title: Idolish7

text: An idol group that introduced in the second chapter of the game. Their names contain numbers 100 and 1000 in kanji. Their music symbols mainly consist of repeat signs.


title: Idolish7

text: Mostly known by his stage name of , he is the energetic and easy-going member of Re:vale. He has a bit of a mischievous side and is shown to be very observant of his surroundings. According to Yuki, Momo is the kind of person who can make others happy just by being around. He wishes to protect the people dear to him in any way he can, often ignoring, however, the care and attention he needs himself. He is secretly insecure about his abilities, believing he is not worthy to be part of Re:vale, as he is not an original member. He is the "boke" of the pair, constantly making off the wall comments. His music symbol is the left repeat sign and he represents the number one hundred.


title: Idolish7

text: Mostly known by his stage name of , he is the co-founder of Re:vale as well as their songwriter. He has a cool and collected personality, but is often blunt which causes others to believe that he does not care. This is untrue as he is actually quite easygoing and looks after the younger groups, often giving them advice as well. Yuki is revealed to have been searching for his first partner for the past 5 years after he took a hit meant for Yuki and disappeared afterwards. Yuki is the "tsukkomi" of the pair, and follows through with interjecting Momo's Boke jokes. His music symbol is the right repeat sign and he represents the number one thousand.


title: Idolish7

text: An idol group introduced in the third chapter of the game. Their names contain kanji of animals from the Japanese zodiac—boar, dog, snake and tiger. Their music symbols mainly consist of musical notes with the theme of repetition and silence.


title: Idolish7

text: Arina Tanemura, the game's character designer, created the characters based on information provided about their names, personalities, and theme colors. The first character she drafted was Yamato Nikaidō due to his glasses being the most distinguishable character trait and gave him short sleeves to reflect his cheerful personality. In contrast, Iori Izumi was given long sleeves because of his cool personality. Tanemura had initially drawn Iori and Mitsuki with the same hair color due to them being siblings, but a representative from Bandai Namco Entertainment had allowed her to make an exception. Bandai Namco Entertainment had also envisioned Mitsuki to be a youthful-looking character. Tanemura had misread that Tamaki was intended to be the shortest and most youthful character, instead submitting a more mature design; this resulted in Bandai Namco Entertainment accepting the draft and revising his personality to fit the design. Sōgō was intended as the group's "yandere" character, and while Tanemura had difficulty incorporating that into the design, she later drew him with a thin physique to reflect a "sickly" nature. Nagi was drawn with a "pretty physique" due to his half-Scandinavian ancestry. Riku was originally drawn with black hair before Tanemura revised his hair color to be lighter, and his costume was the most revealing because he was the center of the group. Whereas Idolish7 was designed with a white color theme, Trigger was designed with a black color theme for contrast.


title: Idolish7

text: The project has released several manga and novel adaptations. A manga adaptation is drawn by Nokoshi Yamada and is serialized in Hakusensha's "Hana LaLa Online" since 2015. The first volume was released on December 4, 2015. Another manga that focuses on idol group rival of Idolish7, Trigger, is titled . It is written by Bunta Tsushimi with illustrations by Arina Tanemura and was released on December 19, 2016. On October 12, 2017, it was announced that a new manga adaptation by Arina Tanemura titled "Re:member", which will center around on the past of the group Re:vale. The manga launched on December 9, 2017.


title: Idolish7

text: A novel titled is written by Bunta Tsushimi with illustrations by Arina Tanemura. It was released on December 4, 2015.


title: Idolish7

text: An official fanbook was released on June 30, 2016. The second fanbook was released on August 19, 2016.


title: Idolish7

text: Bandai Namco Entertainment released a tie-in console video game titled " for the PlayStation Vita on February 15, 2018. The game's story takes place between the second and third story parts of the smartphone game, focusing on the Idolish7, Trigger, and Re:vale groups on a combined tour across Japan. The game's final destination is a concert at Zero Arena.


title: Idolish7

text: The music video for Trigger's third single, Crescent rise, was produced by Studio Trigger and released on January 27, 2020. It is part of a "Trigger X Trigger" collaboration project that was announced in September 2018.


title: Idolish7

text: An anime adaptation was first announced during a Niconico livestream event on August 19, 2016. The 17-episode anime premiered on January 7, 2018, and concluded on May 19, 2018. Makoto Bessho is directing the anime at Troyca while Ayumi Sekine is supervising the anime's scripts. Kazumi Fukagawa is adapting Arina Tanemura's original designs for animation. Ei Aoki is credited as supervisor. Crunchyroll licensed the series for streaming as the anime simultaneously airs in Japan.


title: Idolish7

text: On July 7, 2018, "Idolish7" was green-lit for a second season. The second season, titled "Idolish7: Second Beat!" aired from April 5 to December 27, 2020, with the cast and staff returning to reprise their roles. On April 13, 2020, it was announced that after the fourth episode, the remaining episodes of the season had been delayed due to the effect of the COVID-19 pandemic. On August 20, 2020, it was announced that the season will resume with the third episode on October 4, 2020.


title: Idolish7

text: On December 27, 2020, after the second season's finale, it was announced the series would be receiving a third season, titled "Idolish7: Third Beat!". The cast and staff are reprising their roles. The third season is a split-cour series, with the first half airing from July 4 to September 26, 2021. The second half premiered on October 2, 2022.


title: Idolish7

text: In addition to the anime series, it was announced that there will be a spin-off series based on the stories from the manga and novels adaptations. The series of anime shorts, titled "Idolish7: Vibrato", is currently being streamed exclusively on Bandai Visual's official YouTube account as a YouTube Original, with the "first part" of the shorts focused on Trigger. The first episode aired on February 16, 2018. The second to eighth episodes ran from January 17, 2019, to March 7, 2019.


title: Idolish7

text: In 2016, "Idolish7" was accused of plagiarizing artwork from several other idol-related mobile game series, more specifically "The Idolmaster" and "Uta no Prince-sama", citing that several poses were traced or copied. Bandai Namco Entertainment released a statement on September 9 through "Idolish7"'s official website, stating a lawyer examined the images and concluded that there was no plagiarism involved. In addition, Bandai Namco Entertainment also denied allegations that the character Tsumugi was a self-insert for the character designer, Arina Tanemura.


title: Mitsubishi RVR

text: The Mitsubishi RVR is a range of cars produced by Japanese manufacturer Mitsubishi Motors from 1991 to 2002 and then from 2010 until present. The first two generations were classified as compact multi-purpose vehicles (MPV), and the model introduced in 2010 is a subcompact crossover SUV.


title: Mitsubishi RVR

text: The RVR was Mitsubishi's Recreational Vehicle debut during the Japanese economic boom. The cars were sold at the Mitsubishi Japan dealership chain called Car Plaza. RVR is an acronym for "Recreation Vehicle Runner". In addition, the original logo had a Cyrillic Я on the first letter, so that it reads ЯVR. It had a convenient size passenger cabin and spacious 4–5 person capacity with a youth-oriented approach, making it appealing to young people. Television commercials in Japan used Bugs Bunny and Daffy Duck as spokespeople. It was also developed and released during Japan's "bubble economy", and gained popularity due to the convenience of a passenger side sliding door.


title: Mitsubishi RVR

text: It was a tall wagon with some off-road characteristics, targeting the "sports gear" or outdoor lifestyle market. This approach was similar to the one used by Honda when they introduced the Honda CR-V. The RVR had an especially good sales record in the beginning, even with the decline of the RV sales boom. Sales later declined, and the original RVR was discontinued in August 2002.


title: Mitsubishi RVR

text: The reintroduction of the "Sports Gear" RVR nameplate is an attempt to inherit the popularity of the first generation vehicle. It was released in Japan on 17 February 2010. It does not feature a rear sliding door, due to the current perception that SUVs have conventional doors, and sliding doors are typically installed on family vehicles. The RVR logo no longer uses the inverted Cyrillic "Я" on the first letter.


title: Mitsubishi RVR

text: The first generation RVR, introduced February 1991, is a compact MPV, manufactured for 1991-2002 and marketed as the Mitsubishi Space Runner in Europe and Mitsubishi Expo LRV in the United States. Export markets in Asia and Oceania used the Japanese market name. The RVR was also marketed by Chrysler as the Dodge/Plymouth Colt Wagon and Eagle Summit Wagon captive imports in North America. Its "tall wagon" configuration traces to Italdesign's 1978 Lancia Megagamma concept.


title: Mitsubishi RVR

text: The Hyper Sports Gear R trim package in Japan used the drivetrain of the first Mitsubishi Galant VR-4; the "4G63T" 2.0 L 16V DOHC turbo straight-4 mated to either a four-speed auto or a five speed manual which was not offered in North America. Open front and rear differentials were used on vehicles equipped with 4WD. Power output was rated at . In Japan, the RVR saw competition from the Nissan Rasheen, the Toyota RAV4, the Honda CR-V, the Subaru Forester, and the Suzuki Escudo.


title: Mitsubishi RVR

text: The RVR was essentially a second generation Mitsubishi Chariot (marketed in some markets as the Space Wagon) with a shortened chassis but sharing the components of the longer variant. Its tall wagon body style featured two rows of seats, equipped with a single rear door and, in all markets, a single sliding door on the passenger side. The Mitsubishi sliding door latched to a "B" pillar, whereas those of the Toyota and Nissan vehicles did not. The rear windows did not retract but were forward hinged. The rear windows on the longer Chariot did retract into the doors.


title: Mitsubishi RVR

text: The fuel tank access door was on the right side for all versions sold internationally. In the LHD models, which had the sliding door on the right side, an interlock prevented the door from opening too far when the fuel filler door was open.


title: Mitsubishi RVR

text: The standard installed fixed position rear bench seat arrangement could accommodate three persons and the seatbacks had a 50:50 split: the reclining seat backs could be folded forward, flat upon the seats, and then the seat cushion could be detached at the rear and folded up and forward towards the front seats, leaving a flat floor for large cargo items. When the entire bench was removed, the flat floor extended all the way from the back of the front seats to the rear hatchback door. The optional sliding bench rear seats could accommodate three people, with the setup allowing rear seat passengers additional leg room by sliding the entire rear seat assembly back. Depending on seating arrangements, the rear seats can then produce a large enough interior space by sliding the seats completely forward, then extending the seatbacks completely flat.


title: Mitsubishi RVR

text: Originally installed with a naturally aspirated 2.0L/1.8L petrol engine, it was later introduced with a diesel turbo engine model thereafter. The mid-model sports model with a detuned type of turbo engine 4G63 is also carried on the Lancer Evolution its "X3" and "Super Sport Gear" and offered an optional sliding metal sunroof. In North America, a 2.4L (2,351cc) 101 kW engine was available on FWD versions, and standard on AWD versions at least as early as MY 1993. The final and most powerful model, the "Hyper Sports Gear", was added in January 1997.


title: Mitsubishi RVR

text: Due to platform sharing with the longer Chariot, and the benefit of development time, many of the mechanical components from past Galant contributions with new mechanism improvements, the RVR is basically reliable and robust. However, the individual is about 60,000 km Automatic Transmission capable, greet life with a plug cord about three years, would upset the sensors and around the throttle servo mechanism (such as not idling as symptoms appear), etc.


title: Mitsubishi RVR

text: Automatic Transmission shift lock was mechanism instead of an electrical control, a unique method that deregulation was mechanically wire extending from the brake pedal. This was also the advantage of being unaffected by the battery.


title: Mitsubishi RVR

text: The Mitsubishi RVR was sold at north american Mitsubishi dealerships under the Expo nameplate, they were available in a few different trim levels, all wheel drive or front wheel drive were offered, 2.4 4G64 and 1.8 4G93 four cylinder engines, diesel engines were not offered, transmission options were 4 speed auto or a 5 speed manual, the expo models were sold from 1991-1995 at the end of 1995 year the expo model was discontinued in north america.


title: Mitsubishi RVR

text: In North America the RVR was also sold and marketed by Chrysler as the Dodge/Plymouth Colt Vista Wagon and Eagle Summit Wagon captive imports in North America. as station wagon models of the Dodge/Plymouth Colt and the Eagle Summit. As those were rebadgings of the Mitsubishi Mirage and Lancer, the cars didn't share much beyond the nameplate. These Wagons were sold for model years 1992-1996 and replaced the Dodge/Plymouth Colt Vista and the Canada-only Eagle Vista Wagon, all based on the previous generation Mitsubishi Chariot.


title: Mitsubishi RVR

text: The Summit Wagon was available in DL and LX trims, as well as in a four-wheel drive version considered a trim level of its own. As a compact MPV, it was marketed as a small car with the roominess of a minivan with its interior offering high seating positions and removable rear seats.


title: Mitsubishi RVR

text: The second generation was introduced in 1997. This generation was split into the regular, more minivan-like RVR GDI and the RVR Sports Gear with sporting off-road pretensions. Thanks to various bumper and fender extensions, the Sports Gear was too large to classify as a compact car in Japan and was thus placed in a considerably higher tax grouping. This generation RVR was not sold in North America (except Mexico). In Europe, this car was restyled and sold as the Mitsubishi Space Runner.


title: Mitsubishi RVR

text: The model offers a significant facelift, which was done to mirror the image design of the Chariot Grandis and its brisk sales in 1999 at the time.


title: Mitsubishi RVR

text: Standard grades of "X" (later the "Exceed") and type of sport "sports gear" is classified into, the standard type "X" is a 1.8L gasoline engine, "Sports Gear" is a 2.4L GDI engine with a turbo engine or 2L 4G63. Vehicles installed with the 2.4 L. engine were liable for additional yearly tax charges in Japan due to the engine size exceeding the Japanese regulations concerning engine displacement, and the width of the vehicle was . Vehicles with the smaller engines were installed in vehicles with reduced width at so that buyers weren't liable for additional taxes. The high performance model "Sports Gear X3", came with a leather-wrapped steering wheel and shift knob with self-leveling xenon headlights, and the original seat had been an interwoven pattern image of hummingbirds.


title: Mitsubishi RVR

text: The third-generation RVR, which is a subcompact crossover SUV, first released in the Japanese domestic market on 17 February 2010. The name RVR is only used in Japan, South Korea, and Canada. In most markets, it is sold as the Mitsubishi ASX (an abbreviation of "Active Sports Crossover"), and as the Mitsubishi Outlander Sport in the United States, Argentina, Brazil, and Indonesia. The design was influenced from the Concept-cX prototype first exhibited at the 62nd Frankfurt Motor Show in July 2007.


title: Mitsubishi RVR

text: Mitsubishi has concentrated on emphasizing the RVR's fuel economy and low emissions, as part of the company's plan to reposition itself as a maker of smaller and more efficient cars, in contrast to its previous successes building large SUVs.


title: Chicago Gaylords

text: The Almighty Gaylords Nation, is a Chicago street gang which was most active during the mid and late 20th century. It originated on the intersection of Grand Avenue and Noble Street in Chicago's West Town neighborhood. The original president of the Gaylords selected the name after reading about the Gaylords in the public library (the Gaillards, later anglicized to Gaylord, were people from Normandy who lived near the Château Gaillard, constructed by Richard I). They are part of the People Nation alliance. They are reputed for disputing rival gangs near Kilbourn Park.


title: Chicago Gaylords

text: The Almighty Gaylords Nation is one of Chicago's oldest street gangs and was founded in the West Town neighborhood of Chicago in 1953. The majority of the original members were Italian, but they did take in some non-Italians, including some Mexican Americans. This ethnic makeup reflected the population of the Neighborhood at the time, and was known as one of Chicago's "Little Italies". The first street corners they claimed were Huron and Throop, where they hung out at Angie's, followed by Grand and Ogden, and finally Ohio and Noble. The Gaylords would soon take control of about half of the West Town area and all of Noble Square. They had their own clubhouses and baseball teams. The main clubhouse for the Gaylords by the late 1950s was on the corner of Ohio and Noble Street. Some of their earliest rivals were C-Notes, Lazy Gents, and Playboys. Some original Ohio & Noble Gaylords included Anthony Johnny Boy Anarina and Bobby Shipbaugh. It should also be noted that there were other clubs in Chicago with the name Gaylords, that had no connection to the Gaylords of West Town/ Noble Square, like the Little Village Gaylords that started in 1950 - 1951 and lasted until the Vietnam war, when most of their members enlisted and the Gaylords club within the Taylor Street area, which started at some point prior to 1954.


title: Chicago Gaylords

text: The Gaylords grew in the 1960s, opening up territory in the Pilsen neighborhood, at 18th & Western and more notoriously in Logan Square, at Lawndale and Altgeld and in Kilbourn Park. More turf for the Gaylords opened up across the north side, as middle class Whites left for the suburbs, leaving poor Whites behind to fend for themselves in increasingly Puerto Rican, Mexican and African American city slums. At the height of the Gaylords reign in 1979, they were listed as the fourth most powerful gang in Chicago with about 1,500 members and were noted as "Chicago's largest White street gang...considered a violent, bigoted outfit." In 1970, they were suspected for being involved in the murder of a black Chicago citizen named Joe Henson, but no charges were brought: a later feature article in the Chicago Reader alleged police and political coverup. It must also be noted that the Uptown Rebels were suspected of the murder and were more likely the real perpetrators of the crime.


title: Chicago Gaylords

text: During their peak period, the Chicago Gaylords held sets (or sections) on the North Side, West side and the South Side of Chicago. By the early 1980s it was said the Gaylords were the third largest gang in Chicago with 6,000 members.The West side sections included Ohio and Noble, Ohio and Leclaire and Monticelllo and Augusta. Their South Side sections included Back of the Yards and West Englewood (around 55th & Ashland, Sherman Park), Pilsen (18th & Western), and Bridgeport (Throop Street). Their North Side presence included Belmont Cragin, Manor Bowl, Reinberg School, Chopin Park, Blackhawk Park, St Gens., Humboldt Park (Moffat & Campbell); Logan Square (Palmer & California, Lawndale & Altgeld); Irving Park (Albany & Byron); Kilbourn Park (Roscoe & Kilbourn); Kelvyn Park (Kilbourn & Wrightwood); Dunham Park (Montrose & Narragansett); Ravenswood (Seeley & Ainslie); and Uptown (Sunnyside & Magnolia, Lawrence & Broadway). Two of the most powerful Gaylord sections existed in Logan Square: Lawndale and Altgeld (L-A section) and Palmer and California (Palmer Street).


title: Chicago Gaylords

text: By the early 1990s, the Gaylords were in decline, as many of their leaders went to prison and the last of Whites were leaving the inner city for the suburbs. In 2011, police and federal agents arrested 9 members of suburban Gaylords factions on charges of drug dealing, gun trafficking, and violent intimidation. However, they continue to remain active within their strongholds in Chicago and its environs to this day.


title: Chicago Gaylords

text: The sets, or sections, started by Kilbourn Park wore black and light blue. Sections started by Palmer street wore black and gray. South Side sections started by the 18th and Western section like 55th and Ashland and Sherman Park wore black and brown.


title: Ronne Troup

text: Ronne Troup is an American actress and educator whose acting roles include Polly Williams Douglas on the sitcom "My Three Sons".


title: Ronne Troup

text: Troup is the daughter of musician/actor Bobby Troup, and his first wife, Cynthia Hare, and the stepdaughter of actress/singer Julie London. Ronne Troup attended North Hollywood High School. Ronne is a graduate of UCLA, where she studied English and elementary education.


title: Ronne Troup

text: She has been married three times. Troup's second marriage, to actor James Coleman (known for the 1975-76 television series "S.W.A.T."), produced daughters Bridget and Jamie. Troup's current husband is Bob Bayles. She has a sister, Cynnie (born 1943), a television script supervisor.


title: Ronne Troup

text: In 1964, Troup was working as a television background extra appearing (uncredited) in some fourth season black-and-white episodes of "My Three Sons" in classroom scenes featuring co-star Don Grady. She later worked as an uncredited extra in classroom scenes on "Gidget" (1965).


title: Ronne Troup

text: She appeared, uncredited, as a teen party guest in the Bob Hope film "I'll Take Sweden" (1965). In 1966, she made her film debut as part of the all-girl ensemble in Columbia Films' "The Trouble with Angels" where she is prominent in the graduation scene. In December 1966 (at age 21), she was cast as Sister Bertrille and had begun filming the pilot for "The Flying Nun" when she was dropped after the studio's first choice Sally Field finally agreed to accept the role.


title: Ronne Troup

text: In 1968, she played the role of Leslie Hayden in "Danger Island", the cliffhanger serial that was featured on the "Banana Splits Adventure Hour" children's program on Saturday mornings.


title: Ronne Troup

text: She appeared on "Family Affair" in 1970 in the episode "Desert Isle: Manhattan Style". She was subsequently offered the role of Polly Williams Douglas, wife of Chip Douglas on "My Three Sons", a role she played for two years (1970–72). In the Season 4 episode of "The Partridge Family" entitled "Hate Thy Neighbor" (1973), she appeared as Donna Stevens, the daughter of the new family who move next door to the Partridges.


title: Ronne Troup

text: She then appeared often on popular dramas "Emergency!" (in which her stepmother and father co-starred), "Marcus Welby, M.D.", "Cannon", "S.W.A.T." and "Adam-12". From 1987 to 1990, she portrayed "Barbara" on the CBS show "Knots Landing". In more recent years, Troup has appeared in guest roles on "Strong Medicine", "The West Wing" , and "Cold Case".


title: Ronne Troup

text: On June 19, 2010, Troup appeared with her "My Three Sons" co-stars at a 50th anniversary celebration of the classic series at the Paley Center for Media in Beverly Hills.


title: Welcome to the Pleasuredome

text: Welcome to the Pleasuredome is the debut studio album by English synth-pop band Frankie Goes to Hollywood, first released on 29 October 1984 by ZTT Records. Originally issued as a vinyl double album, it was assured of a UK chart entry at number one due to reported advance sales of over one million. It actually sold around a quarter of a million copies in its first week. The album was also a top-10 seller internationally in countries such as Switzerland, Sweden, Australia and New Zealand.


title: Welcome to the Pleasuredome

text: While commercially successful, the album also drew criticism for containing new versions of all of the songs from the group's (already much-remixed) singles from the same year ("Relax" and "Two Tribes", plus B-side "War"), as well as a surfeit of cover versions in lieu of much new original material. It was later revealed that Trevor Horn's production dominated the record so thoroughly that the band's own instrumental performances were often replaced by session musicians or Horn himself. Frankie's second album, "Liverpool", actively featured the full band.


title: Welcome to the Pleasuredome

text: However, the album's evergreen ballad "The Power of Love" subsequently provided the group with their third consecutive UK number one single.


title: Welcome to the Pleasuredome

text: To celebrate the album's 30th anniversary, in October 2014, ZTT through Union Square Music released a limited edition (2,000 copies only) box set entitled "Inside the Pleasuredome", available exclusively from the website pledgemusic.com. The box set contains rarities on 10" vinyl, as well as a book, a DVD, a cassette (featuring 13 mixes of "Relax" and its B-side "One September Monday") as well as a new 2014 remastered version of "Welcome to the Pleasuredome" on 180g vinyl.


title: Welcome to the Pleasuredome

text: All songs written and composed by Peter Gill, Holly Johnson, Brian Nash and Mark O'Toole except where noted.


title: Welcome to the Pleasuredome

text: The original CD version had an altered track list, offering several tracks in different versions (most notably "Two Tribes"), and omitting the cover version of "Do You Know the Way to San Jose" and replacing it with the track "Happy Hi!".


title: Welcome to the Pleasuredome

text: In 2010, a deluxe edition of "Welcome to the Pleasuredome" was released, featuring a second disc containing rare and previously unreleased material. The first CD contains the LP version of the original album. The contents of the second CD are as follows:


title: Welcome to the Pleasuredome

text: The album was reissued by Union Square Music under the Salvo label on limited edition white vinyl and was exclusively available from larger branches of Sainsbury's. The original gatefold format has been retained, as has (it appears) the original artwork, quotes and track listing.


title: Millet (Ottoman Empire)

text: In the Ottoman Empire, a millet (; ) was an independent court of law pertaining to "personal law" under which a confessional community (a group abiding by the laws of Muslim Sharia, Christian Canon law, or Jewish Halakha) was allowed to rule itself under its own laws.


title: Millet (Ottoman Empire)

text: Despite frequently being referred to as a "system", before the nineteenth century the organization of what are now retrospectively called millets in the Ottoman Empire was not at all systematic. Rather, non-Muslims were simply given a significant degree of autonomy within their own community, without an overarching structure for the 'millet' as a whole. The notion of distinct millets corresponding to different religious communities within the empire would not emerge until the eighteenth century. Subsequently, the existence of the millet system was justified through numerous foundation myths linking it back to the time of Sultan Mehmed the Conqueror (r. 1451–81), although it is now understood that no such system existed in the fifteenth century.


title: Millet (Ottoman Empire)

text: During the 19th century rise of nationalism in the Ottoman Empire, as result of the Tanzimat reforms (1839–76), the term was used for legally protected "ethno-linguistic" minority groups, similar to the way other countries use the word "nation". The word "millet" comes from the Arabic word "millah" (ملة) and literally means "nation". Abdulaziz Sachedina regards the millet system as an example of pre-modern religious pluralism, as the state recognized multiple different religious groups in exchange for some control over religious identification and the enforcement of orthodoxy.


title: Millet (Ottoman Empire)

text: Johann Strauss, author of "A Constitution for a Multilingual Empire: Translations of the "Kanun-ı Esasi" and Other Official Texts into Minority Languages", wrote that the term "seems to be so essential for the understanding of the Ottoman


title: Millet (Ottoman Empire)

text: The term "millet", which originates from the Arabic "milla", had three basic meanings in Ottoman Turkish: religion, religious community and nation. The first sense derives from Quranic usage and is attested in Ottoman administrative documents into the 19th century. Benjamin Braude has argued that before the period of 19th-century Tanzimat reforms, the word "millet" in the sense of religious community denoted the Muslim religious community or the Christians outside of the Ottoman Empire. This view is supported by Donald Quataert. In contrast, Michael Ursinus writes that the word was used to refer to non-Muslim subjects of the Ottoman Empire even before that time. The term was used inconsistently prior to the 19th century.


title: Millet (Ottoman Empire)

text: The systematic use of "millet" as designation for non-Muslim Ottoman communities dates from the reign of Sultan Mahmud II () in the early 19th century, when official documentation came to reiterate that non-Muslim subjects were organized into three officially sanctioned millets: Greek Orthodox, Armenian and Jewish. The bureaucrats of this era asserted that the millet system was a tradition dating back to the reign of Sultan Mehmed I (). Many historians have accepted this claim and assumed that a millet system of this form existed since early Ottoman times. Recent scholarship has cast doubt on this idea, showing that it was rather a later political innovation, which was introduced in the rhetorical garb of an ancient tradition. The Ottoman state used religion rather than ethnicity to define each millet, and people who study the Ottoman Empire do not define the Muslims as being in a millet.


title: Millet (Ottoman Empire)

text: The Ottoman Turkish version of the Ottoman Constitution of 1876 uses the word "millet", as do the Arabic and Persian versions; despite this, at the time the usage of the Arabic word "milla" was declining in favour of the word "ummah".


title: Millet (Ottoman Empire)

text: The Armenian, Greek, and Jewish residents did not use the word "millet" and instead described themselves as nations (, Armenian: ազգ (azg), Greek: Έθνος (ethnos), and Ladino: nasyon). The lack of use of the word "millet" among the Christian and Jewish minorities reflected in versions of the Ottoman Constitution in their respective languages: The French version of the Ottoman Constitution used the word "communauté" in the place of "millet", and so the others used words modeled after or based on the French: հասարակութիւն (hasarakut‘iwn) in Armenian, obština (now Общност) in Bulgarian, κοινότης ("koinotēs"), in Greek, and komunita in Judaeo-Spanish.


title: Millet (Ottoman Empire)

text: The millet system is closely linked to Islamic rules on the treatment of non−Muslim minorities living under Islamic dominion (dhimmi). The Ottoman term specifically refers to the separate legal courts pertaining to personal law under which minorities were allowed to rule themselves (in cases not involving any Muslim) with fairly little interference from the Ottoman government.


title: Millet (Ottoman Empire)

text: People were bound to their millets by their religious affiliations (or their confessional communities), rather than their ethnic origins, according to the "millet" concept (excepting the Armenian case, until the modern era). The millets had a great deal of power – they set their own laws and collected and distributed their own taxes. All that was required was loyalty to the Empire. When a member of one millet committed a crime against a member of another, the law of the injured party applied, but the ruling Islamic majority being paramount, any dispute involving a Muslim fell under their sharia−based law.


title: Millet (Ottoman Empire)

text: Later, the perception of the "millet" concept was altered in the 19th century by the rise of nationalism within the Ottoman Empire.


title: Millet (Ottoman Empire)

text: Although the Ottoman administration of non-Muslim subjects was not uniform until the 19th century and varied according to region and group, it is possible to identify some common patterns for earlier epochs. Christian and Jewish communities were granted a large degree of autonomy. Tax collection, education, legal and religious affairs of these communities were administered by their own leaders. This enabled the Ottomans to rule over diverse peoples with "a minimum of resistance". The Jewish community, in particular, was able to prosper under the Ottoman rule and its ranks were swelled with the arrival of Jews who were expelled from Spain. At the same time, non-Muslims were subject to several forms of discrimination and excluded from the Ottoman ruling elite. Armenians formed three millets under the Ottoman rule. A wide array of other groups such as Catholics, Karaites and Samaritans was also represented.


title: Millet (Ottoman Empire)

text: The Orthodox Christians were included in the "Rum Millet" ("millet-i Rûm") or the ""Roman nation"", and enjoyed a certain autonomy. It was named after Roman ("Byzantine") subjects of the Ottoman Empire, but Orthodox Greeks, Bulgarians, Albanians, Georgians, Arabs, Aromanians, Megleno-Romanians, and Serbs were all considered part of the same "millet" despite their differences in ethnicity and language and despite the fact that the religious hierarchy was dominated by the Greeks. Nevertheless, ethnonyms never disappeared and some form of ethnic identity was preserved as evident from a Sultan's Firman from 1680, that lists the ethnic groups on the Balkans as follows: Greeks (Rum), Albanians (Arnaut), Serbs (Sirf), "Vlachs" (Eflak, referring to the Aromanians and Megleno-Romanians), and Bulgarians (Bulgar).


title: Millet (Ottoman Empire)

text: The Ecumenical Patriarch was recognized as the highest religious and political leader ("millet-bashi", or ethnarch) of all Eastern Orthodox subjects of the Sultan, though in certain periods some major powers, such as Russia (under the 1774 Treaty of Küçük Kaynarca), or Britain claimed the rights of protection over the Ottoman Empire's Orthodox subjects. The Serbian Patriarchate of Peć and the Archbishopric of Ohrid which were autonomous Orthodox Churches under the tutelage of the Ecumenical Patriarch were taken over by the Greek Phanariotes during the 18th century, in 1766 and 1767 respectively.


title: Millet (Ottoman Empire)

text: Until the 19th century, there was a single Armenian "millet" which served all ethnic Armenians irrespective of whether they belonged to the Armenian Apostolic Church, the Armenian Catholic Church, or the Armenian Protestant Church (which was formed in the 19th century). Besides a religious role, this "millet" also played a political and cultural role. Namely, it bundled together all Armenian and some other groups, showcasing a shift from religious identity towards national identity. As a result of this, a type of hegemony emerged in which all groups that were under this millet had to conform to the norms imposed by the leader of the millet, who was appointed by the sultan. This had a cultural, political, linguistic, and religious effect on all of these groups. Only later did separate Catholic "millets" emerge. Non-Armenians from churches which were theologically linked to the Armenian Church (by virtue of being non-Chalcedonians) were under the authority of the Armenian Patriarchate, although they maintained a separate hierarchy with their own Patriarchs; these groups included the Syriac Orthodox and the Copts.


title: Millet (Ottoman Empire)

text: Assyrians are referred to as 'Asuri' in the Turkish vernacular, Assyrians split by Christian sect were thus treated as separate ethnic groups for the Ottoman government. The Church of the East largely identifies as Assyrian, but the liturgical language is called Syriac, hence multiple 'millets' for Syriac speaking Assyrians arose as a consequence of the separation by Church affiliation, as was required by 19th century Ottoman law.


title: Millet (Ottoman Empire)

text: The Syriac Orthodox community in the Ottoman Empire was for long not recognized as its own "millet", but part of the Armenian "millet" (under the Armenian Patriarch). This meant that the Syriac Orthodox were subject to the hegemony of the Armenians, linguistically, culturally, politically, and religiously. Then, during the "Tanzimat" reforms (1839–78), the Syriac Orthodox were granted independent status with the recognition of their own "millet" in 1873.


title: Millet (Ottoman Empire)

text: Under the millet system the Jews were organized as a community on the basis of religion, alongside the other millets ("e.g." Eastern Orthodox millet, Armenian millet, etc.). They were the most geographically spread group within the empire. The Ottoman Jews enjoyed similar privileges to the Christians in the Ottoman Empire. In the framework of the millet they had a considerable amount of administrative autonomy and were represented by the "Hakham Bashi" ( حاخامباشی), who held broad powers to legislate, judge, and enforce the laws among the Jews in the Ottoman Empire and often sat on the Sultan's divan.


title: Millet (Ottoman Empire)

text: The Jews, like the other millet communities of the Ottoman Empire, were still considered a people of the book and protected by the Sharia Law of Islam. However, while the Jews were not viewed in the eyes of the law to be on an equal playing field with Muslims, they were still treated relatively well at points during the Ottoman Empire. Norman Stillman explains that the prosperity of medieval Jews was closely tied to that of their Muslim governors. Stillman notes that during the time between the 9th and 13th centuries when Jewish culture blossomed, "medieval Islamic civilization was at its apogee". Given their rampant persecution in medieval Europe, many Jews looked favorably upon millet. In the late 19th century such groups as the Bilu, a group of young Russian Jews who were pioneers in the Zionist movement, proposed negotiating with the Sultan of the Ottoman Empire to allow a millet like settlement which would allow them greater independence in Palestine.


title: Millet (Ottoman Empire)

text: After the fall of Constantinople, the only Latin Catholic group to be incorporated into the Sultan's domain were the Genoese who lived in the Byzantine capital. Over the next decades, Turkish armies pushed into the Balkans, overrunning the Catholic populations of Albania, Bulgaria, Bosnia and Hungary.


title: Millet (Ottoman Empire)

text: The Melkite Catholics gained their autonomy as a religious community in 1848 by Sultan Abdulmecid. Bruce Masters claims that Melkite Catholics insisted that they have a millet of their own, that would grant them "sense of distinctiveness".


title: Millet (Ottoman Empire)

text: In the Orient, the 16th century saw the Maronites of Lebanon, the Latins of Palestine, and most of the Greek islands, which once held Latin Catholic communities, come under Turkish rule. Papal response to the loss of these communities was initially a call to the crusade, but the response from the European Catholic monarchs was weak: French interest, moreover, lay in an alliance with the Turks against the Habsburgs. Furthermore, the Catholics of the Ottoman world received a protector at the Porte in the person of the French ambassador. In this way the Roman Catholic millet was established at the start of the Tanzimat reforms.


title: Millet (Ottoman Empire)

text: The high numbers of Circassians in the Ottoman Empire was mainly due to the Crimean War. During the last years of the war and the years to follow, many Circassians fled the empire through The Black Sea. Circassians in the Ottoman Empire, despite being Muslim, mainly kept to themselves and maintained their separate identity, even having their own courts, in which they would tolerate no outside influence.


title: Millet (Ottoman Empire)

text: In a 1910 book William Ainger Wigram used the term "melet" in application to the Persian Sassanid Empire, arguing that the situation there was similar to the Ottoman millet system and no other term was readily available to describe it. Some other authors have also adopted this usage. The early Christians there were forming the Church of the East (later known as the Nestorian Church after the Nestorian schism). The Church of the East's leader, the Catholicos or Patriarch of the East, was responsible to the Persian king for the Christians within the Empire. This system of maintaining the Christians as a protected religious community continued after the Islamic conquest of the Sassanids, and the community of Nestorian Christians flourished and was able to send missionaries far past the Empire's borders, reaching as far as China and India.


title: Millet (Ottoman Empire)

text: In 1839 and 1856 multiple reforms were attempted with the goal of creating equality between the religious communities of the Ottoman Empire. In wake of these reforms multiple different new millets emerged, notably for multiple Eastern Catholic and Protestant Christian communities. Millets were also now to have there internal rule reviewed by the central government and clerics within the millet in order to keep their power in check. Many clerics of the millet system pushed back against these reforms as they believed it was meant to weaken millets and the specialized power they had built for themselves. These millets, refusing to withdraw there autonomy slowed down the attempted reforms and the general impact they were attempting to make on the equality of religious communities.


title: Millet (Ottoman Empire)

text: Before the turn of the 19th century, the millets had a great deal of power – they set their own laws and collected and distributed their own taxes. Tanzimat reforms aimed to encourage Ottomanism among the secessionist subject nations and stop the rise of nationalist movements within the Ottoman Empire, but failed to succeed despite trying to integrate non-Muslims and non-Turks more thoroughly into the Ottoman society with new laws and regulations. With the Tanzimat era, the regulation called "Regulation of the Armenian Nation" (Turkish: "Nizâmnâme−i Millet−i Ermeniyân") was introduced on 29 March 1863, over the Millet organization, which granted extensive privileges and autonomy concerning self−governance. The Armenian Nation, "Millet−i Ermeniyân", which is considered here, is the Armenian Orthodox Gregorian nation ("millet") of that time. In a very short time, the Ottoman Empire passed another regulation over "Nizâmnâme−i Millet−i Ermeniyân" developed by the Patriarchate Assemblies of Armenians, which was named as the Islahat Fermânı (Firman of the Reforms). The "Firman of the Reforms" gave immense privileges to the Armenians, which formed a "governance in governance" to eliminate the aristocratic dominance of the Armenian nobles by development of the political strata in the society. These two reforms, which were theoretically perfect examples of social change by law, brought serious stress over Ottoman political and administrative structure.


title: Millet (Ottoman Empire)

text: The Ottoman System lost the mechanisms of its existence from the assignment of protection of citizen rights of their subjects to other states. People were not citizens of the Ottoman Empire anymore but of other states, due to the Capitulations of the Ottoman Empire to European powers, protecting the rights of their citizens within the Empire. The Russians became formal Protectors of Eastern Orthodox groups, the French of Roman Catholics and the British of Jews and other groups.


title: Millet (Ottoman Empire)

text: Russia and England competed for the Armenians; the Eastern Orthodox perceived American Protestants, who had over 100 missionaries established in Anatolia by World War I, as weakening their own teaching.


title: Millet (Ottoman Empire)

text: These religious activities, subsidized by the governments of western nations, were not devoid of political goals, such in the case of candlestick wars of 1847, which eventually led in 1854 to the Crimean War. Tension began among the Catholic and Orthodox monks in Palestine with France channeling resources to increase its influence in the region from 1840. Repairs to shrines were important for the sects as they were linked to the possession of keys to the temples. Notes were given by the protectorates, including the French, to the Ottoman capital about the governor; he was condemned as he had to defend the Church of the Holy Sepulchre by placing soldiers inside the temple because of the candlestick wars, eliminating the change of keys. Successive Ottoman governments had issued edicts granting primacy of access to different Christian groups which vied for control of Jerusalem's holy sites.


title: Millet (Ottoman Empire)

text: Under the original design, the multi-faced structure of the millet system was unified under the house of Osman. The rise of nationalism in Europe under the influence of the French revolution had extended to the Ottoman Empire during the 19th century. Each millet became increasingly independent with the establishment of its own schools, churches, hospitals and other facilities. These activities effectively moved the Christian population outside the framework of the Ottoman political system.


title: Millet (Ottoman Empire)

text: The Ottoman millet system (citizenship) began to degrade with the continuous identification of the religious creed with ethnic nationality. The interaction of ideas of French revolution with the Ottoman Millet system created a breed of thought (a new form of personal identification) which turned the concept of nationalism synonymous with religion under the Ottoman flag. It was impossible to hold the system or prevent Clash of Civilizations when the Armenian national liberation movement expressed itself within the Armenian church. Patriarch Nerses Varjabedyan expresses his position on Ottoman Armenians to the British Secretary of State for Foreign Affairs, Lord Salisbury on 13 April 1878.


title: Millet (Ottoman Empire)

text: Today a version of religion-based legal pluralism resembling the millet system still persists in varying forms in some post-Ottoman countries like Iraq, Syria, Jordan, Lebanon, Israel, the Palestinian Authority, Egypt, and Greece (for religious minorities), which observe the principle of separate personal courts and/or laws for every recognized religious community and reserved seats in the parliament. Some legal systems which developed outside the Ottoman Empire, such as those in India, Iran, Pakistan, and Bangladesh, display similar characteristics.


title: Millet (Ottoman Empire)

text: In Egypt for instance, the application of family law – including marriage, divorce, alimony, child custody, inheritance and burial – is based on an individual's religious beliefs. In the practice of family law, the State recognizes only the three "heavenly religions": Islam, Christianity, and Judaism. Muslim families are subject to the Personal Status Law, which draws on Sharia. Christian families are subject to canon law, and Jewish families are subject to Jewish law. In cases of family law disputes involving a marriage between a Christian woman and a Muslim man, the courts apply the Personal Status Law.


title: Millet (Ottoman Empire)

text: Israel, too, keeps a system based on the Ottoman-derived Millet, in which personal status is based on a person's belonging to a religious community. The state of Israel – on the basis of laws inherited from Ottoman times and retained both under British rule and by independent Israel – reserves the right to recognise some communities but not others. Thus, Orthodox Judaism is officially recognised in Israel, while Reform Rabbis and Conservative Rabbis are not recognised and cannot perform marriages. Israel recognised the Druze and Bahá'í as separate communities, which the Ottomans and British had not – due mainly to political considerations. Also, the state of Israel reserves the right to determine to which community a person belongs, and officially register him or her accordingly – even when the person concerned objects to being part of a religious community (e.g., staunch atheists of Jewish origin are registered as members of the Jewish religious community, a practice derived ultimately from the fact that the Ottoman Millet ultimately designated a person's ethnicity more than a person's beliefs).


title: Millet (Ottoman Empire)

text: Israeli secularists such as Shulamit Aloni and Uri Avnery often protested and called for abolition of this Ottoman remnant, and its replacement by a system modeled on that of the United States where religious affiliation is considered a person's private business in which the state should not interfere. However, all such proposals have been defeated.


title: Millet (Ottoman Empire)

text: Greece recognizes only a Muslim minority, and no ethnic or national minorities, such as Turks, Pomaks or Bulgarians. This is the result of several international treaties as the Convention Concerning the Exchange of Greek and Turkish Populations of 1923 and of the Treaty of Lausanne of 1924, when the old millet categories were used for the population exchanges of the Greek Orthodox Christians from Turkey (except from Istanbul, and the isles of Gökçeada and Bozcaada) and Muslims from Greece (except from Western Thrace), as well as for the protection of the two remaining recognized minorities, the "Muslims of Western Thrace" (Turks, Pomaks and Roms) and the "Greek Orthodox of Istanbul". In 1924 upon the League of Nations' demand, a bilateral Bulgarian-Greek agreement was signed, known as the Politis–Kalfov Protocol, recognizing the "Greek Slavophones" as Bulgarians and guaranteeing their protection. On 2 February 1925, the Greek parliament, claiming pressure from the Kingdom of Yugoslavia, which threatened to renounce the treaty about the Greek–Serbian Alliance of 1913, refused to ratify the agreement, that lasted until 10 June 1925. In 1927 Mollov–Kafantaris population exchange agreement was signed and the bulk of the Slavic-speaking population in Greece left for Bulgaria.


title: Millet (Ottoman Empire)

text: Today, the word "millet" means "nation" or "people" in Turkish, e.g. "Türk milleti" ("Turkish nation"), "İngiliz milleti" ("English nation"), etc. It also retains its use as a religious and ethnic classification; it can also be used as a slang to classify people belonging to a particular group (not necessarily religious or ethnic), such as "dolmuşçu milleti" ("minivan taxi drivers people") or "kadın milleti" ("women folk").


title: Salim Ghouse

text: Salim Ahmad Ghouse (10 January 1952 – 28 April 2022) was an Indian film, television and theatre actor, theatre director, and martial artist. He has acted in Hindi, Tamil, Telugu, Malayalam and English films.


title: Salim Ghouse

text: Salim Ghouse was born in Chennai. He studied at the Christchurch School and the Presidency College in Chennai. He was also a graduate of the Film and Television Institute of India, Pune.


title: Salim Ghouse

text: Salim Ghouse is known for his role in the TV series "Subah" and for playing Rama, Krishna and Tipu Sultan in Shyam Benegal's TV Series "Bharat Ek Khoj". He has also worked in TV serial "Wagle Ki Duniya".


title: Salim Ghouse

text: In 1989, he portrayed the villain in the Tamil film "Vettri Vizhaa", directed by Pratap Pothen as the rival to Kamal Haasan.


title: Salim Ghouse

text: He starred alongside Mohanlal in the classic Malayalam movie "Thazhvaram", directed by Bharathan. In 1993 he did a villain role in Mani Ratnam's film "Thiruda Thiruda", and also acted alongside Madhuri Dixit and Shahrukh Khan in the 1997 film "Koyla", then in 2009 he acted in "Vettaikaran". He also acted in films like "Maharaja" and "Soldier".


title: Encaustic painting

text: Encaustic painting, also known as hot wax painting, is a form of painting that involves a heated wax medium to which colored pigments have been added. The molten mix is applied to a surface—usually prepared wood, though canvas and other materials are sometimes used. The simplest encaustic medium could be made by adding pigments to wax, though recipes most commonly consist of beeswax and damar resin, potentially with other ingredients. For pigmentation, dried powdered pigments can be used, though some artists use pigmented wax, inks, oil paints or other forms of pigmentation.


title: Encaustic painting

text: Metal tools and special brushes can be used to shape the medium as it cools. Also, heated metal tools, including spatulas, knives and scrapers, can be used to manipulate the medium after it has cooled onto the surface. Additionally, heat lamps, torches, heat guns, and other methods of applying heat are used by encaustic artists to fuse and bind the medium. Because encaustic medium is thermally malleable, the medium can be also sculpted. And/or, materials can be encased, collaged or layered into the medium.


title: Encaustic painting

text: A completely unrelated type of "encaustic painting", not involving wax at all, is found in British ceramics, after Josiah Wedgwood devised and patented the technique in 1769. This was a mixture of ceramic slip and overglaze "enamel" paints used to imitate ancient Greek vase painting, and given a light second firing. Usually the vessel was black and painted in the red of red-figure painting. The technique was copied by other British potteries. Encaustic tiles are not painted at all, but effectively inlaid with contrasting colours of clay for a polychrome pattern.


title: Encaustic painting

text: The word encaustic originates from , which means "burning in", from "en", "in" and "kaiein", "to burn", and this element of heat is necessary for a painting to be called encaustic.


title: Encaustic painting

text: The wax encaustic painting technique was described by the Roman scholar Pliny the Elder in his "Natural History" from the 1st Century AD. The oldest surviving encaustic panel paintings are the Romano-Egyptian Fayum mummy portraits from Egypt, around 100–300 AD, but was a very common technique in ancient Greek and Roman painting. It continued to be used in early Byzantine icons but was effectively abandoned in the Western Church.


title: Encaustic painting

text: Kut-kut, a lost art of the Philippines, employs sgraffito and encaustic techniques. It was practiced by the indigenous tribe of Samar island around 1600 to 1800. Artists in the Mexican muralism movement, such as Diego Rivera, Fernando Leal (artist) and Jean Charlot sometimes used encaustic painting. The Belgian artist James Ensor also experimented with encaustic.


title: Encaustic painting

text: In the 20th century, painter Fritz Faiss (1905–1981), a student of Paul Klee and Wassily Kandinsky at the Bauhaus, together with Dr. Hans Schmid, rediscovered the so-called Punic wax technique of encaustic painting. Faiss held two German patents related to the preparation of waxes for encaustic painting. One covered a method for treating beeswax so that its melting point was raised from . This occurred after boiling the wax in a solution of sea water and soda three successive times. The resulting harder wax is the same as the Punic wax referred to in ancient Greek writings on encaustic painting. Other 20th-century North American artists, including Jasper Johns, Tony Scherman, Mark Perlman, and Fernando Leal Audirac, have used encaustic techniques.


title: Encaustic painting

text: Encaustic art has seen a resurgence in popularity since the 1990s, with artists using electric irons, hotplates and heated styli on different surfaces, including card, paper, and even pottery. The iron makes producing a variety of artistic patterns easier. The medium is not limited to just simple designs; it can also be used to create complex paintings, just as in other media such as oil and acrylic. Although technically difficult to master, attractions of this medium for contemporary artists are its dimensional quality and luminous color.


title: Jyothirmayi

text: Jyothirmayi is an Indian actress, television presenter, and former model, who works in Malayalam cinema. Starting her career as a model, she ventured into television, working as an anchor and later starring numerous Television show.


title: Jyothirmayi

text: Jyothirmayi started her career as a model and serial artist and gained recognition for her performance in the Malayalam soap opera, "Indraneelam", directed by Suresh Krishnan. After a brief and unsuccessful stint acting in telefilms, she moved to full films. In her first film "Pilots" (2000), she played a minor character and the film was a box office bomb. She was noticed after the release of "Meesa Madhavan" (2002) along with actor Dileep.


title: Jyothirmayi

text: In Tamil, she also got offers opposite stars Sathyaraj and Vijayakanth. After rising to fame as an actress, she has worked in nearly 30 Malayalam films.


title: Jyothirmayi

text: She married Nishanth Kumar on 6 September 2004. Six years later the couple filed for divorce, and it was granted on 1 October 2011. She married film director and cinematographer Amal Neerad on 4 April 2015.


Ladies and Gentlemen We Are Floating in Space is the third studio album by English space rock band Spiritualized, released on 16 June 1997. The album features guest appearances from the Balanescu Quartet, The London Community Gospel Choir and Dr. John.


title: Ladies and Gentlemen We Are Floating in Space

text: The album's title is from the philosophical novel "Sophie's World" by Jostein Gaarder, the context being:


text: The album itself was recorded shortly after the break-up of Spiritualized's Jason Pierce and Kate Radley, the band's keyboard player. Radley had secretly married Richard Ashcroft of The Verve in 1995. Pierce, however, maintains that much of the album, including "Broken Heart" and "Cool Waves", had been written before the breakup. "If you write a song like "[Broken Heart]", you have to make it feel like what it's like to have a broken heart," he said. "That's what making albums is all about. Otherwise it's just field recordings."


text: Original pressings had a version of the title track that incorporated the lyrics and melody of Elvis Presley's "Can't Help Falling in Love." The Presley estate initially objected to this, and a remixed version appeared on the commercial release, with new lyrics. However, Spiritualized continue to use both sets of lyrics in live performances. By 2009, they were allowed to use the version with the Presley lyrics on the reissued edition of the album, with the proviso that the song be titled "Ladies and Gentlemen We Are Floating in Space (I Can't Help Falling in Love)."


text: Album closer "Cop Shoot Cop..." is named after the New York industrial rock band Cop Shoot Cop, and it references lyrics from John Prine's "Sam Stone", incorporating variations on a key line from that song's chorus.


text: In the summer of 1995 Jason Pierce and Sean Cook entered Moles Studio in Bath, to start work on demo recordings with resident engineer Trevor Curwen. Pierce would develop his ideas into complete songs during this period.


text: A few weeks later, recording of the album proper began in earnest, with all of the band members present. Working on 24 track tape synchronised to an Atari sequencer allowed Pierce to build up sequenced tracks from samples of live playing, coupled with some parts gleaned from the demo sessions. The full band line-up, including John Coxon on guitar, performed live over this sequenced backbone.


text: With the basic framework intact, Pierce moved the project to London to work with producer/engineer Darren Allison (My Bloody Valentine) on the recording of vocals, guitars, keyboards, gospel choir and brass section at The Church Studios. The pair worked on further vocal recording at Rooster Studios, before moving on to recording Strings with the Balanescu Quartet at London's legendary Olympic Studios. At this point, Pierce made a trip to the United States to record Dr. John's piano and vocal parts on the track "Cop Shoot Cop".


text: The mixing process involved various studios and personnel. Beginning at House of Blues in Memphis, Pierce returned to work again with Darren Allison at The Strongroom Studios, John Leckie, and Trevor Curwen at Moles Studio. With the mixing phase complete, Pierce concentrated on post-production and editing with Mads Bjerke, and Ray Staff at Whitfield Street Studios took charge of the mastering process.


text: The artwork was designed by Pierce in collaboration with Mark Farrow. A special edition of the album was packaged in a box designed to resemble prescription medicine, complete with a booklet containing "dosage advice" and a foil blister pack containing the CD. A limited edition was also released, featuring each of the 12 songs in its own individually wrapped 3-inch CD, inside a large blister pack and box.


text: In 2020, record club Vinyl Me, Please announced they would reissue the album on blue colored vinyl in September of the same year. This will be the first "artist-approved" vinyl reissue of the album.


text: "Ladies and Gentlemen We Are Floating in Space" was released to widespread acclaim from music critics. "NME" critic Paul Moody hailed the album as a "seismic tour de force" and credited Jason Pierce for taking cues from his vast array of musical influences to create an "entirely new noise out of the wreckage", while "Melody Maker" praised it as "one mind-blowing perspective-fusing supernova of an album... that redefines notions of bittersweet and love-hate to the point where everyday emotions seem very small indeed." Roy Wilkinson of "Select" noted the album's more elaborate instrumentation and production styles compared to Spiritualized's previous work and called "Ladies and Gentlemen We Are Floating in Space" a "remarkable testimony to Pierce's vision". Steve Hochman of the "Los Angeles Times" named the album as "one of the most ambitious and striking sonic pastiches" of the year and said that it "recycles, refines and expands on the key elements" of "Lazer Guided Melodies" and "Pure Phase".


text: "The Austin Chronicle"s Taylor Holland wrote that "Ladies and Gentlemen We Are Floating in Space" "adds sunshine to an otherwise dreary summer season for shoegazers" and establishes Spiritualized as "king among loud-minded 'space rock' bands." Rob Brunner of "Entertainment Weekly" described it as "beautifully weightless and way out" and felt that while the band's "zero-gravity guitar drone" can get monotonous, the album's wide array of instrumentation "keep[s] the songs from drifting away altogether." Robert Christgau of "The Village Voice" called the album "refreshingly short on the fatalism pawned off as wisdom by the Verve and depressive if impressive Radiohead", later awarding the album a one-star honorable mention rating, indicating "a worthy effort consumers attuned to its overriding aesthetic or individual vision may well like".


text: "Ladies and Gentlemen We Are Floating in Space" reached number four on the UK charts, during the height of the Britpop period. The album went on to be named the "NME" album of the year at the end of 1997, beating other critically acclaimed albums such as Radiohead's "OK Computer" and The Verve's "Urban Hymns". "Select" and "Vox" named "Ladies and Gentlemen" the second best album of the year, while "Melody Maker" and "The Face" named it the fifth best. The album ranked at number 13 on "Uncut"s year-end list, and "Q" named it as one of the year's 50 best albums. "Ladies and Gentlemen We Are Floating in Space" also ranked at number 17 on "The Village Voice"s year-end Pazz & Jop critics' poll.


text: "Ladies and Gentlemen We Are Floating in Space" has since been acclaimed as one of the best albums of the 1990s on various publications' decade-end lists. "Pitchfork" ranked it at number 55 on their list of the top 100 albums of the 1990s. In 2010, the album was also named one of the 125 Best Albums of the Past 25 Years by "Spin". As of March 2010, the album has sold over 111,000 copies in United States.


text: A majority of the songs on the album were recorded live for the band's following release "Royal Albert Hall October 10, 1997". Three singles were released from the album: "Electricity" in July 1997, "I Think I'm in Love" in January 1998, and "Come Together" in July 1998. Spiritualized re-recorded the songs "Come Together" and "Broken Heart" (the former with a cleaner radio mix and the latter with an Ennio Morricone-styled string and horn section) at Abbey Road Studios in early 1998; these tracks comprised the band's "Abbey Road EP" released in August 1998. The title track of the album appeared in the 2001 Cameron Crowe film "Vanilla Sky".


text: In October and December 2009, Spiritualized performed "Ladies and Gentlemen We Are Floating in Space" live in its entirety as part of the All Tomorrow's Parties-curated "Don't Look Back" concert series. To coincide with the shows, a remastered legacy edition of the album with new artwork was released on 30 November 2009 in three formats: a one-disc release of the original album, a three-disc release featuring the original album and two bonus discs containing demos, instrumental versions, and session mixes of the album's songs, and a special collector's edition release limited to 1,000 copies consisting of twelve 3" mini CDs, each containing one of the original album's songs, and the aforementioned two CDs of bonus content. Reviewing the reissue, "Pitchfork" critic Grayson Currin wrote that on "Ladies and Gentlemen We Are Floating in Space", Pierce "unequivocally reached the height of his recorded powers." Spiritualized later performed the full album again at the All Tomorrow's Parties festival in May 2010, curated by Matt Groening.


text: In 2020, "Rolling Stone" ranked the album number 13 on their list of "Greatest Stoner Albums of All Time". The album was included in the book "1001 Albums You Must Hear Before You Die". In 2013, "NME" ranked it at number 156 in its list of the 500 Greatest Albums of All Time.


title: Taylor Rapp

text: Taylor Rapp (born December 22, 1997) is an American football safety for the Los Angeles Rams of the National Football League (NFL). He played college football at Washington, and was selected by the Rams in the second round of the 2019 NFL Draft.


title: Taylor Rapp

text: Rapp was born in Atlanta, Georgia, to a Chinese mother from Shanghai and a Caucasian father from Canada. After his birth, his parents decided to move to the West Coast. He was raised in Bellingham, Washington, with his older brother of three years, Austin. "NFL.com" described Rapp as a player who has "beaten long odds, undeterred by a city that failed to support prep football, a high school community that openly mocked him, coaches who were unprepared to develop his talents, college recruiters who blatantly overlooked him and kids who racially taunted him for his Chinese ethnicity."


title: Taylor Rapp

text: Rapp attended Sehome High School in Bellingham, Washington. He played safety and running back and also ran track. Due to his success, he played football for the U-16 and U-17 USA national teams. He committed to Washington in the spring of his junior year, choosing the Huskies over several FBS programs, including Oregon, Stanford, Nebraska, and Notre Dame.


title: Taylor Rapp

text: Rapp was ranked as the #1 safety prospect in the state of Washington and the 9th best safety on the West Coast by Scout.com. He received an invitation to play in the prestigious U.S. Army All-American Bowl game, but elected not to attend as it interfered with his schedule following his early enrollment at the University of Washington.


title: Taylor Rapp

text: Rapp enrolled early at UW in January 2016 and participated in winter workouts and spring practices. He saw playing time in all 14 games of his freshman season, starting 10 of them. He started to emerge as a play maker in the secondary late in the season after nabbing a pair of interceptions against USC. In the 2016 Pac-12 Football Championship Game, Rapp intercepted back-to-back passes from Colorado QB Sefo Liufau, returning one of them for a touchdown. For his outstanding performance, he was named the Pac-12 Championship Game MVP. Following the regular season, Rapp was named to the "USA Today" Freshman All-America team. Rapp was recognized by the Pac-12 as the conference's Freshman Defensive Player of the Year. On December 12, Rapp was named to the "ESPN" True Freshman All-America team. On December 19, he was named to the Pro Football Focus Freshman All-American team. On January 9, Rapp was named to the Football Writers Association of America Freshman All-America team.


title: Taylor Rapp

text: Prior to the 2017 season, Rapp was named one of the 100 best players in college football by Sports Illustrated, coming in at number 39 on the list. Earning first-team All-Pac-12 honors for the 2017 season, he was also named to the Academic All-Pac-12 first team. He was also named a CoSIDA Academic All-District 8 player. Rapp gained acceptance into the University of Washington's prestigious Foster School of Business late in 2017.


title: Taylor Rapp

text: Prior to his junior season, Rapp was named a first-team All-American by the "Associated Press" and "Sports Illustrated". On January 2, 2019, Rapp announced that he would forgo his final year of eligibility and declare for the 2019 NFL Draft.


title: Taylor Rapp

text: The Los Angeles Rams selected Rapp in the second round (61st overall) of the 2019 NFL Draft. He was the fifth safety drafted in 2019.


title: Taylor Rapp

text: On June 7, 2019, the Los Angeles Rams signed Rapp to a four-year, $4.67 million contract that includes $2.12 million guaranteed and a signing bonus of $1.41 million.


title: Taylor Rapp

text: In Week 13 against the Arizona Cardinals, Rapp recorded an interception off fellow rookie Kyler Murray and returned it for a 31-yard touchdown in the 34–7 win. This was Rapp's first career interception and touchdown in the NFL. In Week 16 against the San Francisco 49ers, Rapp recorded 5 tackles in the 34–31 loss. With 58 seconds left in the game on third and 16, Rapp made an error in coverage which resulted in a 46-yard completion to wide receiver Emmanuel Sanders, which eventually led to a game-winning field goal that knocked the Rams out of playoff contention. In Week 17 against the Arizona Cardinals, Rapp recovered a fumble lost by Kyler Murray and intercepted another pass thrown by Murray in the 31–24 win.


title: Taylor Rapp

text: In Week 7 against the Chicago Bears on "Monday Night Football", Rapp recorded his first interception of the season off a pass thrown by Nick Foles during the 24–10 win.


title: Taylor Rapp

text: In Week 8 against the Miami Dolphins, Rapp forced a fumble on running back and former college teammate Myles Gaskin which was recovered by the Rams during the 28–17 loss. He suffered a knee injury in Week 10 and was placed on injured reserve on November 17, 2020.


title: Taylor Rapp

text: In Week 6, Rapp recorded two interceptions, three passes defensed and five tackles in a 38-11 win over the New York Giants, earning NFC Defensive Player of the Week.


title: Taylor Rapp

text: In Week 10 against the San Francisco 49ers on "Monday Night Football", Rapp recorded 10 tackles and got his first full career sack on Jimmy Garoppolo during the 31-10 loss. He suffered a concussion in Week 17 against the San Francisco 49ers which caused him to miss the first three playoff games. He won his first Super Bowl title, in which he had seven total tackles, when the Rams beat the Cincinnati Bengals in Super Bowl LVI.


title: Provinces of Cambodia

text: Cambodia is divided into 25 provinces (, ). The capital Phnom Penh is not a province but an "autonomous municipality" (, ; lit. 'Capital'), equivalent to a province governmentally and administered at the same level as the other 24 provinces.


title: Provinces of Cambodia

text: Phnom Penh has both the highest population and the highest population density of all provinces, but is the second smallest in land area. The largest province by area is Mondulkiri and the smallest is Kep which is also the least populated province. Mondulkiri has the lowest population density.


title: Provinces of Cambodia

text: Each province is administered by a governor, who is nominated by the Ministry of Interior, subject to approval by the Prime Minister.


title: Provinces of Cambodia

text: Provinces are divided into districts ( "srok"). The districts in Phnom Penh are called "khan" () normally written as for addresses in English followed by the districts’ names (Ex: Khan Chamkar Mon; lit. 'Chamkar Mon District'). The number of districts in each province varies, from two in the smallest provinces to 14 in Battambang, Prey Veng, and Siem Reap. Further subdivision levels are "communes" ( "khum"), and further subdivided into villages (, "phum"). In Phnom Penh, "sangkat" () is used in the place of "khum" and, similar to "khan", normally preferred for writing addresses in English (Ex: Sangkat Mittapheap; lit. 'Mittapheap Commune').


title: Third Dynasty of Egypt

text: The Third Dynasty of ancient Egypt (Dynasty III) is the first dynasty of the Old Kingdom. Other dynasties of the Old Kingdom include the Fourth, Fifth and Sixth. The capital during the period of the Old Kingdom was at Memphis.


title: Third Dynasty of Egypt

text: After the turbulent last years of the Second Dynasty, which might have included civil war, Egypt came under the rule of Djoser, marking the beginning of the Third Dynasty. Both the Turin King List and the Abydos King List record five kings, while the Saqqara Tablet only records four, and Manetho records nine, many of whom did not exist or are simply the same king under multiple names.


title: Third Dynasty of Egypt

text: The archaeological evidence shows that Khasekhemwy, the last ruler of the Second Dynasty, was succeeded by Djoser, who at the time was only attested by his presumed Horus name Netjerikhet. Djoser's successor was Sekhemkhet, who had the Nebty name Djeserty. The last king of the dynasty is Huni, who may be the same person as Qahedjet or, less likely, Khaba. There are three remaining Horus names of known 3rd dynasty kings: Sanakht, Khaba, and perhaps Qahedjet. One of these three, by far most likely Sanakht, went by the nebty name Nebka.


title: Third Dynasty of Egypt

text: Dating the Third Dynasty is similarly challenging. Shaw gives the dates as being approximately from 2686 to 2613 BCE. The Turin King List suggests a total of 75 years for the third dynasty. Baines and Malek have placed the third dynasty as spanning the years 2650–2575 BCE, while Dodson and Hilton date the dynasty to 2584–2520 BCE. It is not uncommon for these estimates to differ by more than a century.


title: Third Dynasty of Egypt

text: Some scholars have proposed a southern origin for the Third Dynasty. Egyptologist, Flinders Petrie believed the dynasty originated from Sudan based on the iconographic evidence whereas S.O.Y. Keita, a biological anthropologist, differed in his view and argued an origin in southern Egypt was “equally likely”. He cited a previous X-ray and anthropological study which suggested that the Third Dynasty nobles had “Nubian affinities”. The author also interpreted the portrait of Djoser as having little resemblance to “portraits of late dynastic Greek/Roman conquerors” and cited an iconographic review conducted by anthropologist, John Drake as supporting evidence. In a separate article, Keita noted that the archaeological remains of the southern elites and their descendants which he discussed in reference to the Second Dynastic rulers and Djoser were eventually buried in the north and not at Abydos, Egypt.


title: Third Dynasty of Egypt

text: The pharaohs of the Third Dynasty ruled for approximately seventy-five years. Due to recent archaeological findings in Abydos revealing that Djoser was the one who buried Khasekhemwy, the last king of the Second Dynasty, it is now widely believed that Djoser is the founder of the Third Dynasty, as the direct successor of Khasekhemwy and the one responsible for finishing his tomb. These findings contradict earlier writings, like Wilkinson 1999, which proposed that Nebka/Sanakht was the founder of the dynasty. However, the two were not very far apart temporally; they may have been brothers, along with Sekhemkhet, as the sons of Khasekhemwy and his favoured consort Nimaathap.


title: Third Dynasty of Egypt

text: While Manetho names Necherophes, and the Turin King List names Nebka (a.k.a. Sanakht), as the first pharaoh of the Third Dynasty, many contemporary Egyptologists believe Djoser was the first king of this dynasty, pointing out the order in which some predecessors of Khufu are mentioned in the Papyrus Westcar suggests that Nebka should be placed between Djoser and Huni, and not before Djoser. More importantly, seals naming Djoser were found at the entrance to Khasekhemwy's tomb at Abydos, which demonstrates that it was Djoser, rather than Sanakht, who buried and succeeded this king. The Turin King List scribe wrote Djoser's name in red ink, which indicates the Ancient Egyptians' recognition of this king's historical importance in their culture. In any case, Djoser is the best known king of this dynasty, for commissioning his vizier Imhotep to build the earliest surviving pyramids, the Step Pyramid.


title: Third Dynasty of Egypt

text: Nebka's identification with Sanakht is uncertain; though many Egyptologists continue to support the theory that the two kings were one and the same man, opposition exists because this opinion rests on a single fragmentary clay seal discovered in 1903 by John Garstang. Though damaged, the seal displays the "serekh" of Sanakht, together with a cartouche containing a form of the sign for "ka," with just enough room for the sign for "Neb." Nebka's reign length is given as eighteen years by both Manetho and the Turin Canon, though it is important to note that these sources write over 2,300 and 1,400 years after his lifetime, so their accuracy is uncertain. In contrast to Djoser, both Sanakht and Nebka are attested in considerably few relics for a ruler of nearly two decades; the Turin Canon gives a reign of only six years to an unnamed immediate predecessor of Huni. Toby Wilkinson suggests that this number fits Sanakht (whom he identifies concretely with Nebka), given the sparsity of archaeological evidence for him, but it could also be the reign length of Khaba or even Qahedjet, kings whose identities are uncertain. (Wilkinson places Nebka as the penultimate king of the Third Dynasty, before Huni, but this is by no means definitively known or even overwhelmingly supported among Egyptologists.)


title: Third Dynasty of Egypt

text: Some authorities believe that Imhotep lived into the reign of the Pharaoh Huni. Little is known for certain of Sekhemkhet, but his reign is considered to have been only six or seven years, according to the Turin Canon and Palermo Stone, respectively. Attempts to equate Sekhemkhet with "Tosertasis", a king assigned nineteen years by Manetho, find almost no support given the unfinished state of his tomb, the Buried Pyramid. It is believed that Khaba possibly built the Layer Pyramid at Zawyet el'Aryan; the pyramid is far smaller than it was intended to be, but it is not known whether this is due to natural erosion or because it, like Sekhemkhet's own tomb, was never completed to begin with. In any case, the duration of Khaba's reign is uncertain; a few Egyptologists believe Khaba was identical to Huni, but if Khaba is the same person as the Ramesside names "Hudjeta II" and "Sednes", he could have reigned for six years.


title: Huckleberry Hound

text: Huckleberry "Huck" Hound is a fictional cartoon character, a blue anthropomorphic coonhound that speaks with a North Carolina Southern drawl. He first appeared in the series "The Huckleberry Hound Show". The cartoon was one of six TV shows to win an Emmy Award in 1960 as an "Outstanding Achievement in the Field of Children's Programming"; the first animated series to receive such an award.


title: Huckleberry Hound

text: Most of his short films consist of Huck trying to perform jobs in different fields, ranging from policeman to dogcatcher, with results that backfire, yet usually coming out on top, either through slow persistence or sheer luck. Huck does not seem to exist in a specific time period as he has also been a Roman gladiator, a medieval knight, and a rocket scientist. He also appears in futuristic cartoons, as an intergalactic space policeman, alongside other Hanna-Barbera characters. The trademark of Huck was his tone-deaf and inaccurate rendition of "Oh My Darling, Clementine", often used as a running gag.


title: Huckleberry Hound

text: In 1953, Tex Avery created a character known as the Southern Wolf (later Dixie Wolf in "The Tom & Jerry Show") for his MGM cartoons "The Three Little Pups" and "Billy Boy". Introduced as an antagonist to Droopy, the wolf had a southern drawl and laid-back mannerisms provided by Daws Butler. The most memorable trait of the character was that whenever something painful or unpleasant happened to him, the Wolf never lost his cool; instead, he calmly talked to the audience or kept whistling the song "Year of Jubilo". After Avery left MGM, William Hanna and Joseph Barbera produced two more shorts with the character. In two of his cartoons ("Billy Boy" and "Blackboard Jumble") the wolf plays a role that was exactly like a usual Huckleberry Hound short, aside from his frequent use of slang, and the echo-like repetition of words he had only in "Billy Boy". "Sheep Wrecked" was the wolf's final appearance.


title: Huckleberry Hound

text: Huck's name is a reference to the 1884 American novel "Adventures of Huckleberry Finn", written by Mark Twain. Hanna and Barbera almost named Yogi Bear "Huckleberry Bear".


title: Huckleberry Hound

text: He was voiced in the original cartoons in 1958 by Daws Butler, who had given a similar voice and characterization to the dog characters Reddy in "The Ruff and Reddy Show" and Smedley in Walter Lantz's "Chilly Willy" shorts. The voice for Huck was actually inspired by a neighbor of Butler's wife, Myrtis Martin, in her hometown Albemarle, North Carolina. Butler would visit Myrtis and her family and would talk to the neighbor who was a veterinarian. Butler found the man's voice amusing and remembered it when it came time to voice Huck. The voice bore similarities to that of Andy Griffith, who likewise based his character accent on a rural North Carolina town (in Griffith's case, Mount Airy), and Hanna-Barbera was known for its characters' voices being parodies of known celebrities; Butler, who had been using the accent for about a decade before Griffith became famous, denied using Griffith as an inspiration.


title: Huckleberry Hound

text: Huckleberry's voice was originally loud, enthusiastic and joyful, to fit his occupation of a showman. As the show progressed, it became deeper, and calmer.


title: 187 (slang)

text: Section 187 (often referred to in slang simply as 187) of the California Penal Code defines the crime of murder. The number is commonly pronounced by reading the digits separately as "one-eight-seven", or "one-eighty-seven", rather than "one hundred eighty-seven".


title: 187 (slang)

text: The number "187" has been used by gangs throughout the United States and elsewhere as a synonym for murder; this usage has been documented in Florida, Wisconsin, the United Kingdom, Germany and Norway. It also features widely in hip-hop culture, such as in Dr. Dre's "Deep Cover".


title: 187 (slang)

text: California Penal Code section 187, subdivision (a) defines murder as "the unlawful killing of a human being, or a fetus, with malice aforethought". Subdivision (b) states that subdivision (a) does "not apply to any person who commits an act that results in the death of a fetus if any of the following apply: (1) The act complied with the Therapeutic Abortion Act [citation]. (2) The act was committed by a holder of a physician's and surgeon's certificate [citation], in a case where, to a medical certainty, the result of childbirth would be death of the mother of the fetus or where her death from childbirth, although not medically certain, would be substantially certain or more likely than not. (3) The act was solicited, aided, abetted, or consented to by the mother of the fetus."


title: 187 (slang)

text: In California, suspects are usually charged by reference to one or more Penal Code (PC) sections. Thus, the charging documents for a suspect charged with murder would be inscribed with "PC 187(a)" or just "PC 187". If a suspect is charged with attempted murder, then the relevant code would be "PC 664/187" because attempt is defined in Penal Code section 664.


title: 187 (slang)

text: Under the California Uniform Bail Schedule, the standard bail for murder is $750,000. The standard bail for first-degree murder with special circumstances (that is, circumstances under which the district attorney is seeking the death penalty) is "NO BAIL".


title: 187 (slang)

text: In the song "April 29, 1992 (Miami)" by Sublime, Bradley Nowell used the lyrics "And screamin' 1-8-7 on a motherfuckin' cop," alluding to Dr. Dre's song. The lyrics are related to the riots that ensued after the video evidence and eyewitnesses of police brutality, the beating of Rodney King and the violence that was evident during that year.


title: 187 (slang)

text: In the 1999 movie "Magnolia", police officer Jim Kurring (played by John C. Reilly), thinking Claudia (played by Melora Walters) is involved in a situation domestic abuse, remarks that things can often go bad if the victim does not speak up, and he does not want to come out to a "one eighty-seven", a reference that Claudia does not understand, but he does not elaborate.


title: 187 (slang)

text: In the 2002 EP "From the Depths of Dreams" by the post-hardcore band Senses Fail, there is a track titled "One Eight Seven", with subject matter surrounding murder. It was one of their better known songs, but the band retired it from their live sets in 2013 due to the lyrical themes and Buddy Neilsen feeling that he had personally moved on from the song. In 2019, the band re-imagined "From the Depths of Dreams" including the song "One Eight Seven", which they had not played live in over five years.


title: Sonic the Hedgehog 4: Episode I

text: Development began in May 2009 and lasted a year and a half. The game was conceived as a smartphone-exclusive spin-off before becoming a multiplatform, mainline "Sonic" installment. As a continuation of the Genesis "Sonic" games, "Episode I" features a simple control scheme, no voice acting, level design emphasizing platforming and momentum-based gameplay, and no player characters besides Sonic; however, it incorporates Sonic's design and abilities from later games like "Sonic Adventure" (1998). It was designed to appeal to both older "Sonic" fans who played the Genesis games and newer ones who played more recent ones like "Sonic Unleashed" (2008). Producer Takashi Iizuka and composer Jun Senoue were the only "Sonic 4" developers who contributed to the Genesis games.


title: Sonic the Hedgehog 4: Episode I

text: "Episode I" was released in October 2010 as a downloadable game for iOS, PlayStation 3, Wii, and Xbox 360. Versions for Windows Phone, Windows, Android, and BlackBerry Tablet OS followed throughout 2011 and 2012. The game received moderately positive reviews and sold more than one million copies within a year. Critics described "Episode I" as a satisfying return to classic "Sonic" gameplay and praised the sense of nostalgia. Criticism was directed at its physics engine, considered inferior to that of the Genesis games, and its short length. "Episode I" was planned as the first episode in a trilogy; "" was released in May 2012, while "Episode III" was never made.


title: Sonic the Hedgehog 4: Episode I

text: "Sonic the Hedgehog 4: Episode I" is a side-scrolling platform game similar in gameplay and style to the 1990s "Sonic the Hedgehog" games for the Sega Genesis. The story begins shortly after the events of "Sonic & Knuckles" (1994). Sonic the Hedgehog parts with his friends, Miles "Tails" Prower and Knuckles the Echidna, to explore new territories on his own. However, series antagonist Doctor Eggman—who survived his defeat in "Sonic & Knuckles"—resurfaces, refines some of his past robots, and initiates a plan to get rid of Sonic. "Sonic 4" is presented from a 2.5D perspective; although movement is restricted to a 2D plane, characters and objects are rendered in 3D. Sonic, the only player character of the single-player game, can move left or right to gain speed, jump, and roll into a ball to attack enemy robots. Sonic can also perform the "homing attack" from the 3D "Sonic" games; when in midair, he can lock on to robots or objects and home in on them. In some cases, chaining homing attacks opens access to alternate pathways.


title: Sonic the Hedgehog 4: Episode I

text: The game takes place across four levels called zones, each split into three acts. Unlike the Genesis "Sonic" games, after completing the first act, the player can freely choose which zone to play via a world map. The levels are based on locations from the original "Sonic the Hedgehog" (1991) and "Sonic the Hedgehog 2" (1992), and feature elements such as slopes, bottomless pits, vertical loops, corkscrews, springs, and boost pads, as well as power-ups like shields, invincibility, and speed shoes. Some levels feature unique elements, like vines or pinball flippers and bumpers. After the player completes a zone's acts, they unlock a boss encounter with Eggman. Boss encounters feature Eggman piloting one of his robots, and the player must hit him eight times to defeat him. Completing all four zones unlocks a fifth and final level. Like other "Sonic" games, Sonic collects rings as a form of health: if the player is in possession of at least one ring and is hit by an enemy or hazard, they will survive, but their rings will scatter and blink before disappearing. If the player is hit with no rings, falls in a pit, or drowns, they lose a life, and will receive a game over if all lives are lost.


title: Sonic the Hedgehog 4: Episode I

text: If the player finishes an act with 50 or more rings, they will have the option to access a special stage. The special stages in "Episode I" are based on those from "Sonic the Hedgehog", in which Sonic is curled in a ball and bounces off the bumpers and walls of a fully rotating maze. The player must tilt the playing field to navigate Sonic through the maze within a time limit, collecting rings to open gates and time bonuses along the way. Finishing the special stage rewards the player with one of the seven Chaos Emeralds. By collecting all seven, the player unlocks the ability to transform into Super Sonic, granting them invincibility and increased speed at the cost of one ring a second. Collecting the Chaos Emeralds also unlocks a brief post-credits scene that shows a silhouette of Metal Sonic, teasing the events of "" (2012). Players are also able to upload their game information to online leaderboards to compare level completion times and high scores.


title: Sonic the Hedgehog 4: Episode I

text: Each version of the game is mostly identical, save for differences in screen size and resolution. For instance, the PlayStation 3, Xbox 360, and Windows versions support high-definition and widescreen displays, whereas the Wii version does not. Additionally, the PlayStation 3 and Wii versions both support their systems' respective motion controllers. The mobile versions can be controlled with either the accelerometers or virtual buttons on the touchscreen. Two levels exclusive to these versions are designed around the use of the accelerometers.


title: Sonic the Hedgehog 4: Episode I

text: According to project head Takashi Iizuka, "Sonic 4" was conceived in January 2009; development began four months later and lasted about a year and a half. Dimps, which had previously developed "Sonic" platformers for the Game Boy Advance and Nintendo DS, led development, with assistance from Sonic Team. Sonic Team's Toshiyuki Nagahara served as director. The only developers on the team who contributed to the Genesis games were producer Iizuka and composer Jun Senoue. The game was announced on September 11, 2009 under the working title "Project Needlemouse". Its proper title, "Sonic the Hedgehog 4: Episode I", was revealed on February 4, 2010, alongside the debut of in-game footage.


title: Sonic the Hedgehog 4: Episode I

text: Brand manager Ken Balough stated that "Sonic 4" was conceived following fan requests for a return to classic "Sonic" gameplay. He acknowledged the divide between older "Sonic" fans who played the Genesis games and younger ones who played more recent games like "Sonic Unleashed" (2008), and said Sega needed to cater to both demographics. In an interview with "Nintendo Life", Balough said that "[w]hen we started discussing doing a 2D "Sonic" game, it just made sense that we would make "Sonic 4". It's a game fans have been asking about for years, and we felt we had the right team to make it." While Balough said the game was always called "Sonic 4", according to journalist Kurt Kalata, "Sonic 4" was not conceived as a mainline, numbered "Sonic" game, but rather as a smartphone-exclusive spin-off called "Sonic the Portable" that took advantage of those devices' gyroscope functions. Kalata wrote that it was retitled "Sonic 4" at the behest of Sega's American branch and made a multiplatform release, and noted that one of the game's levels still features signs that say "Sonic the Portable".


title: Sonic the Hedgehog 4: Episode I

text: Iizuka noted that after "Sonic Adventure" was released in 1998, the "Sonic" series began to have a greater emphasis on speed. However, he also acknowledged many fans still enjoyed the Genesis games, as evidenced from their popularity on digital distribution platforms. With "Sonic 4", Iizuka was motivated to return to the classic "Sonic" style with modern technologies. To stay faithful to the original Genesis games, the developers chose not to include voice acting. The team began development using elements they considered vital to the "Sonic" series: a simple control scheme—with jumping and attacking controlled by a single button—and level design emphasizing platforming and momentum-based gameplay. To establish "Episode I" as a successor to the Genesis games, the developers chose to revive those games' level locales to, as Iizuka explained, "tap into that nostalgia factor. Essentially we wanted people to recognize this was a continuation from the [Genesis] era "Sonic"s." While the content in all versions is mostly the same, two levels in the mobile version were replaced in the console releases. These two levels were supposed to be retained across all releases, but they were designed around the use of a smartphone gyroscope, and the team did not think they translated well to a console.


title: Sonic the Hedgehog 4: Episode I

text: One new addition was Sonic's homing attack from "Sonic Adventure"; Iizuka said the team "wanted to add that excitement of performing continuous attacks" and felt it "add[ed] to the classic-style gameplay by providing a new means to discover routes in the sky". Though a return to the classic "Sonic" formula, "Sonic the Hedgehog 4: Episode I" does not reuse Sonic's original design, instead retaining his post-"Adventure" design. Iizuka reasoned this was because the game was not a remake. Following the project's announcement, in January 2010 Sega began a countdown with a list that discounted potential playable characters. When fans answered trivia questions, the list got whittled down, and culminated with the reveal that Sonic would be the only playable character. Iizuka said this decision was made because the team wanted both old and new fans to be able to enjoy the game. The decision to scale back the series' extensive cast was also identified as a way to return to the series' roots. Despite this, the post-credits scene teases the reintroduction of Metal Sonic, who had not appeared in a "Sonic" game for years. Balough stated that fans had been asking Sega to bring back Metal Sonic for years, and that the post-credits scene was added to keep players excited for "Episode II".


title: Sonic the Hedgehog 4: Episode I

text: Senoue only composed some tracks for the Genesis "Sonic" games, but for "Sonic 4", he was responsible for creating all the music and sound effects. The music was written to replicate the style of the Genesis "Sonic" games because, according to Balough, the developers wanted the game to feel "like a genuine extension of the first three "Sonic" games". Senoue was involved with the project early on when Iizuka approached him to ask him to compose. Senoue said that he attempted to compose the tracks as if he had been composing them for the Genesis, using as few notes as possible. He did not use any FM sound tapes, although he did unsuccessfully attempt to find an old Genesis development kit. Senoue attempted to compose tracks "with a similar beat or similar tempo" to those from "Sonic the Hedgehog" and "Sonic the Hedgehog 2". Senoue had fun working on "Episode I" and said his favorite track was the first level's, although Nagahara hated it and tried to persuade Senoue to compose a replacement tune. Eggman's theme in "Episode I" had originally been composed for "Sonic 3D Blast" (1996), but went unused in that game.