title: Japan Ground Self-Defense Force

text: Douglas MacArthur insisted that Japan have no military that could be used to settle international disputes or even for its own self defense. Accordingly, during the development of the Japan Constitution in 1946, Article 9 was added stating "the Japanese people forever renounce war as a sovereign right of the nation and the threat or use of force as means of settling international disputes." "In order to accomplish the aim of the preceding paragraph, land, sea, and air forces, as well as other war potential, will never be maintained. The right of belligerency of the state will not be recognized." It is believed that the Special Diet Session leader Hitoshi Ashida added the clause “In order to accomplish the aim of the preceding paragraph” in the middle of Article 9. The intent of this phrasing was to allow for the creation of military forces in Japan which would be for the defense of Japan, and not for settling international disputes. Then Prime Minister Shigeru Yoshida accepted this wording and was able to convince the US to allow Japan to operate "self defense" forces.


title: Japan Ground Self-Defense Force

text: Under the terms of the Treaty of Mutual Cooperation and Security between the United States and Japan, United States forces stationed in Japan were to deal with external aggression against Japan while Japanese forces, both ground and maritime, would deal with internal threats and natural disasters. Only after the outbreak of the Korean War did MacArthur authorise Prime Minister Shigeru Yoshida to establish a 75,000 strong National Police Reserve. The next expansion came in 1952, when as a compromise in the face of U.S. calls to build up an army of 350,000, the National Police Reserve was re-titled the National Safety Force and expanded to 110,000.


title: Japan Ground Self-Defense Force

text: In 1954, Prime Minister Yoshida impelled the Diet to accept the Defence Agency Establishment and the Self-Defence Force Laws, which explicitly authorized the forces to ‘defend Japan against direct and indirect aggression, and when necessary to maintain public order.’ On July 1, 1954, the National Security Board was reorganized as the Defense Agency, and the National Security Force was reorganized afterwards as the Japan Ground Self-Defense Force (Army), the Japan Maritime Self-Defense Force (Navy) and the Japan Air Self-Defense Force (Air Force), with General Keizō Hayashi appointed as the first Chairman of Joint Staff Council—professional head of the three branches. The enabling legislation for this was the 1954 Self-Defense Forces Act [Act No. 165 of 1954].


title: Japan Ground Self-Defense Force

text: That year the actual strength of the Ground, Maritime and Air Self-Defence Forces reached 146,285, armed mainly with U.S. World War II vintage equipment. At least up until the 1970s, the Ground SDF was not built up to the point required to defeat an invasion attempt from the north – informed officials estimated that while ammunition provisions were officially said to be enough to last for two months, in actuality it would be used up in a week or less.


title: Japan Ground Self-Defense Force

text: During the 1970s, the Japan Ground Self-Defense Force possessed a dubious ability to hold off a Soviet invasion of Hokkaido. Zbigniew Brzezinski observed in 1972 that it seemed optimized to fight "a Soviet invasion conducted on American patterns of a quarter of a century ago." Three years later in 1975, Osamu Kaihara, the former secretary of the National Defence Council, was reported in "U.S. News & World Report" that the SDF would have been totally ineffective in any Soviet attack, as the Ground SDF could only fight as an army for three to four days. While the force is now an efficient army of around 150,000, its apparent importance had, until recently, seemingly declined with the end of the Cold War, and attempts to reorient the forces as a whole to new post Cold War missions have been tangled in a series of internal political disputes.


title: Japan Ground Self-Defense Force

text: On March 27, 2004, the Japan Defense Agency activated the Special Operations Group with the mandate under the JGSDF as its Counter-terrorist unit.


title: Japan Ground Self-Defense Force

text: In 2015, the Japanese Diet passed a law that allowed for the reinterpretation of Article 9 of the constitution. JSDF personnel train with the American forces in amphibious assault units designed to take outlying islands.


title: Japan Ground Self-Defense Force

text: Japan activated its first marine unit since World War II on April 7, 2018. The marines of the Amphibious Rapid Deployment Brigade are trained to counter invaders from occupying Japanese islands along the edge of the East China Sea.


title: Japan Ground Self-Defense Force

text: British troops of the Honourable Artillery Company (HAC) exercised together for the first time with Japanese GSDF soldiers in Oyama, Shizuoka prefecture on 2 October 2018. This also marked the first time in history that foreign soldiers other than Americans exercised on Japanese soil. The purpose was to improve their strategic partnership and security cooperation. Speaking about tensions regarding North Korea, Lieutenant General Patrick Sanders said that Japan "won't have to fight alone."


title: Japan Ground Self-Defense Force

text: The JGSDF and the Indian Army conducted their first joint military exercise in the Indian state of Mizoram from 27 October to 18 November 2018. It primarily consisted of anti-terror drills and improving bilateral cooperation with 60 Japanese and Indian officers.


title: Japan Ground Self-Defense Force

text: In March 2019, the Ministry of Defense established its first regional cyber protection unit in the Western Army of the Japan Ground Self-Defense Force (JGSDF) to safeguard defense communications from cyber attacks, such as for personnel deployed on remote islands with no established secure lines.


title: Japan Ground Self-Defense Force

text: The Japanese government approved the first ever JSDF dispatch to a peacekeeping operation that is not led by the United Nations in 2019. JGSDF officers monitored the cease-fire between Israel and Egypt at the Multinational Force and Observers command in the Sinai peninsula from 19 April until 30 November 2019.


title: Japan Ground Self-Defense Force

text: From September to the end of November 2021, the GSDF conducted nationwide drills with all units including 100,000 personnel, 20,000 vehicles, 120 aircraft and the JMSDF and JASDF as well as a U.S. Army landing ship. These were the largest GSDF exercises since after the Cold War in 1993. The exercises are based on 2019 National Defense Program Guidelines to strengthen defense capabilities. Minister of Defense Nobuo Kishi said it is to effectively respond to various situations.


title: Japan Ground Self-Defense Force

text: In 1989, basic training for lower-secondary and upper-secondary academy graduates began in the training brigade and lasted approximately three months. Specialized enlisted and non-commissioned officer (NCO) candidate courses were available in branch schools and qualified NCOs could enter an eight-to-twelve-week officer candidate program. Senior NCOs and graduates of an eighty-week NCO pilot course were eligible to enter officer candidate schools, as were graduates of the National Defense Academy at Yokosuka and graduates of all four-year universities. Advanced technical, flight, medical and command and staff officer courses were also run by the JGSDF. Like the maritime and air forces, the JGSDF ran a youth cadet program offering technical training to lower-secondary school graduates below military age in return for a promise of enlistment.


title: Japan Ground Self-Defense Force

text: Because of population density and urbanization on the Japanese islands, only limited areas are available for large-scale training, and, even in these areas, noise restrictions are extensive. The JGSDF has adapted to these conditions by conducting command post exercises, map manoeuvres, investing in simulators and other training programs, as well as conducting live fire exercises overseas at locations such as the Yakima Training Center in the United States.


title: Japan Ground Self-Defense Force

text: The JGSDF has two reserve components: the rapid-reaction reserve component (即応予備自衛官制度) and the main reserve component (一般予備自衛官制度). Members of the rapid-reaction component train 30 days a year. Members of the main reserve train five days a year. As of December 2007, there were 8,425 members of the rapid-reaction reserve component and 22,404 members of the main reserve component.


title: Japan Ground Self-Defense Force

text: JGSDF divisions and brigades are combined arms units with infantry, armored, and artillery units, combat support units and logistical support units. They are regionally independent and permanent entities. The divisions strength varies from 6,000 to 9,000 personnel. The brigades are smaller with 3,000 to 4,000 personnel.


title: Japan Ground Self-Defense Force

text: The Japan Ground Self-Defense Force dropped nearly all traditions associated with the former Imperial Japanese Army save for the march music tradition (Review March was the official march of the IJA and today's JGSDF). However the tradition of bugle call playing, a tradition left by the Imperial Army, has remained till the present. Each JGDSF formation has had a bugle platoon or company led by a Bugle Major.


title: Japan Ground Self-Defense Force

text: The Imperial Japanese Army flag with symmetrical 16 rays and a 2:3 ratio was abolished in 1945. The Japan Self-Defense Forces (JSDF) and Japan Ground Self-Defense Force (JGSDF) use a significantly different variation of the Rising Sun Flag with red, white and gold colors. It has 8-rays and an 8:9 ratio. The edges of the rays are asymmetrical since they form angles at 19, 21, 26 and 24 degrees. It also has indentations for the yellow (golden) irregular triangles along the borders. The JSDF Rising Sun Flag was adopted by a law/order/decree published in the Official Gazette of June 30, 1954.


title: Don Frye

text: Donald Frye (born November 23, 1965) is an American former mixed martial artist, professional wrestler, and actor. In MMA, he was one of the sport's earliest well-rounded fighters and won the "UFC 8" and "Ultimate Ultimate 96" tournaments and finished as runner-up "UFC 10" in his first year of competition. He retired from MMA in 1997 to pursue a career in professional wrestling with New Japan Pro-Wrestling (NJPW) and quickly became one of the company's leading heels. After spending four years as one of Japan's top "gaijin" wrestlers, he returned to MMA with the Pride Fighting Championships in September 2001, much more muscular and sporting an American patriot persona in response to the September 11 attacks. He fought bouts with Ken Shamrock and Yoshihiro Takayama during his two years in Pride. He departed the promotion to compete in K-1 and Hero's in 2004 but returned for the final Pride event in 2007. He was inducted into the UFC Hall of Fame in 2016.


title: Don Frye

text: Born of Irish and Scottish descent, Don Frye began wrestling at Buena High School in Sierra Vista, Arizona then in college for Arizona State University in 1984, where he was trained by fellow future Ultimate Fighting Championship compositor, then assistant wrestling coach, Dan Severn. In 1987, he won the freestyle and Greco-Roman events during an Olympic qualifier. A year later, he transferred to Oklahoma State University–Stillwater, where his teammates included future colleague Randy Couture.


title: Don Frye

text: After college, Frye trained in boxing for a year and a half and made his professional debut on August 28, 1989 in Phoenix, Arizona, scoring a first-round knockout over Luis Mora. After eight bouts over the next fourteen months he retired and became an emergency medical technician and a firefighter in Bisbee, Arizona. He boxed under the name J.R. Frye in several matches after being forced to change his name due to a contractual dispute. In his final boxing match, Frye lost via technical knockout to David Kilgour of Somis, California at the Reseda Country Club in Reseda, Los Angeles on December 11, 1990, bringing his professional record to two wins, five losses and one draw. Frye also worked in a psychiatric ward but left that position after breaking a patient's arm while restraining him. During this time, he also took up judo and earned the rank of second "dan" black belt.


title: Don Frye

text: In 1995, Don Frye helped train Dan Severn for the "Ultimate Ultimate 1995", accompanying Severn's entourage to Denver. He soon made the jump to the burgeoning sport of mixed martial arts himself and joined the Ultimate Fighting Championship the following year. Debuting at "UFC 8" in Bayamón, Puerto Rico on February 16, 1996, Frye was among the eight competitors in the openweight tournament that night and was one of two fighters of the era skilled in both stand-up and ground fighting, the other being Marco Ruas. In the quarter-finals, he set the record (since broken by Duane Ludwig and Jorge Masvidal) for fastest knockout in UFC history when his punches knocked down 410-lb Thomas Ramirez in just eight seconds. After a quick technical knockout of Sam Adkins in the semis, taking him down and landing hammerfists to the face for the TKO, he met with Gary Goodridge in the final, and forced the Trinidadian to submit simply by gaining dominant position at the 2:14 mark, though not without landing multiple uppercuts standing and punches on the ground. This would be the first in a trilogy of fights between the pair. Due to the controversy surrounding MMA at the time, Frye was barred from both firefighting, his previous occupation in his hometown of Sierra Vista, Arizona, and from training in the Buena High School gym he had used since his ASU days following the event.


title: Don Frye

text: Frye returned at "UFC 9" in Detroit, Michigan on May 19, 1996 for a match with fellow tournament winner Marco Ruas, but Ruas was injured and replaced by Brazilian jiu-jitsu stylist Amaury Bitetti. Frye stopped his opponent's takedowns and land punches, knees and elbows, and used a judo ude-garami on the jiu-jitsu champion, something that was unusual at the time. At the end, after an especially hard series of strikes to the spine and head of the Brazilian, the match was stopped and Frye was declared winner.


title: Don Frye

text: At "UFC 10" in Birmingham, Alabama on July 12, 1996, Frye returned to tournament format. He defeated Mark Hall by stoppage, slamming the Moo Yea Do specialist and working his side with body punches until the stoppage, and then defeated Brian Johnston, again leading the action to the mat and landing elbows to the head. However, at the finals of the event, Frye faced Mark Coleman, who was considered the "godfather" of the ground and pound strategy Frye often followed. Coleman, a more decorated wrestling champion than Frye himself, kept the top position through the match and landed multiple strikes to the face. Frye capitalized on a failed neck crank attempt to get standing and try to outmatch Coleman there, but he was taken down again, and a late takedown attempt of his own also failed, with Coleman reversing and threatening with an overhead throw before returning to his routine. At the end, after Coleman secured side mount and dropped punches and headbutts onto Frye's face, the referee stopped the action, handing Frye his first loss in seven fights.


title: Don Frye

text: Frye won at the "U-Japan" event in November 1996, taking a submission victory by forearm choke over Mark Hall in a rematch. Just one month later, Frye entered the UFC's "Ultimate Ultimate 96" tournament, held to find the best of the best from past tournament winners and runners up. He firstly went for the second time against Gary Goodridge, who brawled on the clinch before taking Frye down and landing headbutts, but the result was the same, as Goodridge tapped out as soon as Frye got dominant position. Frye then faced Mark Hall for the third time in his career, but this fight was even shorter, with Frye getting a takedown and an Achilles lock for the give up in 20 seconds. In the finals, Frye faced striker Tank Abbott, who landed early shots, opening a cut on Frye's face and causing swelling. However, Abbott lost his balance and fell, allowing Frye to secure a rear naked choke, to take the title of "Ultimate Ultimate 96" Champion, his second UFC Tournament Championship.


title: Don Frye

text: Hall would later claim that Don Frye and manager Robert DePersia convinced him to throw the two fighters' semi-final match. Hall says that since Tank Abbott had already advanced to the final after two relatively easy wins, Frye – who'd logged eleven minutes of cage time already that night – wanted to save his energy for the championship match. Because he'd already suffered two defeats to Frye earlier in his career (and therefore probably wasn't going to win anyway) and DePersia implied that saying no would have a disastrous impact on his future, Hall says he reluctantly agreed to go along with the plot. Referee John McCarthy later wrote in his autobiography "Let's Get It On!":


title: Don Frye

text: Despite his success in MMA, Frye retired from the sport after winning the "Ultimate Ultimate '96" tournament.


title: Don Frye

text: A successful celebrity in Japan due to his pro wrestling career, Don Frye made his comeback to mixed martial arts when he signed a multi-fight contract with the Pride Fighting Championships in 2001. Appearing in an MMA bout for the first time in five years at "Pride 16" in Osaka, Japan on September 24, 2001, two weeks after the September 11 attacks, Frye entered the ring waving an American flag and wearing a T-shirt emblazoned with the words "terrorists suck". He was also noticeably more muscular and seemingly stronger than his UFC days, having gained in weight since his last MMA outing. However, his fight with Gilbert Yvel that night was controversial and resulted in Frye winning by disqualification in the first round, as Yvel repeatedly gouged his eyes and was eventually disqualified for continuously holding the ropes to stop himself being taken down.


title: Don Frye

text: Three months later, at a joint New Year's Eve show "Inoki Bom-Ba-Ye 2001: K-1 vs. Inoki", Frye defeated Cyril Abidi with relative ease, taking the French kickboxer to the mat and controlling him throughout round one before finishing him with a rear naked choke in two.


title: Don Frye

text: Frye returned to Pride in February 2002, facing long-time rival Ken Shamrock at "Pride 19" in a fight he had been trying to trash-talk himself into ever since Shamrock had defeated Dan Severn at "UFC 6". Frye got the edge on a series of clinch battles, while Shamrock dropped down for an ankle lock and transitioned into both a kneebar and a toehold, wrenching Frye's leg badly; however, despite the damage, Frye refused to tap out and managed to knock Shamrock down in a subsequent punching exchange. The bout moved to the mat, where Shamrock attempted another ankle lock, only for Frye to try to counter with one of his own and finally refusing to tap out until time ran out. After an exciting and hard fought battle, Frye pulled out a split decision victory. Even though Shamrock had injured Frye's ankles, later leading to dependency on painkillers, the two hugged after the fight ended, putting an end to their rivalry. Many MMA fans agree that both fighters were never the same again, as both their careers began a steady downturn after the fight.


title: Don Frye

text: Four months after defeating Ken Shamrock, Frye returned to MMA to face Japanese professional wrestler Yoshihiro Takayama at "Pride 21" on June 23, 2002. In a fight that many consider to be one of Pride's most exciting matches, Frye and Takayama clinched in a hockey fight pose, each holding the head and hitting, with Takayama finally going to the body after more than a full minute of unrelenting, undefended shots. This would happen three times in the fight, until the referee stopped the bout after Frye mounted Takayama, who was visibly much worse for the wear.


title: Don Frye

text: On August 28, 2002, he took on Jérôme Le Banner in a kickboxing match at the K-1/Pride co-promoted event "Pride Shockwave", fighting in front of 91,107 people. Frye had mentioned in an interview prior to the fight that (besides knee strikes) he had never thrown a kick in his life and his disadvantage was obvious as he couldn't use his wrestling skills and was repeatedly thrown when he tried to tie up with Le Banner. After being given a standing eight count early on, he was forced into a corner and knocked unconscious with a right hook at the 1:30 mark of the first round.


title: Don Frye

text: Riding a new wave of popularity, Frye's next outing was a return to MMA at "Pride 23" on November 24, 2002 to face Olympic gold medalist judoka Hidehiko Yoshida. Taking his first loss since fighting Mark Coleman in 1996, Frye was submitted by Yoshida via armbar in the first round. While Frye did not tap out, the referee stopped the bout in fear of serious injury.


title: Don Frye

text: Frye took seven months off following the losses to Le Banner and Yoshida, and next fought at "Pride 26" on June 28, 2003 to try to avenge his loss to Mark Coleman. In a rather long battle, Frye lost a unanimous decision to Coleman after three rounds.


title: Don Frye

text: Another rematch was on tap for "Pride Shockwave 2003" on New Year's Eve, 2003 when Frye faced Gary Goodridge for the third time. The fight lasted only 39 seconds; Goodridge scored a vicious high kick to the head, knocking Frye out completely.


title: Don Frye

text: Don Frye departed Pride on the back of four consecutive losses and next appeared fighting under MMA rules in K-1. His first fight, with Yoshihiro Nakao at "K-1 MMA ROMANEX" on May 22, 2004 ended in a no contest when Frye could not continue due to a cut sustained from an accidental headbutt early in round one.


title: Don Frye

text: Don Frye and Yoshihiro Nakao rematched at "K-1 Premium 2004 Dynamite" on December 31, 2004 with Nakao coming out on top and winning a unanimous decision, resigning the American to his sixth unsuccessful fight.


title: Don Frye

text: After another brief retirement, he returned in K-1's Hero's branch in May 2006 to fight Akebono at "Hero's 5". Akebono spent much of the fight clinching with the much smaller Frye and pushing him into the ropes, but Frye was able to knock the former sumo wrestler down and secure a guillotine choke submission in the second round.


title: Don Frye

text: Just ten days later, in his first appearance in the United States since 1996, Don Frye took on Ruben Villarreal in "King of the Cage: Predator" in Globe, Arizona. After three rounds of what many considered to be a lackluster fight, the bout was ruled a draw.


title: Don Frye

text: In his sophomore Hero's fight, he defeated Yoshihisa Yamamoto at "Hero's 6" on August 5, 2006, using the rear naked choke towards the end of the first round. In his last appearance in the promotion, Frye faced Kim Min-Soo at "Hero's 7" on October 9, 2006 and knocked him out with a right hook in the second round.


title: Don Frye

text: Don Frye made his Pride return after an almost four-year hiatus, taking on James Thompson at the last promotion's last ever event, "Pride 34" on April 8, 2007. After an aggressive start, Thompson landed two soccer kicks that dazed Frye. Thompson landed several more blows on a defenseless Frye before the referee called the fight at 6:25 in the first round.


title: Don Frye

text: That year, he also assembled and coached the Arizona-based Tucson Scorpions in the International Fight League, but on November 9, 2007 announced on TAGG radio that he and the IFL had parted ways. They were one of four new teams established at the beginning of the 2007 season. He also wrote a humorous weekly column called "Dear Don: Advice from The Predator" in which he gives fans advice on love, life, friendship, and more.


title: Don Frye

text: Following a forty-seven second knockout of Bryan Pardoe at "NLF: Heavy Hands" in Dallas, Texas in January 2008, Don Frye announced on February 8, 2008 on TAGG Radio that he would be fighting Oleg Taktarov on the debut card for YAMMA Pit Fighting on April 11 in the Trump Taj Mahal in Atlantic City, New Jersey. The fight was to be the first fight in YAMMA's Masters Division, a division for fighters over the age of 39. However, he had to withdraw due to an injury and was replaced by UFC 1 entree Patrick Smith.


title: Don Frye

text: Following his tenure with the IFL and a one-off fight with Texas-based promotion "NoLimit Fighting", Don Frye competed in his inaugural fight with the DEEP organization, fighting Japanese fan favorite Ikuhisa Minowa. Minowa won via kneebar at the 3:56 mark of round one, dropping Frye's record in Japan to 8-6. From there, he signed with Shark Fights stateside the following year. His submitted Ritch Moss at "Shark Fights 4" in May 2009 but suffered a quick TKO loss at the hands of Dave Herman at "Shark Fights 6: Stars & Stripes" four months later.


title: Don Frye

text: After a two-year absence and at forty-six years of age, Frye was scheduled to face Mike Gonzalez for the Gladiator Challenge Light Heavyweight title. However, Gonzalez was injured, so Frye instead faced Ruben Villareal in a rematch at Heavyweight. Frye lost via knock-out.


title: Don Frye

text: After leaving the UFC, Frye went into professional wrestling and was trained by Brad Rheingans and Curt Hennig. He debuted for New Japan Pro-Wrestling (NJPW) in August 1997, defeating Kazuyuki Fujita in his first match. By 1998, Frye began to rise in the ranks as he quickly became one of the company's lead heels. On April 4, 1998, Frye won the Antonio Final Opponent tournament and earned the right to wrestle NJPW founder and wrestling legend Antonio Inoki in his retirement match, which took place later that night. Frye lost that fight. After a brief feud with Kensuke Sasaki at the end of that year, Frye joined Masahiro Chono's new stable, Team 2000, in early 1999. After joining, Frye would spend most of 1999 and early 2000 feuding with Scott Norton over the unofficial title of Gaijin Ace, took part in the G1 Tag League in 1999 with Chono, and make two challenges for the IWGP Heavyweight Championship but was unsuccessful in each attempt. He lost out to Keiji Mutoh in his first title shot in April 1999 and was defeated by Kensuke Sasaki in his second in February 2000.


title: Don Frye

text: After being in Team 2000 for two years, Frye left the group and joined Keiji Mutoh's new stable, BATT, where he made a third attempt at the IWGP title in July 2001 but came up short again, falling to Kazayuki Fukita. In September 2001, Frye won the G1 World Climax tournament. After the tournament win, Frye left NJPW and returned to MMA. Stepping back into the pro wrestling arena, Frye would make a one-time appearance at NJPW's Fighting Spirit Memorial Day Tokyo Dome show on May 2, 2002 where he defeated Tadao Yasuda.


title: Don Frye

text: From October to November 2004, Frye returned to NJPW for two appearances as a member of Masahiro Chono's Black New Japan stable, teaming with Chono in a tag match defeating Hiroyoshi Tenzan and Yuji Nagata and then teaming with Scott Norton and Manabu Nakanishi in a winning effort against Shinsuke Nakamura, Yutaka Yoshie, and Blue Wolf.


title: Don Frye

text: In a brief comeback to professional wrestling in 2003, he competed for Fighting World of Japan on two occasions. He also appeared for All Japan Pro Wrestling (AJPW) on October 26, 2003 at their 31st Anniversary, challenging Toshiaki Kawada for the Triple Crown Heavyweight Championship in a losing effort.


title: Don Frye

text: During his brief MMA hiatus, Frye made a one-off appearance as a pro wrestler in Inoki Genome Federation, losing to Josh Barnett via keylock submission on September 8, 2007. In October 2008, Frye wrestled at the Pro Wrestling Expo shows, teaming with Yoshihiro Takayama in a losing effort to Masahiro Chono and Scott Norton on the first day, then losing a six-man tag on the third day.


title: Don Frye

text: Frye returned to a professional wrestling ring on March 17, 2013, at an event held by AJPW in Tokyo. After teaming with Keiji Mutoh to defeat Masayuki Kono and Yoshihiro Takayama in a tag team match, Frye engaged in a post-match brawl with Takayama, playing off their "Pride 21" bout from 2002.


title: Don Frye

text: Don Frye began acting in movies with "" (2004), playing the role of Captain Douglas Gordon. In an interview, Frye mentions that unlike his fights where he has complete control, acting in a Godzilla film he had no control but enjoyed the experience nonetheless. The director of the film, Ryuhei Kitamura, mentioned that he wrote the role with Frye in mind since he was a fan of Frye's matches. Kitamura found Frye's tough-guy/good-heart demeanor to be the perfect role for the character of Gordon. Curiously, for a prominent character in a Japanese-language film, all of his dialogue was spoken in English.


title: Don Frye

text: The year 2005 turned out to be a busy year for Frye as he made several appearances. In "Just Another Romantic Wrestling Comedy", he played Rocco Piedra, the father of a wrestling family who dreams on marrying their child off to a famous wrestler. He also appeared in "No Rules" and starred in "Nagurimono". In 2006, he made an appearance as an Aryan Brotherhood member in "Miami Vice", lent his voice for "The Ant Bully", and appeared in the Rob Schneider prison comedy "Big Stan", along with fellow mixed martial artists Randy Couture and Bob Sapp in 2007.


title: Don Frye

text: Since he competed in Pride FC, he has also appeared in several commercial ads in Japan. The latest one is a television ad for a yakisoba product named "UFO" produced by Nissin Foods (an executive officer was a fierce fan of Frye).


title: Don Frye

text: His significant popularity in Japan in the 2000s might be attributed to his "good old tough fuddy-duddy" character reminiscent of sheriffs in some 1960s American movies.


title: Don Frye

text: Frye appeared in an episode of "It's Always Sunny in Philadelphia" entitled "The Gang Wrestles for the Troops", in which he played a professional wrestler that was getting pummeled by Roddy Piper's character, "Da' Maniac". He is credited on IMDb for the role as "Wrestling Opponent".


title: Don Frye

text: Frye also appeared in a new AT&T mini-movie advertisement for the Blackberry Bold 9700 entitled "Stay One Step Ahead" during the 2009 holiday season.


title: Don Frye

text: Frye provided the voice for the main villain Matt Ninesister in the third installment of the Stick 10: Even More Swag animated specials, "The United League of Stereotypes". Frye also portrayed mayor and former wrestler Mike Haggar in the "Final Fight" fan film "The Broken Gear".


title: Ecchi

text: The word "ecchi" has been adopted by western fans of Japanese media to describe works with sexual overtones. In western culture, it has come to be used to refer to softcore or playful sexuality, as distinct from the word "hentai", which connotes perversion or fetishism. Works described as ecchi by the western fans do not show sexual intercourse or genitalia, but sexual themes are referenced. "Ecchi" themes are a type of fan service, and can be found in most comedy shōnen and seinen manga and harem anime.


title: Ecchi

text: The correct transcription of the word in Hepburn notation is "etchi". However, it is typically written as "ecchi" in the Western world.


title: Ecchi

text: In the word "hentai" (変態), the first kanji "hen" refers to strangeness or weird, and the second kanji "tai" refers to a condition or state. "Hentai" was introduced in the Meiji period as a term for "change of form" or "transformation" in science and psychology. In this context, it was used to refer to disorders such as hysteria or to describe paranormal phenomena like hypnosis or telepathy. Slowly, the meaning expanded until it had the meaning of "non-standard". In the 1910s, it was used in sexology in the compound expression "hentai seiyoku" (, "abnormal sexual desire", which is rephrased as "sexual perversion" in modern times) and became popular within the theory of sexual deviance ("Hentai seiyoku ron"), published by Eiji Habuto and Jun'ichirō Sawada in 1915. In the 1920s, many publications dealt with deviant sexual desires and the Ero Guro Nansensu movement. Matsuzawa calls it a period characterized by a ""hentai boom"". In the 1930s, censorship became more common leading to fewer books being published on this theme.


title: Ecchi

text: After the Second World War, in the 1950s, interest in hentai was renewed, and people would sometimes refer to it just by the first English letter, "H" (pronounced as , ). In 1952, the magazine "Shukan Asahi" reported that a woman who was groped by a stranger in a movie theater reacted with ""ara etchi yo"" (""hey, that's perverse""). In this context, "etchi" should be understood as "sexually forward" and is synonymous to "iyarashii" (, dirty or disgusting) or "sukebe" (, a person with sex on the brain). From this, the word "etchi" started to branch off, and assume new connotations. In the 1960s, "etchi" started to be used by youth to refer to sex in general. By the 1980s, it was used to mean "sex" as in the phrase "etchi suru" (to have sex).


title: Ecchi

text: Other neologisms such as "sekkusu" are often used to refer to sex, in addition to the term "ecchi." "Ecchi" is now used as a qualifier for anything related to erotic or pornographic content. Its exact meaning varies with context, but in general, it is most similar to the English word "naughty" (when used as an adjective). The Japanese media tend to use other words, e.g. "ero-manga" (), "adult manga" (), or anime / manga for persons over 18 years (, ). The prefix "H-" is also sometimes used to refer to pornographic genres, e.g. H-anime, H-manga, etc.


title: Ecchi

text: In Japan, oiroke manga (お色気漫画) is used to describe manga with very light or playful erotic content such as is found in shonen manga. In western nations though, "ecchi" has become the preferred term. The more explicit seijin manga (成人向け漫画, "seijinmukemanga") are more likely to be referred to as hentai in the west. This does correlate to a similar distinction in Japanese. For instance, if a young woman were to call a young man "e(t/c)chi", that might be construed as flirting, whereas "hentai" sounds more like condemnation.


title: Ecchi

text: Works aimed at a female audience can contain scenes which are seen as ecchi. Examples are "R-18 Love Report!" from Emiko Sugi and "Oruchuban Ebichu" from Risa Itō, which are aimed at the shōjo and josei audience, but contain rather explicit content.


title: Ecchi

text: Common elements of ecchi include conversations with sexual references or misunderstandings (e.g. double entendre or innuendo), misunderstandings in visual depictions (e.g. suggestive posing), revealing or sexualized clothing (e.g. underwear or cosplay), nudity (e.g. ripped apart clothing, wet clothing, clothing malfunctions) and the portrayal of certain actions (e.g. groping). This kind of sexuality is often used for comical effect. A typical example scene would contain a male protagonist that trips over a female character, giving the impression of sexual harassment.


title: Ecchi

text: The concept of ecchi is very closely related to fan service. While fan service describes every aspect to please the fans, ecchi relates to sexual themes. A special kind of fan service, that is usually bound or justified by the narrative.


title: Ecchi

text: There are many elements that may classify a work as ecchi, but these elements have to occur quite often (for example, in all episodes of a show). Graphically speaking, different techniques are used to show sexy pictures, usually by revealing parts of the female body such as the back or breasts. Some of these patterns are recurrent, such as scenes in a shower, hot springs ("onsen"), or fighting scenes in which clothes are torn apart. The imagination of characters is also a common device for showing their sexual fantasies, as well as transformation scenes of magical girls. In the end, any excuse is valid to show a character partially or completely nude.


title: Ecchi

text: Levels of nudity vary strongly between works depending on the intended audience and the preferences of the authors. For example, in some cases, though the breasts are shown on the screen, nipples and genitals are obscured by props, clothing, or effects. This kind of censorship was typical for Lala Satalin Deviluke in "To Love Ru", Blair in "Soul Eater" or even Asuka Langley Soryu from "Neon Genesis Evangelion". Meanwhile, in "Ladies versus Butlers!" and other anime, the nipples are clearly visible through clothing, no matter how thick it is. Nosebleeds are a typical reaction to nudity in Japanese works, as they represent sexual arousal; this is due to an exaggeration of high blood pressure whilst aroused.


title: Ecchi

text: The use of panty shots "(panchira)", or visibility of the underwear (panties), is one common motif. Typically the male will react in an exaggerated manner and be castigated. The color and style of the panties are seen as an indication of the female's character, e.g. white for innocent characters, striped for shy characters, and red for sexually aggressive characters. Panties are a popular main theme in ecchi (for instance, "Chobits" and "Panty & Stocking with Garterbelt" feature them heavily), but they are also featured in other shows just for sexual appeal.


title: Ecchi

text: Although revealing or sexualized clothing, nudity or groping may occur in ecchi works, there usually is no explicit sexual intercourse in the works; in the west, such works are classified as hentai. However, in an ecchi work, it may appear as if a couple are having sex. For instance, the two may be seen in silhouette from outside a tent, appearing to be having sex, although they are doing something nonsexual.


title: Cruiserweight (boxing)

text: Cruiserweight, also referred to as junior heavyweight, is a weight class in professional boxing between light heavyweight and heavyweight. Before the advent of the current cruiserweight class, "light heavyweight" and "cruiserweight" were sometimes used interchangeably in the United Kingdom.


title: Cruiserweight (boxing)

text: The current weight limit for the division is . When originally established, the weight limit was . The division was established in order to accommodate smaller heavyweight boxers who could not compete with the growing size of boxers in that division. While many great heavyweight champions (such as Rocky Marciano and Joe Louis) weighed around 190 pounds in their career, during the 1970s it became fairly standard that fit heavyweight boxers weighed at least . It was felt by many boxing authorities that asking men weighing between and to fight these larger men was unfair.


title: Cruiserweight (boxing)

text: The WBC was the first boxing organization to recognize the cruiserweight division when it sanctioned a bout between Marvin Camel and Mate Parlov on December 8, 1979, for their version of the title. That fight was a draw, but in the rematch in March 1980 Camel won and became the first cruiserweight champion. In 1982 the World Boxing Association recognized Ossie Ocasio as their first cruiserweight champion when he defeated South African Robbie Williams (although at that time the WBA called the division "junior heavyweight"). The International Boxing Federation followed suit in 1983 when it matched former WBC champion Marvin Camel against Rick Sekorski for their inaugural title. Camel won and became the first IBF cruiserweight champion.


title: Cruiserweight (boxing)

text: Several boxers moved up to heavyweight after winning world titles at cruiserweight. Evander Holyfield unified the WBA, WBC, and IBF titles to become undisputed champion, the first to do so, and then moved up to the heavyweight division in 1988. In 2006, the second man to become undisputed champion was O’Neil Bell, who was later stripped of the IBF title.


title: Cruiserweight (boxing)

text: Other notable champions in the division have been Bobby Czyz, Dwight Muhammad Qawi, Tomasz Adamek, Virgil Hill, Al Cole, Orlin Norris, James Toney, David Haye, Tony Bellew and Oleksandr Usyk.


title: Cruiserweight (boxing)

text: Below is a list of longest reigning cruiserweight champions in boxing measured by the individual's longest reign. Career total time as champion (for multiple time champions) does not apply.


title: Cruiserweight (boxing)

text: In kickboxing, a cruiserweight fighter generally weighs between 82 kg (181 lb) and 88 kg (195 lb). However, some governing bodies have slightly different classes. The International Kickboxing Federation (IKF) Cruiserweight (professional and amateur) division is 186.1 lb–195 lb or 84.6 kg–88.6 kg.


title: Dhamaka (2021 film)

text: The adaptation was first pitched by Sunir Kheterpal of Azure Entertainment along with the producers of the original film. After Kheterpal dropped the project, Screwvala acquired the rights for the adaptation with Madhvani helming the project. An official announcement was made in November 2020, with production began in December 2020 in Mumbai, and was completed within 10 days. The post-production works began simultaneously and completed within four months, with pending visual effects and graphics process, which were resumed after the COVID-19 lockdown due to the second wave of the pandemic, in September 2021. The cinematography is handled by Manu Anand and edited by Monisha Baldawa and Amit Karia. The music and background score is composed by Vishal Khurana.


title: Dhamaka (2021 film)

text: Originally scheduled for theatrical release, this decision was dropped by the producers in January 2021, in favour of a direct-to-digital release through the streaming service Netflix, on 19 November 2021. The film will also be screened at the 52nd International Film Festival of India after the film's release. The film received mixed reviews from critics, while praising Aaryan's performance and Madhvani's direction, they pointed out the cliched plot and dialogues.


title: Dhamaka (2021 film)

text: Arjun Pathak was once a top news anchor, but gets demoted due to his behavior. Pulled from primetime TV news and recently divorced, he is now the jaded and bitter host of a current affairs radio program. One day during his morning show, Arjun receives a peculiar phone call threatening to blow up the Bandra-Worli Sea Link, a major bridge visible from Arjun's studio building. He takes it as a prank call but watches in shock as the caller follows through and detonates explosives that cause the bridge to collapse, killing innocent people and trapping others.


title: Dhamaka (2021 film)

text: Realising this could be a once-in-a-lifetime opportunity to make his comeback as a newscaster, Arjun doesn't call the police. Instead, he sets up a makeshift television studio from his radio station, and negotiates with his former boss, the ratings-obsessed news producer, Ankita Malaskar, to get his position back. He strikes a dangerous deal with the terrorist to exclusively broadcast their phone conversations in real-time, as the whole nation watches.


title: Dhamaka (2021 film)

text: The newsroom erupts in chaos as Arjun, Ankita, the police, other broadcasters and the government all exploit terrorism for their own agenda. The only exception is Soumya, Arjun's ex-wife, a reporter who volunteers to report from the site of the terrorist attack. As the live show progresses, Arjun gradually realises how little control he has over the situation. The terrorist, who claims to be Raghubeer Mhata, a 50-something construction worker who lost three of his co-workers in a senseless industrial accident while fixing the bridge, says the families of the victims weren't compensated and demands a public apology from Minister Jaydev Patil. With several people remaining on the bridge, the terrorist threatens a second explosion. He also reveals to Arjun alone that he put a bomb in the anchor's earphone, and that if Patil doesn't apologise, the bomb will explode in his ear, live on air.


title: Dhamaka (2021 film)

text: Patil's deputy, Subhash Mathur, arrives but refuses to apologise. Arjun realises that there is a bomb in Mathur's earpiece as well, and warns him discreetly but the caller observes this through CCTV footage and detonates the bomb in Mathur's earpiece, killing him. This leaves Arjun extremely scared but Ankita orders him to keep going. The caller threatens to detonate more explosives at the bridge, which would also kill Arjun's wife Saumya. Arjun requests him to come to the studio where the minister would give him an apology. This angers Ankita, who leaks information of Arjun having accepted a bribe to cover up the news of the construction workers losing their lives while repairing the bridge, which had led to him being demoted. It is also revealed that Arjun had won the "Journalist of the Year" award for a report he'd actually stolen from Saumya, which led to their divorce. All of this is telecast by another news channel. Ankita blackmails Arjun that he can save his career if he acts as per her orders.


title: Dhamaka (2021 film)

text: The ATS traces the caller's location to a nearby building but it's a trap, and the caller blows up the building, the impact of which causes the studio to also get nearly destroyed. Arjun is gravely injured and realises that the caller is actually Raghubeer's son Anand, who wants to avenge the death of his father and coworkers, and that he has been calling from his very building. Arjun summons him to the studio, while everything is still being broadcast live. The caller arrives and reveals that he has planted an explosive in the building. He is then sniped down by the ATS, instantly killing him. Arjun finds out that the bridge has collapsed and many people have lost their lives, including Saumya. When Ankita finds out that instead of informing the police, Arjun had decided to exclusively cover this news, she leaks the information. Another news channel telecasts this, adding a false story of Arjun being actively involved in planning the attack, labelling him as an anti-national. Arjun, devastated, sends a voicemail to Saumya, apologising, then detonates the explosive in his building, causing it to collapse and killing him as well.


title: Dhamaka (2021 film)

text: A remake of the Korean film "The Terror Live" (2013) was announced by Lionsgate Films and Global Gate Entertainment in collaboration with Sunir Kheterpal's Azure Entertainment in May 2018, along with other international projects. However, in a turn of developments, Kheterpal opted out of the project and it was later pitched by Ronnie Screwvala of RSVP Movies, with Ram Madhvani directing the film. Madhvani initially planned to present the feature as a female-centric film, referencing his previous works: "Neerja" (2016) and the web series "Aarya" (2020). He initially wrote the script with Taapsee Pannu in mind, but could not approach her for the film, and later Kriti Sanon was also considered for the project, who also refused the offer without giving a convincing reason.


title: Dhamaka (2021 film)

text: He then dropped the idea, changing the narrative to a male-centric project and narrated the script to Kartik Aaryan accepting his part in the film, as it was his first serious role after a number of comical and romantic characters. The film featured Aaryan as the main lead, essaying the role of a news reporter named Arjun Pathak, who runs against time to save the city. Yami Gautam was initially reported to play the character of Arjun's wife, but she opted out of the film citing date clashes and was replaced by Mrunal Thakur. The film was officially announced on Aaryan's 30th birthday, i.e., 22 November 2020, also revealing the film's title as .


title: Dhamaka (2021 film)

text: Principal photography began on 14 December 2020 in Mumbai. On 24 December 2020, it was announced that the makers wrapped the shooting of the film within 10 days. The director Madhvani had designed a detailed storyboard and ensured the team was prepped to avoid prolonged shoot schedules. 90% of the shooting was held indoors at a set erected at Renaissance Hotel in Powai, Mumbai, and the hotel was booked by the production unit, composed of more than 300 people. Adhering to the COVID-19 safety protocols, no outsiders were allowed inside the hotel and the entire unit was asked to stay put during the period, thus creating a bio-bubble of sorts.


title: Dhamaka (2021 film)

text: Originally, the makers used multiple techniques to shoot the film within a single schedule, and planned to complete within 10 days, while the schedule consisted of 45–50 days. The team had used multiple cameras and multiple audio outputs — almost 21 microphones were used in order to capture each nuances. The B-roll (secondary footage) of the film was shot simultaneously along with the first footage of the film. The action sequences were shot outdoors. During the final day of the shoot held in outdoors, a roof-top scene featuring a helicopter was erected at green screen in a barren land.


title: Dhamaka (2021 film)

text: Post-production works of the film simultaneously began on 31 December 2020, a week after the shooting wrapped. The makers began dubbing works for the film during March 2021, and was completed within that April, after the lead actor Kartik Aaryan completed dubbing for his portions that month before the 15-day lockdown in Mumbai. It has been revealed that the post-production process has been completed within four months, except for computer graphics, visual and sound effects process, which took place after the lockdown. Madhvani collaborated with four visual effects studios to progress the work on the visual effects, since the film has heavy VFX-work. A scene where a bridge at Bandra–Worli Sea Link being blown apart, and how several other structures have been affected by the disaster, has been created with visual effects at various studios. Manas Choudhury, the film's sound designer, worked on the sound mixing of the film during September 2021. Other works such as digital intermediate and color grading, simultaneously progressed within the same month, so that the team could be ready with the final copy of the film within 15 days.


title: Dhamaka (2021 film)

text: The soundtrack and score for the film is composed by Vishal Khurana, who previously collaborated with Ram Madhvani in "Neerja" (2016) and the streaming television series "Aarya" (2020). The film featured only one song titled "Khoya Paaya" which was sung by Amit Trivedi and Delraaz Bunshah and written by Puneet Sharma. A promotional video song of the track, shot by Ravi Varman and directed by Bejoy Nambiar, released on 31 October 2021, where the film's team attended the sets of "Bigg Boss 15" for promotional purposes. On 12 November 2021, Zee Music Company released the full album which also had a female version of this track crooned by Jasleen Royal, spanning the duration of the album to 6 minutes.


title: Dhamaka (2021 film)

text: The song received positive response from music critics and listeners. Filmfare called the track as "one of the best" and "most inspiring compositions of the year which sets the tone for the film". A reviewer from Mid-day stated the song as "music to the ears". Hindustan Times stated that "the theme of regret, helplessness, and anxiety matches with the lyrics of the track, thereby being crucial to the film's storyline. It is at the perfect length, conveying deep themes of sorrow and repentance. This song could be streamed on your playlist on loop."


title: Dhamaka (2021 film)

text: On 15 November 2021, the makers released the film version of the track "Kasoor" originally performed, written and sung by singer-songwriter Prateek Kuhad under licensed Warner Music India, and was picturised on Kartik and Mrunal in the film. This song was earlier released as an independent single in July 2020, during the COVID-19 lockdown period.


title: Dhamaka (2021 film)

text: was initially scheduled for theatrical release and the film's lead actor Aaryan had added a new clause in his agreement to producers in December 2020, which prevents his films to forgo theatrical release and premiere on a digital streaming service. However, in January 2021, the producers opted for a direct-to-digital release through the streaming platform Netflix. The first teaser of the film was released on 2 March 2021 by Netflix India, thus confirming the digital release. It was considered as one of the 41 Indian contents slated for an exclusive release through the platform, and also happened to be Aaryan's debut on a digital streamer. The rights were sold to the platform at a sum crore (US$12–19 million), the highest ever for a Hindi film surpassing "Laxmii" (which was sold to Disney+ Hotstar to ₹110 crore).


title: Dhamaka (2021 film)

text: The film was scheduled for release on 30 December 2020, but post-production delays prompted the makers to postpone the release to September. In July 2021, the makers announced that the film will be released in October 2021, during the festive season around Navratri and Dusshera, but it was later revealed that the film would be released on the occasion of Diwali (5 November 2021). A special teaser was unveiled at the Tudum Festival by Netflix on 25 September 2021.


title: Dhamaka (2021 film)

text: The film's release date is said to be preponed to late-October 2021, following the government's permission to reopen theatres in Maharashtra from 22 October 2021. However, the makers announced that the film will be released on 19 November 2021. Netflix further planned to conduct a special screening at the 52nd edition of International Film Festival of India to be held from 20 to 28 November, with the platform's other film, Jane Campion-directorial "The Power of the Dog" (2021). Ahead of the release, a special screening was held in Mumbai on 17 November.


title: Dhamaka (2021 film)

text: On review aggregator Rotten Tomatoes, the film holds an approval rating of 40% based on 10 critics reviews, with an outstanding rating of 8.2/10. Shubhra Gupta from "The Indian Express" gave the film 1 star out of 5 and wrote, "Even the worst TV channels in real life with their shrieking guests and poisonous debates have more drama than the goings-on in this fictional Bharosa 24/7. Everything that's happening on screen feels contrived and improbable. The whole film feels like a set. And everyone feels like they are acting out set-pieces in this Netflix thriller." Writing for the same publication, Rohan Naahar stated "Equally angry at the corrupt politicians who exploit the common person and the greedy news media that enables them, the film captures the mood of the nation. Packaged as a populist piece of entertainment, it lives up to its attention-grabbing title. The clickbait-and-switch, however, is deftly executed."


title: Dhamaka (2021 film)

text: Saibal Chatterjee from "NDTV" gave the film 2.5 stars (out of 5) rating and said that the film "does throw up a few tense moments and some surprises along the way but, despite what is at stake, is overall a rather tepid affair". Renuka Vyavahare of "The Times of India" gave the film a rating of 3 out of 5 stars and stated that the film "may not be explosive enough to change the narrative" but "makes for an engaging hostage thriller". Anupama Chopra on the website "Film Companion" stated, ""Dhamaka" isn't a bad film but doesn't match Ram Madhvani's previous works — "Neerja" and the series "Aarya"". She further called the film as a passable thriller with criticism directed on the scenario and writing. Nandini Ramnath of "Scroll.in" said, "The 104-minute film is packed with nervous energy, convincing visual effects and serviceable performances from the cast." She further praised Aaryan's performance saying that he "is cleverly cast as the smarmy and jaded journalist who is forced to find the spine that he didn't know he still had. Despite going overboard in the crucial scenes, Aaryan makes the most of a largely unsympathetic character."


title: Dhamaka (2021 film)

text: Devansh Sharma of "Firstpost" gave the film 3.5 stars (out of 5 stars) and wrote, "Director Ram Madhvani masterfully blends the unrehearsed tension that arises from his natural way of filming with a promising premise on paper to create a taut thriller." Bollywood Hungama gave 3 out of 5 stars and stated it as an "edge of the seat thriller that boasts of fine performances (particularly Aaryan's)", but however criticised the second half. Stutee Ghosh from "The Quint" website gave the fim a positive review with a rating of 3 out of 5 stars and said, "The compact runtime and performances of Kartik Aryan makes the film watchable. Ram Madhvani knows when and how to dial up the tension, give us just enough information so we know what's happening and are hungrier for more." Anuj Kumar of "The Hindu" wrote "The disturbing thoughts swim in the conscience as one could clearly hear the sound of social implosion in Ram Madhvani's compelling thriller, lined with commentary on media ethics".


title: Dhamaka (2021 film)

text: "Sify"-based critic Sonia Chopra wrote ""Dhamaka" explores how class inequality, constantly brushed under the carpet and normalized, is bound to explode in one way or the other." Sukanya Verma of Rediff.com gave 2.5 stars and stated ""Dhamaka" doesn't always hit the right buttons and Kartik Aaryan is a puny choice for a role of enormous calibre and incessant focus". Shilajit Mitra of "The New Indian Express" wrote "Dhamaka toys with the idea that news-making is steeped in drama. But the film, as a work of fiction, could have sold this point better by avoiding the manipulations it is seeking to spurn. It never does." "Daily News and Analysis"-based editor Mugdha Kapoor Safaya wrote "even though the script and dialogues lack at some points in the film, Ram Madhvani's direction in the restricted space of one newsroom while capturing every heightened emotion during a breaking news scenario through multiple camera setup is fabulous and shows you the marvel of Madhvani's work yet again".


title: Dhamaka (2021 film)

text: Anupama Chopra of Film Companion wrote, "Ultimately, the scenario is too outlandish and the writing, too ordinary."


title: The 5th Dimension

text: The 5th Dimension is an American popular music vocal group, whose repertoire includes pop, R&B, soul, jazz, light opera, and Broadway.


title: The 5th Dimension

text: Formed as the Versatiles in late 1965, the group changed its name to "the 5th Dimension" by 1966. Between 1967 and 1973 they charted with 20 top 40 hits on "Billboard"'s Hot 100, two of which – "Up, Up and Away" (no. 7, 1967) and the 1969 number one "Medley: Aquarius/Let the Sunshine In (The Flesh Failures)" — won the Grammy Award for Record of the Year. Other big hits include "Stoned Soul Picnic" (no. 3), "Wedding Bell Blues" (no. 1), "One Less Bell to Answer" (no. 2), a cover of "Never My Love" (pop no. 12/Easy Listening no. 1), "(Last Night) I Didn't Get to Sleep at All", (no. 8) and "If I Could Reach You" (pop no. 10/Easy Listening no. 1). Three of their records reached the top ten of "Billboard"'s Rhythm & Blues/Soul chart. Five of their 19 top 20 hits on the Easy Listening chart reached number one.


title: The 5th Dimension

text: The five original members were Lamonte McLemore, Marilyn McCoo, Florence LaRue, Ronald Townson, and Billy Davis Jr. Their earliest recordings were on the Soul City record label, which was started by recording artist Johnny Rivers. The group later recorded for Bell/Arista Records, ABC Records, and Motown Records.


title: The 5th Dimension

text: Some of the songwriters who worked with the 5th Dimension went on to careers of their own, especially Ashford & Simpson, who wrote the song "California Soul". The group is also notable for having more success with the songs of Laura Nyro than Nyro did herself, particularly with "Stoned Soul Picnic", "Sweet Blindness", "Wedding Bell Blues", "Blowin' Away" and "Save the Country". The group also recorded songs by well-known songwriters including Burt Bacharach and Hal David ("One Less Bell to Answer") and Jimmy Webb, who wrote "Up, Up and Away". The group's 1967 LP "The Magic Garden" features all but one song composed by Webb.


title: The 5th Dimension

text: The 5th Dimension's producer Bones Howe used Bob Alcivar as the singers' vocal arranger as well as instrumental backing by the Wrecking Crew for their recording sessions.


title: The 5th Dimension

text: In the early 1960s, Lamonte McLemore and Marilyn McCoo got together with three friends from Los Angeles—Harry Elston, Lawrence Summers. and Fritz Baskett—to form a group called 'the Hi-Fis' (which later became 'the Vocals'). In 1963, they sang at local clubs while taking lessons from a vocal coach. In 1964, they came to the attention of Ray Charles, who took them on tour with him the following year. He produced a single by the group, "Lonesome Mood", a jazz-type song that gained local attention. However, internal disagreements caused Elston to go his own way, eventually leading to his forming the Friends of Distinction with latter day Hi-Fis member Floyd Butler.


title: The 5th Dimension

text: McLemore sought to form another group and started looking for members to join him and McCoo. McCoo, who had studied with the respected vocal coach Eddie Beal, had appeared in high school and college musical productions and was known for her ability to do torch songs. McLemore found Florence LaRue, who had received training in singing, dancing, and violin; and who won the talent portion at the Miss Bronze California contest, which McLemore was assigned to photograph. McCoo had won the contest the prior year. About the same time LaRue was approached to join the group, McLemore recruited an old friend from St. Louis, Missouri, Ronald Townson, who had sung choir previously. His grandmother had arranged for voice and acting lessons as he grew up. In his teens, Townson toured with Dorothy Dandridge and Nat King Cole, joined the Wings Over Jordan Choir, and played a small part in the film "Porgy and Bess". He demonstrated his skill as a classical artist by placing third in the Metropolitan Opera auditions held in St. Louis. After finishing high school, he worked his way through Lincoln University by conducting the school and church choir. After graduating, he organized his own 25-member gospel choir.


title: The 5th Dimension

text: Another of McLemore's friends from St. Louis was Billy Davis Jr., who also had sung choir. Davis later saved enough money to buy a cocktail lounge in St. Louis, which he also used as a base for experimenting with musical groups. When asked to join McLemore's new group, he agreed, while hoping for a solo contract from Motown.


title: The 5th Dimension

text: The members began rehearsing as the Versatiles in late 1965 and auditioned for Marc Gordon, who headed the Motown's Los Angeles office. Berry Gordy, the head of Motown Records, declined the group, but Gordon still believed in them and wanted to manage them. Gordon brought them to the attention of Johnny Rivers, who had just started his own label, Soul City Records. Soul City signed the group and in November 1966 released their first single as the 5th Dimension, "I'll Be Lovin' You Forever". However, the song failed to chart.


title: The 5th Dimension

text: In 1967 the 5th Dimension recorded "Go Where You Wanna Go," which became a breakthrough hit for them. The song was a John Phillips tune and reached No. 16 on the US Hot 100 chart. The group followed this with "Up, Up and Away", which reached No. 7 later that same year and went on to win five Grammy Awards. The following year, the group scored major hit singles with Laura Nyro's songs "Stoned Soul Picnic" (U.S. No. 3) and "Sweet Blindness" (U.S. No. 13). The group received a gold record for their album "Stoned Soul Picnic".


title: The 5th Dimension

text: That album included "California Soul", which peaked at No. 25 in February 1969. Weeks later the group's success broke wide open, with "Aquarius/Let the Sunshine In" from the musical "Hair" topping the Hot 100 for six straight weeks in April and May and another Nyro song, "Wedding Bell Blues", doing the same for the first three full weeks in November. Their cover of Neil Sedaka's "Workin' On a Groovy Thing" went to No. 20 in between. Those four singles kept the group on the Hot 100 for all but four weeks in 1969. By some reckonings, "Aquarius/Let the Sunshine In" was the biggest hit single for 1969.


title: The 5th Dimension

text: Later top 20 hits included 1970's "One Less Bell to Answer" (U.S. No. 2), 1971's "Love's Lines, Angles and Rhymes" (U.S. No. 19) and "Never My Love" (U.S. No. 12), and 1972's "(Last Night) I Didn't Get to Sleep at All" (U.S. No. 8) and "If I Could Reach You" (U.S. No. 10). The group had seven other top 40 hits, the last being 1973's "Living Together, Growing Together" (U.S. No. 32) from the film "Lost Horizon".


title: The 5th Dimension

text: The 5th Dimension performed "Sweet Blindness" on Frank Sinatra's 1968 TV special "Francis Albert Sinatra Does His Thing" and appeared on "The Ed Sullivan Show" twice in 1969. The group performed and sang "California Soul", and a medley consisting of "What the World Needs Now Is Love" and the Beatles' "All You Need Is Love", on February 23, 1969, and performed and sang "Aquarius/Let the Sunshine In" on May 18, 1969, the day after the medley fell from the Hot 100 summit. That same year the group appeared on the British show "This Is Tom Jones", singing "Aquarius/Let the Sunshine In" and "Got My Mojo Workin'".


title: The 5th Dimension

text: The 5th Dimension were the featured act of a July 28, 1969, CBS broadcast of highlights from the Harlem Cultural Festival, the "Black Woodstock" gathering in Mount Morris Park that drew 300,000 festival attendees over six shows. The New York Times reported the 5th Dimension show drew 60,000 alone. The group's performance at the festival appears in the 2021 music documentary "Summer of Soul". Billy Davis and Marilyn McCoo discuss the group's career and their performance at the festival in the film.


title: The 5th Dimension

text: The group sang "Workin' On a Groovy Thing" and "Wedding Bell Blues" on Woody Allen's "The Woody Allen Special" in 1969. They introduced "Puppet Man" and "One Less Bell To Answer" as guests in the "It Takes a Thief" episode "To Sing a Song of Murder" in 1970.


title: The 5th Dimension

text: "The 5th Dimension: An Odyssey in the Cosmic Universe of Peter Max", a television special, aired on CBS on May 21, 1970.


title: The 5th Dimension

text: During the last season of "The Ed Sullivan Show", Sullivan dedicated the entire February 21, 1971, episode to the fifth anniversary of the 5th Dimension. The group opened the show with "Love's Lines, Angles and Rhymes" and later joined Connie Stevens for "Puppet Man". They came back for the last 15 minutes of the show and sang their hits "Up – Up and Away", "One Less Bell to Answer", "Stoned Soul Picnic", "Wedding Bell Blues", and finished up with "Aquarius/Let the Sunshine In". This appearance was the group's last on Sullivan, given the Sullivan show's cancellation was announced the following month.


title: The 5th Dimension

text: On August 18, 1971, their television special, "The 5th Dimension Traveling Sunshine Show", first aired. The group also performed in "Burt Bacharach in Shangri-La," a 1973 special attempting to promote "Lost Horizon."


title: The 5th Dimension

text: The 5th Dimension made appearances on "Soul Train", "American Bandstand", "The Flip Wilson Show", "The Mike Douglas Show", and "The Tonight Show Starring Johnny Carson".


title: The 5th Dimension

text: In 1975, McCoo and Davis, who had married on July 26, 1969, left the group to do collective and individual projects. The duo had success with "Your Love" and the chart topper "You Don't Have to Be a Star (To Be in My Show)", which won them their seventh Grammy award as well as their own television variety show, The Marilyn McCoo & Billy Davis Jr. show. Marilyn McCoo served a lengthy 1980s stint as the host of the TV show "Solid Gold".


title: The 5th Dimension

text: The remaining trio carried on with new members and nearly had a hit in 1976 with the LaRue-sung "Love Hangover". However, Motown issued Diana Ross' original version shortly after the 5th Dimension's, and their version peaked much further down the charts than hers, which soared to the top. The group signed with Motown not long after, releasing two albums in 1978. R&B singer Lou Courtney was in the group briefly in 1978 and 1979, Joyce Wright joined in 1979, and Phyllis Battle joined in 1988. Greg Walker, formerly with the band Santana, joined the group in the early 90's and Cydney Wayne Davis sang with the group briefly during the summer of 1996 and then went on to be a backup singer for Marilyn McCoo and Billy Davis Jr. in 1997.


title: The 5th Dimension

text: The original members Davis, McCoo, LaRue, Townson and McLemore joined again for selected private engagements in the late 1990s billed as The Original 5th Dimension under the management and direction of Jason Winters. During that time the re-grouped 5th Dimension continued to tour as well as Marilyn McCoo & Billy Davis Jr. with a show they called "It Takes Two."


title: The 5th Dimension

text: After Ron Townson died in 2001 and Lamont McLemore retired from the music business, Florence Larue stepped up to continue the legacy of the group as the only original member.


title: The 5th Dimension

text: The original quintet reunited in 1990 and 1991 for a tour. Townson left the group to try a solo career but soon returned to the group, as the group resigned itself to the nostalgia circuit. In 1995, the quintet of LaRue, Townson, McLemore, Battle, and Greg Walker recorded a new album, "In the House", for Click Records. In 1998, Willie Williams replaced Townson, who died in 2001 due to kidney failure. Battle departed in 2002, to be replaced by Van Jewell. McLemore left the group in March 2006.


title: The 5th Dimension

text: , the group was actively touring as "the 5th Dimension featuring Florence LaRue", led by LaRue, with Willie Williams, Leonard Tucker, Patrice Morris, and Floyd Smith.


title: The 5th Dimension

text: McCoo and Davis, who have been married for over 50 years, continue to tour as their own act titled "Marilyn McCoo and Billy Davis, Jr." In October 2011, McCoo and Davis were featured on the Cliff Richard album, "Soulicious", appearing live on stage in the tour of the same name, reprising several of their hits as well as dueting with Richard. In 2013, McCoo and Davis released their own double-CD project: "Marilyn McCoo and Billy Davis, Jr. Live".


title: The 5th Dimension

text: On February 14, 2015, McLemore released an autobiographical memoir, "From Hobo Flats to the 5th Dimension: A Life Fulfilled in Baseball, Photography and Music".


title: The 5th Dimension

text: On June 21, 2016, the 5th Dimension featuring Florence LaRue performed in The Villages, Florida, just days after the Orlando nightclub shooting. LaRue took the opportunity to share her thoughts on the shooting: "We will not be terrorized. We know what's happening in the world, but this is a song about good health, love, peace and happiness. We still believe in those things today," she stated before the group performed "Aquarius/Let the Sunshine In".


title: The 5th Dimension

text: In November 2017, the 5th Dimension appeared for 18 performances at the Andy Williams Performing Arts Centre in Branson, Missouri, in the Andy Williams Christmas Extravaganza hosted by Jimmy Osmond.


title: The 5th Dimension

text: Marilyn McCoo & Billy Davis Jr. continue to tour with their live stage show "Up Up and Away a Musical Fable" featuring Cydney Wayne Davis and Cynthia Bass on background vocals, Darrel Alston as music director and piano/vocals, Major Black on guitar/vocals, Derrick Murdock on bass guitar, Dave Iwataki on Synth/Keys and Steve Harvey on drums.


title: The 5th Dimension

text: In 2021 McCoo-Davis released their recording project Blackbird Lennon McCartney Icons which features the music of the Beatles including the title song, "Blackbird", "Ticket to Ride", "And I Love Her" and "Silly Love Songs".


title: The 5th Dimension

text: In 2021 the 5th Dimension was featured in the Academy Award-winning Documentary film "Summer of Soul" produced and directed by QuestLove of the band The Roots.


title: The 5th Dimension

text: They have a star on the Hollywood Walk of Fame, inducted August 9, 1991, and the St. Louis Walk of Fame, inducted on March 18, 2010.


title: Kelly Rohrbach

text: Kelly Rohrbach (born January 21, 1990) is an American actress and model, best known for her role as C. J. Parker in the film "Baywatch".


title: Kelly Rohrbach

text: Rohrbach was born in New York City and raised in Greenwich, Connecticut. She is the daughter of Anne (née Wholly) and Clay Rohrbach, a financier. She attended Greenwich Academy. She played golf for Greenwich and earned an athletic scholarship to Georgetown University to play golf for the Georgetown Hoyas. She graduated from Georgetown in 2012 with a degree in theatre, and enrolled at the London Academy of Music and Dramatic Art to pursue acting.


title: Kelly Rohrbach

text: Rohrbach had small roles in the TV series "Two and a Half Men", "The New Normal", "Rizzoli & Isles", "Broad City", and "Rush".


title: Kelly Rohrbach

text: After working in Hollywood for two years, Rohrbach began modeling. She appeared in Gap Inc.'s 2014 holiday marketing campaign and for Old Navy denim in 2015. She appeared in the 2015 "Sports Illustrated" Swimsuit Issue, and was named its "Rookie of the Year". She played C. J. Parker in the 2017 feature film "Baywatch", which is based on the 1989–2001 TV series of the same name.


title: Kelly Rohrbach

text: Rohrbach dated actor Leonardo DiCaprio in 2015. In 2019, she married attorney and Walton family heir Steuart Walton. In December 2021, it was announced that the couple were expecting their first child, a boy.


title: Parabola

text: In mathematics, a parabola is a plane curve which is mirror-symmetrical and is approximately U-shaped. It fits several superficially different mathematical descriptions, which can all be proved to define exactly the same curves.


title: Parabola

text: One description of a parabola involves a point (the focus) and a line (the directrix). The focus does not lie on the directrix. The parabola is the locus of points in that plane that are equidistant from both the directrix and the focus. Another description of a parabola is as a conic section, created from the intersection of a right circular conical surface and a plane parallel to another plane that is tangential to the conical surface.


title: Parabola

text: The line perpendicular to the directrix and passing through the focus (that is, the line that splits the parabola through the middle) is called the "axis of symmetry". The point where the parabola intersects its axis of symmetry is called the "vertex" and is the point where the parabola is most sharply curved. The distance between the vertex and the focus, measured along the axis of symmetry, is the "focal length". The "latus rectum" is the chord of the parabola that is parallel to the directrix and passes through the focus. Parabolas can open up, down, left, right, or in some other arbitrary direction. Any parabola can be repositioned and rescaled to fit exactly on any other parabola—that is, all parabolas are geometrically similar.


title: Parabola

text: Parabolas have the property that, if they are made of material that reflects light, then light that travels parallel to the axis of symmetry of a parabola and strikes its concave side is reflected to its focus, regardless of where on the parabola the reflection occurs. Conversely, light that originates from a point source at the focus is reflected into a parallel ("collimated") beam, leaving the parabola parallel to the axis of symmetry. The same effects occur with sound and other waves. This reflective property is the basis of many practical uses of parabolas.


title: Parabola

text: The parabola has many important applications, from a parabolic antenna or parabolic microphone to automobile headlight reflectors and the design of ballistic missiles. It is frequently used in physics, engineering, and many other areas.


title: Parabola

text: The earliest known work on conic sections was by Menaechmus in the 4th century BC. He discovered a way to solve the problem of doubling the cube using parabolas. (The solution, however, does not meet the requirements of compass-and-straightedge construction.) The area enclosed by a parabola and a line segment, the so-called "parabola segment", was computed by Archimedes by the method of exhaustion in the 3rd century BC, in his "The Quadrature of the Parabola". The name "parabola" is due to Apollonius, who discovered many properties of conic sections. It means "application", referring to "application of areas" concept, that has a connection with this curve, as Apollonius had proved. The focus–directrix property of the parabola and other conic sections is due to Pappus.


title: Parabola

text: Galileo showed that the path of a projectile follows a parabola, a consequence of uniform acceleration due to gravity.


title: Parabola

text: The idea that a parabolic reflector could produce an image was already well known before the invention of the reflecting telescope. Designs were proposed in the early to mid-17th century by many mathematicians, including René Descartes, Marin Mersenne, and James Gregory. When Isaac Newton built the first reflecting telescope in 1668, he skipped using a parabolic mirror because of the difficulty of fabrication, opting for a spherical mirror. Parabolic mirrors are used in most modern reflecting telescopes and in satellite dishes and radar receivers.


title: Parabola

text: The midpoint formula_7 of the perpendicular from the focus formula_3 onto the directrix formula_5 is called "vertex", and the line formula_10 is the "axis of symmetry" of the parabola.


title: Parabola

text: If one introduces Cartesian coordinates, such that formula_11 and the directrix has the equation formula_12, one obtains for a point formula_13 from formula_14 the equation formula_15. Solving for formula_16 yields


title: Parabola

text: The horizontal chord through the focus (see picture in opening section) is called the "latus rectum"; one half of it is the "semi-latus rectum". The latus rectum is parallel to the directrix. The semi-latus rectum is designated by the letter formula_18. From the picture one obtains


title: Parabola

text: The latus rectum is defined similarly for the other two conics – the ellipse and the hyperbola. The latus rectum is the line drawn through a focus of a conic section parallel to the directrix and terminated both ways by the curve. For any case, formula_18 is the radius of the osculating circle at the vertex. For a parabola, the semi-latus rectum, formula_18, is the distance of the focus from the directrix. Using the parameter formula_18, the equation of the parabola can be rewritten as


title: Parabola

text: More generally, if the vertex is formula_24, the focus formula_25, and the directrix formula_26, one obtains the equation


title: Parabola

text: (the left side of the equation uses the Hesse normal form of a line to calculate the distance formula_4).


title: Parabola

text: The previous section shows that any parabola with the origin as vertex and the "y" axis as axis of symmetry can be considered as the graph of a function


title: Parabola

text: For formula_42 the parabolas are opening to the top, and for formula_43 are opening to the bottom (see picture). From the section above one obtains:


title: Parabola

text: Its focus is formula_53, the semi-latus rectum formula_54, and the directrix has the equation formula_55.


title: Parabola

text: Two objects in the Euclidean plane are "similar" if one can be transformed to the other by a "similarity", that is, an arbitrary composition of rigid motions (translations and rotations) and uniform scalings.


title: Parabola

text: A parabola formula_66 with vertex formula_24 can be transformed by the translation formula_68 to one with the origin as vertex. A suitable rotation around the origin can then transform the parabola to one that has the axis as axis of symmetry. Hence the parabola formula_66 can be transformed by a rigid motion to a parabola with an equation formula_70. Such a parabola can then be transformed by the uniform scaling formula_71 into the unit parabola with equation formula_52. Thus, any parabola can be mapped to the unit parabola by a similarity.


title: Parabola

text: The general result is that two conic sections (necessarily of the same type) are similar if and only if they have the same eccentricity. Therefore, only circles (all having eccentricity 0) share this property with parabolas (all having eccentricity 1), while general ellipses and hyperbolas do not.


title: Parabola

text: There are other simple affine transformations that map the parabola formula_73 onto the unit parabola, such as formula_74. But this mapping is not a similarity, and only shows that all parabolas are affinely equivalent (see ).


title: Parabola

text: The pencil of conic sections with the "x" axis as axis of symmetry, one vertex at the origin (0, 0) and the same semi-latus rectum formula_18 can be represented by the equation


title: Parabola

text: "Remark 2:" The second polar form is a special case of a pencil of conics with focus formula_88 (see picture):


title: Parabola

text: The diagram represents a cone with its axis . The point A is its apex. An inclined cross-section of the cone, shown in pink, is inclined from the axis by the same angle , as the side of the cone. According to the definition of a parabola as a conic section, the boundary of this pink cross-section EPD is a parabola.


title: Parabola

text: A cross-section perpendicular to the axis of the cone passes through the vertex P of the parabola. This cross-section is circular, but appears elliptical when viewed obliquely, as is shown in the diagram. Its centre is V, and is a diameter. We will call its radius .


title: Parabola

text: Another perpendicular to the axis, circular cross-section of the cone is farther from the apex A than the one just described. It has a chord , which joins the points where the parabola intersects the circle. Another chord is the perpendicular bisector of and is consequently a diameter of the circle. These two chords and the parabola's axis of symmetry all intersect at the point M.


title: Parabola

text: All the labelled points, except D and E, are coplanar. They are in the plane of symmetry of the whole figure. This includes the point F, which is not mentioned above. It is defined and discussed below, in .


title: Parabola

text: For any given cone and parabola, and are constants, but and are variables that depend on the arbitrary height at which the horizontal cross-section BECD is made. This last equation shows the relationship between these variables. They can be interpreted as Cartesian coordinates of the points D and E, in a system in the pink plane with P as its origin. Since is squared in the equation, the fact that D and E are on opposite sides of the axis is unimportant. If the horizontal cross-section moves up or down, toward or away from the apex of the cone, D and E move along the parabola, always maintaining the relationship between and shown in the equation. The parabolic curve is therefore the locus of points where the equation is satisfied, which makes it a Cartesian graph of the quadratic function in the equation.


title: Parabola

text: It is proved in a preceding section that if a parabola has its vertex at the origin, and if it opens in the positive direction, then its equation is , where is its focal length. Comparing this with the last equation above shows that the focal length of the parabola in the cone is .


title: Parabola

text: In the diagram above, the point V is the foot of the perpendicular from the vertex of the parabola to the axis of the cone. "The point F is the foot of the perpendicular from the point V to the plane of the parabola." By symmetry, F is on the axis of symmetry of the parabola. Angle VPF is complementary to , and angle PVF is complementary to angle VPF, therefore angle PVF is . Since the length of is , the distance of F from the vertex of the parabola is . It is shown above that this distance equals the focal length of the parabola, which is the distance from the vertex to the focus. The focus and the point F are therefore equally distant from the vertex, along the same line, which implies that they are the same point. Therefore, "the point F, defined above, is the focus of the parabola".


title: Parabola

text: This discussion started from the definition of a parabola as a conic section, but it has now led to a description as a graph of a quadratic function. This shows that these two descriptions are equivalent. They both define curves of exactly the same shape.


title: Parabola

text: An alternative proof can be done using Dandelin spheres. It works without calculation and uses elementary geometric considerations only (see the derivation below).


title: Parabola

text: The intersection of an upright cone by a plane formula_99, whose inclination from vertical is the same as a generatrix (a.k.a. generator line, a line containing the apex and a point on the cone surface) formula_100 of the cone, is a parabola (red curve in the diagram).


title: Parabola

text: This generatrix formula_100 is the only generatrix of the cone that is parallel to plane formula_99. Otherwise, if there are two generatrices parallel to the intersecting plane, the intersection curve will be a hyperbola (or degenerate hyperbola, if the two generatrices are in the intersecting plane). If there is no generatrix parallel to the intersecting plane, the intersection curve will be an ellipse or a circle (or a point).


title: Parabola

text: Let plane formula_103 be the plane that contains the vertical axis of the cone and line formula_100. The inclination of plane formula_99 from vertical is the same as line formula_100 means that, viewing from the side (that is, the plane formula_99 is perpendicular to plane formula_103), formula_109.


title: Parabola

text: In order to prove the directrix property of a parabola (see above), one uses a Dandelin sphere formula_110, which is a sphere that touches the cone along a circle formula_111 and plane formula_99 at point formula_3. The plane containing the circle formula_111 intersects with plane formula_99 at line formula_5. There is a mirror symmetry in the system consisting of plane formula_99, Dandelin sphere formula_110 and the cone (the plane of symmetry is formula_103).


title: Parabola

text: Since the plane containing the circle formula_111 is perpendicular to plane formula_103, and formula_122, their intersection line formula_5 must also be perpendicular to plane formula_103. Since line formula_100 is in plane formula_103, formula_127.


title: Parabola

text: It turns out that formula_3 is the "focus" of the parabola, and formula_5 is the "directrix" of the parabola.


title: Parabola

text: The reflective property states that if a parabola can reflect light, then light that enters it travelling parallel to the axis of symmetry is reflected toward the focus. This is derived from geometrical optics, based on the assumption that light travels in rays.


title: Parabola

text: The point E is an arbitrary point on the parabola. The focus is F, the vertex is A (the origin), and the line is the axis of symmetry. The line is parallel to the axis of symmetry and intersects the axis at D. The point B is the midpoint of the line segment .


title: Parabola

text: The vertex A is equidistant from the focus F and from the directrix. Since C is on the directrix, the coordinates of F and C are equal in absolute value and opposite in sign. B is the midpoint of . Its coordinate is half that of D, that is, . The slope of the line is the quotient of the lengths of and , which is . But is also the slope (first derivative) of the parabola at E. Therefore, the line is the tangent to the parabola at E.


title: Parabola

text: The distances and are equal because E is on the parabola, F is the focus and C is on the directrix. Therefore, since B is the midpoint of , triangles △FEB and △CEB are congruent (three sides), which implies that the angles marked are congruent. (The angle above E is vertically opposite angle ∠BEC.) This means that a ray of light that enters the parabola and arrives at E travelling parallel to the axis of symmetry will be reflected by the line so it travels along the line , as shown in red in the diagram (assuming that the lines can somehow reflect light). Since is the tangent to the parabola at E, the same reflection will be done by an infinitesimal arc of the parabola at E. Therefore, light that enters the parabola and arrives at E travelling parallel to the axis of symmetry of the parabola is reflected by the parabola toward its focus.


title: Parabola

text: This conclusion about reflected light applies to all points on the parabola, as is shown on the left side of the diagram. This is the reflective property.


title: Parabola

text: The above proof and the accompanying diagram show that the tangent bisects the angle ∠FEC. In other words, the tangent to the parabola at any point bisects the angle between the lines joining the point to the focus and perpendicularly to the directrix.


title: Parabola

text: Since triangles △FBE and △CBE are congruent, is perpendicular to the tangent . Since B is on the axis, which is the tangent to the parabola at its vertex, it follows that the point of intersection between any tangent to a parabola and the perpendicular from the focus to that tangent lies on the line that is tangential to the parabola at its vertex. See animated diagram and pedal curve.


title: Parabola

text: If light travels along the line , it moves parallel to the axis of symmetry and strikes the convex side of the parabola at E. It is clear from the above diagram that this light will be reflected directly away from the focus, along an extension of the segment .


title: Parabola

text: The above proofs of the reflective and tangent bisection properties use a line of calculus. Here a geometric proof is presented.


title: Parabola

text: In this diagram, F is the focus of the parabola, and T and U lie on its directrix. P is an arbitrary point on the parabola. is perpendicular to the directrix, and the line bisects angle ∠FPT. Q is another point on the parabola, with perpendicular to the directrix. We know that  =  and  = . Clearly,  > , so  > . All points on the bisector are equidistant from F and T, but Q is closer to F than to T. This means that Q is to the left of , that is, on the same side of it as the focus. The same would be true if Q were located anywhere else on the parabola (except at the point P), so the entire parabola, except the point P, is on the focus side of . Therefore, is the tangent to the parabola at P. Since it bisects the angle ∠FPT, this proves the tangent bisection property.


title: Parabola

text: The logic of the last paragraph can be applied to modify the above proof of the reflective property. It effectively proves the line to be the tangent to the parabola at E if the angles are equal. The reflective property follows as shown previously.


title: Parabola

text: The definition of a parabola by its focus and directrix can be used for drawing it with help of pins and strings:


title: Parabola

text: A parabola can be considered as the affine part of a non-degenerated projective conic with a point formula_173 on the line of infinity formula_174, which is the tangent at formula_173. The 5-, 4- and 3- point degenerations of Pascal's theorem are properties of a conic dealing with at least one tangent. If one considers this tangent as the line at infinity and its point of contact as the point at infinity of the "y" axis, one obtains three statements for a parabola.


title: Parabola

text: The following properties of a parabola deal only with terms "connect", "intersect", "parallel", which are invariants of similarities. So, it is sufficient to prove any property for the "unit parabola" with equation formula_52.


title: Parabola

text: "Application:" The 4-points property of a parabola can be used for the construction of point formula_191, while formula_192 and formula_180 are given.


title: Parabola

text: "Remark:" the 4-points property of a parabola is an affine version of the 5-point degeneration of Pascal's theorem.


title: Parabola

text: Let formula_194 be three points of the parabola with equation formula_195 and formula_180 the intersection of the secant line formula_197 with the line formula_198 and formula_183 the intersection of the secant line formula_200 with the line formula_201 (see picture). Then the tangent at point formula_202 is parallel to the line formula_203.


title: Parabola

text: "Proof:" can be performed for the unit parabola formula_206. A short calculation shows: line formula_203 has slope formula_208 which is the slope of the tangent at point formula_202.


title: Parabola

text: "Application:" The 3-points-1-tangent-property of a parabola can be used for the construction of the tangent at point formula_202, while formula_211 are given.


title: Parabola

text: "Remark:" The 3-points-1-tangent-property of a parabola is an affine version of the 4-point-degeneration of Pascal's theorem.


title: Parabola

text: Let formula_212 be two points of the parabola with equation formula_73, and formula_180 the intersection of the tangent at point formula_215 with the line formula_189, and formula_183 the intersection of the tangent at point formula_218 with the line formula_185 (see picture). Then the secant formula_220 is parallel to the line formula_187.


title: Parabola

text: "Application:" The 2-points–2-tangents property can be used for the construction of the tangent of a parabola at point formula_218, if formula_226 and the tangent at formula_215 are given.


title: Parabola

text: "Remark 1:" The 2-points–2-tangents property of a parabola is an affine version of the 3-point degeneration of Pascal's theorem.


title: Parabola

text: "Remark 2:" The 2-points–2-tangents property should not be confused with the following property of a parabola, which also deals with 2 points and 2 tangents, but is "not" related to Pascal's theorem.


title: Parabola

text: The statements above presume the knowledge of the axis direction of the parabola, in order to construct the points formula_228. The following property determines the points formula_228 by two given points and their tangents only, and the result is that the line formula_187 is parallel to the axis of the parabola.


title: Parabola

text: "Application:" This property can be used to determine the direction of the axis of a parabola, if two points and their tangents are given. An alternative way is to determine the midpoints of two parallel chords, see section on parallel chords.


title: Parabola

text: "Remark:" This property is an affine version of the theorem of two "perspective triangles" of a non-degenerate conic.


title: Parabola

text: Steiner established the following procedure for the construction of a non-degenerate conic (see Steiner conic):


title: Parabola

text: The Steiner generation of a conic can be applied to the generation of a dual conic by changing the meanings of points and lines:


title: Parabola

text: A parabola with equation formula_272 is uniquely determined by three points formula_273 with different "x" coordinates. The usual procedure to determine the coefficients formula_274 is to insert the point coordinates into the equation. The result is a linear system of three equations, which can be solved by Gaussian elimination or Cramer's rule, for example. An alternative way uses the "inscribed angle theorem" for parabolas.


title: Parabola

text: In the following, the angle of two lines will be measured by the difference of the slopes of the line with respect to the directrix of the parabola. That is, for a parabola of equation formula_275 the angle between two lines of equations formula_276 is measured by formula_277


title: Parabola

text: Analogous to the inscribed angle theorem for circles, one has the "inscribed angle theorem for parabolas":


title: Parabola

text: A consequence is that the equation (in formula_285) of the parabola determined by 3 points formula_286 with different coordinates is (if two coordinates are equal, there is no parabola with directrix parallel to the axis, which passes through the points)


title: Emma Chambers

text: Emma Gwynedd Mary Chambers (11 March 1964 – 21 February 2018) was an English actress who performed in television, film, and the theatre. Beginning her career in 1987 on the British stage, Emma first drew critical attention for her portrayals of teenage characters in the world premieres of two plays by Alan Ayckbourn at the Stephen Joseph Theatre in Scarborough: Geain in "Henceforward..." (1987) and Lucy Baines in "Invisible Friends" (1989). Emma reprised both roles in London's West End; performing the latter role at the Royal National Theatre. She is best known for her portrayal of the characters Alice Tinker in the BBC comedy "The Vicar of Dibley" and Honey Thacker in the film "Notting Hill" (1999).


title: Emma Chambers

text: Chambers was born on 11 March 1964, in Doncaster, West Riding of Yorkshire the daughter of John Chambers, a consultant obstetrician and gynaecologist, and his wife Noelle, "née" Strange. Her siblings are business owners Sarah and Simon, who created the modelling agency Storm Management. She attended St. Mary's School and her secondary education was at St Swithun's School, Winchester, Hampshire. She then trained at the Webber Douglas Academy of Dramatic Art in the 1980s, where she was a classmate of actor Ross Kemp.


title: Emma Chambers

text: Chambers began her career as a stage actress in the late 1980s as a member of the repertory company at the Stephen Joseph Theatre in Scarborough. There she appeared as Geain (pronounced "Jane") in the world premiere of Alan Ayckbourn's "Henceforward..." in 1987 with Ian McKellen and Jane Asher portraying her character's parents. She reprised the role the following year for her West End theatre debut at the Vaudeville Theatre. One of her other early stage appearances was in the role of Tillie in the world premiere of Paul Doust's "If I Knew You Were Coming I'd Have Baked A Cake" in May 1988 at The Old Red Lion, Islington.