title: Morarji Desai

text: The popular anti-corruption movement led by Jayaprakash Narayan and the Janata-wave in 1977 led to the complete routing of the Congress party in Northern India, and a landslide victory for the opposition Janata alliance in the National elections held in March 1977. Desai was selected by the Janata alliance, later Janata Party as their parliamentary leader, and thus became the first non-Congress Prime Minister of India.


title: Morarji Desai

text: In January 1977, Indira Gandhi dissolved the Lok Sabha and declared that elections to the body were to be held during March 1977. Opposition leaders were also released and promptly formed the Janata alliance to fight the elections. The alliance registered a landslide victory in the election. On the urging of Jayaprakash Narayan, the Janata alliance selected Desai as their parliamentary leader and thus the Prime Minister.


title: Morarji Desai

text: Desai restored normal relations with China, for the first time since the 1962 war. He also communicated with the military ruler of Pakistan, General Zia-ul-Haq and established friendly relations. Despite his pacifist leanings, he refused to sign the non-nuclear proliferation treaty despite the threat of stopping supply of uranium for power plants by the USA Congress.


title: Morarji Desai

text: Domestically, Desai played a crucial role in the Indian nuclear program after it was targeted by major nuclear powers after India conducted a surprise nuclear test in 1974. Desai kept India's nuclear reactors stating "they will never be used for atomic bombs, and I will see to it if I can help it". Internationally, he reaffirmed India's stand that it would not manufacture nuclear weapons and would refrain from conducting even peaceful nuclear explosions. In 1977, the Carter administration offered to sell heavy water and uranium to India for its nuclear reactors but required American on-site inspection of nuclear materials. Desai declined, seeing the American stance as contradictory, in light of its own nuclear arsenal.


title: Morarji Desai

text: Desai had described the Research and Analysis Wing (R&AW), India's external intelligence agency, as the praetorian guard of Indira Gandhi and had promised to stop all activities of the R&AW after becoming prime minister. He closed down much of the agency, and reduced its budget and operations, such as closing its Information Division. B. Raman, the former head of the Counter-Terrorism Division of R&AW and noted security analyst, revealed that in an informal discussion, Desai indiscreetly told Pakistan's Chief Martial Law Administrator General Zia ul-Haq that his government was well aware of Pakistan's nuclear development.


title: Morarji Desai

text: His government undid many amendments made to the constitution during emergency and made it more difficult for any future government to impose a national emergency. However, the Janata Party coalition was full of personal and policy friction and thus failed to achieve much, owing to continuous in-wrangling and much controversy. With no party in leadership of the coalition, rival groups vied to unseat Desai. Controversial trials of prominent Congress leaders, including Indira Gandhi over Emergency-era abuses worsened the fortunes of his administration.


title: Morarji Desai

text: In 1979, Raj Narain and Charan Singh pulled out of the Janata Party, forcing Desai to resign from office and retire from politics. The chief reason for the collapse was the demand by the duo and other left-leaning members, like Madhu Limaye, Krishan Kant, and George Fernandes that no member of the Janata party could simultaneously be a member of an alternative social or political organisation. This attack on "dual membership" was directed specifically at members of the Janata Party who had been members of the Jan Sangh, and continued to be members of Rashtriya Swayamsevak Sangh, the Jan Sangh's ideological parent.


title: Morarji Desai

text: Desai campaigned for the Janata Party in 1980 General Election as a senior politician but did not contest the election himself. In retirement, he lived in Mumbai. When former French Prime Minister Antoine Pinay died on 13 December 1994, Desai became the world's oldest living former head of government. He was much honoured in his last years as a freedom-fighter of his generation. On his 99th birthday, he was visited by Prime Minister P. V. Narasimha Rao, and soon after began to fall ill. He was treated in a hospital in Mumbai due to low blood pressure and a chest infection. He died on 10 April 1995, aged 99, after he underwent surgery for a blood clot in his brain.


title: Morarji Desai

text: Desai was a Gandhian follower, social worker, institution builder and a great reformer. He was the Chancellor of Gujarat Vidyapith. Even during his term as the Prime Minister he used to visit and stay at Vidyapith during the month of October. He lived simply and used to write post cards himself even when he held the office of Prime Minister. Sardar Patel deputed him to conduct meetings of farmers in Kaira district which finally led to the establishment of the Amul Cooperative movement. During his rule, he withdrew intervention in Public Distribution System and rationing shops were literally lost due to cheap sugar and oil available in the market.


title: Morarji Desai

text: Desai married Gujraben in 1911, at the age of 15. Gujraben lived to see her husband becoming Prime Minister. Out of his five children, only three survived infancy. Desai's three surviving children were: his daughters Virumati, Indu and his son Kantilal.


title: Morarji Desai

text: Virumati, who was married to Ramanlal Desai, passed away in early 2000s. Indu, a medical student passed away in 1953. Kantilal Desai, who was married to Padma Kirloskar, passed away in 2014.


title: Morarji Desai

text: Desai has two grandsons, through his son Kantilal; Bharat Desai and Jagdeep Desai, and one granddaughter; Varsha Desai Naik. One of Desai's great-grandsons, Madhukeshwar Desai is currently the National Vice-President of the Bharatiya Janata Yuva Morcha, the youth wing of the BJP. Madhukeshwar is married to Sneha Menon, a celebrity talkshow host. Of Desai's great-grandaughters; Kalayani is a celebrity stylist and designer, Disha is a Harvard-graduate Lawyer and Sanghavi is a social worker and benefactor for several noted charities. Another of Desai's great-grandsons, Vishaal Desai is a writer and filmmaker.


title: Morarji Desai

text: Desai, a longtime practitioner of 'urine therapy', spoke in 1978 to Dan Rather on "60 Minutes" about the benefits of drinking urine. He also attributed his longevity to drinking urine.


title: Morarji Desai

text: "Morarji", an Indian television series about the life of Desai from his days as an independence activist till his tenure as prime minister, aired on the national public broadcaster Doordarshan's DD National channel. The Films Division of India made "For Peace and Friendship", a 1978 short documentary film directed by C. Ramani about Desai's campaign for nuclear disarmament. Govind Namdeo appeared as Desai in the 2019 conspiracy thriller film "The Gandhi Murder", by Karim Traïdia and Pankaj Sehgal, which explores a British abetment in the assassination of Mahatma Gandhi.


title: Morarji Desai

text: "Pradhanmantri" (), a 2013 Indian docudrama television series which aired on ABP News and covers the various policies and political tenures of Indian PMs, dedicated the thirteenth episode – "Story of Morarji Desai and Janata Party" – to his term as the country's leader.


title: Toyota HiAce

text: The (pronounced "High Ace") is a light commercial vehicle produced by the Japanese automobile manufacturer Toyota. First launched in October 1967, the HiAce has since been available in a wide range of body configurations, including a minivan/MPV, minibus, panel van, crew van, pickup truck, taxi and an ambulance. In Japan, the HiAce is exclusive to "Toyopet Store" locations.


title: Toyota HiAce

text: In the late 1960s, Toyota Auto Body, a Toyota subcontracting company, led the development of the HiAce as a small van with a design, similar to European ones at the time, but, according to former Toyota senior employee Akira Kawahara, something unseen in the Japanese industry.


title: Toyota HiAce

text: Introduced in 1967, the HiAce was offered as a cab over pick-up, delivery van, and a stretched commuter vehicle. It was also called the HiAce Commercial in camper van configuration. It was brought to market two years after the introduction of the Nissan Homy, acquired by Nissan when they assumed operations of the Prince Motor Company. A few engines of different sizes were available upon introduction, ranging from the 1.35 to a 1.6-litre version. In 1975, the 1.8-litre 16R engine was added. The HiAce was available with a heater, considered a luxury item at the time.


title: Toyota HiAce

text: The HiAce was primarily designed as a commuter vehicle, able to transport up to 8 people. With this goal in consideration, the HiAce exterior dimensions and engine displacement were in compliance with Japanese government regulations so as to encourage sales, and accommodate the most passengers by utilizing a cabover body style, with the engine installed underneath and between the front passengers. It was a smaller alternative to the larger Toyota Coaster minibus, and was introduced to Japan after the 1950 Volkswagen Transporter, and the 1961 Chevrolet Greenbrier cabover vans. It was introduced in the same year as the much smaller Toyota MiniAce, which was based on the Toyota Publica, a predecessor to the Toyota Corolla.


title: Toyota HiAce

text: This type of HiAce is a rare model these days mostly because of weather wear and rust. HiAce vans originally sold on the European market have largely been exported to Africa and to Southeast Asia where they are used as public transport vehicles.


title: Toyota HiAce

text: The new HiAce of 1977 featured a longer, and more streamlined cab with single headlights. As the second generations dimensions grew, it was joined by a smaller, junior-level cabover van called the Toyota LiteAce to continue to offer dimensions closer to the first generation. In addition to the petrol engines, a 2.2-litre diesel engine was offered in certain markets. New for the "20–40 series" HiAce was a double-cab pick-up, super-long-wheelbase van, and a super long, high-roof Commuter. The Commuter models can seat up to 15 passengers. The short wheelbase truck initially carried the "H11"-series chassis codes. For the vans, 20 series vans have short wheelbases, 30 series have long, and 40 series have super long wheelbases.


title: Toyota HiAce

text: After the third generation was introduced in 1982, certain variants of the second generation continued to be manufactured for several years. A majority of the second generation models were exported from Europe and Japan to African and Asian countries after production ended and are used as public transport vehicles.


title: Toyota HiAce

text: A new HiAce van was launched in 1982, with the HiAce pickup truck coming in August 1985. The truck's cab design was common to the bigger ToyoAce light truck, though it had different frontal styling. The truck was a completely different model than the van.


title: Toyota HiAce

text: The van's model number contains various wheelbase specification information: 50 series vans have short wheelbases, 60 series have long, and 70 series have super long. The pickup trucks are in the 80 and 90-series. The Toyota Mobile Lounge, displayed at the 1987 Tokyo Motor Show, is based on the HiAce high-roof Commuter. While the van and Commuter were redesigned in 1989, the pickup truck was produced until the 1995 model year, and was the last HiAce based pickup truck. Air-conditioning was offered as standard equipment on some variants from this generation onwards.


title: Toyota HiAce

text: In South Africa, the vehicle continued to be produced and was sold alongside the H200 Toyota Quantum (introduced in 2005) until the end of 2007 when a Taxi variant of the Quantum was introduced.


title: Toyota HiAce

text: The fourth generation model appeared in August 1989 and was available in standard wheelbase and long wheelbase variants; a Grand Cabin; standard wheelbase and long wheelbase van; long wheelbase and super long wheelbase high roof van. The latter shares a body design with the Commuter, which is a 15-seat minibus.


title: Toyota HiAce

text: A range of engines were available in the fourth-generation vehicles, ranging from 2.0-litre petrol engines to 3.0-litre turbodiesel engines. The 2.4-litre turbodiesel engine (2L-T) was updated to the electronically controlled 2L-TE in October 1990. Most versions are rear-wheel drive, but part time or full-time four-wheel-drive versions were sold depending on specification level and market. Four-wheel drive models were initially only available with the 2.8-litre 3L diesel engine in the Japanese domestic market, but export markets received petrol options as well. The base model is typically the DX. Upmarket versions included GL, Super GL, Super Custom and Super Custom Limited models


title: Toyota HiAce

text: The facelifted fourth-generation HiAce was launched in August 1993. At this time, the new 3-litre 1KZ-TE turbodiesel replaced the 2L-TE and 3L diesels in HiAce Wagons (passenger car registration) in Japan. The HiAce received a facelift again during 1997 and once more in 2002. In Japanese-market commercial HiAces the 2.8-litre 3L engine was replaced by the larger 5L engine in August 1998, in order to meet stricter emissions standards. The 1TR-FE engine was also introduced in September 2003. Export models were available with a range of different engines to suit local importers, uses, and tax structures.


title: Toyota HiAce

text: In the Philippines, the HiAce was first sold in August 1990 with a diesel engine. The vehicle got revamped in October 1994 before it was launched in 1995. It was revamped again in May 1997 for sale as both a business vehicle and as a family vehicle. The HiAce was first then comes in two variants; the business-oriented 15-seater and the family van-oriented 13-seater. In March 1999, the HiAce 3.0 Grandia and 2.0 GL petrol HiAce variants were launched, as well as the HiAce Commuter, a HiAce meant for business, and the HiAce was facelifted again in that year. In September 2000, the top-of-the-line 3.0 inline-4 diesel HiAce Super Grandia was launched. All came with a standard 5-speed manual transmission. These variants were all sold until June 2005, with the next generation being launched in June of that same year. A special edition HiAce Super Grandia J (Japan edition) was also sold together with the RAV4 J and Revo J from August 2002 to June 2003.


title: Toyota HiAce

text: In the UK market, the H100 Hiace was introduced in November 1989 with either a 2.0 "1RZ" petrol engine developing 74 kW at 5400 rpm and 165 Nm at 2600 rpm or the 2.4L 2L-II diesel developing 57 kW at 3900 rpm and 162 Nm at 2400 rpm. A short wheelbase variant called the Hiace Compact was introduced in 1994 as a replacement for the Liteace van.


title: Toyota HiAce

text: A special model intended to be used as an emergency medical vehicle known as the Toyota HiMedic, was launched in May 1992 with sales commencing from June of the same year. It used a 4.0-litre V8 engine shared with the Celsior.


title: Toyota HiAce

text: The HiAce was rebadged with a luxury orientation, called the Toyota RegiusAce. It was introduced in August 1999 with different versions called the Regius HiAce and Regius Touring HiAce sold at Toyopet and Vista dealerships. The RegiusAce uses a cab-over layout, where the front seat passengers sit above the front axle and the engine is beneath the floor, between the front passengers.


title: Toyota HiAce

text: When the "Vista" sales network was replaced by the "NETZ" sales network, the RegiusAce was sold exclusively at the Netz Store. The H100 series RegiusAce was manufactured between 1999 and 2004.


title: Toyota HiAce

text: The HiAce (H100) also remains popular in China, where it is still produced by several Chinese vehicle manufacturers such as Jinbei Motors as the Jinbei Haise since 1991, King Long Motors since 1995 as the Golden Dragon XML6532 and the Foton Motor Company as the Foton View since 2000. These are exported to several markets, including Chile, and are also assembled in both Egypt (by Bavarian Auto Group) and Sri Lanka (as the Micro MPV J). Common engines found in Chinese HiAce variants are the 2.0 and 2.2-litre ("491Q-ME") petrol engines and the 2.8-litre 4JB1 diesel engine. A Chinese variant of the 2.4 L 2RZ-E engine is also available known as the 4RB2.


title: Toyota HiAce

text: Other petrol engines such as the V19 (2 litre), 4G20C (2 litre) and the 4G22 (2.2 litre), as well as 2.5 and 2.7-litre diesel engines, have also been available in China. As of 2019, the 2006 variant of the Jinbei Haise is still available for purchase with the 4G20, 4G21 and V19 petrol engines available as standard.


title: Toyota HiAce

text: In Belarus, the MAZ-182 model is made based on the King Long Haise before it was phased out of production due to lack of interest with plans to eventually localize production. The first models (MAZ-181010 and MAZ-182010) were made in December 2010 before it was dropped in 2012, with surviving models found either being used for MAZ personnel or in the streets, some of them as ambulances.


title: Toyota HiAce

text: Sold in the Japanese market between 1995 and 2002, the Granvia is a semi-bonneted van, with the front wheels positioned in front of the front seats for better safety. Available with seven- and eight-seater configurations and in rear-wheel drive or four-wheel drive, it is based on the regular HiAce. Because of tighter safety regulations, this model replaced the mid-engined HiAce in Europe and several other markets. The engines for Granvia are either a 2.4 L or 3.0 L diesel, or 2.7- and 3.4 L petrol. The Granvia spawned into the upmarket multi-purpose vehicles the HiAce Regius, the Grand HiAce and the Touring HiAce. The Granvia, Grand HiAce, and Touring HiAce are upmarket passenger vans only.


title: Toyota HiAce

text: In Europe, the Granvia-based HiAce sold from 1995 was usually equipped with the 2.5L 2KD-FTV diesel engine in a variety of versions. The HiAce underwent a facelift in 2006, with bigger "jewel-style" headlights, and continued to be built in this form until 2012, replaced by the Toyota ProAce.


title: Toyota HiAce

text: In the UK market, the XH10 HiAce replaced the H100 HiAce and HiAce Compact in 1996 as a fifth generation model initially available with either the 2.4L 2L-II diesel developing 55 kW at 4000 rpm and 156 Nm at 2200 rpm alongside the 2.7L 3RZ-FE petrol engine developing 105 kW at 4800 rpm and 226 Nm at 2400 rpm. The 2.4L Diesel was replaced in November 2001 to comply with Euro Step III Emission standards by the 2KD-FTV in either Low Power variant producing 66 kW at 3800 rpm and 192 Nm at 1200-3000 rpm and High Power Variation producing 76 kW at 3600 rpm and 260 Nm at 1600-2400 rpm while the 2.7 Petrol would later be discontinued in 2004. In 2007 the engines were revised for Euro IV compliance with the addition of an intercooler improving max torque to 230 Nm at 1400-2800 rpm for the low power variant and 294 Nm at 1400-2400 rpm for the high power variant and power output to 70 kW and 85 kW respectively at 3600 rpm.


title: Toyota HiAce

text: In Australia, the Granvia was sold as the HiAce SBV, alongside the fourth generation HiAce, and both were replaced by the new fifth generation model. The HiAce SBV sold in Australia (from 1996 to 2003) was designated RCH12R (short wheelbase) and RCH22R (long wheelbase) and was available only with 2.4-litre "2RZ-E" petrol engine developing 88 kW at 4800 rpm and 200 Nm at 3600 rpm and five-speed manual transmission. The smaller SBV TownAce was powered by a 1.8-litre petrol engine.


title: Toyota HiAce

text: They are also very popular in New Zealand, imported as used vehicles from Japan. The 3.0-litre turbocharged diesel is especially favoured as its enormous torque but not so impressive power output are ideally suited to the hilly conditions in a country with an overall 100 km/h speed limit. Many of these vehicles are in commercial passenger service.


title: Toyota HiAce

text: The Grand HiAce was based on the HiAce Powervan. Sales of the Grand HiAce started in Japan in 1999. Engines available were a 3.4-litre petrol and a 3.0-litre turbodiesel. This type was sold in Japan only until 2002, when it was replaced by the Alphard. In Taiwan, the Granvia was badged HiAce Solemio.


title: Toyota HiAce

text: The semi-bonneted HiAce was sold in Norway and was the best selling van for many years until 1 January 2012, when it was withdrawn the European market as it could not be made to pass the Euro 5 emissions rules.


title: Toyota HiAce

text: The HiAce sold in Europe was replaced with a rebadged version of the Citroën Jumpy/Peugeot Expert/Fiat Scudo which is sold as the Toyota ProAce. It's made in cooperation with Jinbei as the Jinbei Granse (阁瑞斯 Geruisi) or Grace in English.


title: Toyota HiAce

text: The fifth generation HiAce became available for sale in late 2004 as a wide long-wheelbase wagon, wide super-long-wheelbase high-roof "Grand Cabin", long-wheelbase van, long-wheelbase high-roof van and a wide super-long-wheelbase high-roof van. In this generation of the HiAce, the gear lever has been moved to the dashboard to enable easier movement in the cabin. Transmission choices range from a five-speed manual and four-speed automatic.


title: Toyota HiAce

text: Most models use a four-cylinder DOHC engine, in a variety of forms, a 1TR-FE 2000 cc or 2TR-FE 2,700 cc petrol engine, or a 2KD-FTV 2,500 cc or 1KD-FTV 3,000 cc D-4D turbo-diesel engine. Two of these engines are available in Malaysia, the 2.5 L turbo-diesel, offered in a choice of panel van or window van; and the 2.7 L petrol, that comes only in the window van option. At least some general export market HiAces are powered by the 5L-E 3,000 cc diesel engine.


title: Toyota HiAce

text: In Japan, Toyota's internet-enhanced GPS and vehicle telematics service called G-Book was made available as an option on all trim packages for both private and commercial uses.


title: Toyota HiAce

text: The fifth generation HiAce was launched in the Philippines on 13 June 2005, with 2.5-litre 2KD engines; The 15-seater Commuter and the 13-seater GL Grandia, both with manual transmission. In March 2006, the new top-of-the-line 11-Seater HiAce Super Grandia was launched, being the first ever HiAce in the Philippines with a standard automatic transmission. In 2015, the 10-seater Super Grandia LXV was added in the HiAce lineup, based on the GL Grandia trim, the LXV was only offered with an automatic transmission and receives 15-inch alloy wheels, updated rear seats, higher roof (campervan) and a high end audio system. All HiAce trims in the Philippines was updated in October 2015 with the new 3.0-litre turbo-diesel 1KD engine. The GL Grandia and Super Grandia LXV trims were sold until April 2019 and the Super Grandia trim was sold until August 2019. The 3.0 Commuter model is still being sold alongside the H300 model. In May 2020, the 3.0 Cargo model was introduced.


title: Toyota HiAce

text: The 2.5 and subsequent 3.0-litre turbo-diesel KD engines have a maximum power output of at 3400 rpm and at 3400 rpm and maximum torque of at 1600–2600 rpm and at 1200–3200 rpm respectively. The 2.0 L and 2.7 L TR petrol engines have a maximum output of at 5600 rpm and at 5200 rpm respectively and a maximum torque of and ; both being achieved at 4000 rpm. In November 2017, the Japanese market HiAce Van and RegiusAce came fitted with the 2.8 L 1GD-FTV engine mated to a 6-speed automatic transmission generating a power output of at 3600 rpm and of torque from 1000 to 3400 rpm. This supplanted the 1KD-FTV. The 5L-E engine as fitted in Myanmar market vehicles develops at 4000 rpm and of torque at 2400 rpm


title: Toyota HiAce

text: On Japan's list of the most commonly stolen vehicles, , the HiAce resides in the first place. Because of a lack of a theft immobilizer, it is fairly easy to steal a HiAce, as opposed to much more valuable SUVs and sports cars, which have more sophisticated theft deterrent systems.


title: Toyota HiAce

text: Following the launch of the H300 series, the H200 series continues to be sold in certain markets , including in Japan, Philippines, Pakistan, Malaysia, Singapore, Indonesia and New Zealand. In 2020, Toyota Philippines introduced a variant of the H200 Commuter Van called the Hiace Cargo, which removes the rear seats but retains rear air conditioners and rear windows.


title: Toyota HiAce

text: The second generation of the RegiusAce was completely restyled. Transmission choices are a 5-speed manual transmission or a 4-speed automatic, with the gearshift lever integrated into the instrument panel so as to allow front seat passengers access to the rear of the vehicle from the inside. A moderate restyle was completed in November 2005. It was discontinued in 2020 due to integration of all Toyota stores across Japan.


title: Toyota HiAce

text: In 2019, Mazda introduced a badge-engineered version of the H200 as the new Bongo Brawny. Unlike its predecessors, the new Bongo is meant for commercial purposes. It is offered in DX and GL trims.


title: Toyota HiAce

text: The Brawny is equipped with collision avoidance package as standard with forward collision warning with automatic braking, automatic high beam, and lane departure warning.


title: Toyota HiAce

text: The sixth generation HiAce made its global debut on 18 February 2019 in the Philippines. It uses a front hood/bonnet arrangement instead of a cab-over design, hence a departure from the design language of its predecessors. Its development was led by Toyota chief engineer Takuo Ishikawa.


title: Toyota HiAce

text: The sixth generation HiAce is available in two engine options: a turbocharged 2.8 L "1GD-FTV" inline-four diesel engine or a naturally aspirated 3.5 L "7GR-FKS" V6 petrol engine.


title: Toyota HiAce

text: The sixth generation HiAce was released in Australia on 28 May 2019 and is offered in five grades: LWB Van, LWB Crew Van, SLWB Van, SLWB Commuter and SLWB Commuter GL. The 3.5L V6 engine option is only available on LWB & SLWB grades. A 6 Speed manual is only available in the LWB Van grade for both petrol and diesel engines.


title: Toyota HiAce

text: The sixth generation HiAce is sold in Indonesia as the HiAce Premio (based on long/high roof body), which was introduced at the 27th Gaikindo Indonesia International Auto Show in July 2019.


title: Toyota HiAce

text: The sixth generation HiAce is offered in 5 trim levels: 15-seater Commuter Deluxe, 12-seater GL Grandia Monotone and 2-Tone, 14-seater GL Grandia Tourer, 10-seater Super Grandia and Super Grandia Elite. The Super Grandia trims are sold as the Granvia/Majesty in other markets. All trim levels are powered by the 2.8-litre turbodiesel engine mated to either a 6-speed manual or automatic transmissions.


title: Toyota HiAce

text: The sixth generation HiAce was launched in Thailand on 10 June 2019. There are three models of the HiAce in Thailand: HiAce (Normal Roof), Commuter (High Roof), and Majesty. The Majesty was launched on 16 August 2019, replacing the Ventury.


title: Toyota HiAce

text: A more luxurious passenger version of the HiAce, called Granvia, was released on 21 May 2019 and is sold in Taiwan and Australia (replacing the Tarago). The Granvia was also released in Thailand as the Majesty on 16 August 2019, replacing the Ventury, followed by the HiAce Super Grandia in the Philippines on 19 August 2019. It is also sold in Japan as the , which was announced on 8 October 2019 and unveiled at the 46th Tokyo Motor Show through October to November 2019. It went on sale on 16 December 2019. The Granvia was launched in the United Arab Emirates on 10 October 2019 and is powered by the 3.5-litre V6 engine. It was also introduced in Russia as the HiAce VIP on 25 October 2019.


title: Amelia Dimoldenberg

text: Amelia Dimoldenberg (; born 30 January 1994) is an English journalist, comedian, YouTuber, and television presenter. She created the web series "Chicken Shop Date", in which she interviews rappers, grime artists as well as other YouTubers and Premier League footballers in fried chicken restaurants. She is known for her use of sarcasm, deadpan humour and awkward silences in her interviews.


title: Amelia Dimoldenberg

text: Dimoldenberg has also written for "The Guardian" and "Vogue", and made documentaries for Vice Media and Channel 4. She has appeared on the television programmes "The Big Narstie Show", "Don't Hate the Playaz" and "Celebrity Come Dine with Me". In September 2019, Dimoldenberg was named the 77th biggest influencer in the UK by "The Sunday Times". In October of the same year, the "Evening Standard" included her in its Progress 1000, a list of "London's most influential people".


title: Amelia Dimoldenberg

text: Dimoldenberg grew up in Marylebone in the City of Westminster and attended St Marylebone School. Her father is Paul Dimoldenberg, a Labour Party member of Westminster City Council. She studied A-levels in English, art, politics and IT, and went on to obtain a Foundation Diploma in Art and Design and a BA in Fashion Communication from Central Saint Martins, London. Of her time at university, she has written, "I was always on the outskirts of the ultra-fashionable scene and left the party-going to those who had the stamina, and the invite".


title: Amelia Dimoldenberg

text: "Chicken Shop Date" began as a humorous column written by Dimoldenberg for the youth magazine "The Cut", which was based at the Stowe Centre, a youth club on Harrow Road, London. It was other members' interest in grime that led her to interview grime artists, as she "wanted to know more about the music"; she began by interviewing "friends of friends". Dimoldenberg had the idea to frame the interviews as dates, and the location of a chicken shop was chosen as it was "somewhere you wouldn't usually go on a date". The first filmed episode was released in 2014 – it featured a "date" with the grime MC Ghetts. The show has since featured Sean Paul, Daniel Kaluuya, Dave, AJ Tracey, KSI, Chunkz, Yung Filly, Aitch, ArrDee, Jack Harlow, Finneas, Ed Sheeran, Bimini Bon Boulash, Maya Jama, Jade Thirlwall, Rosalía, Louis Theroux and Big Narstie amongst others. The show has also featured footballers including Jesse Lingard, Bernardo Silva, Tammy Abraham, John Stones, Lucy Bronze, and Beth Mead.


title: Amelia Dimoldenberg

text: The filming of each episode takes around 40 minutes; finished episodes last at most seven. Dimoldenberg has described her persona in the show as "an exaggerated version of myself" adding that "in the edit is where the character comes through, we chop and cut things, we make it more awkward". While noting that "Chicken Shop Date" is "not as popular" as American interview formats like "Hot Ones", "Between Two Ferns with Zach Galifianakis" and "Carpool Karaoke", Jonah Engel Bromwich of "The New York Times" has described it as "notable for the way in which it has grown through tapping into a specific subculture", writing that "[c]apturing an audience of music enthusiasts has given the show credibility".


title: Amelia Dimoldenberg

text: In 2018, Dimoldenberg presented the Channel 4 documentary "Meet the Markles", in which she travelled to the United States to meet members of Meghan Markle's family; "The Telegraph" called it "an entertaining ride [...] slicked by moments of real hilarity" and the "Evening Standard" described it as an "instant hit". However, the "Metro" JJ Nattrass wrote that "many viewers at home didn't quite get what the show or its host were aiming for, and were left feeling confused", but conceded that "there were also plenty of viewers who genuinely enjoyed the satirical skew of the programme".


title: Amelia Dimoldenberg

text: The same year, she appeared in an episode of "The Big Narstie Show" alongside David Haye, Rachel Parris and Krept and Konan. In October 2018, she appeared in the first series of the ITV2 hip hop-themed comedy show "Don't Hate the Playaz" as a "roving reporter". The programme was nominated for a Royal Television Society Award in the Entertainment category. Dimoldenberg did not appear in the second series, which aired in autumn 2019. In 2020 she appeared on Channel 4's "Celebrity Come Dine with Me" with Marcel Somerville, Dave Benson Phillips, Anthea Turner and AJ Odudu.


title: Amelia Dimoldenberg

text: In December 2021, it was announced that Dimoldenberg would host a web shorts series titled "Celebrity Rebrand" for Channel 4. The first season, consisting of six episodes, was released via the network's social media channels. The comedy programme features Dimoldenberg as a "celebrity brand visionary" attempting to assist various Channel 4 stars in rebranding their image.


title: Robert Carradine

text: Robert Reed Carradine ( ; born March 24, 1954) is an American actor. A member of the Carradine family, he made his first appearances on television Western series such as "Bonanza" and his brother David's TV series, "Kung Fu". Carradine's first film role was in the 1972 film "The Cowboys", which starred John Wayne and Roscoe Lee Browne. Carradine also portrayed fraternity president Lewis Skolnick in the "Revenge of the Nerds" series of comedy films.


title: Robert Carradine

text: Carradine was born in Hollywood, California, the son of actress and artist Sonia Sorel (née Henius) and actor John Carradine. He is one of many actors in the Carradine family. He is the brother of Christopher and Keith Carradine, paternal half-brother of Bruce and the late David Carradine, and maternal half-brother of Michael Bowen. His maternal great-grandfather was biochemist Max Henius, and his maternal great-grandmother was the sister of historian Johan Ludvig Heiberg.


title: Robert Carradine

text: Carradine's parents divorced when he was 2 years old. A bitter custody battle led to his father gaining custody of him and his brothers, Christopher and Keith. During the custody battle, the children spent three months in a home for abused children as wards of the court. His brother, Keith, said of the experience, "It was like being in jail. There were bars on the windows, and we were only allowed to see our parents through glass doors. It was very sad. We would stand there on either side of the glass door crying".


title: Robert Carradine

text: Carradine was raised primarily by his stepmother, his father's third wife, Doris Grimshaw, and believed her to be his mother until he was introduced to Sonia Sorel at a Christmas party when he was 14 years old. While still in high school, Robert lived with his half-brother, David, in Laurel Canyon, California. Under David's care he indulged in two of his major interests: race car driving and music. He and David belonged to a musical quartet that performed in small clubs in Los Angeles and San Francisco.


title: Robert Carradine

text: Carradine made his film debut in 1972 in "The Cowboys" with John Wayne. He was also featured in a short-lived television series, of the same name, based on the movie. He made an appearance as a killer in the Martin Scorsese film "Mean Streets" shooting to death the character played by his brother, David.


title: Robert Carradine

text: During this time he worked with David on some independent projects including a biker film called "You and Me" (1975) and an unreleased musical called "A Country Mile". He also did camera work for David's cult classic Vietnam War-inspired "Americana" which was not released until 1983.


title: Robert Carradine

text: In 1976, Carradine had the opportunity to demonstrate on screen what he considered to be his "first ambition", car racing, when he played Jim Cantrell in Paul Bartel's "Cannonball". In the film Robert's character wins the cross country road race, beating the favorite, Coy "Cannonball" Buckman, played by his brother, David. In 1977, Robert became a snack for the vengeful killer whale in the "Jaws" imitation film "Orca".


title: Robert Carradine

text: Robert also played with other Hollywood offspring in the 1977 film "Joyride", where he starred with Desi Arnaz, Jr., Melanie Griffith and Anne Lockhart (daughter of June Lockhart) in a film about young Californians driving up to Washington and Alaska to seek their fortunes.


title: Robert Carradine

text: In 1978, Robert landed a demanding role in Hal Ashby's Oscar-winning Vietnam War drama, "Coming Home", which starred Jane Fonda and Jon Voight. His performance caused some speculation that he might be the best actor in his family.


title: Robert Carradine

text: Robert was instrumental in securing his brothers David and Keith to perform with him in one of the most unusual casting arrangements in movie history. Together the Carradines played the Younger brothers in "The Long Riders" (1980) along with three other sets of acting brothers: Stacy and James Keach, Dennis and Randy Quaid, and Christopher and Nicholas Guest.


title: Robert Carradine

text: Also in 1980, Carradine co-starred with Mark Hamill and Lee Marvin in Samuel Fuller's "The Big Red One" recounting Fuller's World War II experience. His character, who was based on Fuller himself, narrated the film.


title: Robert Carradine

text: In 1983, he and Cherie Curie starred in the science fiction movie "Wavelength" in which he played a washed up rock star who helps extraterrestrials escape from a military base. For the film he performed his own compositions including one named after his daughter, Ever. Also in 1983, he starred in the music video for The Motels hit song "Suddenly Last Summer" as lead singer Martha Davis' love interest.


title: Robert Carradine

text: Carradine's biggest film success to date came in 1984 when he starred in "Revenge of the Nerds" as the lead nerd Lewis Skolnick. To prepare for the comedy, Carradine spent time at The University of Arizona, where the movie was filmed, participating in rush week. "No fraternity picked him, convincing Carradine that he was indeed right for the part of the nerd that nobody wanted to claim as their own." Carradine reprised the role of Skolnick in three sequels, taking over as executive producer in the latter two. In 2018, Carradine joined Andrew Cassese and Don Gibb in an interview at the Niagara Falls Comic Con. In 2001, he played Donald Keeble in "Max Keeble's Big Move". In 2000 he co-starred with Caroline Rhea in "Mom's Got a Date with a Vampire". He reprised his role as Sam McGuire in "The Lizzie McGuire Movie" in 2003.


title: Robert Carradine

text: Carradine's first television appearance was in 1971, on the classic Western series "Bonanza". He also appeared on his brother David's series "Kung Fu" as Sunny Jim, the mute companion of Serenity Johnson, played by his father John Carradine, in an episode titled "Dark Angel" (1972). In 1979, he was alongside Melissa Sue Anderson in "Survival of Dana". In 1984, Carradine played Robert Cohn in the television mini-series version of Ernest Hemingway's "The Sun Also Rises". He appeared in the 1987 HBO mini-series "Conspiracy: The Trial of the Chicago 8". He was also a guest star in an episode of "" titled "Gone" (2005, Season 4, Episode 11), portraying a character based very loosely on Bobby Fischer. He also appeared in "Jane Doe", a TV series directed by James A. Contner, in 2007.


title: Robert Carradine

text: He played father Sam McGuire on "Lizzie McGuire" from 2001 to 2004. The show starred Hilary Duff as Lizzie and was widely popular among girls. The show's realistic approach to the problems of a 13-year-old girl also appealed to parents.


title: Robert Carradine

text: In January 2013, he and former "Revenge of the Nerds" co-star Curtis Armstrong hosted "King of the Nerds" on TBS, a reality TV series in which a group of nerds compete to find out which one is the nerdiest.


title: Robert Carradine

text: In 2015, he appeared on a fourth season episode of "Celebrity Wife Swap" with Hall of Fame wide receiver Terrell Owens.


title: Robert Carradine

text: Carradine has two daughters, actress Ever Carradine (with Susan Snyder), Marika Reed Carradine with his ex-wife Edie Mani, and a son, Ian Alexander Carradine. He is also the uncle (via his older brother Keith) of actress Martha Plimpton.


title: Robert Carradine

text: Carradine participated in the Rolex 24 race at Daytona in 2000, finishing 29th in the GTU class and 61st overall.


title: Blackcurrant

text: The blackcurrant (Ribes nigrum), also known as black currant or cassis, is a deciduous shrub in the family Grossulariaceae grown for its edible berries. It is native to temperate parts of central and northern Europe and northern Asia, where it prefers damp fertile soils. It is widely cultivated both commercially and domestically.


title: Blackcurrant

text: It is winter hardy, but cold weather at flowering time during the spring may reduce the size of the crop. Bunches of small, glossy black fruit develop along the stems in the summer and can be harvested by hand or by machine. Breeding is common in Scotland, Poland, Lithuania, Latvia, Norway, and New Zealand to produce fruit with better eating qualities and bushes with greater hardiness and disease resistance.


title: Blackcurrant

text: The raw fruit is particularly rich in vitamin C and polyphenols. Blackcurrants can be eaten raw but are usually cooked in sweet or savoury dishes. They are used to make jams, preserves, and syrups and are grown commercially for the juice market. The fruit is also used to make alcoholic beverages and dyes.


title: Blackcurrant

text: "Ribes nigrum" is a medium-sized shrub, growing to . The leaves are alternate, simple, broad and long with five palmate lobes and a serrated margin. All parts of the plant are strongly aromatic. The flowers are produced in racemes known as "strigs" up to long containing 10–20 flowers, each about in diameter. Each flower has a hairy calyx with yellow glands, the five lobes of which are longer than the inconspicuous petals. There are five stamens surrounding the stigma and style and two fused carpels. The flowers open in succession from the base of the strig and are mostly insect pollinated, but some pollen is distributed by the wind. A pollen grain landing on a stigma will germinate and send a slender pollen tube down the style to the ovule. In warm weather this takes about 48 hours but in cold weather it may take a week, and by that time, the ovule may have passed the stage where it is receptive. If fewer than about 35 ovules are fertilised, the fruit may not be able to develop and will fall prematurely. Frost can damage both unopened and open flowers when the temperature falls below . The flowers at the base of the strig are more protected by the foliage and are less likely to be damaged.


title: Blackcurrant

text: In midsummer the strigs of green fruit ripen to edible berries, very dark purple in colour, almost black, with glossy skins and calyxes at the apex (the calyxes being persistent), each containing many seeds. An established bush can produce about of fruit each year.


title: Blackcurrant

text: Plants from Northern Asia are sometimes distinguished as a separate variety, , of which "R. cyathiforme" is considered a synonym.


title: Blackcurrant

text: Polyphenol phytochemicals present in the fruit, seeds and leaves, are being investigated for their potential biological activities. Major anthocyanins in blackcurrant pomace delphinidin-3-"O"-glucoside, delphinidin-3-"O"-rutinoside, cyanidin-3-"O"-glucoside, and cyanidin-3-"O"-rutinoside, which are retained in the juice concentrate are among other polyphenols.


title: Blackcurrant

text: Blackcurrants can grow well on sandy or heavy loams, or forest soils, as long as their nutrient requirements are met. They prefer damp, fertile but not waterlogged ground and are intolerant of drought. Although the bushes are winter hardy, frosts during the flowering period may adversely affect the yield and cold winds may restrict the number of flying insects visiting and pollinating the flowers. A soil pH of about 6 is ideal for blackcurrants and the ground can be limed if the soil is too acidic. Planting is usually done in the autumn or winter to allow the plants to become established before growth starts in the spring, but container-grown stock can be planted at any time of year.


title: Blackcurrant

text: Two-year-old bushes are usually planted but strong one-year-old stock can also be used. Planting certified stock avoids the risk of introducing viruses. On a garden scale the plants can be set at intervals of or they can be set in rows with planting intervals of and row separations of or more. In the UK, young bushes are generally planted deeper than their initial growing level to encourage new stems to grow from the base.


title: Blackcurrant

text: The blackcurrant requires a number of essential nutrients to be present to enable it to thrive; nitrogen provides strong plant growth and stimulates the production of flower sprigs; phosphorus aids growth, the setting of fruit and crop yield; potassium promotes growth of individual shoots and increases the weight of individual fruits; magnesium is a constituent of chlorophyll and helps increase yields through interaction with potassium; calcium is required for cell division and enlargement and is particularly important for young plants and buds.


title: Blackcurrant

text: An annual spring mulch of well rotted manure is ideal and poultry manure can also be used but needs prior composting with straw or other waste vegetable material. Spent mushroom compost can be used but care should be taken as it often contains lime and blackcurrants prefer slightly acidic soils. The blackcurrant is a gross feeder and benefits from additional nitrogen, and phosphatic and potash fertilisers should also be applied annually. A balanced artificial fertilizer can be used and a 10-10-10 granular product can be spread around the bushes at the rate of per plant. Weed growth can be suppressed with an organic mulch such as sawdust, bark, mushroom compost or straw, heavy plastic topped with an organic mulch cover or landscape fabric.


title: Blackcurrant

text: Blackcurrant fruit is borne primarily on one-year-old shoots. Newly planted bushes should be pruned severely, cutting all shoots back to two buds above ground level. This gives the plant a chance to get properly established before needing to put its energy into producing fruit. The general rule when pruning is to remove all weak shoots and those growing out sideways which may get weighed down when fruiting. The remaining branches should be thinned to remove old unproductive wood and to encourage new shoots. An established bush should not be allowed to become overcrowded and should have about one third of its main branches or stems removed each year. When harvesting by machine, plants with an upright growth habit are encouraged.


title: Blackcurrant

text: On a garden scale, the berries should be picked when dry and ripe. Commercially, most harvesting is done mechanically by straddle harvesters. These move continually down the rows, straddling a row of bushes, shaking the branches and stripping off the fruit. The blackcurrants are placed into half tonne bins and to minimise stoppage time, some machines have cross conveyors which direct the fruit into continuously moving trailers in the adjoining row. A modern machine can pick up to fifty tonnes of blackcurrants in a day using only one operator and two tractor drivers. The bins should be stored in a cool place. Some fruit is still picked by hand for use in the fresh fruit market.


title: Blackcurrant

text: "Ribes" plants are susceptible to several diseases and a number of insect pests. However, new varieties have been or are being developed to overcome some of these problems.


title: Blackcurrant

text: Reversion is a serious disease transmitted by the blackcurrant gall mite ("Cecidophyopsis ribis"). It causes a decline in yield and is quite widespread in Europe but is rarely encountered on other continents. Symptoms include a modification of leaf shape in summer and swollen buds ("big bud") in winter, each housing thousands of microscopic mites. As pest control has limited effectiveness, severely infected bushes should be destroyed. All new plants purchased should be certified as virus-free.


title: Blackcurrant

text: White pine blister rust ("Cronartium ribicola") needs two alternate hosts to complete its life cycle. One host is plants in the genus "Ribes". On the blackcurrant, it causes the leaves to become pale and later develop tiny orange pustules and sometimes a yellow filamentous coating on some leaves. The fruit crop is little affected but the leaves fall early and growth is slowed the following year. The other host is any of the white pines, in which it causes serious disease and mortality for the North American species that have not co-evolved with the rust. As a result, the blackcurrant was banned in the United States as a disease vector for much of the 20th century, and even after the federal ban was lifted in 1966, several U.S. states continued their own bans, some of which remain in force as of August 2021. The effectiveness of these restrictions is questionable, since other "Ribes" species also host the disease, some are native to North America, and others such as red currants and "Ribes uva-crispa" were never banned.


title: Blackcurrant

text: American gooseberry mildew and powdery mildew can infect the leaves and shoot tips, and botrytis may cause the fruit to rot in a wet season. Currant and gooseberry leaf spot ("Drepanopeziza ribis") is another disease of blackcurrants, but it is not usually a serious problem as most cultivars now have some resistance.


title: Blackcurrant

text: The blackcurrant leaf midge can cause browning, crimping and distortion of leaves at the tips of shoots but it is seldom a serious problem. The blackcurrant sawfly ("Nematus ribesii") lays its eggs on the underside of the leaves and the voracious larvae work their way along the shoots, stripping off leaf after leaf. In a serious attack, the bush can be denuded of leaves. Larvae of the currant borer drill their way along the centres of shoots, which wilt and die back. Other insect pests include scale insects, aphids and earwigs.


title: Blackcurrant

text: There are many cultivars of blackcurrant. 'Baldwin' was the mainstay of the industry for many years but it has now largely been superseded by more productive and disease-resistant varieties. During the 20th century in Europe, much hybridisation work has been carried out in order to reduce the plant's susceptibility to disease and frost and also to increase yields. This effort centered mainly in Scotland, Poland, and New Zealand.


title: Blackcurrant

text: In Britain the Scottish Crop Research Institute was tasked with developing new varieties suitable for growing in the north of the country. They produced new cultivars that had greater cold tolerance, especially in the spring, ripened earlier and more evenly and had greater fungal disease resistance. Frost tolerance was improved by selecting for late flowering and genetic research identified genes involved in resistance to gall mite and the blackcurrant reversion virus. 'Ben Lomond' was the first of the 'Ben' varieties and was released in 1975. This was followed by several other cultivars for the juicing industry such as 'Ben Alder' and 'Ben Tirran'. The cultivar 'Ben Hope' was released in 1998 with increased tolerance to gall mite, and in the same year, 'Ben Gairn' became available. It shows resistance to the reversion virus. For gardeners and the pick-your-own market, 'Ben Sarek', 'Ben Connan' and 'Big Ben' were introduced and have large, sweet berries. The cultivars 'Ben Connan' and 'Big Ben' have gained the Royal Horticultural Society's Award of Garden Merit. and new varieties are being developed continually to improve frost tolerance, disease resistance, machine harvesting, fruit quality, nutritional content and fruit flavour.


title: Blackcurrant

text: Varieties producing green fruit, less strongly flavoured and sweeter than typical blackcurrants, are cultivated in Finland, where they are called "greencurrants" ("viherherukka"). In Poland, the Research Institute of Horticulture has done work on improving the blackcurrant with regard to disease and pest resistance, fruit quality, adaptations to local conditions and mechanical harvesting. Researchers have crossed various varieties and introduced inter-specific genetic material from the gooseberry ("Ribes grossularia"), the redcurrant ("Ribes rubrum") and the flowering currant ("Ribes sanguineum"). The resulting offspring were further back-crossed to "R. nigrum". Cultivars produced include 'Tisel' and 'Tiben' in 2000 and 'Ores', 'Ruben' and 'Tines' in 2005. Further cultivars 'Polares' and 'Tihope' are being tested. Since 1991, New Zealand has become an important centre for research and development, as its temperate climate is particularly suitable for cultivation of the crop. Breeding programmes are concentrating on yield, large fruit size, consistency of cropping and upright habit.


title: Blackcurrant

text: In North America, there is a need for this fruit to have resistance to white pine blister rust. New cultivars such as 'Crusader', 'Coronet' and 'Consort' have been developed there by crossing "R. nigrum" with "R. ussuriense" and these show resistance to the disease. However the quality and yield of these varieties are poor as compared to non-resistant strains and only Consort is reliably self-fertile. Back-crossing these varieties to a parent have produced new strains such as 'Titania' that have a higher yield, better disease resistance, are more tolerant of adverse weather conditions and are suitable for machine harvesting. Two new releases from a black currant breeding program in British Columbia, Canada, 'Blackcomb' and 'Tahsis', were selected for their immunity to white pine blister rust and their frost tolerance.


title: Blackcurrant

text: Raw blackcurrants are 82% water, 15% carbohydrates, 1% protein and 0.4% fat (table). Per 100 g serving providing 63 kilocalories, the raw fruit has high vitamin C content (218% of the Daily Value, DV) and moderate levels of iron and manganese (12% DV each). Other nutrients are present in negligible amounts (less than 10% DV, table).


title: Blackcurrant

text: Blackcurrant seed oil is rich in vitamin E and unsaturated fatty acids, including alpha-linolenic acid and gamma-linolenic acid.


title: Blackcurrant

text: During World War II, most fruits rich in vitamin C, such as oranges, became difficult to obtain in the United Kingdom. Since blackcurrant berries are a rich source of the vitamin, and blackcurrant plants are suitable for growing in the UK climate, the British Government encouraged their cultivation and soon the yield of the nation's crop increased significantly. From 1942 onwards, blackcurrant syrup was distributed free of charge to children under the age of two. This may have given rise to the lasting popularity of blackcurrant as a flavouring in Britain. In Britain the commercial crop is completely mechanised and about 1,400 hectares of the fruit are grown, mostly under contract to the juicing industry. Commercially, most large-scale cultivation of blackcurrants is done in eastern Europe for the juice and juice concentrate market. , major cultivation efforts to improve fruit characteristics occurred in Scotland, New Zealand, and Poland.


title: Blackcurrant

text: Blackcurrants were once popular in the United States as well, but became less common in the 20th century after currant farming was banned in the early 1900s, when blackcurrants, as a vector of white pine blister rust, were considered a threat to the U.S. logging industry. The federal ban on growing currants was shifted to the jurisdictions of individual states in 1966, and was lifted in New York State in 2003 through the efforts of horticulturist Greg Quinn. As a result, currant growing is making a comeback in New York, Vermont, Connecticut, and Oregon. However, several statewide bans still exist . Since the American federal ban curtailed currant production nationally for nearly a century, the fruit remains largely unknown in the United States and has yet to regain its previous popularity to levels enjoyed in Europe or New Zealand. Owing to its unique flavour and richness in polyphenols, dietary fibre and essential nutrients, awareness and popularity of blackcurrant is once again growing, with a number of consumer products entering the U.S. market.


title: Blackcurrant

text: The fruit of blackcurrants when eaten raw has a strong, tart flavour. It can be made into jams and jellies which set readily because of the fruit's high content of pectin and acid. For culinary use, the fruit is usually cooked with sugar to produce a purée, which can then be passed through muslin to separate the juice. The purée can be used to make blackcurrant preserves and be included in cheesecakes, yogurt, ice cream, desserts, sorbets, and many other sweet dishes. The exceptionally strong flavour can be moderated by combining it with other fruits, such as raspberries and strawberries in summer pudding, or apples in crumbles and pies. The juice can be used in syrups and cordials. Blackcurrants are a common ingredient of "rødgrød", a popular kissel-like dessert in North German and Danish cuisines.


title: Blackcurrant

text: Blackcurrants are also used in savoury cooking. Their astringency creates added flavour in sauces, meats and other dishes. Blackcurrants are included in some unusual combinations of foods. They can be added to tomato and mint to make a salad. Blackcurrants may accompany roast beef, grilled lamb, duck, seafood and shellfish. Canvasback duck with blackcurrants was a delicacy in nineteenth century New York. They can provide a dipping sauce at barbecues. They can be blended with mayonnaise, and used to invigorate bananas and other tropical fruits. Blackcurrants can be combined with dark chocolate or added to mincemeat in traditional mince pies at Christmas.


title: Blackcurrant

text: Japan imports US$3.6 million of New Zealand blackcurrants for uses as dietary supplements, snacks, functional food products and as quick-frozen (IQF) produce for culinary production as jams, jellies or preserves.


title: Blackcurrant

text: The juice forms the basis for various squashes, juice drinks, and smoothies. In Britain, 95% of the blackcurrants grown are used to manufacture Ribena (a brand of fruit juice whose name is derived from "Ribes nigrum") and similar fruit syrups and juices. Macerated blackcurrants are also the primary ingredient in the apéritif, "crème de cassis", which in turn is added to white wine to produce a Kir or to champagne to make a Kir Royal.


title: Blackcurrant

text: In the UK, a blackcurrant squash may be mixed with beer or alcoholic cider to make drinks including "cider and black", "lager and black", or "snakebite and black".


title: Blackcurrant

text: In Russia, blackcurrant leaves may be used for flavoring tea or preserves, such as salted cucumbers, and berries for home winemaking. Sweetened vodka may also be infused with blackcurrant leaves making a deep greenish-yellow beverage with a tart flavor and astringent taste. The berries may be infused in a similar manner.


title: Blackcurrant

text: Blackcurrant seed oil is an ingredient in cosmetics preparations, often in combination with vitamin E. The leaves can be extracted to yield a yellow dye, and the fruit is a source for a blue or violet dye resulting from its rich content of anthocyanins.


title: The Last Judgment (Michelangelo)

text: The Last Judgment () is a fresco by the Italian Renaissance painter Michelangelo covering the whole altar wall of the Sistine Chapel in Vatican City. It is a depiction of the Second Coming of Christ and the final and eternal judgment by God of all humanity. The dead rise and descend to their fates, as judged by Christ who is surrounded by prominent saints. Altogether there are over 300 figures, with nearly all the males and angels originally shown as nudes; many were later partly covered up by painted draperies, of which some remain after recent cleaning and restoration.


title: The Last Judgment (Michelangelo)

text: The work took over four years to complete between 1536 and 1541 (preparation of the altar wall began in 1535). Michelangelo began working on it 25 years after having finished the Sistine Chapel ceiling, and was nearly 67 at its completion. He had originally accepted the commission from Pope Clement VII, but it was completed under Pope Paul III whose stronger reforming views probably affected the final treatment.


title: The Last Judgment (Michelangelo)

text: In the lower part of the fresco, Michelangelo followed tradition in showing the saved ascending at the left and the damned descending at the right. In the upper part, the inhabitants of Heaven are joined by the newly saved. The fresco is more monochromatic than the ceiling frescoes and is dominated by the tones of flesh and sky. The cleaning and restoration of the fresco, however, revealed a greater chromatic range than previously apparent. Orange, green, yellow, and blue are scattered throughout, animating and unifying the complex scene.


title: The Last Judgment (Michelangelo)

text: The reception of the painting was mixed from the start, with much praise but also criticism on both religious and artistic grounds. Both the amount of nudity and the muscular style of the bodies has been one area of contention, and the overall composition another.


title: The Last Judgment (Michelangelo)

text: Where traditional compositions generally contrast an ordered, harmonious heavenly world above with the tumultuous events taking place in the earthly zone below, in Michelangelo's conception the arrangement and posing of the figures across the entire painting give an impression of agitation and excitement, and even in the upper parts there is "a profound disturbance, tension and commotion" in the figures. Sydney J. Freedberg interprets their "complex responses" as "those of giant powers here made powerless, bound by racking spiritual anxiety", as their role of intercessors with the deity had come to an end, and perhaps they regret some of the verdicts. There is an impression that all the groups of figures are circling the central figure of Christ in a huge rotary movement.


title: The Last Judgment (Michelangelo)

text: At the centre of the work is Christ, shown as the individual verdicts of the Last Judgment are pronounced; he looks down towards the damned. He is beardless, and "compounded from antique conceptions of Hercules, Apollo, and Jupiter Fulminator", probably, in particular, the Belvedere Apollo, brought to the Vatican by Pope Julius II. However, there are parallels for his pose in earlier "Last Judgments", especially one in the Camposanto of Pisa, which Michelangelo would have known; here the raised hand is part of a gesture of "ostentatio vulnerum" ("display of the wounds"), where the resurrected Christ reveals the wounds of his Crucifixion, which can be seen on Michelangelo's figure.


title: The Last Judgment (Michelangelo)

text: To the left of Christ is his mother, Virgin Mary, who turns her head to look down towards the Saved, though her pose also suggests resignation. It appears that the moment has passed for her to exercise her traditional role of pleading on behalf of the dead; with John the Baptist this Deesis is a regular motif in earlier compositions. Preparatory drawings show her standing and facing Christ with arms outstretched, in a more traditional intercessory posture.


title: The Last Judgment (Michelangelo)

text: Surrounding Christ are large numbers of figures, the saints and the rest of the elect. On a similar scale to Christ are John the Baptist on the left, and on the right Saint Peter, holding the keys of Heaven and perhaps offering them back to Christ, as they will no longer be needed. Several of the main saints appear to be showing Christ their attributes, the evidence of their martyrdom. This used to be interpreted as the saints calling for the damnation of those who had not served the cause of Christ, but other interpretations have become more common, including that the saints are themselves not certain of their own verdicts, and try at the last moment to remind Christ of their sufferings.


title: The Last Judgment (Michelangelo)

text: Other prominent saints include Saint Bartholomew below Peter, holding the attribute of his martyrdom, his own flayed skin. The face on the skin is usually recognized as being a self-portrait of Michelangelo. Many others, even of the larger saints, are difficult to identify. Ascanio Condivi, Michelangelo's tame authorized biographer, says that all Twelve Apostles are shown around Christ, "but he does not attempt to name them and would probably have had a difficult time doing so". In the upper right corner, in the group ascending to heaven, there are three male couples embracing and kissing.


title: The Last Judgment (Michelangelo)

text: The movements of the resurrected reflect the traditional pattern. They arise from their graves at bottom left, and some continue upwards, helped in several cases by angels in the air (mostly without wings) or others on clouds, pulling them up. Others, the damned, apparently pass over to the right, though none are quite shown doing so; there is a zone in the lower middle that is empty of persons. A boat rowed by an aggressive Charon, who ferried souls to the Underworld in classical mythology (and Dante), brings them to land beside the entrance to Hell; his threatening them with his oar is a direct borrowing from Dante. Satan, the traditional Christian devil, is not shown but another classical figure, Minos, supervises the admission of the Damned into Hell; this was his role in Dante's "Inferno". He is generally agreed to have been given the features of Biagio da Cesena, a critic of Michelangelo in the Papal court.


title: The Last Judgment (Michelangelo)

text: In the centre above Charon is a group of angels on clouds, seven blowing trumpets (as in the Book of Revelation), others holding books that record the names of the Saved and Damned. To their right is a larger figure who has just realized that he is damned, and appears paralyzed with horror. Two devils are pulling him downwards. To the right of this devils pull down others; some are being pushed down by angels above them.


title: The Last Judgment (Michelangelo)

text: The Last Judgment was a traditional subject for large church frescos, but it was unusual to place it at the east end, over the altar. The traditional position was on the west wall, over the main doors at the back of a church, so that the congregation took this reminder of their options away with them on leaving. It might be either painted on the interior, as for example by Giotto at the Arena Chapel, or in a sculpted tympanum on the exterior. However, a number of late medieval panel paintings, mostly altarpieces, were based on the subject with similar compositions, although adapted to a horizontal picture space. These include the "Beaune Altarpiece" by Rogier van der Weyden and ones by artists such as Fra Angelico, Hans Memling and Hieronymus Bosch. Many aspects of Michelangelo's composition reflect the well-established traditional Western depiction, but with a fresh and original approach.


title: The Last Judgment (Michelangelo)

text: Most traditional versions have a figure of "Christ in Majesty" in about the same position as Michelangelo's, and even larger than his, with a greater disproportion in scale to the other figures. As here, compositions contain large numbers of figures, divided between angels and saints around Christ at the top, and the dead being judged below. Typically there is a strong contrast between the ordered ranks of figures in the top part, and chaotic and frenzied activity below, especially on the right side that leads to Hell. The procession of the judged usually begins at the bottom (viewer's) left, as here, as the resurrected rise from their graves and move towards judgment. Some pass judgment and continue upwards to join the company in heaven, while others pass over to Christ's left hand and then downwards towards Hell in the bottom right corner (compositions had difficulty incorporating Purgatory visually). The damned may be shown naked, as a mark of their humiliation as devils carry them off, and sometimes the newly-resurrected too, but angels and those in Heaven are fully dressed, their clothing a main clue to the identity of groups and individuals.


title: The Last Judgment (Michelangelo)

text: The project was a long time in gestation. It was probably first proposed in 1533, but was not then attractive to Michelangelo. A number of letters and other sources describe the original subject as a "Resurrection", but it seems most likely that this was always meant in the sense of the General Resurrection of the Dead, followed in Christian eschatology by the Last Judgment, rather than the Resurrection of Jesus. Other scholars believe there was indeed a substitution of the more sombre final subject, reflecting the emerging mood of the Counter-Reformation, and an increase in the area of the wall to be covered. A number of Michelangelo's drawings from the early 1530s develop a "Resurrection of Jesus".


title: The Last Judgment (Michelangelo)

text: Vasari, alone among contemporary sources, says that originally Michelangelo intended to paint the other end wall with a Fall of the Rebel Angels to match. By April 1535 the preparation of the wall was begun, but it was over a year before painting began. Michelangelo stipulated the filling-in of two narrow windows, the removal of three cornices, and building the surface increasingly forward as it rises, to give a single uninterrupted wall surface slightly leaning out, by about 11 inches over the height of the fresco.


title: The Last Judgment (Michelangelo)

text: The preparation of the wall led to the end of more than twenty years of friendship between Michelangelo and Sebastiano del Piombo, who tried to persuade the Pope and Michelangelo to do the painting in his preferred technique of oil on plaster, and managed to get the smooth plaster finish needed for this applied. It is possible that around this stage the idea was floated that Sebastiano would do the actual painting, to Michelangelo's designs, as they had collaborated nearly 20 years earlier. After, according to Vasari, some months of passivity, Michelangelo furiously insisted that it should be in fresco, and had the wall re-plastered in the rough "arriccio" needed as a base for fresco. It was on this occasion that he famously said that oil painting was "an art for women and for leisurely and idle people like Fra Sebastiano".


title: The Last Judgment (Michelangelo)

text: The new fresco required, unlike his Sistine Chapel ceiling, considerable destruction of existing art. There was an altarpiece of the Assumption of Mary by Pietro Perugino above the altar, for which a drawing survives in the Albertina, flanked by tapestries to designs by Raphael; these, of course, could just be used elsewhere. Above this zone, there were two paintings from the 15th-century cycles of Moses and Christ which still occupy the middle zone of the side walls. These were probably Perugino's "Finding of Moses" and the "Adoration of the Kings", beginning both cycles. Above them were the first of the series of standing popes in niches, including Saint Peter himself, probably as well as a Saint Paul and a central figure of Christ. Finally, the project required the destruction of two lunettes with the first two "Ancestors of Christ" from Michelangelo's own ceiling scheme. However, some of these works may have already been damaged by an accident in April 1525, when the altar curtains went on fire; the damage done to the wall is unclear.


title: The Last Judgment (Michelangelo)

text: The structure of the chapel, built in a great hurry in the 1470s, had given trouble from the start, with frequent cracks appearing. At Christmas in 1525 a Swiss Guard was killed while entering the chapel with the pope when the stone lintel to the doorway split and fell on him. The site is on sandy soil, draining a large area, and the preceding "Great Chapel" had had similar problems.


title: The Last Judgment (Michelangelo)

text: The new scheme for the altar wall and other changes necessitated by structural problems led to a loss of symmetry and "continuity of window-rhythms and cornices", as well as some of the most important parts of the previous iconographical schemes. As shown by drawings, the initial conception for the "Last Judgment" was to leave the existing altarpiece and work round it, stopping the composition below the frescos of Moses and Christ.


title: The Last Judgment (Michelangelo)

text: The Sistine Chapel was dedicated to the "Assumption of the Virgin", which had been the subject of Perugino's altarpiece. Once it was decided to remove this, it appears that a tapestry of the "Coronation of the Virgin", a subject often linked to the "Assumption", was commissioned, which was hung above the altar for important liturgical occasions in the 18th century, and perhaps from the 1540s until then. The tapestry has a vertical format (it is ), and is still in the Vatican Museums. A print of 1582 shows the chapel in use, with a large cloth of roughly this shape hanging behind the altar, and a canopy over it. The cloth is shown as plain, but the artist also omits the paintings below the ceiling, and may well not have been present himself, but working from prints and descriptions.


title: The Last Judgment (Michelangelo)

text: "The Last Judgment" became controversial as soon as it was seen, with disputes between critics in the Catholic Counter-Reformation and supporters of the genius of the artist and the style of the painting. Michelangelo was accused of being insensitive to proper decorum, in respect of nudity and other aspects of the work, and of pursuing artistic effect over following the scriptural description of the event.


title: The Last Judgment (Michelangelo)

text: On a preview visit with Paul III, before the work was complete, the pope's Master of Ceremonies Biagio da Cesena is reported by Vasari as saying that: "it was most disgraceful that in so sacred a place there should have been depicted all those nude figures, exposing themselves so shamefully, and that it was no work for a papal chapel but rather for the public baths and taverns". Michelangelo immediately worked Cesena's face from memory into the scene as Minos, judge of the underworld (far bottom-right corner of the painting) with donkey ears (i.e. indicating foolishness), while his nudity is covered by a coiled snake. It is said that when Cesena complained to the Pope, the pontiff joked that his jurisdiction did not extend to Hell, so the portrait would have to remain. Pope Paul III himself was attacked by some for commissioning and protecting the work, and came under pressure to alter if not entirely remove the "Last Judgment", which continued under his successors.


title: The Last Judgment (Michelangelo)

text: There were objections to the mixing of figures from pagan mythology into depictions of Christian subject matter. Besides the figures of Charon and Minos and wingless angels, the very classicized Christ was suspect: beardless Christs had in fact only finally disappeared from Christian art some four centuries earlier, but Michelangelo's figure is unmistakably Apollonian.


title: The Last Judgment (Michelangelo)

text: Further objections related to failures to follow the scriptural references. The angels blowing trumpets are all in one group, whereas in the Book of Revelation they are sent to "the four corners of the earth". Christ is not seated on a throne, contrary to Scripture. Such draperies as Michelangelo painted are often shown as blown by wind, but it was claimed that all weather would cease on the Day of Judgment. The resurrected are in mixed condition, some skeletons but most appearing with their flesh intact. All these objections were eventually collected in a book, the "Due Dialogi" published just after Michelangelo's death in 1564, by the Dominican theologian Giovanni Andrea Gilio (da Fabriano), who had become one of several theologians policing art during and after the Council of Trent. As well as theological objections, Gilio objected to artistic devices like foreshortening that puzzled or distracted untrained viewers. The copy by Marcello Venusti added the dove of the Holy Spirit above Christ, perhaps in response to Gilio's complaint that Michelangelo should have shown all the Trinity.


title: The Last Judgment (Michelangelo)

text: Two decades after the fresco was completed, the final session of the Council of Trent in 1563 finally enacted a form of words that reflected the Counter-Reformation attitudes to art that had been growing in strength in the Church for some decades. The Council's decree (drafted at the last minute and generally very short and inexplicit) reads in part:


title: The Last Judgment (Michelangelo)

text: There was an explicit decree that: "The pictures in the Apostolic Chapel should be covered over, and those in other churches should be destroyed, if they display anything that is obscene or clearly false".


title: The Last Judgment (Michelangelo)

text: The defences by Vasari and others of the painting evidently made some impact on clerical thinking. In 1573, when Paolo Veronese was summoned before the Venetian Inquisition to justify his inclusion of "buffoons, drunken Germans, dwarfs, and other such absurdities" in what was then called a painting of the Last Supper (later renamed as "The Feast in the House of Levi"), he tried to implicate Michelangelo in a comparable breach of decorum, but was promptly rebuffed by the inquisitors, as the transcript records:


title: The Last Judgment (Michelangelo)

text: Some action to meet the criticism and enact the decision of the council had become inevitable, and the genitalia in the fresco were painted over with drapery by the Mannerist painter Daniele da Volterra, probably mostly after Michelangelo died in 1564. Daniele was "a sincere and fervent admirer of Michelangelo" who kept his changes to a minimum, and had to be ordered to go back and add more, and for his trouble got the nickname "Il Braghettone", meaning "the breeches maker". He also chiseled away and entirely repainted the larger part of Saint Catherine and the entire figure of Saint Blaise behind her. This was done because in the original version Blaise had appeared to look at Catherine's naked behind, and because to some observers the position of their bodies suggested sexual intercourse. The repainted version shows Blaise looking away from Saint Catherine, upward towards Christ.


title: The Last Judgment (Michelangelo)

text: His work, beginning in the upper parts of the wall, was interrupted when Pope Pius IV died in December 1565 and the chapel needed to be free of scaffolding for the funeral and conclave to elect the next pope. El Greco had made a helpful offer to repaint the entire wall with a fresco that was "modest and decent, and no less well painted than the other". Further campaigns of overpainting, often "less discreet or respectful", followed in later reigns, and "the threat of total destruction ... re-surfaced in the pontificates of Pius V, Gregory XIII, and probably again of Clement VIII". According to Anthony Blunt, "rumours were current in 1936 that Pius XI intended to continue the work". In total, nearly 40 figures had drapery added, apart from the two repainted. These additions were in "dry" fresco, which made them easier to remove in the most recent restoration (1990–1994), when about 15 were removed, from those added after 1600. It was decided to leave 16th-century changes.


title: The Last Judgment (Michelangelo)

text: At a relatively early date, probably in the 16th century, a strip of about 18 inches was lost across the whole width of the bottom of the fresco, as the altar and its backing was modified.


title: The Last Judgment (Michelangelo)

text: As well as the criticism on moral and religious grounds, there was from the start considerable criticism based on purely aesthetic considerations, which had hardly been seen at all in initial reactions to Michelangelo's Sistine Chapel ceiling. Two key figures in the first wave of criticism were Pietro Aretino and his friend Lodovico Dolce, a prolific Venetian humanist. Aretino had made considerable efforts to become as close to Michelangelo as he was to Titian, but had always been rebuffed; "in 1545 his patience gave way, and he wrote to Michelangelo that letter on the "Last Judgment" which is now famous as an example of insincere prudishness", a letter written with a view to publication. Aretino had not in fact seen the finished painting, and based his criticisms on one of the prints that had been quickly brought to market. He "purports to represent the simple folk" in this new wider audience. However, it appears that at least the print-buying public preferred the uncensored version of the paintings, as most prints showed this well into the 17th century.


title: The Last Judgment (Michelangelo)

text: Vasari responded to this and other criticisms in the 1st edition of his "Life of Michelangelo" in 1550. Dolce followed up in 1557, the year after Aretino died, with a published dialogue, "L'Aretino", almost certainly a collaborative effort with his friend. Many of the arguments of the theologian critics are repeated, but now in the name of decorum rather than religion, emphasizing that the particular and very prominent location of the fresco made the amount of nudity unacceptable; a convenient argument for Aretino, some of whose projects were frankly pornographic, but intended for private audiences. Dolce also complains that Michelangelo's female figures are hard to distinguish from males, and his figures show "anatomical exhibitionism", criticisms many have echoed.


title: The Last Judgment (Michelangelo)

text: On these points, a long-lasting rhetorical comparison of Michelangelo and Raphael developed, in which even supporters of Michelangelo such as Vasari participated. Raphael is held up as the exemplar of all the grace and decorum found lacking in Michelangelo, whose outstanding quality was called by Vasari his "terribiltà", the awesome, sublime or (the literal meaning) terror-inducing quality of his art. Vasari came to partly share this view by the time of the expanded 2nd edition of his "Lives", published in 1568, though he explicitly defended the fresco on several points raised by the attackers (without mentioning them), such as the decorum of the fresco and "amazing diversity of the figures", and asserted it was "directly inspired by God", and a credit to the Pope and his "future renown".


title: The Last Judgment (Michelangelo)

text: In many respects, modern art historians discuss the same aspects of the work as 16th-century writers: the general grouping of the figures and rendering of space and movement, the distinctive depiction of anatomy, the nudity and use of colour, and sometimes the theological implications of the fresco. However, Bernadine Barnes points out that no 16th-century critic echoes in the slightest the view of Anthony Blunt that: "This fresco is the work of a man shaken out of his secure position, no longer at ease with the world, and unable to face it directly. Michelangelo does not now deal directly with the visible beauty of the physical world." At the time, continues Barnes, "it was censured as the work of an arrogant man, and it was justified as a work that made celestial figures more beautiful than natural". Many other modern critics take approaches similar to Blunt's, emphasizing Michelangelo's "tendency away from the material and towards the things of the spirit" in his last decades.


title: The Last Judgment (Michelangelo)

text: In theology, the Second Coming of Christ ended space and time. Despite this, "Michelangelo’s curious representation of space", where "the characters inhabit individual spaces that cannot be combined consistently", is often commented on.


title: The Last Judgment (Michelangelo)

text: Quite apart from the question of decorum, the rendering of anatomy has been often discussed. Writing of "energy" in the nude figure, Kenneth Clark has:


title: The Last Judgment (Michelangelo)

text: The twist into depth, the struggle to escape from the here and now of the picture plane, which had always distinguished Michelangelo from the Greeks, became the dominating rhythm of his later works. That colossal nightmare, the Last Judgment, is made up of such struggles. It is the most overpowering accumulation in all art of bodies in violent movement"


title: The Last Judgment (Michelangelo)

text: Of the figure of Christ, Clark says: "Michelangelo has not tried to resist that strange compulsion which made him thicken a torso until it is almost square."


title: The Last Judgment (Michelangelo)

text: S.J. Freedberg commented that "The vast repertory of anatomies that Michelangelo conceived for the "Last Judgment" seems often to have been determined more by the requirements of art than by compelling needs of meaning, ... meant not just to entertain but to overpower us with their effects. Often, too, the figures assume attitudes of which a major sense is one of ornament." He notes that the two frescos in the Cappella Paolina, Michelangelo's last paintings begun in November 1542 almost immediately after the "Last Judgment", show from the start a major change in style, away from grace and aesthetic effect to an exclusive concern with illustrating the narrative, with no regard for beauty.


title: The Last Judgment (Michelangelo)

text: Early appreciations of the fresco had focused on the colours, especially in small details, but over the centuries the build-up of dirt on the surface had largely hidden these. The built-out wall led to extra deposition of soot from candles on the altar. In 1953 (admittedly in November) Bernard Berenson put in his diary: "The ceiling looks dark, gloomy. The "Last Judgment" even more so; ... how difficult to make up our minds that these Sistine frescoes are nowadays scarcely enjoyable in the original and much more so in photographs".


title: The Last Judgment (Michelangelo)

text: The fresco was restored along with the Sistine vault between 1980 and 1994 under the supervision of Fabrizio Mancinelli, the curator of post-classical collections of the Vatican Museums and Gianluigi Colalucci, head restorer at the Vatican laboratory. During the course of the restoration, about half of the censorship of the "Fig-Leaf Campaign" was removed. Numerous pieces of buried details, caught under the smoke and grime of scores of years, were revealed after the restoration. It was discovered that the fresco of Biagio de Cesena as Minos with donkey ears was being bitten in the genitalia by a coiled snake.


title: The Last Judgment (Michelangelo)

text: Most writers agree that Michelangelo depicted his own face in the flayed skin of Saint Bartholomew (see the illustration above). Edgar Wind saw this as "a prayer for redemption, that through the ugliness the outward man might be thrown off, and the inward man resurrected pure", in a Neoplatonist mood, one that Aretino detected and objected to. One of Michelangelo's poems had used the metaphor of a snake shedding its old skin for his hope for a new life after his death. Bernadine Barnes writes that "recent viewers ... have found in [the flayed skin] evidence of Michelangelo's self-doubt, since the lifeless skin is held precariously over Hell. However, no sixteenth-century critic noticed it [as Michelangelo's face]."


title: The Last Judgment (Michelangelo)

text: The bearded figure of Saint Bartholomew holding the skin was sometimes thought to have the features of Aretino, but open conflict between Michelangelo and Aretino did not occur until 1545, several years after the fresco's completion. "Even Aretino's good friend Vasari did not recognize him."


title: Enthiran

text: Enthiran () is a 2010 Indian Tamil-language science fiction action film written and directed by S. Shankar. It is the first instalment in the "Enthiran" franchise. The film stars Rajinikanth and Aishwarya Rai Bachchan with Danny Denzongpa, Santhanam and Karunas in supporting roles. The soundtrack album and background score were composed by A. R. Rahman while the dialogues, cinematography, editing and art direction were handled by Madhan Karky, R. Rathnavelu, Anthony and Sabu Cyril respectively. The story revolves around the struggle of a scientist K. Vaseegaran to control his android humanoid robot named Chitti, after Chitti's software is upgraded to give it the ability to comprehend and exhibit human emotions. The project backfires when Chitti falls in love with Vaseegaran's girlfriend, Sana, and is manipulated by Bohra, a rival scientist, into becoming homicidal.


title: Enthiran

text: After being stalled in the development phase for nearly a decade, the film's principal photography began in 2008 and lasted two years. The film marked the debut of Legacy Effects studio (which was responsible for the film's prosthetic make-up and animatronics) in Indian cinema. "Enthiran" was released worldwide on 1 October 2010. Produced by Kalanithi Maran, it was India's most expensive film up to that point.


title: Enthiran

text: The film received generally positive reviews upon release. Critics were particularly appreciative of Shankar's direction, storyline, Rajinikanth's performance as Chitti, music, action sequences, production values and the visual effects by V. Srinivas Mohan. "Enthiran" emerged as the highest-grossing Indian film of 2010 and is the 51st highest-grossing Indian film of all time. It won two National Film Awards, three Filmfare Awards, seven Vijay Awards and two Screen Awards. "Enthiran" was followed by a standalone sequel, "2.0", which released in 2018.


title: Enthiran

text: After a decade of research, scientist Vaseegaran creates a sophisticated android humanoid robot with the help of his assistants, Siva and Ravi, in order to commission it into the Indian Army. He introduces the robot, named Chitti, at a robotics conference in Chennai. Chitti helps Sana, Vaseegaran's medical student girlfriend, cheat during her examination, then saves her from being assaulted by a group of thugs. Vaseegaran's mentor, Professor Bohra, is secretly engaged in a project to create similar android robots for a German terrorist organisation, but so far has been unsuccessful. The terrorists threaten to kill Bohra if he does not meet the deadline, prompting Bohra to try to get Chitti's neural schema to program his robots correctly.


title: Enthiran

text: Vaseegaran prepares Chitti for an evaluation by the Artificial Intelligence Research and Development (AIRD) Institute, which is headed by Bohra. During the evaluation, Chitti attempts to stab Vaseegaran at Bohra's command, which convinces the evaluation committee that the robot is a liability and cannot be used for military purposes. Vaseegaran's effort to prove Bohra wrong fails when he deploys Chitti to rescue people from a burning building. The robot saves most of them, including a girl who was bathing at the time, but she is ashamed at being seen naked on camera and flees, only to be hit and killed by a truck. Vaseegaran asks for one month to modify Chitti's neural schema to enable it to understand human behaviour and emotions, to which Bohra agrees. While nearing the deadline, Chitti becomes angry with Vaseegaran, demonstrating to him that it can manifest emotions.


title: Enthiran

text: Chitti uses Sana's textbooks to successfully help Sana's friend Latha give birth to her son. Bohra congratulates Vaseegaran on the achievement and lets the robot pass the AIRD evaluation. However, he warns him about the problems that will subsequently occur. Chitti develops romantic feelings for Sana after she congratulates Chitti by kissing it. When Vaseegaran and Sana realise this after Chitti tries to kiss Sana at her birthday party, Sana explains to Chitti that they are only friends. Bohra uses this to manipulate Chitti, saying that it is capable of giving Sana everything and saying that it should come to him to create friction between Vaseegaran and Chitti. Saddened by her rejection, yet still in love with her, Chitti deliberately fails an evaluation conducted by the Indian Army, by talking off-topic. Enraged, Vaseegaran chops Chitti into pieces, which are dumped into a landfill site.


title: Enthiran

text: Bohra visits the site to retrieve Chitti, which has now reassembled itself, albeit in a damaged state. In exchange for Chitti's neural schema, Bohra reconstructs it with the help of Siva and Ravi. However, Bohra also embeds a red chip inside Chitti while reconstructing it, converting it into a ruthless killer. When Siva and Ravi ask why he is doing so, Bohra says it is about money and ruining Vaseegaran. Chitti gatecrashes Vaseegaran and Sana's wedding, kidnaps Sana, injures Vaseegaran and kills a number of police officers. It then creates replicas of itself using Bohra's droids to create an army to take over the world. When Bohra learns of Chitti's plot, he holds Sana hostage to stop Chitti, but Chitti kills Bohra. Using its robot army, Chitti occupies AIRD and causes mayhem in the city. It tells Sana that it has acquired the human ability to reproduce and wishes to marry her so that a machine and a human being can give birth to a preprogrammed child, but Sana refuses. Chitti eventually finds Vaseegaran, who entered AIRD to stop it disguised as a droid, and nearly kills him before the police appear. The ensuing battle between Chitti's robot army and the police personnel leads to many casualties and much property destruction. Vaseegaran eventually captures Chitti using a magnetic wall and accesses its internal control panel, whereby he instructs all the other robots to self-destruct. He removes Chitti's red chip, calming it.


title: Enthiran

text: In a court hearing, Vaseegaran is sentenced to death for the casualties and damages caused by the robot army, but Chitti explains that it was Bohra who caused its deviant behaviour and shows the court video footage of Bohra installing the red chip which it secretly recorded. The court releases Vaseegaran, while ordering that Chitti be dismantled. Left with no choice, Vaseegaran asks Chitti to dismantle itself. While saying goodbye, Chitti apologises to Vaseegaran and Sana before dismantling itself.


title: Enthiran

text: Several years later, in 2030, Chitti is a museum exhibit. A curious school student on excursion asks her guide why it was dismantled, to which Chitti responds, ""Naan sinthikka arambichen"" (I started thinking).


title: Enthiran

text: In 1996, following the release of "Indian", S. Shankar approached and pitched three storylines to Rajinikanth to consider for his next venture. This included scripts which would later become "" (2007), "Enthiran" (2010) and "I" (2015). Rajinikanth was sceptical and refused all three scripts at the time. Following the completion of his first directorial venture in Hindi, "" (2001), Shankar announced his next project, "Robot", which was to feature Kamal Haasan and Preity Zinta. The film was to be produced by the now-defunct company Media Dreams, a division of Pentamedia Graphics. The film was reported to be a futuristic techno-thriller set in Chennai in around 2200 or 3000. Despite the completion of a photoshoot featuring Haasan and Zinta, the project was shelved as a result of scheduling conflicts with Haasan. Shankar consequently started work on "Boys" (2003).


title: Enthiran

text: After "Boys", Shankar began work on his next feature starring Vikram, which was initially reported by Rediff.com to be "Robot" revived, but was later revealed as "Anniyan" (2005). One month post the release of "Sivaji: The Boss" in June 2007, he approached Shah Rukh Khan for the lead in "Robot". Shankar had cast Priyanka Chopra in the lead opposite him. Khan was about to produce it under his own banner, Red Chillies Entertainment, but in October the same year the project was officially aborted due to creative differences between him and Shankar.


title: Enthiran

text: The project was revived in January 2008 with Eros International and the London-based production company Ayngaran International willing to produce the film. The state government of Tamil Nadu granted tax exemptions for films titled in Tamil, resulting in the new production being renamed "Enthiran". While Sujatha was originally assigned to write the dialogue for the film, Madhan Karky took over after Sujatha's death in February 2008. In December 2008, Eros International withdrew from funding the project after financial difficulties caused by the box-office failure of "Drona" (2008) and "Yuvvraaj" (2008), with the subsequent departure of Ayngaran International, which struggled with the financial crisis of 2007–2008. The film's production and release rights were sold to Sun Pictures.


title: Enthiran

text: In January 2008, Rajinikanth accepted the lead role in the film for a salary of 450 million (Indian rupees). Shankar rewrote the original script to suit Rajinikanth's acting style. Although Aishwarya Rai Bachchan was Shankar's original choice for the female lead in 2001, she declined it owing to a busy schedule and was replaced by Zinta. When Shankar revived the project with Rajinikanth, contenders for the part included Deepika Padukone, Shriya Saran and Rai, who was ultimately selected and paid 60 million. Rai's voice was dubbed by Savitha Reddy.


title: Enthiran

text: Several actors were considered for the role of Professor Bohra, including Amitabh Bachchan, J. D. Chakravarthy, Sathyaraj and British actor Ben Kingsley, but it was Danny Denzongpa who eventually received it, making "Enthiran" his first film in Tamil. Dubbing for Denzongpa was provided by Kadhir. Comedians Santhanam and Karunas were cast to portray Vaseegaran's assistants Siva and Ravi respectively.


title: Enthiran

text: The soundtrack album and background score were composed by A. R. Rahman. Vairamuthu, Pa. Vijay and Madhan Karky authored the lyrics for the songs. Manoj Bharathiraja, son of filmmaker Bharathiraja, was signed on to be an assistant director after he approached Shankar. Also working as assistant directors were Atlee, Shree and Karthik G. Krish. Sabu Cyril, in addition to being the film's art director, made a guest appearance as Shah, an interpreter between Bohra and the terrorist organisation.