" (1997) and "Thenali" (2000).


title: Delhi Ganesh

text: He also made an appearance in the short film "What if Batman was from Chennai" as a version of Alfred Pennyworth. In 2016, he had a brief role as Sriman (the man who lodges complaint about his missing son, only later to find out that his son is dead) in "Dhuruvangal Pathinaaru" under Karthick Naren's direction alongside Rahman. In 2015, he launched his first production venture, "Ennul Aayiram" (2016) which would star his son Maha in the leading role.


title: Bowl cut

text: A bowl cut or mushroom cut is a simple haircut where the front hair is cut with a straight fringe (see bangs) and the rest of the hair is left longer, the same length all the way around, or else the sides and back are cut to the same short length. It is named so because in medieval times, when it was popular in Europe, a bowl would be placed on the head and then used as a cutting guide to trim the hair.


title: Bowl cut

text: Historically, the bowl cut was popular among common Asian and European men, being an easy neat cut done by a non-professional. Indeed, it was done by putting a cooking pot of a fit size to the level of ears, and all hair below the rim was cut or shaved off. In some cultures it was a normal type of haircut. In other cultures the bowl cut was viewed as an attribute of poverty, signifying that the wearer could not afford to visit a barber.


title: Bowl cut

text: In the 1960s the bowl cut made a return in popularity, in part due to celebrities such as the Beatles.


title: Bowl cut

text: In the United States, the popularity of the bowl cut faded in the mid to late-2000s. Since the 2010s, the cut is ridiculed by many and is often mocked via internet memes.


title: Bowl cut

text: By 2015, the hairstyle was uncommon enough that its use by mass murderer Dylann Roof was considered mildly noteworthy. The Anti-Defamation League has documented its metonymic use by young white supremacists, among whom it represents Roof and his crimes in particular, and white supremacist ideology in general.


title: Caroleans

text: Caroleans (), from "Carolus", the Latin form of the name Charles, is a term used to describe soldiers of the Swedish army during the reigns of Kings Charles XI and Charles XII of Sweden, and specifically from 1680, when Charles XI instituted an absolute monarchy and embarked on a series of sweeping military reforms, to the death of Charles XII in 1718.


title: Caroleans

text: The Caroleans are particularly associated with Charles XII and his campaigns in the Great Northern War (1700–21), during which they achieved a series of impressive victories, often against considerably larger enemy forces, and established themselves as one of the most feared and respected armies in Europe. However, the main Swedish field army was almost entirely annihilated after defeat at the Battle of Poltava, and the war eventually ended in utter defeat and the dismemberment of the Swedish Empire.


title: Caroleans

text: Overall, 350,000 soldiers from Sweden, Finland, and the Baltic provinces died in the service of Charles XII during the Great Northern War, mostly from non-combat causes. Two-thirds of these, or over 230,000, died in the years 1700 to 1709. These losses constituted an unusually large percentage of the pre-war population of 2.5 million. The losses of their enemies (principally Russia, Poland-Lithuania, Denmark-Norway and various northern German states) are known to have been even higher.


title: Caroleans

text: In the early and mid-seventeenth century, the Kingdom of Sweden established a large empire in the Baltic Sea region and Northern Germany. Its success rested in large part on the quality of its armed forces, which pioneered numerous innovations later adopted by other European armies and were well-organised and generally well-led. However, the military was allowed to go into decline during the early reign of Charles XI, when the king was a child and the country was directed by a council of regents led by Magnus Gabriel de la Gardie; many of the regents were openly corrupt, and embezzlement of royal revenues was widespread during this period.


title: Caroleans

text: The neglect of the armed forces almost led to disaster during the Scanian War (1675–9), when Sweden was invaded by Denmark-Norway. The attackers were eventually repulsed, but only after numerous setbacks and at the cost of appalling losses; indeed the 1676 Battle of Lund is widely reckoned to be the bloodiest battle ever fought in Scandinavia.


title: Caroleans

text: The travails of the Swedish army during the Scanian War convinced Charles, who was by now of age, that wholesale reform of the Swedish state was necessary in order to guarantee the security of the Swedish Empire. In 1680 he therefore instituted absolutism, overthrowing the previous system of semi-constitutional monarchy under the 1634 Instrument of Government, restored the royal finances by means of the so-called Great Reduction (confiscation of property embezzled by the aristocracy from the crown), and set about rebuilding the army, most notably through an overhaul of the allotment system.


title: Caroleans

text: Since the sixteenth century, the Swedish army had used the so-called allotment system (; ) to raise troops. In 1682, Charles completely reformed it, establishing what modern historians refer to as the "new allotment system" ().


title: Caroleans

text: Under the new system, Swedish farmers were to provide the crown with regiments of 1,000 or 1,200 men, complete with weapons and uniforms. Either independently or as "rotes" (groups) of no more than five, farmers would contract with the crown, with each "rote" providing and supporting one soldier, including giving the soldier a cottage and a garden plot. Each cavalryman was additionally provided with a horse. In exchange for these burdensome policies, each "rote" was granted a reduction in taxes.


title: Caroleans

text: The allotment system provided Charles XI with a professional army of 18,000 infantrymen and 8,000 cavalrymen. The system also provided for the deployment of 6,600 seamen, bolstering Sweden's navy. Adding to Sweden's numbers, Finland provided an additional 7,000 infantrymen, 3,000 cavalrymen, and 600 seamen.


title: Caroleans

text: Carolean soldiers wore the Swedish Standard Uniform introduced by Charles XI—which featured blue great coats with yellow cuffs, white breeches, and yellow vests—with many regiments wearing variants thereof. For example, the dragoons of Bohuslän had green coats, and the regiment of Närke-Värmland had red cuffs. The artillery had grey coats with blue cuffs. As headgear, most Caroleans wore tricorne hats or a special cap called a "karpus". Members of the elite Drabant Corps—the only armored troops—wore steel breastplates.


title: Caroleans

text: Most of the infantry were musketeers equipped with modern flintlock muskets—with bags for ammunition—although older versions were still in use, as well as rapiers. About one-third of each company were equipped with pikes. Twelve men of each company—typically the strongest and tallest—were grenadiers, who were the only soldiers to have bayonets affixed to their muskets, as regular musketeers were meant to use their rapiers for hand-to-hand combat. Grenadiers were often placed on the flanks of a unit to protect against cavalry. A bayonet-equipped musket was considered to be more practical for that, as it gave greater reach than a sword when facing a mounted opponent and could be braced against the impact of a charge. Sweden standardized bayonets for all soldiers by 1704, though they also still carried swords. On occasion, two-handed spiked clubs were used during sieges. Mounted troops carried broadswords and either two pistols each for a regiment of horse, or a carbine each for the dragoons. The artillery had a smaller sword for close combat, called a "hirschfängare".


title: Caroleans

text: Notably, the standard sword issued to the Swedish infantry was straight rather than curved (closer to a rapier than a saber), reinforcing the emphasis on stabbing rather than slashing.


title: Caroleans

text: A soldier's daily ration was to consist of of dry bread, of butter or pork, of peas, and of beer. The butter or pork was often replaced by fish if the latter were available. Water was generally avoided since it was often contaminated.


title: Caroleans

text: A Carolean infantry regiment consisted of roughly 1,200 men, divided into two battalions of 600 men each. The battalion was the smallest tactical unit of the Swedish army and consisted of four companies of 150 men each. Prior to battle, the men were usually formed into four ranks ("four men deep"), however, a battalion could also be "späckad" (i.e. "fattened") in six ranks. About one-third of the men were pikemen, equipped with swords and pikes. These pikemen often were in the middle of each battalion with musketeers on their flanks; however, if the battalion was "späckad," the pikemen were placed in the third and fourth ranks. Grenadiers were often on the flanks of the musketeers—on the left and right of each battalion—to protect against enemy cavalry and to toss grenades to break enemy formations (there being one grenadier for ten musketeers). On occasion, the grenadiers formed their own battalions, such as the Life Grenadier Regiment. The width of a battalion was roughly (or with the battalion in close formation). At the outbreak of the Great Northern War, every Swedish musketeer was equipped with a sword and usually a calibre flintlock musket without a bayonet; however, a bayonet was issued to every Swedish musketeer in 1704. The grenadiers were equipped with grenades, swords, and flintlock muskets with bayonets.


title: Caroleans

text: A cavalry regiment consisted of roughly 800 men with 1000 horses among them, divided into four squadrons of 200 men each. The squadron was the tactical unit of the cavalry and consisted of two companies of 100 men each. The Swedish heavy cavalryman was equipped with a rapier almost one metre long (primarily for thrusting and secondarily for slashing), a carbine, two pistols, and a cuirass. Each dragoon was equipped with a rapier, musket (with bayonet), and two pistols.


title: Caroleans

text: The Drabant Corps was a special unit made up of approximately 150 men under the personal command of King Charles XII, of which he was captain. To become a private in the corps, one had to attain the rank of captain in the regular army. The corps second in command was a colonel with the title of Kaptenlöjtnant (Lieutenant-Captain). This corps fought to the bitter end, and some of its veterans carried Charles XII's coffin to Stockholm for burial in 1719.


title: Caroleans

text: Certain irregular units were also used, most notably the Vlachs cavalry. However, these were not suited for combat, but only reconnaissance and to chase routed enemies.


title: Caroleans

text: Swedish military doctrine of the Carolean era was distinguished by its emphasis on aggressive action and shock tactics, the so-called "gå-på" (literally "go-on") method. This attitude stood in contrast to other European armies of the period, which were coming to rely increasingly on musketry, delivered in the form of volley fire by line infantry, to win battles. As such, Swedish armies continued to field large numbers of pikemen throughout the Great Northern War, even though the weapon had largely disappeared from western European battlefields by that time. Similarly, the proportion of heavy cavalry in the Swedish army was unusually high by western standards. Indeed, of the 31,000 Swedish soldiers who participated in Charles XII's Russian campaign, some 16800 troops, over half the overall force, were cavalrymen.