title: Brainwashed (George Harrison album)

text: Harrison began recording the tracks that eventually were issued on "Brainwashed" as early as 1988 (with "Any Road" being written during the making of a video for "This Is Love" from the album "Cloud Nine") and continued to do so in a sporadic manner over the next decade and a half. Progress was delayed by business problems with Harrison's former manager, Denis O'Brien, as well as his work with the Traveling Wilburys, Ravi Shankar, and his work on "The Beatles Anthology". In an interview in 1999, Harrison announced the title of his next album to be "Portrait of a Leg End", and played songs entitled "Valentine", "Pisces Fish" and "Brainwashed". During the promotion for the 2001 re-release of "All Things Must Pass", Harrison joked that the name of the album would be "Your Planet Is Doomed – Volume One". After recuperating from being attacked in his home on 30 December 1999 by a man with paranoid schizophrenia, Harrison focused on finishing the album, simultaneously sharing his ideas for all its details (from the sound of the finished songs to the album's artwork) with his son Dhani – information that ultimately proved very valuable, as Dhani helped to complete the album after his father's death.


title: Brainwashed (George Harrison album)

text: Harrison successfully battled throat cancer in 1997; in 2001 he underwent surgery to remove a cancerous growth from one of his lungs, and radiotherapy for lung cancer which had metastasised to his brain. Once he realised it was an irreversible situation, he worked further on the album's songs – in conjunction with Dhani and his old collaborator Jeff Lynne – for as long as possible. Harrison's final work on the album was carried out at a recording studio in Switzerland shortly before his trip to the United States for cancer treatment. On 29 November 2001, Harrison died before he could finish the project, but with a guide to completing it in the hands of his son and Lynne.


title: Brainwashed (George Harrison album)

text: After a few months away from the project, both Lynne and Dhani returned to working on Harrison's final songs and added the appropriate instruments, as per his specifications, to the recordings. The project was so close to completion that the two used the exact timetable and session bookings that Harrison himself had originally planned.


title: Brainwashed (George Harrison album)

text: Lynne reflected on "Brainwashed" in 2020: "His life was in those final songs, the things he got up to each day, like riding down the River Thames. Lots of very personal stuff. Some of them are really good. We gradually just filled them in. It was just about mixing them and making them sound like George would like them. You just had to go with your gut feeling."


title: Brainwashed (George Harrison album)

text: "Run So Far" had previously appeared on Eric Clapton's album "Journeyman" (backed by Harrison), 13 years before finally being available in a version sung by its original writer. The original Clapton recording featured a third verse not included here.


title: Brainwashed (George Harrison album)

text: "Brainwashed" was released on 18 November 2002 to mostly favourable reviews. At Metacritic, which assigns a normalised rating out of 100 to reviews from mainstream critics, the album scores 77, based on 16 reviews, which means "generally favorable".


title: Brainwashed (George Harrison album)

text: Writing in "Uncut", Nick Hasted described it as "the best solo record by a Beatle since McCartney's "Flowers in the Dirt" (1989)". Although he found that "a certain monotony creeps in towards the end", Hasted wrote that "Harrison's songs and singing represent a burst of form". Keith Phipps of "The A.V. Club" concluded his review by writing: "Harrison never seemed to recognize the difference between philosophical profundities and the sound of a catchy song, and that may have been his greatest gift to the world. "Brainwashed" offers a fine, final reminder of that gift." "PopMatters" Gary Glauber found the album "phenomenal" and "easily ... Harrison's best solo effort since "All Things Must Pass"". He said it was "spiritual and uplifting in a way that serves to remind how much this undervalued Beatle will be missed" and "in turns funny, serious, philosophical, precious and ultimately enjoyable".


title: Brainwashed (George Harrison album)

text: The album was issued on LP and CD. A limited-edition CD box was also released, containing a "Brainwashed" poster, a Dark Horse sticker, a guitar pick with George's signature on it, and a bonus DVD with a seven-minute featurette about the making of the album. The album sold respectably, reaching number 18 in the US and going gold, and number 29 in the UK, where "Any Road" became a top 40 hit single in spring 2003. A live tribute to Harrison by an assembly of his musical contemporaries, titled Concert for George, took place at London's Royal Albert Hall simultaneously with the release of the album.


title: Brainwashed (George Harrison album)

text: In 2004, "Brainwashed" "Marwa Blues" won the Grammy Award for Best Pop Instrumental Performance. The album was nominated for Best Pop Vocal Album, as well as Best Male Pop Vocal Performance (for the track "Any Road"). That same year, Harrison's former bandmate Paul McCartney named "Marwa Blues" as one of his all-time favourites. In 2009, three of the tracks from "Brainwashed" were included on Harrison's career-spanning compilation album, "": "Any Road", "Marwa Blues" and "Rising Sun".


title: Brainwashed (George Harrison album)

text: All songs written by George Harrison, except "Between the Devil and the Deep Blue Sea" written by Harold Arlen and Ted Koehler.


title: Thermocline

text: A thermocline (also known as the thermal layer or the metalimnion in lakes) is a thin but distinct layer in a large body of fluid (e.g. water, as in an ocean or lake; or air, e.g. an atmosphere) in which temperature changes more drastically with depth than it does in the layers above or below. In the ocean, the thermocline divides the upper mixed layer from the calm deep water below.


title: Thermocline

text: Depending largely on season, latitude, and turbulent mixing by wind, thermoclines may be a semi-permanent feature of the body of water in which they occur, or they may form temporarily in response to phenomena such as the radiative heating/cooling of surface water during the day/night. Factors that affect the depth and thickness of a thermocline include seasonal weather variations, latitude, and local environmental conditions, such as tides and currents.


title: Thermocline

text: Most of the heat energy of the sunlight that strikes the Earth is absorbed in the first few centimeters at the ocean's surface, which heats during the day and cools at night as heat energy is lost to space by radiation. Waves mix the water near the surface layer and distribute heat to deeper water such that the temperature may be relatively uniform in the upper , depending on wave strength and the existence of surface turbulence caused by currents. Below this mixed layer, the temperature remains relatively stable over day/night cycles. The temperature of the deep ocean drops gradually with depth. As saline water does not freeze until it reaches (colder as depth and pressure increase) the temperature well below the surface is usually not far from zero degrees.


title: Thermocline

text: The thermocline varies in depth. It is semi-permanent in the tropics, variable in temperate regions and shallow to nonexistent in the polar regions, where the water column is cold from the surface to the bottom. A layer of sea ice will act as an insulation blanket. The first accurate global measurements were made during the oceanographic expedition of HMS Challenger.


title: Thermocline

text: In the open ocean, the thermocline is characterized by a negative sound speed gradient, making the thermocline important in submarine warfare because it can reflect active sonar and other acoustic signals. This stems from a discontinuity in the acoustic impedance of water created by the sudden change in density.


title: Thermocline

text: In scuba diving, a thermocline where water drops in temperature by a few degrees Celsius quite suddenly can sometimes be observed between two bodies of water, for example where colder upwelling water runs into a surface layer of warmer water. It gives the water an appearance of wrinkled glass, the kind often used in bathroom windows to obscure the view, and is caused by the altered refractive index of the cold or warm water column. These same schlieren can be observed when hot air rises off the tarmac at airports or desert roads and is the cause of mirages.


title: Thermocline

text: The thermocline in the ocean can vary in depth and strength seasonally. This is particularly noticeable in mid-latitudes with a thicker mixed layer in the winter and thinner mixed layer in summer. The cooler winter temperatures cause the thermocline to drop to further depths and warmed summer temperatures bring the thermocline back to the upper layer. In areas around the tropics and subtropics, the thermocline may become even thinner in the summer than in other locations. At higher latitudes, around the poles, there is more of a seasonal thermocline than a permanent one with warmer surface waters. This is where there is a dichothermal layer instead.


title: Thermocline

text: In the Northern hemisphere, the maximum temperatures at the surface occur through August and September and minimum temperatures occur through February and March with total heat content being lowest in March. This is when the seasonal thermocline starts to build back up after being broken down through the colder months.


title: Thermocline

text: A permanent thermocline is one that is not affected by season and lies below the yearly mixed layer maximum depth.


title: Thermocline

text: Thermoclines can also be observed in lakes. In colder climates, this leads to a phenomenon called stratification. During the summer, warm water, which is less dense, will sit on top of colder, denser, deeper water with a thermocline separating them. The warm layer is called the epilimnion and the cold layer is called the hypolimnion. Because the warm water is exposed to the sun during the day, a stable system exists and very little mixing of warm water and cold water occurs, particularly in calm weather.


title: Thermocline

text: One result of this stability is that as the summer wears on, there is less and less oxygen below the thermocline as the water below the thermocline never circulates to the surface and organisms in the water deplete the available oxygen. As winter approaches, the temperature of the surface water will drop as nighttime cooling dominates heat transfer. A point is reached where the density of the cooling surface water becomes greater than the density of the deep water and overturning begins as the dense surface water moves down under the influence of gravity. This process is aided by wind or any other process (currents for example) that agitates the water. This effect also occurs in Arctic and Antarctic waters, bringing water to the surface which, although low in oxygen, is higher in nutrients than the original surface water. This enriching of surface nutrients may produce blooms of phytoplankton, making these areas productive.


title: Thermocline

text: As the temperature continues to drop, the water on the surface may get cold enough to freeze and the lake/ocean begins to ice over. A new thermocline develops where the densest water () sinks to the bottom, and the less dense water (water that is approaching the freezing point) rises to the top. Once this new stratification establishes itself, it lasts until the water warms enough for the 'spring turnover,' which occurs after the ice melts and the surface water temperature rises to 4 °C. During this transition, a thermal bar may develop.


title: Thermocline

text: Waves can occur on the thermocline, causing the depth of the thermocline as measured at a single location to oscillate (usually as a form of seiche). Alternately, the waves may be induced by flow over a raised bottom, producing a thermocline wave which does not change with time, but varies in depth as one moves into or against the flow.


title: Thermocline

text: The lower atmosphere also typically contains a boundary between two distinct regions (the troposphere and stratosphere), but that boundary (the tropopause) displays quite different behavior. However, atmospheric thermoclines, or "inversions", can occur, e.g. as nighttime cooling of the Earth's surface produces cold, dense, often calm air adjacent to the ground. The coldest air is adjacent to the ground, with the air temperature increasing with height. At the top of this nighttime boundary layer (which may be only a hundred meters thick), the normal adiabatic temperature profile of the troposphere (i.e. temperature decreasing with altitude) is again observed. The thermocline or inversion layer occurs where the temperature profile changes from positive to negative with increasing height. The stability of the night-time inversion is usually destroyed soon after sunrise as the sun's energy warms the ground, which in turn warms the air in the inversion layer. The warmer, less dense air then rises, thereby destroying the stability that characterizes the nightly inversion.


title: Thermocline

text: This phenomenon was first applied to the field of noise pollution study in the 1960s, contributing to the design of urban highways and noise barriers.


title: Out-of-home advertising

text: Out-of-home (OOH) advertising, also called outdoor advertising, outdoor media, and out-of-home media, is advertising experienced outside of the home. This includes billboards, wallscapes, and posters seen while "on the go". It also includes place-based media seen in places such as convenience stores, medical centers, salons, and other brick-and-mortar venues. OOH advertising formats fall into four main categories: billboards, street furniture, transit, and alternative.


title: Out-of-home advertising

text: The OOH advertising industry in the United States includes more than 2,100 operators in 50 states representing the major out of home format categories. These OOH media companies range from public, multinational media corporations to small, independent, family-owned businesses. Currently, the United Kingdom and France are Western Europe's first and second largest markets for OOH, respectively. Data from Outsmart (formerly the Outdoor Media Centre), the UK's out-of-home advertising trade association, shows that digital out-of-home (DOOH) grew at a 29.7% CAGR from 2009 to 2014.


title: Out-of-home advertising

text: Billboard advertising is a traditional OOH advertising format, but there has been significant growth in digital OOH (digital billboards and place-based networks) in recent years. For example, about 4,900 digital billboard displays have been installed in China and the US.


title: Out-of-home advertising

text: Traditional roadside billboards remain the predominant form of OOH advertising in the US with 66% of total annual revenue. Today, billboard revenue is 73% local ads, 18% national ads, and 9% public service ads.


title: Out-of-home advertising

text: Street furniture is made up of formats such as bus shelters, news racks, mall kiosks, and telephone booth advertising. This form of OOH advertising is mainly seen in urban centers. This form of advertising provides benefits to communities, as building and maintaining the shelters people use while waiting for buses.


title: Out-of-home advertising

text: Transit advertising is typically advertising placed on anything which moves, such as buses, subway advertising, truckside, food trucks, and taxis, but also includes fixed static and electronic advertising at train and bus stations and platforms. Airport advertising, which addresses a traveling audience, is included in this category. Advertising on metro trains is becoming very popular these days, particularity in India. Municipalities often accept this form of advertising, as it provides revenue to city and port authorities. Walking billboard, vehicle branding, pamphlet distributions, road shows etc. are some more forms of transit media advertisements.


title: Out-of-home advertising

text: Street furniture, transit, and alternative media formats comprise 34% of total outdoor revenue in the US. Some of these formats have a higher percentage of national ads than traditional billboards.


title: Out-of-home advertising

text: Digital out-of-home (DOOH) refers to dynamic media distributed across place-based networks in venues including, but not limited to: cafes, grocery stores, bars, restaurants, health clubs, colleges, arenas, gas stations, convenience stores, barber shops, airports and public spaces. PQ Media defines DOOH by two major platforms, digital place-based networks (DPN) and digital billboards & signage (DBB); DOOH networks typically feature independently addressable screens, kiosks, jukeboxes and/or jumbotrons. DOOH media benefits location owners and advertisers alike in being able to engage customers and/or audiences and extend the reach and effectiveness of marketing messages. It is also referred to as digital signage.


title: Out-of-home advertising

text: In the US the DOOH industry is expected to grow to $3.25 billion in 2021, representing 36% of the total OOH spending.


title: Out-of-home advertising

text: The reason that this category is growing so rapidly is because busy people are typically busy at home and with the introduction and acceptance of digital video recorders (DVRs), it has diluted the frequency with which traditional TV commercials are viewed. Every day more TV viewers are skipping past commercials with their DVRs, making out-of-home advertising more appealing. A Nielsen media research study in 2009 showed that 91% of DVR owners skipped commercials. As a result, traditional TV advertisers are hungry for an effective substitute, and digital out-of-home ads appear to be one of the solutions. Digital out of home advertising seems to be a cost-effective way for promoting or marketing any brand or product. Usage of billboards and displays for brand promotion is a less expensive way of advertising than TV, radio, newspapers and other mediums.


title: Out-of-home advertising

text: DOOH includes stand-alone screens, screens on buildings, kiosks, and interactive media found in public places. The availability of inexpensive LCD screens with built-in media players has opened the door for companies to add interactive video messages in point of purchase (POP) displays. The displays allow consumers to get additional information at the moment of decision on a product or service. Growth in the DOOH industry has been increasing in 2009, with more POP manufacturers, advertisers, and content developers moving to digital. Technological improvements are holding down costs, and low-cost digital signage is making it easier to reach consumers on a larger scale. For example, beacons are small devices placed on out-of-home advertising structures that use Bluetooth technology to connect with mobile devices.


title: Out-of-home advertising

text: DOOH is present in a variety of venues including gas stations, grocery stores, restaurants, gyms and ride-sharing vehicles.


title: Out-of-home advertising

text: With digital TVs in gas stations, nearly 52 million customers are getting snippets of weather, sports highlights, celebrity gossip and commercials with their gas each month, according to Nielsen. The weekly reach is actually larger than most of the prime-time TV shows. The largest company in the space is Gas Station TV with 27.5 million monthly viewers at more than 1,100 stations across the US, according to Nielsen. In addition to the large number of viewers, the audience profile of TVs at gas stations is unique. All are drivers and 76% are adults from age 18-49 with a median age of 40 and median household income over $70,000. According to the Nielsen Intercept Studies, 89% of the consumers are engaged and watching TV at the gas station and 88% love watching when fueling because they have nothing else to do.


title: Out-of-home advertising

text: In supermarkets, networks like Grocery TV and Starlite Media have established digital screens at various points in grocery stores to provide brands with opportunities to reach customers along their purchase journey. In addition to building brand awareness some of these networks are also able to tie direct results such as sales lift to advertising campaigns.


title: Out-of-home advertising

text: In gyms, Zoom Media (GymTV) engages fitness-minded audiences with lifestyle content, fitness tips, and music.


title: Out-of-home advertising

text: In 2015, DOOH has also started to extend to in-transit advertising. Tablets are installed inside ride-sharing vehicles like Uber, Lyft and Grab. Digital ads are displayed inside the screens allowing brands to reach high-value passengers. This type of DOOH leverages technology to improve ad distribution and better OOH audience targeting. GPS of tablets are used to enable location-based marketing. Brands can specify geo-fences to determine where their ads will be shown to passengers.


title: Out-of-home advertising

text: Within the DOOH industry, advertisements may be purchased through programmatic platforms. Programmatic platforms ask marketers to specify desired audience characteristics and automatically locate the media vehicles to deliver that audience. These platforms may allow buyers (the demand side) to plan, execute and monitor campaigns across multiple media platforms (the supply side) using a familiar workflow. A major difference between programmatic digital out-of-home (pDOOH) and traditional OOH or DOOH is that programmatic automates the process of buying, selling and delivering inventory across multiple screens with enhanced capabilities. These enhanced capabilities include the creation of measurable, highly-targeted campaigns by utilizing geolocation data to activate the best DOOH screens in real-time based on consumer behaviour and audience movement patterns. Additionally, programmatic allows buyers to set specific parameters or conditions (also known as triggers) for a campaign or inventory and unleash the potential to power campaigns with unlimited data sets from a myriad of data sources. Only when the selected conditions are met will an ad or content be served onto the screen.


title: Out-of-home advertising

text: Other types of non-digital OOH advertising include airport displays, transit and bus-shelter displays, headrest displays, double-sided panels, junior posters and mall displays.


title: Out-of-home advertising

text: Media fragmentation, competition from online media, as well as the need for greater efficiencies in media buying prompted companies to offer billboard inventory aggregation services


title: Out-of-home advertising

text: Interactive services are becoming increasingly more common with the move to digital outdoor advertising, such as allowing the public to connect, share and interact through their mobile devices in particular through WiFi connections. The technology behind these aggregated services continue to rise to the standards of mobile advertising when it comes to measurement and design abilities.


title: Out-of-home advertising

text: Space advertising, by use of an array of small satellites that reflect sunlight, has been evaluated by researchers at the Skolkovo Institute of Science and Technology.


title: The Accidental Prime Minister (film)

text: The Accidental Prime Minister is a 2019 Indian Hindi-language film directed by Vijay Ratnakar Gutte and written by Mayank Tewari, based on the 2014 memoir of the same name by Sanjaya Baru. It was produced by the Bohra Bros under Rudra Production (UK), in association with Jayantilal Gada under the banner of Pen India Limited. It stars Anupam Kher as Dr. Manmohan Singh, the 13th Prime Minister of India from 2004 to 2014 under the United Progressive Alliance.


title: The Accidental Prime Minister (film)

text: The film was released on 11 January 2019. It earned a moderate opening of at the box office on its first day and as of January 24.


title: The Accidental Prime Minister (film)

text: Based on the memoir by Indian policy analyst Sanjaya Baru, "The Accidental Prime Minister" explores the tenure of Manmohan Singh as the Prime Minister of India, and the interference of the Congress Party in contradicting his decisions during his first tenure. The movie details how Singh fell victim to the Congress Party's dynastic approach. The movie highlights how Manmohan Singh was constantly ignored by the Congress to maintain turf for Rahul Gandhi, the son of Sonia Gandhi


title: The Accidental Prime Minister (film)

text: Principal photography begun on 31 March 2018 in London. The London-based shooting schedule concluded on 21 April 2018. In India, most of the shoot occurred in New Delhi which later wrapped up on 4 July 2018.


title: The Accidental Prime Minister (film)

text: The first look of the film was released on 6 June 2017 through Anupam Kher's official Twitter handle. New poster of the film giving date of release of the film. With launch of new poster the release date has been advanced to 11 January 2019.


title: The Accidental Prime Minister (film)

text: The Hindi version film was released on 11 January 2019 on 1300 screens in India and 140 in overseas. The Tamil and Telugu dubbed versions released on 18 January 2019.


title: The Accidental Prime Minister (film)

text: The Economic Times has given the film 3.5 stars out of 5, describing the film as "well-crafted" and Kher's portrayal of Manmohan Singh "a convincing act".


title: The Accidental Prime Minister (film)

text: Utkarsh Mishra reviewing the film for Rediff.com, gives the film 3.5 stars out of 5, observes that the movie if carefully watched comes out as "well made", he criticises Kher for over dramatising Singh's walking style.


title: The Accidental Prime Minister (film)

text: Saibal Chatterjee of NDTV gave the film 1.5 stars out of 5, noting that “"The Accidental Prime Minister" is neither hugely entertaining nor engagingly dramatic.”


title: The Accidental Prime Minister (film)

text: Shubra Gupta of The Indian Express sums up the retort: ""The Accidental Prime Minister" is an out-an-out propaganda film, created for the specific purpose of making the former prime minister look like a weak, spineless man, a puppet whose strings were controlled by The Family".


title: The Accidental Prime Minister (film)

text: The Times of India's Ronak Kotecha gave the film 3.5 stars out of 5 stating "Bollywood has produced several political dramas that are intense, complex and dark, "The Accidental Prime Minister" has all of that in measured tones." Koimoi's Umesh Punwani gave the film 2 stars out of 5 stating "A Silent Disappointment. Akshaye Khanna is outstanding. I could just watch this movie again to fast-forward and go through just his scenes."


title: The Accidental Prime Minister (film)

text: Ajaz Ashraf writing for the "Firstpost" felt that the trailer of the film seemed to suggest that Sanjaya Baru was the media adviser and chief spokesperson of Manmohan Singh during 2011 Indian anti-corruption movement. However, Baru was only in this position during May 2004 to August 2008. The book ends in May 2009 when UPA returned to power following 2009 Indian general election. Baru had written 14-page epilogue with speculations and questions which is used as a pivotal subject in the film.


title: The Accidental Prime Minister (film)

text: In 2017, former Censor Board chief Pahlaj Nihalani had said that the filmmakers will need to obtain a No-objection certificates from former Prime Minister Manmohan Singh and Indian National Congress President Rahul Gandhi for the film.


title: The Accidental Prime Minister (film)

text: Ruling Bharatiya Janata Party promoted the trailer through their official Twitter account. Reacting to this, a Congress spokesperson alleged that the film was "political propaganda". Upon the release of the trailer, the Congress party's Maharashtra youth wing in a letter to the producers of the films raised objections to the “incorrect presentation of the facts” and demanded a special screening of the film. They later withdrew the letter, intending to not publicize the film.


title: The Accidental Prime Minister (film)

text: On 2 January 2019, lead actor Anupam Kher tweeted that people were reporting that the film's trailer was unseen as a top search result while being directly searched for on YouTube. The newspaper "India Today" conducted their own search, and confirmed Kher's allegations, noting that only after the following day was the trailer returned to its position as a top search result. This led to speculation that the trailer had initially been removed intentionally as part of an anti-propaganda campaign. On 8 January 2019, a local court in Bihar ordered FIR against Anupam Kher and thirteen other associated with the film for defaming political leaders.


title: Winnipeg (bear)

text: Winnipeg (1914 – 12 May 1934), or Winnie, was the name given to a female black bear that lived at London Zoo from 1915 until her death in 1934. Rescued by cavalry veterinarian Harry Colebourn, Winnie is best-remembered for inspiring A. A. Milne and E. H. Shepard's character, Winnie-the-Pooh.


title: Winnipeg (bear)

text: Upon the outbreak of World War I in August 1914, Lt. Harry Colebourn of The Fort Garry Horse, a Canadian cavalry regiment, volunteered his service. On 24 August, while en route to Valcartier in Quebec to report to the Canadian Army Veterinary Corps (CAVC) as part of the Canadian Expeditionary Force, he purchased a young bear cub for at a train stop in White River, Ontario. The bear's mother was probably killed in the spring of 1914 when the cub was very young and could most easily have become socialized to humans. The name of the hunter who sold the bear and who presumably provided the bear's early socialization is undocumented. Colebourn named the bear "Winnipeg Bear", "Winnie" for short, after his adopted home city of Winnipeg, Manitoba.


title: Winnipeg (bear)

text: Winnie accompanied him to Valcartier and all the way to England, becoming the mascot of the CAVC and a pet to the Second Canadian Infantry Brigade Headquarters. According to Colebourn’s six diaries that he kept during the war, on 3 October 1914, he and Winnie departed Gaspé Bay enroute for England aboard the S.S. Manitou along with numerous other liners filled with troops heading for England. On October 17, they disembarked and left Davenport, Greater Manchester, for Salisbury Plain at 7:00 that morning.


title: Winnipeg (bear)

text: Winnie's eventual destination was expected to be Assiniboine Park Zoo in Winnipeg, but at the end of the war, Colebourn allowed her to remain at the London Zoo, where she was much loved for her playfulness and gentleness.


title: Winnipeg (bear)

text: In 1919, the London Zoo held a dedication ceremony and erected a plaque that states Colebourn donated Winnie.


title: Winnipeg (bear)

text: Among Winnie's fans at the London Zoo was A. A. Milne's son Christopher Robin, who frequently visited the bear starting from 1924. Christopher Robin consequently changed the name of his own teddy bear from "Edward Bear" to "Winnie the Pooh" – a combination of Winnipeg Bear's name and a nickname he had given to a swan that he used to feed in the morning – providing the inspiration for his father's stories about Winnie-the-Pooh. In Milne's introduction to his first book about the bear, "Winnie-the-Pooh" (1926), he writes:So when Christopher Robin goes to the Zoo, he goes to where the Polar Bears are, and he whispers something to the third keeper from the left, and doors are unlocked, and we wander through dark passages and up steep stairs, until at last we come to the special cage, and the cage is opened, and out trots something brown and furry, and with a happy cry of "Oh, Bear!" Christopher Robin rushes into its arms. Now this bear’s name is Winnie, which shows what a good name for bears it is, but the funny thing is that we can’t remember whether Winnie is called after Pooh, or Pooh after Winnie. We did know once, but we have forgotten...


title: Winnipeg (bear)

text: There are several statues and plaques commemorating Winnipeg Bear. In 1981, a statue of a bear cub by sculptor Lorne McKean was unveiled at the London Zoo, along with a plaque commemorating Winnie.


title: Winnipeg (bear)

text: A bronze statue of Winnie and Colebourn holding hands, by sculptor William Epp, stands in Assiniboine Park in Winnipeg, in the park's Nature Playground. Originally unveiled on 6 August 1992 at Assiniboine Park Zoo, the statue and plaque were donated by the Kinsmen Club of Winnipeg. Epp's design is also seen in another statue at the London Zoo that was placed in 1993. Assiniboine Park also houses a small exhibit in its Pavilion Gallery called The Pooh Gallery, displaying "objects, archives, books, and works of art" that "reveal the multiple identities and histories of Winnie-the-Pooh."


title: Winnipeg (bear)

text: In 1996, Canada Post issued "Winnie and Lieutenant Colebourn, White River, 1914" stamps designed by Wai Poon with art direction by Anthony Van Bruggen and computer design by Marcelo Caetano. The 45¢ stamps are perforated 12.5 x 13 mm and were printed by Ashton-Potter Limited.


title: Winnipeg (bear)

text: In 1997, a plaque was donated to the London Zoo by the town of White River, Ontario, where Colebourn first met Winnie. On 30 May 1999, a special plaque commemorating the service of Colebourn to The Fort Garry Horse and Canadian Army Veterinary Corps was placed in the Zoo near the site of Winnie’s former home.


title: Winnipeg (bear)

text: Following Winnie's death in 1934, her skull was kept in the Odontological Museum at the Royal College of Surgeons Hunterian Museum in London, and went on public display for the first time in 2015.


title: Winnipeg (bear)

text: The story of Winnie the bear was portrayed in the 2004 film "A Bear Named Winnie", starring Michael Fassbender as Colebourn and Bonkers, a 1,000-pound male American black bear, as the adult Winnie.


title: Winnipeg (bear)

text: In 2011, Winnipeg author M.A. Appleby, whose father was a friend of Colebourn's son, wrote a children's book about the bear's life, titled "Winnie the Bear".


title: Winnipeg (bear)

text: In 2015, the children book "Finding Winnie" by Colebourn's great-granddaughter Lindsay Mattick was published. It is richly illustrated and describes Winnipeg's story in a way that is accessible to children, though still based in facts. The book won the 2016 Caldecott Medal.


title: Life360

text: Life360 Inc. is a San Francisco, California–based American information technology company that provides location-based services, including sharing and notifications, to consumers globally. Its main service is called Life360, a family social networking app released in 2008. It is a location-based service designed primarily to enable friends and family members to share their location with each other.


title: Life360

text: Life360 was founded by Chris Hulls and Alex Haro and has received a total of $90 million in funding since its launch, including funding from both Facebook and Google. The app was initially released in 2008 in the Android marketplace. The first funding for Life360 came in the form of a $275,000 grant as a winner of Google's 2008 Android Developer Challenge. Additional funding included $5.5 million in a Series A round, $17 million in a Series B round, and $50 million in a Series C round. Before going public, the company secured a total of 36 investors including Regal Funds Management, Sunstone Management, and several others.


title: Life360

text: Life360 entered into an agreement with BMW in 2013 to integrate the location services of Life360 with the navigation in BMW automobiles. The same year, Life360 surpassed Foursquare in the number of registered users with 34 million and reached more than 40 million registered users the same year. Life360 also saw an increase in user registration following the announcement from Google that they would be shutting down their Google Latitude platform in August 2013.


title: Life360

text: In 2016, Life360 added a feature that enables smartphones to detect when people are in a car crash and automatically contacts emergency response. In February 2016, Life360 acquired the private messaging application and Y Combinator grad "Couple" based in Mountain View, California.


title: Life360

text: At CES in January 2018, ADT announced ADT Go in partnership with Life360. ADT Go connects and protects families outside the home, utilizing ADT's expansive security infrastructure.


title: Life360

text: In May 2019, Life360 listed on the Australian Securities Exchange (ASX) under the ticker "360", raising proceeds totaling AU$145.4 million. The majority of the funds raised are to be used to grow the business globally and develop home insurance and home security products as well as auto insurance sold directly to service its customers.


title: Life360

text: In November 2019, the company acquired ZenScreen, a San Jose, California-based app that guides users and their families to track and attain screen time habits for a more balanced digital diet, for an undisclosed sum. By December 2019, Life360 surpassed 27 million monthly active users (MAUs).


title: Life360

text: In November 2021, Life360 agreed to acquire Tile in a $205 million acquisition, and later announced integration of the two services, expanding Tile's tracking reach.


title: Life360

text: Life360 is a mobile application and was referred to as a "family-oriented private social network" by "Bloomberg Businessweek". The app is a social network for families and differentiates itself in this way as it is not based around peer groups or professional networks such as Find My Friends and LinkedIn. It allows users to share locations, group message, and call for roadside assistance. It has four main features: location sharing, circles, places, and premium.


title: Life360

text: The main feature of the app is location sharing. Users can open the app and see where other members are instantly. Users can choose to share or not their location with any particular circle at any particular time.


title: Life360

text: Circles is the app's newest feature, released on September 3, 2013. Circles allows users to create separate groups within the app, e.g. "caregivers", "extended family", and "John's baseball team." Users' location is only visible to those who are also in the circle, and members in "caregivers" cannot see the location of users in "extended family", unless they are also in that circle.


title: Life360

text: Life360 allows users to create geofences that alert them when another enters or leaves another location.


title: Life360

text: Life360 operates as a freemium app, and users can pay for extra features. These extra features include: stolen phone insurance, access to a live advisor 24/7, unlimited creation of "Places", and emergency roadside assistance (known as 'Driver Protect').


title: Life360

text: CEO, Chris Hulls, created a TikTok account to initiate a dialogue with teenagers after intense criticism. Subsequently, Life360 released Bubbles which allows users to set a radius of between 1 and 25 miles and a set time frame of 1 to 6 hours. This means you won't be able to see where people are in the Bubbles however safety features and messaging features remain active.


title: Life360

text: An article by "The Washington Post" claims that parents are using the location sharing feature to track their teenage and adult children "in ways that resemble emotional abuse."


title: Life360

text: An article by "The Markup" reported that Life360 sells its users’ precise location data to data brokers. According to Life360’s privacy policy, these data “does not reasonably identify you directly”. The company later claimed it was no longer selling this type of data.


title: Life360

text: Life360 has received multiple awards including funding as winner of both Google Android Developer Challenge and Facebook fbFund. It received the People's Voice Award for Best Use of GPS or Location Technology at the 2012 Webby Awards. The same year it received the Reader's Choice Award from About.com as the Coolest Parenting Teens Gadget Winner.


title: Bia (mythology)

text: In Greek mythology, Bia (; Ancient Greek: Βία ; means "power, force, strength") is the personification of force.


title: Bia (mythology)

text: Bia and her siblings were constant companions of Zeus. They achieved this honour after supporting him in the Titan War along with their mother. Bia is one of the characters named in the Greek tragedy "Prometheus Bound", attributed to Aeschylus, where Hephaestus is compelled by the gods to bind Prometheus after he was caught stealing fire and offering the gift to mortals. Although she appears alongside her brother Kratos, she does not speak.


title: Bia (mythology)

text: Along with their mother, Bia and her siblings helped Zeus in his war against the Titans. The war, which was referred to as the Titanomachy, lasted for ten years, with the Olympian gods emerging victorious. Due to their heroic actions during the war, the four siblings won Zeus's respect and became his constant companions. They were almost always by his side as he sat on his throne in Mount Olympus, and they were tasked with enforcing Zeus's orders whenever he required an act of strength.""


title: Bia (mythology)

text: Bia is not as well known as her siblings Kratos or Nike, and when she appears in myths, she is usually silent. However, she does play a pivotal role in the story of Prometheus. Prometheus was one of the Titans and was often in conflict with Zeus. Eventually, he angered Zeus so much that he decided to punish him for all of eternity. He ordered that Prometheus be chained to a rock in the Caucasus Mountains. Bia and her brother, Kratos, were sent to carry out this task, but Bia was the only one strong enough to actually bind Prometheus to the rock with the unbreakable chains. Each day, an eagle would pluck out Prometheus's liver and eat it in front of him. Each night his liver would regrow, and the cycle would begin again, leaving him in perpetual torment.


title: Bronko Nagurski

text: Bronislau "Bronko" Nagurski (November 3, 1908 – January 7, 1990) was a Canadian-born professional American football player in the National Football League (NFL), renowned for his strength and size. Nagurski was also a successful professional wrestler, recognized as a multiple-time World Heavyweight Champion.


title: Bronko Nagurski

text: Nagurski became a standout playing both tackle on defense and fullback on offense at the University of Minnesota from 1927 to 1929, selected a consensus All-American in 1929 and inducted into the College Football Hall of Fame in its inaugural year of 1951. His professional career with the Chicago Bears, which began in 1930 and ended on two occasions in 1937 and 1943, also made him an inaugural inductee into the Pro Football Hall of Fame in 1963.


title: Bronko Nagurski

text: Nagurski was born in Rainy River, Ontario, Canada, in a family of Ukrainian and Polish descent. His family moved to International Falls, Minnesota, when he was five years old. His parents, "Mike" and Michelina Nagurski, were immigrants from Galicia. Nagurski grew up working on his parents' farm and sawmill, delivering groceries for his father's grocery store and in his teens laboring at nearby timbering operations, growing into a powerfully muscular six-footer.


title: Bronko Nagurski

text: Nagurski was discovered and signed by University of Minnesota head coach Clarence Spears, who drove to International Falls to meet another player. On the outside of town, he watched Nagurski out plowing a field without assistance. According to legend, Spears asked directions and Bronko lifted his plow and used it to point. He was signed on the spot to play for the Golden Gophers. Spears admitted he concocted the story on his long drive back to the university in Minneapolis.


title: Bronko Nagurski

text: Legends aside, on his first day of practice Spears decided to test Nagurski in the "Nutcracker" drill, where a defensive player had to take on two blockers and try to tackle a following ball carrier. On the first drill, two All-Big Ten linemen and Herb Joesting charged at Bronko, who promptly split the blockers and drove the big fullback into a blocking dummy. Spears sent in three more players, blew his whistle and watched Bronko produce the same explosive results and after a third try with the same conclusion realized what a super player he had recruited.


title: Bronko Nagurski

text: Nagurski became a standout playing both tackle on defense and fullback on offense at Minnesota from 1927 to 1929. In 1929, after posting 737 rushing yards, he was a consensus All-American at fullback, and despite playing fewer games at the position also made some All-American teams at tackle. The pre-eminent sportswriter of the day, Grantland Rice, listed him at the two positions in picking his 1929 All-America team. Rice later wrote, "Who would you pick to win a football game: 11 Jim Thorpes, 11 Glen Davises, 11 Red Granges, or 11 Bronko Nagurskis? The 11 Nagurskis would be a mop-up. It would be something close to murder and massacre. For the Bronk could star at any position on the field, with of authority to back him up."


title: Bronko Nagurski

text: His greatest collegiate game was against Wisconsin in the season finale in 1928. Wearing a corset to protect cracked vertebrae, he recovered a Badger fumble deep in their territory, then ran the ball six straight times to score the go-ahead touchdown. Later in the same game, he intercepted a pass to seal the victory.


title: Bronko Nagurski

text: During his three varsity seasons at Minnesota, the Gophers went and won the Big Ten Conference championship in 1927. Nagurski was inducted into the College Football Hall of Fame in 1951.


title: Bronko Nagurski

text: While at the University of Minnesota, Nagurski was a member of Sigma Chi fraternity, at the same time as another All-American, Herb Joesting.


title: Bronko Nagurski

text: Nagurski turned professional to play for the Chicago Bears from 1930 to 1937. At and , he was a formidable presence, and in his day he was a dominant force, helping the Bears win several division titles and two NFL championships. He ended his eight-year stint with 3,947 rushing yards on 856 attempts, completed 36 of 80 passes, and scored a total of 236 points.


title: Bronko Nagurski

text: Nagurski had the largest recorded NFL Championship ring size at and wore a size-8 helmet. He was probably the largest running back of his time, bigger than most linemen of the day, often dragging multiple tacklers with him. In a time when players were expected to play on both sides of the ball, he was a standout defensive lineman as well playing a ranging tackle or "The Monster." After an injury, instead of sitting on the bench, he would sometimes be put in as an offensive tackle. In a 1984 interview with "Sports Illustrated" writer Paul "Dr. Z" Zimmerman, when asked what position he would play if he were coming up in the present day, he said, "I would probably be a linebacker today. I wouldn't be carrying the ball 30 or 35 times a game."


title: Bronko Nagurski

text: A time-honored and perhaps apocryphal story about Nagurski is a scoring gallop that he made against the Washington Redskins, knocking two linebackers in opposite directions, stomping a defensive back and crushing a safety, then bouncing off the goalposts and cracking Wrigley Field's brick wall. On returning to the huddle for the extra point try, he reportedly said: "That last guy hit me awfully hard."


title: Bronko Nagurski

text: Once in a game against the Packers, the Bears prepared to punt, and Green Bay's Cal Hubbard went to Red Grange and said: "I promise not to try to block the kick, Red, but get out of the way so I can get a shot at that Polack." Grange, glad not to try to block Hubbard for once, obliged. Cal tore through the line, slammed into Nagurski and bounced off. Rising slowly, he turned to Grange and said: "Hey, Red, don't do me any more favors."


title: Bronko Nagurski

text: At the end of the 1932 season, the Chicago Bears and the Portsmouth Spartans were tied with the best regular-season records. To determine the champion, the league voted to hold its first playoff game. Because of cold weather, the game was held indoors at Chicago Stadium, which forced some temporary rule changes. Chicago won, 9–0. In the fourth quarter of the 1932 game, the Bears scored on a controversial touchdown: Carl Brumbaugh handed the ball off to fullback Nagurski, who pulled up and threw to Red Grange in the end zone for the score. The Spartans argued that Nagurski did not drop back five yards before passing to Grange, but the touchdown stood. The playoff proved so popular that the league reorganized into two divisions for the 1933 season, with the winners advancing to a scheduled championship game. A number of new rule changes were also instituted: the goal posts were moved forward to the goal line, every play started from between the hash marks, and forward passes could originate from anywhere behind the line of scrimmage (instead of the previous five yards behind).


title: Bronko Nagurski

text: In 1943, with the Bears losing so many players to World War II, Nagurski came out of retirement to play tackle. He remained at the position until he returned to fullback against the Chicago Cardinals, whom the Bears needed to defeat to advance to the 1943 NFL Championship Game; Nagurski scored a touchdown in the game as the Bears won 35–24. Chicago went on to win the 1943 title after beating the Washington Redskins 41–21, while Nagurski scored on a three-yard touchdown run in the second quarter.


title: Bronko Nagurski

text: He retired again after the 1943 season and became the backfield coach for the UCLA Bruins. After one year, he resigned from his position with the Bruins to return to farming. Two years later he returned to football for a brief time as general manager of the Sylvan Park Dead Cherokees, a semi-pro team in Tennessee.


title: Bronko Nagurski

text: During his football career, he built a second athletic career as a professional wrestler and became a major box-office attraction. Tony Stecher, brother of former world champion Joe Stecher, introduced Nagurski to wrestling in 1933 and became his manager. Nagurski defeated Tag Tagerson in his ring debut. Hitting his peak in the late 1930s, Nagurski won a limited version of the world championship by defeating Dean Detton on June 29, 1937. But he finally achieved full recognition with his first National Wrestling Association world title by defeating Lou Thesz on June 23, 1939. Losing the title to Ray Steele on March 7, 1940, he regained it from Steele one year later on March 11, 1941, but lost it three months later to Sandor Szabo on June 5, 1941. Nagurski continued to wrestle until 1960.


title: Bronko Nagurski

text: Nagurski married his childhood sweetheart, Eileen Kane, on December 28, 1936. The couple had six children: sons Bronko Jr., Tony, Ronald and Kevin, and daughters Genie and Janice. Bronko Jr. was born on Christmas Day 1937, played football at the University of Notre Dame, and became an all-star with the Hamilton Tiger-Cats of the Canadian Football League.


title: Bronko Nagurski

text: After Nagurski's retirement from wrestling, he returned home to International Falls and opened a service station. A local legend claims that Nagurski had the best repeat business in town because he would screw customers' gas caps on so tightly after filling their tanks that no one else in town could unscrew them. He retired from that in 1978, at the age of seventy, and lived out a quiet life on the shores of Rainy Lake on the Canada–U.S. border.


title: Bronko Nagurski

text: In January 1984, Nagurski performed the coin toss at Super Bowl XVIII in Tampa, Florida, with Washington Redskins quarterback and co-captain Joe Theismann calling the toss on behalf of his team's co-captains and the captains of the opposing Los Angeles Raiders.


title: Bronko Nagurski

text: On January 7, 1990, Nagurski died of cardiac arrest in International Falls, Minnesota, and is buried at its Forest Hill Cemetery.


title: Bronko Nagurski

text: Nagurski was elected to the Pro Football Hall of Fame as a charter member on September 7, 1963. At the University of Minnesota house of his fraternity, Sigma Chi, Nagurski's jersey and Significant Sig recognition certificate are on display. After his death, the town of International Falls honored him by opening the Bronko Nagurski Museum in Smokey Bear Park.


title: Bronko Nagurski

text: "Sports Illustrated" named Nagurski one of the four greatest athletes in Minnesota state history; the other three were Dave Winfield, Kevin McHale, and Joe Mauer. In 1993, the Football Writers Association of America created the Bronko Nagurski Trophy, awarded annually to the best defensive player in college football. Notable winners include Warren Sapp, Charles Woodson, Terrell Suggs, Champ Bailey and Derrick Johnson. In 1999 Nagurski was selected by "Sports Illustrated" as a starting defensive tackle for their "NCAA Football All-Century Team". The other starting defensive tackle on that list was Rich Glover. In 2007, Nagurski was ranked No. 17 on ESPN's Top 25 Players In College Football History list.


title: Bronko Nagurski

text: In 1999, he was ranked No. 35 on "The Sporting News"' list of the 100 Greatest Football Players, the highest-ranking foreign-born player. In 2000, he was voted the second-greatest Minnesotan sportsman of the 20th century by the sportswriters of the "Star Tribune", coming in behind only Minnesota Twins Hall of Famer Kirby Puckett.


title: Bronko Nagurski

text: A fictionalized eyewitness account of Nagurski's 1943 comeback is the subject of a dramatic monologue in the 2001 film version of "Hearts in Atlantis." The film's screenwriter, William Goldman, repeated much of this rendition from his earlier account of the same story in his novel "Magic."


title: Bronko Nagurski

text: In 2009, Nagurski was an honorary team captain, represented by his son, Bronko Nagurski Jr., at the opening game of TCF Bank Stadium. His home town International Falls high school nickname is the Broncos in his honor.


title: Bronko Nagurski

text: In September 2021, he was an inductee into the National Polish-American Hall of Fame, housed in Troy, Michigan.


title: Werecat

text: A werecat (also written in a hyphenated form as were-cat) is an analog to "werewolf" for a feline therianthropic creature.


title: Werecat

text: Ailuranthropy comes from the Greek root words "ailouros" meaning "cat",< and "anthropos", meaning "human" and refers to human/feline transformations, or to other beings that combine feline and human characteristics. Its root word "ailouros" is also used in ailurophilia, the most common term for a deep love of cats.


title: Werecat

text: Depending on the story in question, the species involved can be a domestic cat, a tiger, a lion, a leopard, a lynx, or any other type, including some that are purely mythical felines. Werecats are increasingly featured in popular culture, although not as often as werewolves.


title: Werecat

text: European folklore usually depicts werecats as people who transform into domestic cats. Some European werecats became giant domestic cats or panthers. They are generally labelled witches, even though they may have no magical ability other than self-transformation. During the witch trials, all shapeshifters, including werewolves, were considered witches whether they were male or female.


title: Werecat

text: African legends describe werelions, werepanthers or wereleopards. In the case of leopards, this is often because the creature is really a leopard deity masquerading as a human. When these gods mate with humans, offspring can be produced, and these children sometimes grow up to be shapeshifters; those who don't transform may instead have other powers. In reference to werecats who turn into lions, the ability is often associated with royalty. Such a being may have been a king or queen in a former life.


title: Werecat

text: In Africa, there are folk tales that speak of the "Nunda," or the "Mngwa," a big cat of immense size that stalks villages at night. Many of these tales say it is more ferocious than a Lion and more agile than a Leopard. The Nunda are believed by some to be a variation of therianthrope that, by day, is a human, but by night becomes the werecat. No actual evidence of such a creature existing has ever been documented, but in 1938 a British administrator named William Hitchens, working in Tanzania, was told by locals that a monstrous cat had been attacking people at night. Huge paw prints were found to be much larger than any known big-cat, but Hitchens dismissed the case, believing it more likely to be a lion with gigantism.


title: Werecat

text: Mainland Asian werecats usually become tigers. In India, the weretiger is often a dangerous sorcerer, portrayed as a menace to livestock, who might at any time turn to man-eating. These tales travelled through the rest of India and into Persia through travellers who encountered the royal Bengal tigers of India and then further west. Chinese legends often describe weretigers as the victims of either a hereditary curse or a vindictive ghost. Alternatively, the ghosts of people who had been killed by tigers could become a malevolent supernatural being known as "Chang" (伥), devoting all their energy to making sure that tigers killed more humans. Some of these ghosts were responsible for transforming ordinary humans into man-eating weretigers. Also, in Japanese folklore there are creatures called bakeneko that are similar to kitsune (fox spirits) and bake-danuki (Japanese raccoon dog spirits). In Thailand a tiger that eats many humans may become a weretiger. There are also other types of weretigers, such as sorcerers with great powers who can change their form to become animals.


title: Werecat

text: In both Indonesia and Malaysia there is another kind of weretiger, known as Harimau jadian. In Malaysia, Bajangs have been described as vampiric or demonic werecats. The Kerinchi Malays of Sumatra were reputed to have the ability to transform into weretigers.


title: Werecat

text: In the central area of the Indonesian island of Java the power of transformation is regarded as due to inheritance, to the use of spells, to fasting and willpower, to the use of charms, etc. Save when it is hungry or has just cause for revenge it is not hostile to man; in fact, it is said to take its animal form only at night and to guard the plantations from wild pigs. Variants of this belief assert that the shapeshifter does not recognize his friends unless they call him by name, or that he goes out as a mendicant and transforms himself to take vengeance on those who refuse him alms. Somewhat similar is the belief of the Khonds; for them the tiger is friendly, and he reserves his wrath for their enemies. A man is said to take the form of a tiger in order to wreak a just vengeance.


title: Werecat

text: The foremost were-animal in pre-Columbian Mesoamerican cultures was the were-jaguar. It was associated with the veneration of the jaguar, with priests and shamans among the various peoples who followed this tradition wearing the skins of jaguars to "become" a were-jaguar. Among the Aztecs, an entire class of specialized warriors who dressed in the jaguar skins were called "jaguar warriors" or "jaguar knights". Depictions of the jaguar and the were-jaguar are among the most common motifs among the artifacts of the ancient Mesoamerican civilizations.


title: Werecat

text: N. W. Thomas wrote in the 11th ed. of the "Encyclopaedia Britannica" (1911) that, according to Carl Friedrich Philipp von Martius (1794–1868), the "kanaima" was a human being who employed poison to carry out his function of blood avenger, and that other authorities represent the "kanaima" as a jaguar, which was either an avenger of blood or the familiar of a cannibalistic sorcerer. He also mentioned that in 1911 some Europeans in Brazil believed that the seventh child of the same sex in unbroken succession becomes a were-man or woman, and takes the form of a horse, goat, jaguar or pig.


title: Werecat

text: In the US, urban legends tell of encounters with feline bipeds; beings similar to the Bigfoot having cat heads, tails, and paws. Feline bipeds are sometimes classified as part of cryptozoology, but more often they are interpreted as werecats.


title: Werecat

text: Assertions that werecats truly exist and have an origin in supernatural or religious realities have been common for centuries, with these beliefs often being hard to entirely separate from folklore. In the 19th century, occultist J. C. Street asserted that material cat and dog transformations could be produced by manipulating the "ethereal fluid" that human bodies are supposedly floating in. The Catholic witch-hunting manual, the "Malleus Maleficarum", asserted that witches can turn into cats, but that their transformations are illusions created by demons. New Age author John Perkins asserted that every person has the ability to shapeshift into "jaguars, bushes, or any other form" by using mental power. Occultist Rosalyn Greene claims that werecats called "cat shifters" exist as part of a "shifter subculture" or underground New Age religion based on lycanthropy and related beliefs.


title: Daniil Trifonov

text: Daniil Olegovich Trifonov (; born 5 March 1991) is a Russian pianist and composer. Described by "The Globe and Mail" as "arguably today's leading classical virtuoso" and by "The Times" as "without question the most astounding pianist of our age", Trifonov's honors include a Grammy Award win in 2018 and the Gramophone Classical Music Awards' Artist of the Year Award in 2016. "The New York Times" has noted that "few artists have burst onto the classical music scene in recent years with the incandescence" of Trifonov. He has performed as soloist with such orchestras as the New York Philharmonic, Cleveland Orchestra, Royal Philharmonic Orchestra, London Symphony Orchestra, Mariinsky Theatre Orchestra, Royal Concertgebouw Orchestra, Berlin Philharmonic, San Francisco Symphony, Montreal Symphony Orchestra, Houston Symphony and the Munich Philharmonic, and has given solo recitals in such venues as Royal Festival Hall, Carnegie Hall, John F. Kennedy Center for the Performing Arts, Berliner Philharmonie, Théâtre des Champs-Élysées, Concertgebouw, and the Seoul Arts Center.


title: Daniil Trifonov

text: Born in Nizhny Novgorod, Trifonov began studying piano at the age of five and performed in his first solo recital at the age of seven. In 2000, he began studying with at the Gnessin School of Music in Moscow. From 2009 to 2015, Trifonov studied with Sergei Babayan at the Cleveland Institute of Music. In 2011, he won the First Prize and Grand Prix at the International Tchaikovsky Competition in addition to the First Prize at the Arthur Rubinstein International Piano Master Competition, and in 2010 was a prizewinner at the International Chopin Piano Competition. In 2013, Trifonov signed a recording contract with Deutsche Grammophon; his first album for the label, a live recording of his debut solo recital at Carnegie Hall, was nominated for a Grammy Award for Best Classical Instrumental Solo. He later won a Grammy in 2018 for an album of the complete transcendental études for piano by Franz Liszt. His albums have appeared on international record chart rankings, with seven ranking on "Billboard" Top Classical Album charts.


title: Daniil Trifonov

text: Trifonov was born in Nizhny Novgorod, Soviet Union on 5 March 1991, the only child of a composer father and a music teacher mother. He began studying the piano at the age of five, and gave his first solo concert at seven. When Trifonov was eight years old, he gave his first performance with an orchestra in a Mozart concerto, losing one of his baby teeth during the performance. In 2000, the family moved to Moscow, and Trifonov began studying under at the Gnessin School of Music. He also studied composition with Vladimir Dovgan from 2006 to 2009. In 2009, at the recommendation of Tatiana Zelikman, Trifonov commenced studies with Sergei Babayan at the Cleveland Institute of Music, receiving an Artist Certificate in 2013 and an Artist Diploma in 2015. Of his student, Babayan said: "Having a rare diamond like Daniil Trifonov in my studio is a huge responsibility and happiness. Just like for a parent realizing that his child is more than very special, [...] I wouldn't want to use too strong words, but I think there are very few musicians like Daniil in the world. He is the music for me." While at the Cleveland Institute of Music, he was also a composition student of Keith Fitch.


title: Daniil Trifonov

text: In 2006, at the age of 15, Trifonov won Third Prize in the Moscow International F. Chopin Competition for Young Pianists held in Beijing, China. At the age of 17, in 2008, Trifonov won Fifth Prize at the 4th International Scriabin Competition in Moscow, and First Prize at the 3rd International Piano Competition of San Marino, where he also received the Special Prize for the best performance of Chick Corea’s composition "Afterthought".


title: Daniil Trifonov

text: In 2010 he performed in the Rathausplatz, Vienna (Vienna City Hall Square) as one of seven finalists of the Eurovision Young Musicians. In 2010, Trifonov became a medalist of the distinguished XVI International Chopin Piano Competition in Warsaw,


title: Daniil Trifonov

text: where he won Third Prize and the Special Prize of Polish Radio for the best mazurka performance. In the final round of the competition, he was given the maximum score by jury members Nelson Freire and Martha Argerich. Later, in 2011, Argerich told the "Financial Times" that Trifonov had "everything and more", adding: "What he does with his hands is technically incredible. It’s also his touch – he has tenderness and also the demonic element. I never heard anything like that".


title: Daniil Trifonov

text: In May 2011, Trifonov won the First Prize at the XIII Arthur Rubinstein International Piano Master Competition in Tel Aviv, winning also the Pnina Salzman Prize for the Best Performer of a Chopin piece, the Prize for the Best Performer of Chamber Music and the Audience Favorite Prize. A few weeks after winning the Rubinstein Competition, Trifonov was awarded the First Prize, Gold Medal, and Grand Prix at the XIV International Tchaikovsky Competition in Moscow. Trifonov also won the Audience Award and the Award for the Best Performance of a Chamber Concerto. In a statement released after Trifonov's winning of the Tchaikovsky competition, Cleveland Institute of Music President Joel Smirnoff wrote: "In Mr. Trifonov, we are seeing the emergence of a major artistic interpreter of the piano literature. One must marvel at his remarkable performances in the recent Chopin, Rubinstein, and Tchaikovsky competitions, and we look forward in the coming years to hearing and watching him share his special, expressive and virtuosic talents with the greater world." For the twelve months following the competition, Trifonov performed some 85 concerts; he received 150 offers, but said "at my age, 150 would be suicidal". One of these concerts took place shortly after the Tchaikovsky competition, in July 2011: Trifonov played a recital in Mannes School of Music as part of the International Keyboard Institute and Festival. Writing in "The New York Times", Anthony Tommasini noted that Trifonov "has scintillating technique and a virtuosic flair", but is "also a thoughtful artist and, when so moved, he can play with soft-spoken delicacy, not what you associate with competition conquerors".


title: Daniil Trifonov

text: In October, in a review of a concert where Trifonov performed Tchaikovsky's Piano Concerto No. 1 with the Mariinsky Theatre Orchestra conducted by Valery Gergiev at George Mason University's Center for the Arts, Anne Midgette of "The Washington Post" called Trifonov's playing "freakishly brilliant", but added that it wasn't always "easy or even enjoyable to hear" and left her "enervated and slightly disturbed". Midgette noted that "throughout the piece, routine patches or banging (was it a bad piano?) would yield to moments of startling precision that offered unexpected insights. Toward the end of the first movement, he played with such intensity that it seemed as if this moment was the greatest or most powerful thing that one could possibly experience. At that moment, for this 20-year-old pianist, it was." However, of Trifonov's encore, a Chopin Grande valse brillante, Midgette wrote that it "sealed the deal" that Trifonov "is a major artist in the making". She added that Trifonov's rubato "was a byproduct of the music rather than something inflicted on it, and the waltz’s repeating theme, which often feels dutiful and even hackneyed by its final iterations, sounded new, natural, self-evident and delightful each time he played it".


title: Daniil Trifonov

text: Three days later, Trifonov made his Carnegie Hall debut in the same concerto with the same orchestra and conductor: James R. Oestreich of "The New York Times" was critical of the performance: "Mr. Trifonov’s performance often seemed frenetic rather than magisterial. And he tended to offset extremely fast playing with extremely slow, more maundering than meditative: a manic-depressive approach that might be appropriate to Tchaikovsky’s Pathétique Symphony but not to this vital concerto." However, Oestreich noted that in Trifonov's two encores, the Chopin Grande valse brillante in E-flat major (Op. 18) and Liszt's "La campanella", the pianist "showed greater sensitivity, taste and imagination".


title: Daniil Trifonov

text: In November, Trifonov performed a sold-out recital at the Cleveland Institute of Music. Of that concert, Donald Rosenberg of "The Plain Dealer" wrote that Trifonov's playing was "virtuosic and sensitive, combining remarkable command of the keyboard with an abiding joy of music-making".


title: Daniil Trifonov

text: In 2012, some of Trifonov's debuts included appearances with the New York Philharmonic, Chicago Symphony Orchestra, Cleveland Orchestra, and recitals in Wigmore Hall and Queen Elizabeth Hall in London, Longy School of Music of Bard College in Boston, the Musikverein in Vienna, and the Salle Pleyel in Paris. Of his debut with the New York Philharmonic at David Geffen Hall (then named Avery Fisher Hall) in Prokofiev's Piano Concerto No. 3 (Op. 26) conducted by Alan Gilbert, Vivien Schweitzer of "The New York Times" wrote that Trifonov "offered far more than mere virtuosity", demonstrating "an elegant touch and witty grace in more lighthearted moments and poetic insight in more introspective passages". Of his debut with the Cleveland Orchestra at its Blossom Festival in Chopin's Piano Concerto No. 1 conducted by James Gaffigan, "The Plain Dealer" noted that his performance "demonstrated exquisite finger control, a good ear for tonal shading and supreme contrapuntal clarity". On the other hand, of his Wigmore Hall debut, Martin Kettle of "The Guardian" wrote that "there is a rawness in [Trifonov's] playing that is by turns intoxicating and frustrating", adding that "the battle for his artistic soul is still taking place."


title: Daniil Trifonov

text: In February 2013, Trifonov made his recital debut at Carnegie Hall. In a review of that concert, Vivien Schweitzer of "The New York Times" noted that Trifonov gave a "beautifully shaped, introspective and elegantly colored interpretation" of Alexander Scriabin's Piano Sonata No. 2 (Op. 19) and that his "soulful artistry and virtuoso chops were in full evidence" in Franz Liszt's Piano Sonata in B minor. However, of the Liszt Sonata, Schweitzer wrote that "overall his interpretation lacked an essential power and demonic fury," adding that "hardly surprising if at only 21 Mr. Trifonov is not yet at the height of his artistry; it will doubtless be even more rewarding to hear him play this work in a few years." The concert was recorded by Deutsche Grammophon for an album release later in the year that was a huge success; it peaked at #18 in "Billboard" Top Classical Albums charts and was nominated for a Grammy Award. Also in 2013 he was awarded the Franco Abbiati Prize for Best Instrumental Soloist by Italy's foremost music critics. Previous recipients of the prestigious award include such renowned keyboard artists as Maurizio Pollini, Arturo Benedetti Michelangeli, Sviatoslav Richter, Radu Lupu, and András Schiff.


title: Daniil Trifonov

text: In 2014, the Cleveland Institute of Music commissioned Trifonov to write a concerto for piano and orchestra. The world premiere of the Piano Concerto in E-flat minor took place on 23 April; the composer was soloist and was accompanied by the CIM Orchestra conducted by Joel Smirnoff. Of the performance, Zachary Lewis of "The Plain Dealer" wrote that "even having seen it, one cannot quite believe it. Such is the artistry of pianist-composer Daniil Trifonov." He also wrote of the concerto that while it "contained whole expanses of raw originality, the work also struck this listener as heavily indebted to such masters as Scriabin, Bartok, Shostakovich and Prokofiev."


title: Daniil Trifonov

text: From 2014 to 2015, Trifonov performed the complete cycle of Rachmaninoff piano concertos and "Rhapsody on a Theme of Paganini" with the New York Philharmonic. He also recorded the "Rhapsody on a Theme of Paganini" with the Philadelphia Orchestra conducted by Yannick Nézet-Séguin for his second album for DG. The album, which included other solo works by Rachmaninoff as well as his own composition "Rachmaniana", secured Trifonov his second Grammy nomination.


title: Daniil Trifonov

text: In 2016, Trifonov released an album of the complete études for piano by Liszt. The album was a major success. It was the winner of the Grammy Award for Best Classical Instrumental Solo in 2018, was listed on "The New York Times" "Best Classical Music Recordings of 2016", and appeared in numerous record charts internationally, including the number one position of UK Classical Charts' Specialist Classical Albums Chart and the number four position on "Billboard" Top Classical Albums chart. He was also in 2016 awarded two British prestigious awards: Gramophone Classical Music Awards’ Artist of the Year Award and Instrumentalist Award of the Royal Philharmonic Society Music Awards.


title: Daniil Trifonov

text: In 2017 Trifonov was awarded one of the most significant awards in musical performance, the Herbert von Karajan Prize at the Salzburg Easter Festival.


title: Daniil Trifonov

text: Trifonov has served as Berlin Philharmonic’s Artist-in-Residence for the 2018–2019 season. As part of the residency, Trifonov performed a solo recital and a recital of Lieder with Matthias Goerne. In June 2019, he performed the Scriabin Piano Concerto (Op. 20) with the orchestra conducted by Andris Nelsons and performed a concert of chamber music with members of the orchestra in a program that included his own Piano Quintet.


title: Daniil Trifonov

text: In 2019, Trifonov was named New York Philharmonic’s Artist-in-Residence for the 2019–2020 season. He was also named "Musical America"'s Artist of the Year for 2019.


title: Daniil Trifonov

text: Trifonov's first three albums were devoted entirely to the music of Chopin; they were recorded in 2010 and released in 2011 on the Decca Records, Dux Records, and Fryderyk Chopin Institute labels. In 2012, on the Mariinsky label, an album that included a recording of Tchaikovsky's Piano Concerto No. 1 with the Mariinsky Theatre Orchestra conducted by Valery Gergiev was released; this recording was described by "International Piano" magazine as "a simply remarkable disc [...] Daniil Trifonov's playing is a heady mix of super-virtuoso and the ability to generate the utmost tenderness ... He demonstrates an enviable variety of touch and shading ... the couplings are as intelligent as they are magnificent".


title: Daniil Trifonov

text: In 2013, Trifonov signed an exclusive recording contract with Deutsche Grammophon (DG). His first album for DG, The Carnegie Recital, was of a live recording from a recital he had given in Carnegie Hall that month, and for which he received his first Grammy nomination. Trifonov was also nominated for a Grammy in 2015 for his next album for DG, which included a recording of Rachmaninoff's "Rhapsody on a Theme of Paganini" with the Philadelphia Orchestra conducted by Yannick Nézet-Séguin. In 2016, Trifonov recorded the complete piano études of Franz Liszt in his next album for DG, which was a major success. It reached the number one position in the Specialist Classical Albums Chart in the United Kingdom in October 2016, was designated one of "The Best Classical Music Recordings of 2016" by "The New York Times", and won the 2018 Grammy Award for Best Classical Instrumental Solo. Trifonov has earned considerable commercial and critical success for his discography. In 2016, Trifonov received the Gramophone Classical Music Awards' Artist of the Year Award. His successes also include appearances on international record chart rankings, including seven albums that have ranked on "Billboard" Top Classical Album charts.


title: Doctor Who (season 1)

text: The first season of British science fiction television programme "Doctor Who" was originally broadcast on BBC TV between 1963 and 1964. The series began on 23 November 1963 with "An Unearthly Child" and ended with "The Reign of Terror" on 12 September 1964. The show was created by BBC Television head of drama Sydney Newman to fill the Saturday evening timeslot and appeal to both the younger and older audiences of the neighbouring programmes. Formatting of the programme was handled by Newman, head of serials Donald Wilson, writer C. E. Webber, and producer Rex Tucker. Production was overseen by the BBC's first female producer Verity Lambert and story editor David Whitaker, both of whom handled the scripts and stories.


title: Doctor Who (season 1)

text: The season introduces William Hartnell as the first incarnation of the Doctor, an alien who travels through time and space in his TARDIS, which appears to be a British police box on the outside. Carole Ann Ford is also introduced as the Doctor's granddaughter Susan Foreman, who acts as his companion alongside her schoolteachers Ian Chesterton and Barbara Wright, portrayed by William Russell and Jacqueline Hill, respectively. Throughout the season, the Doctor and his companions travel throughout history and into the future. Historical stories were intended to educate viewers about significant events in history, such as the Aztec civilisation and the French Revolution; futuristic episodes took a more subtle approach to educating viewers, such as the theme of pacifism with the Daleks.


title: Doctor Who (season 1)

text: The first eight serials were written by six writers: Whitaker, Anthony Coburn, Terry Nation, John Lucarotti, Peter R. Newman, and Dennis Spooner. Webber also co-wrote the show's first episode. The show was developed with three particular story types envisioned: past history, future technology, and alternative present; Coburn, Lucarotti, and Spooner wrote historical episodes, Nation and Newman penned futuristic stories, and Whitaker wrote a "filler" serial set entirely in the TARDIS. The serials were mostly directed by junior directors, such as Waris Hussein, John Gorrie, John Crockett, Henric Hirsch, Richard Martin, Christopher Barry, and Frank Cox; the exception is experienced director Mervyn Pinfield, who directed the first four episodes of "The Sensorites". Filming started in September 1963 and lasted for approximately nine months, with weekly recording taking place mostly at Lime Grove Studios or the BBC Television Centre.


title: Doctor Who (season 1)

text: The first episode, overshadowed by the assassination of John F. Kennedy the previous day, was watched by 4.4 million viewers; the episode was repeated the following week, and the programme gained popularity with audiences, particularly with the introduction of the Daleks in the second serial, which peaked at 10.4 million viewers. The season received generally positive reviews, with praise particularly directed at the scripts and performances. However, many retrospective reviewers noted that Susan lacked character development and was generally portrayed as a damsel in distress, a criticism often echoed by Ford. Several episodes were erased by the BBC between 1967 and 1972, and only 33 of a total of 42 episodes survive; all seven episodes of "Marco Polo" and two episodes of "The Reign of Terror" remain missing. The existing serials received several VHS and DVD releases as well as tie-in novels.


title: Doctor Who (season 1)

text: In March 1963, BBC Television's Controller of Programmes Donald Baverstock informed Head of Drama Sydney Newman of a gap in the schedule on Saturday evenings between the sports showcase "Grandstand" and the pop music programme "Juke Box Jury". Baverstock figured that the programme should appeal to three audiences: children who had previously been accustomed to the timeslot, the teenage audience of "Juke Box Jury", and the adult sports fan audience of "Grandstand". Newman decided that a science fiction programme should fill the gap. Head of Serials Donald Wilson and writer C. E. Webber contributed heavily to the formatting of the programme, and co-wrote the programme's first format document with Newman; the latter conceived the idea of a time machine larger on the inside than the outside, as well as the central character of the mysterious "Doctor", and the show's name "Doctor Who". Production was initiated several months later and handed to producer Verity Lambert and story editor David Whitaker to oversee, after a brief period when the show had been handled by a "caretaker" producer, Rex Tucker.


title: Doctor Who (season 1)

text: William Hartnell portrayed the first incarnation of the Doctor (referred to as "Dr. Who") in this season. The role was originally offered to Hugh David, Leslie French, Cyril Cusack, Alan Webb and Geoffrey Bayldon; David, Cusack and Webb turned down the role as they were reluctant to work on a series, while Bayldon wished to avoid another "old man" role. Lambert and director Waris Hussein invited Hartnell to play the role; he accepted after several discussions, viewing it as an opportunity to take his career in a new direction. Hartnell had always wished to play an older character in his work, but failed to do so, becoming typecast as a "tough" actor due to his roles in "Carry On Sergeant" (1958) and "The Army Game" (1957–61). Although portrayed as grumpy and antagonistic in early episodes, the Doctor warms to his companions as the show progresses.


title: Doctor Who (season 1)

text: The Doctor's granddaughter Susan Foreman was portrayed by Carole Ann Ford, a 23-year-old who typically played younger roles. Lambert was originally in talks with actress Jacqueline Lenya for the role, and several actresses auditioned for the part, including Christa Bergmann, Anne Castaldini, Maureen Crombie, Heather Fleming, Camilla Hasse, Waveney Lee, Anna Palk and Anneke Wills. Ford felt that the character of Susan deteriorated throughout the series; although the show's initial pitch depicted Susan as a strange alien creature, she often played the damsel in distress role, panicking at minor events. Susan's school teachers Ian Chesterton and Barbara Wright were played by William Russell and Jacqueline Hill, respectively. Russell was the only actor considered by Lambert for the role of Chesterton. While Sally Home, Phyllida Law and Penelope Lee were considered for Barbara, Lambert chose Hill, her friend, for the role.


title: Doctor Who (season 1)

text: Three particular story types were envisioned for the show: history of the past, technology in the future, and alternatives of the present. Historical stories were intended to educate viewers about significant events in history, such as the Aztec civilisation and the French Revolution; futuristic episodes took a more subtle approach to educating viewers, such as the theme of pacifism in "The Daleks".


title: Doctor Who (season 1)

text: The programme was originally intended to open with a serial entitled "The Giants", written by Webber, but was scrapped by June 1963 as the technical requirements of the storyline—which involved the leading characters being drastically reduced in size—were beyond the technical capabilities, and the story itself lacked the necessary impact for an opener. Due to the lack of scripts ready for production, the untitled second serial from Coburn was moved to first in the running order. The order change necessitated rewriting the opening episode of Coburn's script to include some introductory elements of Webber's script for the first episode of "The Giants". Coburn also made several significant original contributions to the opening episode, most notably that the Doctor's time machine should resemble a police box, an idea he conceived after seeing a real police box while walking near his office.


title: Doctor Who (season 1)

text: The second serial of "Doctor Who" was always planned to be futuristic due to the historical nature of the first. Comedy writer Terry Nation had written a 26-page outline for a story entitled "The Survivors" at his home, influenced by the threat of racial extermination by the Nazis and the concerns of advanced warfare, as well as taking influences from H. G. Wells' novel "The Time Machine" (1895). Newman and Wilson were unhappy with the serial, having wanted to avoid featuring "bug-eyed monsters"; however, with no other scripts prepared, they were forced to accept the serial for production. Due to other sudden commitments, Nation quickly wrote the scripts for the serial at the rate of one per day. Nation also wrote the show's fifth serial, "The Keys of Marinus", to replace "Dr Who and the Hidden Planet" by Malcolm Hulke, which was deemed problematic and required rewrites. Nation and Whitaker decided to base the serial around a series of "mini-adventures", each with a different setting and cast; Nation was intrigued by the idea of the TARDIS crew searching for parts of a puzzle. Nation was also set to write the show's eighth serial, "Doctor Who and the Red Fort", a seven-part story set during the Indian Rebellion of 1857, but other commitments prevented him from doing so.


title: Doctor Who (season 1)

text: Newman suggested writer John Lucarotti to the production team during the show's early development. Lucarotti, who had recently worked on the 18-part radio serial "The Three Journeys of Marco Polo" (1955), penned a seven-part serial about the Italian merchant and explorer Marco Polo titled "Dr Who and a Journey to Cathay". Later known as "Marco Polo", the serial was moved from its placement in the running order to accommodate "The Edge of Destruction". Lucarotti was approached to write "The Aztecs" while "Marco Polo" was in production. Having lived in Mexico, Lucarotti was fascinated by the Aztec civilisation and their obsession with human sacrifice. The show's eighth serial, "The Reign of Terror", is also a historical story, though writer Dennis Spooner was initially interested in writing a science fiction story. Whitaker gave Spooner four possible historical subjects, and he ultimately selected the French Revolution.


title: Doctor Who (season 1)

text: The show's third serial, "The Edge of Destruction", was written as a "filler" in case the show was not renewed beyond 13 episodes. Since the serial had no budget and minimal resources, Whitaker took the opportunity to develop an idea conceived during the show's formative weeks: a character-driven story exploring the facets of the TARDIS. He wrote the script in two days, drawing upon influences of ghost stories and haunted houses. Peter R. Newman wrote the show's sixth serial, "The Sensorites", inspired by 1950s films set during World War II that explore the notion of soldiers who continued to fight after the war.


title: Doctor Who (season 1)

text: "An Unearthly Child" was provisionally scheduled to begin recording on 5 July, but was delayed to 19 July. Production was later deferred for a further two weeks while scripts were prepared. The show's pilot recording was finally scheduled for 27 September and regular episodes made from 18 October. Tucker was originally selected as the serial's director, but the task was assigned to Hussein due to Tucker's unavailability after the rearranging of production dates. Some of the pre-filmed inserts for the serial, shot at Ealing Studios in September and October 1963, were directed by Hussein's production assistant Douglas Camfield. The first version of the opening episode was recorded at Lime Grove Studios on the evening of 27 September 1963, following a week of rehearsals. However, the recording was bedevilled with technical errors, including the doors leading into the TARDIS control room failing to close properly. After viewing the episode, Newman ordered that it be mounted again. During the weeks between the two tapings, changes were made to costuming, effects, performances, and scripts. The second attempt at the opening episode was recorded on 18 October, with the following three episodes being recorded weekly on 25 October, 1 November and 8 November.


title: Doctor Who (season 1)

text: Tucker was initially appointed to direct "The Daleks", but was later replaced by Christopher Barry. A week of shooting for "The Daleks" took place from 28 October, consisting mostly of inserts of the city and models. Weekly recording began on 15 November; it was later discovered that the first recording was affected by induction—an effect in which the voices from the production assistants' headphones was clearly audible. The episode was re-recorded on 6 December, pushing the weekly recordings of episodes 4–7 back by one week. The final episode was recorded on 10 January 1964. The re-recording forced Paddy Russell to forego directing "The Edge of Destruction" due to other commitments; junior director Richard Martin was later handed the role, and the first episode was recorded on 17 January. Frank Cox directed the second episode on 24 January, as Martin was unavailable. Filming for "Marco Polo" was preceded by a week of insert shooting of locations and props for the montage sequences. The serial was recorded weekly from 31 January to 13 March, directed by Hussein; John Crockett directed the fourth episode in Hussein's absence.


title: Doctor Who (season 1)

text: Weekly recording for "The Keys of Marinus", directed by John Gorrie, took place from 20 March to 24 April; Hartnell was absent for the third and fourth episodes, as he was on holiday. "The Aztecs", directed by Crockett, was filmed from 1 to 22 May; Ford appeared in pre-filmed inserts for the second and third episodes, shot on 13 April, due to her holiday. Experienced director Mervyn Pinfield was chosen to direct the first four episodes of "The Sensorites", while Cox directed the final two episodes. Recording took place from 29 March to 3 July; Hill was absent for the fourth and fifth episodes due to her holiday. "The Reign of Terror" featured the show's first outdoor filming in Denham, Buckinghamshire, led by cameraman Peter Hamilton on 15 June 1964. Hungarian director Henric Hirsch directed the serial, which was recorded from 10 July to 19 August; in preparation for his holiday, William Russell recorded inserts for the second and third episodes from 16–17 June. Hirsch collapsed during the filming of the third episode. Lambert placed production assistant Tim Combe in charge until a replacement director could be found; documentation indicates that Gorrie oversaw production of the third episode, though Gorrie has no memory of the event. Hirsch returned to direct the final three episodes, splitting some of the workload with Combe.


title: Doctor Who (season 1)

text: "Doctor Who" was announced as a year-long series by Controller of BBC Television Stuart Hood on 12 September 1963, described by "Television Mail" as "a serial of stories to entertain the whole family". Trade newspaper "Kinematograph Weekly" devoted its TV column to the show on 24 October; journalist Tony Gruner described the show as "a somewhat mysterious type of programme consisting in part of fantasy and realism". A trailer for the show was broadcast on the BBC on 16 November. The first serial was given a half-page preview in "Radio Times" on 21 November, outlining the show's main characters and upcoming settings. On the same day, the main cast and production team attended the show's launch at Room 222 of the BBC's Broadcasting House. Hartnell hosted a radio trailer for the show on the BBC Light Programme. The BBC Home Service programme "Today" hosted a one-minute piece about the show's "space music" on 22 November, and a second trailer for the show was screened on BBC in the evening.


title: Doctor Who (season 1)

text: Hartnell taped a radio interview for "Northern View" on 17 December to promote the show's second serial. To increase the profile of the Daleks, the BBC sent two Dalek models—operated by Kevin Manser and Robert Jewell—to interact with the public at the Shepherd's Bush Market on 23 December. Hartnell recorded an appearance for "Junior Points of View" on 8 January, broadcast the following day, at Television Centre Presentation Studio A. In character as the Doctor, Hartnell spoke about the Daleks, based on dialogue written by Nation. A promotional image of "Marco Polo" was featured on the cover of "Radio Times" on 20 February 1964, with a half-page introduction to the serial inside. The Voord creatures from "The Keys of Marinus" were featured in several stories the "Daily Express" and "Daily Mail" in April 1964, while the titular creatures from "The Sensorites" were featured in similar press pieces in June. Lucarotti provided a syndicated interview with the press regarding "The Aztecs", published in various papers such as the "North-Western Evening Mail" on 9 May. On 20 June, Ford opened the East Ham Town Show at the Central Park in East Ham, with 20,000 people in attendance. "Radio Times" ran a half-page interview with Hartnell on 16 July to promote the fourth episode of "The Sensorites".


title: Doctor Who (season 1)

text: The first episode of "An Unearthly Child" was transmitted on BBC TV at 5:16 p.m. on Saturday 23 November 1963; the following three episodes were transmitted at 5:15 p.m. over the next three weeks. The serial has been repeated twice on the BBC: on BBC Two in November 1981 as part of the repeat season "The Five Faces of Doctor Who", and on BBC Four as part of the show's 50th anniversary on 21 November 2013. "The Daleks" was broadcast across seven weeks from 21 December 1963 to 1 February 1964, and has been repeated twice on the BBC: the final episode was broadcast on BBC Two late in the evening on 13 November 1999 as part of "Doctor Who Night"; and the serial was shown in three blocks from 5–9 April 2008 on BBC Four, as part of a celebration of the life and work of Lambert following her death in November 2007. "The Edge of Destruction" was transmitted across two weeks, from 8 to 15 February 1964, and "Marco Polo" was broadcast over seven weeks from 22 February to 4 April. From the sixth episode of "Marco Polo", the show's broadcast time was pushed a further fifteen minutes, from 5:15 p.m. to 5:30 p.m., overlapping with competitor programme "ITV News". "Marco Polo" was erased by the BBC on 17 August 1967; the entire serial is missing as a result. It is one of three stories of which no footage whatsoever is known to have survived, though tele-snaps (images of the show during transmission, photographed from a television) of episodes 1–3 and 5–7 exist, and were subsequently released with the original audio soundtrack, which was recorded "off air" during the original transmission.


title: Doctor Who (season 1)

text: "The Keys of Marinus" was transmitted across six weeks from 11 April to 16 May; the third episode became the first "Doctor Who" episode to be transmitted on BBC1, following its renaming from BBC TV due to the launch of BBC2, and the show's broadcast time returned to its original slot of 5:15 p.m. from the fifth episode. "The Aztecs" was broadcast weekly from 23 May to 13 June. The first two episodes of "The Sensorites" were broadcast on 20 and 27 June; the second episode aired 25 minutes late due to an overrun of the previous programme "Summer Grandstand". Due to extended coverage of the Wimbledon tennis championships and Ashes Test match on 4 July, the third episode was replaced by "Juke Box Jury" and postponed to the following week. The final three episodes were broadcast weekly from 18 July to 1 August; episodes 3–5 were erased by the BBC on 17 August 1967, while the remaining three were erased on 31 January 1969. BBC Enterprises retained negatives of the original 16 mm film with soundtracks made in 1967; these were returned to the BBC Archives in 1978. "The Reign of Terror" was transmitted weekly from 8 August to 12 September; the second and third episodes were shifted to the later time of 5:30 p.m., the fourth episode was broadcast at 5:15 p.m. (due to coverage of the Royal Edinburgh Military Tattoo), and the final two episodes again shifted to 5:30 p.m. The original prints of "The Reign of Terror" were wiped by BBC Enterprises in 1972. The sixth episode was returned to the BBC by a private collector in May 1982, and the first three episodes were located in Cyprus in late 1984; the fourth and fifth episodes remain missing, existing only as off-air recordings from 1964. The existing episodes were screened as part of the National Film Theatre's Bastille Day schedule on 14 July 1999, with links between the episodes by Ford.