title: National Rugby League

text: The Telstra Premiership has had five competition logos since 2001. The first, lasting only through the 2001 regular season, was the Telstra logo with an elongated circle enclosing the word "Premiership". From the Finals series of 2001 through to the end of 2006 the logo was based around the shape of a football, with the words "Telstra Premiership" on respective lines along the bottom, culminating with a small football similar to the one in the official NRL logo at the peak. The main colours were dark blue and orange, the corporate colours of Telstra. The company worked with the NRL to create the third logo for the 2007 season onward as part of a new sponsorship deal. This logo was quite similar to the original National Rugby League emblem. From the 2011 Finals Series, a newer logo was commissioned in concert with a corporate re-brand undertaken by Telstra. The 2007 logo remained on club jerseys until 2012 due to the lateness of the change and was phased out in time for the 2013 NRL Season. From 2013, under a dramatic image rebranding of the competition, the Telstra Premiership logo was changed in conjunction with a new sponsorship deal to incorporate the key elements of rugby league in Australia to include the shield and chevrons, the green and gold, a red "Telstra" logo perched above the top of the shield and for the first time the iconic Provan-Summons trophy awarded to the premiers at the end of the season centred in the middle of the badge.


title: National Rugby League

text: At the end of the 2018 season the NRL launched a bold new look for its Telstra Premiership. The new look aims to modernise the Telstra Premiership brand as well as integrate it more seamlessly with the 16 clubs. The new brand, highlighting the shield and the chevron – which have both been synonymous with Rugby League since the game's inception.


title: National Rugby League

text: Other notable sponsorships include Hisense (Thursday Night Football), Victoria Bitter (Friday Night Football), Bundaberg Rum (Super Saturday), Chemist Warehouse (Sunday Football). Steeden is the official match ball supplier, Westpac sponsor the match ball. The State of Origin series and the Australian Test matches (Kangaroos). Youi and Harvey Norman sponsor the on-field match officials and KFC sponsors the NRL Bunker. Other Official NRL Sponsors are: Coca Cola Amatil, Hankook, Home Hardware, Rebel, TWE (Wolf Blass), Accor, Drinkwise, P&O, Gallagher and EISS Super. Partners of the NRLW Competition are: Telstra, Harvey Norman, Chemist Warehouse, Flight Centre and Rebel.


title: Kelly Slater

text: Robert Kelly Slater (born February 11, 1972) is an American professional surfer, best known for being crowned World Surf League champion a record 11 times. Slater is widely regarded as the greatest professional surfer of all time.


title: Kelly Slater

text: Slater grew up in Cocoa Beach, Florida, where he still lives. He is the son of Judy Moriarity and Stephen Slater. He has two brothers, Sean and Stephen, and a daughter, born in 1996.


title: Kelly Slater

text: The son of a bait-store proprietor, Slater grew up near the water, and he began surfing at age five. By age 10 he was winning age-division events up and down the Atlantic coast, and in 1984 he won his first age-division United States championship title. Two years later he finished third in the junior division at the world amateur championships in England, and he won the Pacific Cup junior championship in Australia the following year.


title: Kelly Slater

text: After turning professional in 1990, Slater struggled during his first two years on the professional tour and 43rd in the world rankings those years. In 1992 he secured podium (top-three) finishes in three of his first five events before winning his first professional tour event, the Rip Curl Pro, in France. His win in that year's prestigious Pipeline Masters in Hawaii secured his first world title, and at age 20 he became the youngest surfing world champion ever. Slater finished sixth in the 1993 rankings but came back in 1994 to win the world tour during 1994–1998, during which time televised surfing events had become increasingly popular. He then took a break from competitive surfing at the end of 1998, before returning to the world pro tour in 2002.


title: Kelly Slater

text: Slater, having grown up in Florida, was never truly comfortable in waves of consequence until a trip to Oahu in 1987. A giant northwest swell was pounding the coast, closing out breaks from Waimea to Sunset. He drove to Makaha, where he was greeted with 40' (Hawaiian scale) waves breaking across the bay. Slater parked and saw Brandon "Big Wave" Davis waxing up his 11' board. Big Wave Davis simply gave Slater a wink and they paddled out, trading waves all afternoon. Slater credits Davis in his biography stating "Brandon's knowledge and poise in large surf had a huge impact on my career. Anytime I'm dropping in to a big wave, I think back to that wink in the Makaha parking lot and I push myself over the edge." Some of his favorite surf spots include Mondos in Ventura, California, US, Pipeline in Hawaii, Kirra in Gold Coast, Queensland, Australia, Jeffreys Bay in South Africa, Minis in Ireland, Taghazout in Morocco, Veiny's in New Zealand, Soup Bowls in Barbados, and Sebastian Inlet near his home in Florida.


title: Kelly Slater

text: Slater plays guitar and ukulele, and has performed with Jack Johnson and Angus Stone. Kelly Slater joined Rob Machado and Peter King in a band called "The Surfers."


title: Kelly Slater

text: Slater performed a song with Ben Harper during Harper's concert in Santa Barbara on August 1, 2006. He also performed "Rockin' in the Free World" with grunge band Pearl Jam on July 7, 2006, in San Diego.


title: Kelly Slater

text: In 1999, he appeared alongside Garbage singer Shirley Manson in the promotional video for the band's single "You Look So Fine". He played a man washed up on a seashore, then rescued by Manson.


title: Kelly Slater

text: Slater played the recurring character Jimmy Slade on twenty-seven episodes of the popular TV show "Baywatch" in the early 1990s. He appeared in an episode of the reality show "The Girls Next Door", and has starred in many surf films during his career.


title: Kelly Slater

text: In the late 1990s Slater, with friends and fellow pro surfers Rob Machado and Peter King, formed a band called The Surfers. The trio released an album in 1998 titled "Songs from the Pipe", a reference to the famous surf spot Pipeline on Oahu, Hawaii. Slater toured Australia with his band, performing in venues such as the Opera House and parliament house.


title: Kelly Slater

text: A video game named "Kelly Slater's Pro Surfer" by Treyarch and published by Activision was released in 2002. Slater also appeared as a playable character in "Tony Hawk's Pro Skater 3" prior to this, complete with a surfboard.


title: Kelly Slater

text: In addition to the ASP tour, Slater competed in the X-Games in 2003 and 2004 winning back to back gold medals.


title: Kelly Slater

text: Slater is an advocate of a sustainable and clean living lifestyle. Slater is also a fundraiser and spokesperson for suicide prevention awareness. He has surfed in celebrity events for Surfers Against Suicide, telling sports website 'Athletes Talk': "I've lost a couple of friends myself to suicide and it's just a horrible thing that can be prevented. People get in this dark place and they don't know what to do so it's always nice to see a non-profit that isn't turning into anything else other than just trying to help people."


title: Kelly Slater

text: Slater is passionate about preserving oceans globally and protecting temperate reefs in California through his relationship with Reef Check.


title: Kelly Slater

text: In February 2017, Slater and fellow competitive surfer Jérémy Florès called for a daily cull of bull sharks by French authorities on Réunion following eight shark-related fatalities over the preceding six years. Environmentalists criticized the proposal, with Ken Collins of the University of Southampton describing it as "insane".


title: Kelly Slater

text: On May 8, 2010, the United States House of Representatives honored Slater in H. Res. 792 for his "outstanding and unprecedented achievements in the world of surfing and for being an ambassador of the sport and excellent role model." This resolution, sponsored by Florida representative Bill Posey and sponsored by 10 representatives, passed without objection by a voice vote.


title: Kelly Slater

text: Slater is on the Board of Advisors (the Ocean Advocacy Advisory Board) of ocean conservation organization Sea Shepherd Conservation Society.


title: Kelly Slater

text: Slater historically and exclusively rode Channel Islands Surfboards equipped with his own signature series of FCS fins. As the media hype grew around Slater's lack of board stickers in 2015, Slater had been seen riding unlabelled Firewire surfboards, acquiring the company in 2014. In 2016 Slater released his own line of boards. there are four Slater Designs models in the Firewire range: the Gamma, Cymatic, Omni and Sci-fi.


title: Kelly Slater

text: Since 1990 Slater had been sponsored primarily by surfwear industry giant Quiksilver until his departure on April 1, 2014. After Leaving Quiksilver, Slater, in collaboration with Kering, established the eco-friendly and sustainable apparel company 'Outerknown'.


title: Kelly Slater

text: In 2014, Slater launched the beverage company Purps in collaboration with RVCA founder Pat Tenore and Dr. Chris Schaumburg. Since 2013, Slater has been a brand ambassador for The Chia Company, based in western Australia.


title: Kelly Slater

text: Wave Pool was a ten-year 'experiment' to create the perfect inland wave situated in inland California. Kelly modeled the wave after a combination of Lower Trestles, California, a tubing wave on Oahu, Hawaii, and a secret right in Micronesia in the Marshall Islands. The project was a success and the surfing world was abuzz with the possibilities, mostly due to the wave's perfect shape and speed. In 2016 the World Surf League (WSL) acquired a majority stake in the Kelly Slater Wave Company (KSWC) for an undisclosed sum.


title: Kelly Slater

text: The WSL held a test event for professional surfers, including Filipe Toledo, Mick Fanning, Kanoa Igarashi, Gabriel Medina and others, at the Kelly Slater Surf Ranch (located at ) on Tuesday, September 19, 2017. The Surf Ranch also hosted the WSL Founders Cup on May 5–6, 2018. The contest featured five teams - US, Brazil, Australia, Europe and World - made up of men's and women's surfers from the WSL Championship Tour. The WSL Surf Ranch was constructed outside of Lemoore, California and has remained private and exclusive.


title: Kelly Slater

text: There were previously plans to develop Surf Ranch Florida, a man-made surfing lake in Palm Beach County. County commissioners unanimously approved plans for the county to evaluate the proposed surf facility in 2017. Brian Waxman, project leader for Surf Ranch Florida, said the World Surf League was considering bringing the wave lake to the Sunshine State for its weather and heritage of world-class surfers. It would have encompassed an 80-acre lot east of Jupiter Farms, near the Pine Glades natural area. Despite acquiring the 80-acre property for $6.5 million dollars in November 2017, WSL announced that plans to develop the surf facility at this location were cancelled in 2019 due to "unforeseen challenges" related to an unexpectedly high groundwater table elevation.


title: Kelly Slater

text: Coral Mountain is a proposed $200-million complex on in La Quinta, California that would include a hotel and housing built around a surfing basin created by Kelly Slater Wave Co.


title: Kelly Slater

text: Slater has been crowned World Surf League Champion a record 11 times, including five consecutive titles in 1994–98. He is the youngest (at age 20) and the oldest (at age 39) to win the WSL men's title. On winning his fifth world title in 1997, Slater passed Australian surfer Mark Richards to become the most successful male champion in the history of the sport. In 2007 he also became the all-time leader in career event wins by winning the Boost Mobile Pro event at Lower Trestles near San Clemente, California. The previous record was held by Slater's childhood hero, three-time world champion Tom Curren. After earlier being awarded the title prematurely as a result of a miscalculation by the Association of Surfing Professionals (ASP), on November 6, 2011, Slater officially won his eleventh ASP world title at the Rip Curl Pro Search San Francisco, by winning his fourth round heat.


title: Kelly Slater

text: In May 2005, in the final heat of the Billabong Tahiti Pro contest at Teahupo'o, Slater became the first surfer ever to be awarded two perfect scores for a total 20 out of 20 points under the ASP two-wave scoring system (fellow American Shane Beschen made the first perfect score under the previous three-wave system in 1996).


title: Kelly Slater

text: Slater did it again in June 2013 at the quarter finals at the Volcom Fiji Pro with two perfect ten waves, only the fourth person in history to do so.


title: Kelly Slater

text: Slater is also the oldest surfer to perform a ten-point ride in World Surf League competition at the age of 47 at the 2019 Billabong Pipe Masters.


title: Kelly Slater

text: His surfing inspirations are said to be Andy Irons, Shane Dorian, Josh Kerr, Dane Reynolds, Andrew Bloom, Drew Phelps, Ken Wells, Vaughan Trotman, and Hunter Collins.


title: Evil Dead: The Game

text: Evil Dead: The Game is a 2022 survival horror game based on the "Evil Dead" franchise. It was developed and published by Saber Interactive. It features co-operative gameplay and player versus player (PvP) combat. The game also features Bruce Campbell as Ash Williams, as well as Dana DeLorenzo as Kelly Maxwell and Ray Santiago as Pablo Simon Bolivar from the television series "Ash vs Evil Dead".


title: Evil Dead: The Game

text: "Evil Dead: The Game" was released for PlayStation 4, PlayStation 5, Windows, Xbox One and Xbox Series X/S on May 13, 2022. It will be released for Nintendo Switch at a later date.


title: Evil Dead: The Game

text: "Evil Dead: The Game" is an asymmetrical multiplayer game. The game features both co-operative gameplay and player versus player (PvP) combat, although the single-player mode requires an internet connection to be played. The game features a level-up system, as well as skill tree mechanics. It will also feature multiple maps, including the cabin in the woods from the "Evil Dead" film series, along with over 25 weapons, including Ash's chainsaw and boomstick. At launch, the game features 4 playable survivor classes (Leaders, Warriors, Hunters and Supports), and 3 playable demons (the Warlord, the Puppeteer, and the Necromancer).


title: Evil Dead: The Game

text: After the release of "Evil Dead: The Game", various new updates were included either for free or as part of a season pass. On July 13, 2022, the Castle Kandar map, based upon "Army of Darkness", was added to the game, alongside new skins for Arthur and Henry. On September 8, 2022, David Allen and Mia Allen, characters from the 2013 film, "Evil Dead", were added to the game. As well as the new characters, a new class, known as Plaguebringer, based upon "Army of Darkness", was added to the game on the same day.


title: Evil Dead: The Game

text: "Evil Dead: The Game" was announced at The Game Awards on December 10, 2020. Official reveal trailers for the game were uploaded to YouTube that same day.


title: Evil Dead: The Game

text: American rapper Method Man released a song, "Come Get Some", in an official collaboration with the game; the song is produced by Statik Selektah, and features verses from Method Man's son PXWER and U-God's son inTeLL. It also contains samples of the original "The Evil Dead" score by Joseph LoDuca and lines spoken by Ash Williams. The song is featured in the game's launch trailer, which was released on May 14, 2022.


title: Evil Dead: The Game

text: Special effects artist Tom Savini designed an exclusive Ash skin that was given to players who preorder the Collector's Edition of the game.


title: Evil Dead: The Game

text: "Evil Dead: The Game" received "mixed or average" reviews for PlayStation 5 and Xbox Series X/S according to review aggregator Metacritic; the PC version received "generally favorable" reviews.


title: Evil Dead: The Game

text: Mark Delaney of "GameSpot" gave the game a score of 6 out of 10, praising its faithfulness to the "Evil Dead" franchise and class-based character design while criticizing the progression as slow, story missions as undeveloped, and PvP combat as unbalanced. Jordan Gerblick of "GamesRadar+" commended the game's approachability, graphics, and homages made to the franchise while taking issue with the lack of content, difficulty in single-player missions, and the lack of more traversal options. Travis Northup of "IGN" gave the game 8 out of 10, writing, ""Evil Dead: The Game" is an awesome asymmetric multiplayer game that, like its source material, is far better than it has any right to be given its frustrating lack of polish and being somewhat light on maps and modes." "Hardcore Gamer" appreciated the game's visuals, atmosphere, fluid combat, strategy, online play, and fanservice material while taking minor issues with the redundant audio and lack of content. "VG247" rated the game 4 stars out of 5 and stated, ""Evil Dead: The Game" is a good time...however, horror fans without an affinity towards the series will likely find more fun in alternative multiplayer horror games, and they'll probably find more accessibility-friendly games, too."


title: Tomb of Tutankhamun

text: The tomb of Tutankhamun, also known by its tomb number, KV62, is the burial place of Tutankhamun (reigned c. 1334–1325 BC), a pharaoh of the Eighteenth Dynasty of ancient Egypt, in the Valley of the Kings. The tomb consists of four chambers and an entrance staircase and corridor. It is smaller and less extensively decorated than other Egyptian royal tombs of its time, and it probably originated as a tomb for a non-royal individual that was adapted for Tutankhamun's use after his premature death. Like other pharaohs, Tutankhamun was buried with a wide variety of funerary objects and personal possessions, such as coffins, furniture, clothing and jewellery, though in the unusually limited space these goods had to be densely packed. Robbers entered the tomb twice in the years immediately following the burial, but Tutankhamun's mummy and most of the burial goods remained intact. The tomb's low position, dug into the floor of the valley, allowed its entrance to be hidden by debris deposited by flooding and tomb construction. Thus, unlike other tombs in the valley, it was not stripped of its valuables during the Third Intermediate Period (c. 1070 – 664 BC).


title: Tomb of Tutankhamun

text: Tutankhamun's tomb was discovered in 1922 by excavators led by Howard Carter. As a result of the quantity and spectacular appearance of the burial goods, the tomb attracted a media frenzy and became the most famous find in the history of Egyptology. The death of Carter's patron, the Earl of Carnarvon, in the midst of the excavation process inspired speculation that the tomb was cursed. The discovery produced only limited evidence about the history of Tutankhamun's reign and the Amarna Period that preceded it, but it provided insight into the material culture of wealthy ancient Egyptians as well as patterns of ancient tomb robbery. Tutankhamun became one of the best-known pharaohs, and some artefacts from his tomb, such as his golden funerary mask, are among the best-known artworks from ancient Egypt.


title: Tomb of Tutankhamun

text: Most of the tomb's goods were sent to the Egyptian Museum in Cairo and are now in the Grand Egyptian Museum in Giza, although Tutankhamun's mummy and sarcophagus are still on display in the tomb. Flooding and heavy tourist traffic have inflicted damage on the tomb since its discovery, and a replica of the burial chamber has been constructed nearby to reduce tourist pressure on the original tomb.


title: Tomb of Tutankhamun

text: Tutankhamun reigned as pharaoh between c. 1334 and 1325 BC, towards the end of the Eighteenth Dynasty during the New Kingdom. He took the throne as a child after the death of Akhenaten (who was probably his father) and the subsequent brief reigns of Neferneferuaten and Smenkhkare. Akhenaten had radically reshaped ancient Egyptian religion by worshipping a single deity, Aten, and rejecting other deities, a shift that began the Amarna Period. One of Tutankhamun's major acts was the restoration of traditional religious practice. His name was changed from Tutankhaten, referring to Akhenaten's deity, to Tutankhamun, honouring Amun, one of the foremost deities of the traditional pantheon. Similarly, his queen's name was changed from Ankhesenpaaten to Ankhesenamun.


title: Tomb of Tutankhamun

text: Shortly after he took power, he commissioned a full-size royal tomb, which was probably one of two tombs from the same era, WV23 or KV57. KV62 is thought to have originally been a non-royal tomb, possibly intended for Ay, Tutankhamun's advisor. After he died prematurely, KV62 was enlarged to accommodate his burial. Ay became pharaoh on Tutankhamun's death and was buried in WV23. Ay was elderly when he came to the throne, and it is possible that he buried Tutankhamun in KV62 in order to usurp WV23 for himself and ensure that he would have a tomb of suitably royal proportions ready when he himself died. Pharaohs in Tutankhamun's time also built mortuary temples where they would receive offerings to sustain their spirits in the afterlife. The Temple of Ay and Horemheb at Medinet Habu contained statues that were originally carved for Tutankhamun, suggesting either that Tutankhamun's temple stood nearby or that Ay usurped Tutankhamun's temple as his own.


title: Tomb of Tutankhamun

text: Ay was succeeded by Tutankhamun's general Horemheb, although the transfer of power may have been contested and created a brief period of political instability. As part of the continued reaction against Atenism, Horemheb tried to erase Akhenaten and his successors from the record, dismantling Akhenaten's monuments and usurping those erected by Tutankhamun. Future king-lists skipped straight from Akhenaten's father, Amenhotep III, to Horemheb.


title: Tomb of Tutankhamun

text: Within a few years of his burial, the tomb was robbed twice. After the first robbery, officials responsible for its security repaired and repacked some of the damaged goods before filling the outer corridor with chips of limestone, along with objects dropped by the thieves, to deter future thefts. Nevertheless, a second set of robbers burrowed through the corridor fill. This robbery too was detected, and after a second hasty restoration the tomb was once again sealed.


title: Tomb of Tutankhamun

text: The Valley of the Kings is subject to periodic flash floods that deposit alluvium. Much of the valley, including the entrance to Tutankhamun's tomb, was covered by a layer of alluvium over which huts were later built for the tomb workers who cut KV57, in which Horemheb was buried. The geologist Stephen Cross has argued that a major flood deposited this layer after KV62 was last sealed and before the huts were built, which would mean Tutankhamun's tomb had been rendered inaccessible by the time Ay's reign ended. However, the Egyptologist Andreas Dorn suggests that this layer already existed during Tutankhamun's reign, and workers dug through it to reach the bedrock into which they cut his tomb.


title: Tomb of Tutankhamun

text: More than 150 years after Tutankhamun's burial, KV9, the tomb of Ramesses V and Ramesses VI, was cut into the rock to the west of his tomb. The entrance of his tomb was further buried by mounds of debris from KV9's excavation and by huts built by the tomb workers atop that debris. In subsequent years the tombs in the valley suffered major waves of robbery: first during the late Twentieth Dynasty by local gangs of thieves, then during the Twenty-first Dynasty by officials working for the High Priests of Amun, who stripped the tombs of their valuables and removed the royal mummies. Tutankhamun's tomb, buried and forgotten, remained undisturbed.


title: Tomb of Tutankhamun

text: Several tombs in the Valley of the Kings lay open continuously from ancient times onward, but the entrances to many others remained hidden until after the emergence of Egyptology in the early nineteenth century. Many of the remaining tombs were found by a series of excavators working for Theodore M. Davis from 1902 to 1914. Under Davis most of the valley was explored, although he never found Tutankhamun's tomb because he thought no tomb would have been cut into the valley floor. Among his discoveries was KV54, a pit containing objects bearing Tutankhamun's name; these objects are now thought to have been either burial goods that were originally stored in the corridor of Tutankhamun's tomb, which were removed and reburied in KV54 when the restorers filled the corridor, or objects related to Tutankhamun's funeral. Davis's excavators also discovered a small tomb called KV58 that contained pieces of a chariot harness bearing the names of Tutankhamun and Ay. Davis was convinced that KV58 was Tutankhamun's tomb.


title: Tomb of Tutankhamun

text: After Davis gave up work on the valley, the archaeologist Howard Carter and his patron George Herbert, 5th Earl of Carnarvon, made an effort to clear the valley of debris down to the bedrock. Davis's finds of artefacts bearing Tutankhamun's name gave them reason to hope they might find his tomb. The discovery began on 4 November 1922 with a single step at the top of the entrance staircase. When the excavators reached the antechamber, on 26 November, it exceeded all expectations, providing unprecedented insight into what a New Kingdom royal burial was like.


title: Tomb of Tutankhamun

text: The condition of the burial goods varied greatly; many had been profoundly affected by moisture, which probably derived from both the damp state of the plaster when the tomb was first sealed and from water seepage over the millennia until it was excavated. Recording the tomb's contents and conserving them so they could survive to be transported to Cairo proved to be an unprecedented task, lasting for ten digging seasons. Although many others participated, the only members of the excavation team who worked throughout the process were Carter, Alfred Lucas (a chemist who was instrumental in the conservation effort), Harry Burton (who photographed the tomb and its artefacts) and four foremen: Ahmed Gerigar, Gad Hassan, Hussein Abu Awad and Hussein Ahmed Said.


title: Tomb of Tutankhamun

text: The spectacular nature of the tomb goods inspired a media frenzy, dubbed "Tutmania", that made Tutankhamun into one of the most famous pharaohs, often known by the nickname "King Tut". In the Western world the publicity inspired a fad for ancient Egyptian-inspired design motifs. In Egypt it reinforced the ideology of pharaonism, which emphasized modern Egypt's connection to its ancient past and had risen to prominence during Egypt's struggle for independence from British rule from 1919 to 1922. The publicity increased when Carnarvon died of an infection in April 1923, inspiring rumours that he had been killed by a curse on the tomb. Other deaths or strange events connected with the tomb came to be attributed to the curse as well.


title: Tomb of Tutankhamun

text: After Carnarvon's death, the tomb clearance continued under Carter's leadership. In the second season of the process, in late 1923 and early 1924, the antechamber was emptied of artefacts and work began on the burial chamber. The Egyptian government, which had become partially independent in 1922, fought with Carter over the question of access to the tomb; the government felt that Egyptians, and especially the Egyptian press, were given too little access. In protest of the government's increasing restrictions, Carter and his associates stopped work in February 1924, beginning a legal dispute that lasted until January 1925. Under the agreement that resolved the dispute, the artefacts from the tomb would not be divided between the government and the dig's sponsors, as had been standard practice on previous Egyptological digs. Instead most of the tomb's contents went to the Egyptian Museum in Cairo.


title: Tomb of Tutankhamun

text: The excavators opened and removed Tutankhamun's coffins and mummy in 1925, then spent the next few seasons working on the treasury and annexe. The clearance of the tomb itself was completed in November 1930, though Carter and Lucas continued to work on conserving the remaining burial goods until February 1932, when the last shipment was sent to Cairo.


title: Tomb of Tutankhamun

text: The tomb has been a popular tourist destination ever since the clearance process began. Sometime after the mummy was reinterred in 1926, someone broke into the sarcophagus, stealing objects Carter had left in place. A likely time for the event is the Second World War, when a shortage of security workers led to widespread looting of Egyptian antiquities. The body was subsequently rewrapped, suggesting local officials may have done so after discovering the theft, but did not report it. The theft was not exposed until 1968, after the anatomist Ronald Harrison re-examined Tutankhamun's remains.


title: Tomb of Tutankhamun

text: Each of the Valley of the Kings tombs were vulnerable to flash flooding. When analysing Tutankhamun's tomb in 1927, Lucas concluded that despite the moisture seepage, no significant liquid water had entered before its discovery. In contrast, since the discovery water has periodically trickled in through the entrance, and on New Year's Day in 1991 a rainstorm flooded the tomb through a fault in the burial chamber ceiling. The flood stained the painted chamber wall and left about of standing water on the floor. Tombs are also threatened by the tourists who visit them, who may damage the wall decoration with their touch and with the moisture introduced by their breath. The mummy is also vulnerable to this kind of damage, so in 2007 it was moved to a climate-controlled glass display case that was placed in the antechamber, allowing it to be displayed to the public while protecting it from humidity and mould.


title: Tomb of Tutankhamun

text: The Society of Friends of the Royal Tombs of Egypt suggested the idea of creating a replica of Tutankhamun's tomb in 1988, so that tourists could see it without further damaging the original. In 2009, Factum Arte, a workshop that specialises in replicas of large-scale artworks, took detailed scans of the burial chamber on which to base a replica, while the Egyptian government and the Getty Conservation Institute launched a long-term project to assess the condition of the tomb and renovate it as needed. The replica was completed in 2012 and opened to the public in 2014; the renovation was completed in 2019.


title: Tomb of Tutankhamun

text: In 2015, the Egyptologist Nicholas Reeves argued, based on Factum Arte's scans, that the west and north walls of the burial chamber included previously unnoticed plaster partitions. That would suggest the tomb contained two previously unknown chambers, one behind each partition, which Reeves suggested were the burial place of Neferneferuaten. The Ministry of Antiquities commissioned a ground-penetrating radar examination later that year, which seemed to show voids behind the chamber walls, but follow-up radar examinations in 2016 and 2018 determined that there are no such voids and therefore no hidden chambers.


title: Tomb of Tutankhamun

text: Tutankhamun's tomb is in higher demand from tourists than any other in the Valley of the Kings. Up to 1,000 people pass through it on its busiest days.


title: Tomb of Tutankhamun

text: Tutankhamun's tomb lies in the eastern branch of the Valley of the Kings, where most tombs in the valley are located. It is cut into the limestone bedrock in the valley floor, on the west side of the main path, and runs beneath a low foothill. Its design is similar to those of non-royal tombs from its time, but elaborated so as to resemble the conventional plan of a royal tomb. It consists of a westward-descending stairway (labeled A in the conventional Egyptological system for designating parts of royal tombs in the valley); an east–west descending corridor (B); an antechamber at the west end of the passage (I); an annexe adjoining the southwest corner of the antechamber (Ia); a burial chamber north of the antechamber (J); and a room east of the burial chamber (Ja), known as the treasury. The burial chamber and treasury may have been added to the original tomb when it was adapted for Tutankhamun's burial. Most Eighteenth Dynasty royal tombs used a layout with a bent axis, so that a person moving from the entrance to the burial chamber would take a sharp turn to the left along the way. By placing Tutankhamun's burial chamber north of the antechamber, the builders of KV62 gave it a layout with an axis bent to the right rather than the left.


title: Tomb of Tutankhamun

text: The entrance stair descends steeply beneath an overhang. It originally consisted of sixteen steps. The lowest six were cut away during the burial to make room to maneuver the largest pieces of funerary furniture through the doorway, then rebuilt, then removed again 3,400 years later when the excavators removed that same furniture. The corridor is long and wide; the antechamber is north–south by east–west; the annexe is north–south by east–west; the burial chamber is north–south by east–west; and the treasury is north–south by east–west. The chambers range from to high, and the floors of the annexe, burial chamber and treasury are about below the floor of the antechamber. In the west wall of the antechamber is a small niche for a beam that was used for manoeuvring the sarcophagus through the room. The burial chamber contains four niches, one in each wall, in which were placed "magic bricks" inscribed with protective spells.


title: Tomb of Tutankhamun

text: Partitions constructed of limestone and plaster originally sealed the doorways between the stairway and the corridor; between the corridor and the antechamber; between the antechamber and the annexe; and between the antechamber and the burial chamber. All were breached by robbers. Most were resealed by the restorers, but the robbers' hole in the annexe doorway was left open.


title: Tomb of Tutankhamun

text: There are several faults in the rock into which the tomb is cut, including a large one that runs south-southeast to north-northwest across the antechamber and burial chamber. Although the workmen who cut the tomb sealed the fault in the burial chamber with plaster, the faults are responsible for the water seepage that affects the tomb.


title: Tomb of Tutankhamun

text: The plaster partitions were marked with impressions from seals borne by various officials who oversaw Tutankhamun's burial and the restoration efforts. These seals consist of hieroglyphic text that celebrates Tutankhamun's services to the gods during his reign.


title: Tomb of Tutankhamun

text: Aside from these seal impressions, the only wall decoration in the tomb is in the burial chamber. This limited decorative programme contrasts with other royal tombs of the late Eighteenth Dynasty, in which two chambers in addition to the burial chamber often received decoration, and with the practice in the Nineteenth and Twentieth Dynasties, in which all parts of the tomb were decorated. None of the decoration is executed in relief, a technique that was not used in the Valley of the Kings until the reign of Horemheb.


title: Tomb of Tutankhamun

text: KV62's burial chamber is painted with figures on a yellow background. The east wall portrays Tutankhamun's funeral procession, a type of image that is common in private New Kingdom tombs but not found in any other royal tomb. The north wall shows Ay performing the Opening of the Mouth ritual upon Tutankhamun's mummy, thus legitimising him as the king's heir, and then Tutankhamun greeting the goddess Nut and the god Osiris in the afterlife. The south wall portrayed the king with the deities Hathor, Anubis and Isis. Part of the decoration of this wall was painted on the partition dividing the burial chamber from the antechamber, and thus the figure of Isis had to be destroyed when the partition was demolished during the tomb clearance. The west wall bears an image of twelve baboons, which is an extract from the first section of the Amduat, a funerary text that describes the journey of the sun god Ra through the netherworld. On three walls the figures are given the unusual proportions found in the art style of the Amarna Period, although the south wall reverts to the conventional proportions found in art before and after Amarna.


title: Tomb of Tutankhamun

text: The contents of the tomb are by far the most complete example of a royal set of burial goods in the Valley of the Kings, numbered at 5,398 objects. Some classes of object number in the hundreds: there are 413 shabtis (figurines intended to do work for the king in the afterlife) and more than 200 pieces of jewellery. Objects were present in all four chambers in the tomb as well as the corridor.


title: Tomb of Tutankhamun

text: The efforts of the robbers, followed by the hasty restoration effort, left much of the tomb in disarray when it was last sealed. By the time of the discovery, many of the objects had been damaged by alternating periods of humidity and dryness. Nearly all leather in the tomb had dissolved into a pitch-like mass, and while the state of preservation of textiles was highly inconsistent, the worst-preserved had turned into a black powder. Wooden objects were warped and their glues dissolved, leaving them in a very fragile state. Every exposed surface was covered with an unidentified pink film; Lucas suggested it was some kind of dissolved iron compound that came from the rock or the plaster. In the process of cleaning, restoring and removing the damaged artefacts, the excavators labeled each object or group of objects with a number, from 1 to 620, appending letters to distinguish individual objects within a group.


title: Tomb of Tutankhamun

text: The corridor may have contained miscellaneous materials, such as bags of natron, jars and flower garlands, that were moved to KV54 when the corridor was filled after the first robbery. Other objects and fragments were incorporated into the corridor fill. One well-known artefact, a wooden bust of Tutankhamun, was apparently found in the corridor when it was excavated, but it was not recorded in Carter's initial excavation notes.


title: Tomb of Tutankhamun

text: The antechamber contained 600 to 700 objects. Its west side was taken up by a tangled pile of furniture among which miscellaneous small objects, such as baskets of fruit and boxes of meat, were placed. Several dismantled chariots took up the southeast corner, while the northeast contained a collection of funerary bouquets and the north end of the chamber was dominated by two life-size statues of Tutankhamun that flanked the entrance to the burial chamber. These statues are thought to have either served as guardians of the burial chamber or as figures representing the king's "ka", an aspect of his soul. Among the significant objects in the antechamber were several funerary beds with animal heads, which dominated the cluster of furniture against the west wall; an alabaster lotus chalice; and a painted box depicting Tutankhamun in battle, which Carter regarded as one of the finest works of art in the tomb. Carter thought even more highly of a gilded and inlaid throne depicting Tutankhamun and Ankhesenamun in the art style of the Amarna Period; he called it "the most beautiful thing that has yet been found in Egypt". Boxes in the antechamber contained most of the clothing in the tomb, including tunics, shirts, kilts, gloves and sandals, as well as cosmetics such as unguents and kohl. Scattered in various places in the antechamber were pieces of gold and semiprecious stones from a corselet, a ceremonial version of the armor that Egyptian kings wore into battle. Reconstructing the corselet was one of the most complex tasks the excavators faced. This room also contained a wooden dummy of Tutankhamun's head and torso. Its purpose is uncertain, although it bears marks that may indicate it once wore a corselet, and Carter suggested it was a mannequin for the king's clothes.


title: Tomb of Tutankhamun

text: The annexe contained more than 2,000 individual artefacts. Its original contents were jumbled together with objects that had been haphazardly replaced during the restoration after the robberies, including beds, stools, and stone and pottery vessels containing wine and oils. The room housed most of the tomb's foodstuffs, most of the shabtis and many of its wooden funerary models, such as models of boats. Much of the weaponry in the tomb, such as bows, throwing sticks and "khopesh"-swords, as well as ceremonial shields, were found here. Other objects in the annexe were personal possessions that Tutankhamun seemingly used as a child, such as toys, a box of paints and a fire-lighting kit.


title: Tomb of Tutankhamun

text: Most of the space in the burial chamber was taken up by the gilded wooden outer shrine enclosing three nested inner shrines and, within them, a stone sarcophagus containing three nested coffins. Also a wooden frame stood between the outermost and second shrines which was covered with a blue linen pall spangled with bronze rosettes. Yet even this chamber contained burial goods, including jars, religious objects such as "imiut" fetishes, oars, fans and walking sticks, some of which were inserted in the narrow gaps between shrines. Each wall of the chamber bore a niche containing a brick, of a type that Egyptologists call "magic bricks", because they are inscribed with passages from Spell 151 from the funerary text known as the Book of the Dead, and are intended to ward off threats to the dead.


title: Tomb of Tutankhamun

text: The decoration of the shrines, executed in relief, includes portions of several funerary texts. All four shrines bear extracts from the Book of the Dead, and further extracts from the Amduat are on the third shrine. The outermost shrine is inscribed with the earliest known copy of the Book of the Heavenly Cow, which describes how Ra reshaped the world into its current form. The second shrine bears a funerary text that is found nowhere else, although texts with similar themes are known from the tombs of Ramesses VI (KV9) and Ramesses IX (KV6). Like them, it describes the sun god and the netherworld using a cryptic form of hieroglyphic writing that uses non-standard meanings for each hieroglyphic sign. These three texts are sometimes labeled "enigmatic books" or "books of the solar-Osirian unity".


title: Tomb of Tutankhamun

text: The sarcophagus is made of quartzite but with a red granite lid, painted yellow to match the quartzite. It is carved with the images of four protective goddesses (Isis, Nephthys, Neith and Serqet), and contained a golden lion-headed bier on which rested three nested coffins in human shape.


title: Tomb of Tutankhamun

text: The outer two coffins were made of gilded wood inlaid with glass and semiprecious stones, while the innermost coffin, though similarly inlaid, was primarily composed of of solid gold. Within it lay Tutankhamun's mummified body. On the body, and contained within the layers of mummy wrappings, were 143 items, including articles of clothing such as sandals, a plethora of amulets and other jewellery and two daggers. Tutankhamun's head bore a beaded skullcap and a gold diadem, all of which was encased in the golden mask of Tutankhamun, which has become one of the most iconic ancient Egyptian artefacts in the world.


title: Tomb of Tutankhamun

text: In the doorway of the treasury stood a shrine on carrying poles topped by a statue of the jackal god Anubis, in front of which lay a fifth magic brick. Against the east wall of the treasury was a tall gilded shrine containing the canopic chest, in which Tutankhamun's internal organs were placed after mummification. Whereas most canopic chests contain separate jars, Tutankhamun's consists of a single block of alabaster carved into four compartments, each covered by a human-headed stopper and containing an inlaid gold coffinette that housed one of the king's organs. Between the Anubis shrine and the canopic shrine stood a wooden sculpture of a cow's head, representing the goddess Hathor. The treasury was the location of most of the tomb's wooden models, including more boats and a model granary, as well as many of the shabtis. Boxes in the treasury contained miscellaneous items, including much of the tomb's jewellery. A nested set of small coffins in the treasury contained a lock of hair belonging to Tiye, the wife of Amenhotep III, who is thought to have been Tutankhamun's grandmother.


title: Tomb of Tutankhamun

text: One box contained two miniature coffins in which mummies of Tutankhamun's stillborn daughters were interred.


title: Tomb of Tutankhamun

text: The volume of goods in Tutankhamun's tomb is often taken as a sign that longer-lived kings who had full-size tombs were buried with an even larger array of objects. Yet Tutankhamun's burial goods barely fit into his tomb, so the Egyptologist Joyce Tyldesley argues that larger tombs in the valley may have contained assemblages of similar size that were arranged in a more orderly and spacious manner.


title: Tomb of Tutankhamun

text: The fragmentary remains of burial goods in other tombs in the Valley of the Kings include many of the same objects found in Tutankhamun's, implying that there was a somewhat standard set of object types for royal burials in this era. The life-size statues of Tutankhamun and the statuettes of deities have parallels in several other tombs in the valley, while the statuettes of Tutankhamun himself are closely paralleled by wall paintings in KV15, the tomb of Seti II. Funerary models, such as Tutankhamun's model boats, were mainly a feature of burials in the Old and Middle Kingdoms and fell out of favour in non-royal burials in the New, but several royal tombs in the Valley of the Kings contained them. Conversely, Tutankhamun's tomb contained no funerary texts on papyri, unlike private tombs from its era, but the existence of an excerpt of the Book of the Dead on a papyrus from KV35, the tomb of Amenhotep II, suggests that their absence in Tutankhamun's tomb may have been unusual.


title: Tomb of Tutankhamun

text: No papyrus texts at all were among the burial goods—a disappointment to Egyptologists, who hoped to find documents that would clarify the history of the Amarna Period. Instead much of the value of the discovery was in the insight it provided into the material culture of ancient Egypt. Among the furniture was a foldable bed, the only intact example known from ancient Egypt. Some of the boxes could be latched with the turn of a knob, and Carter called them the oldest known examples of such a mechanism. Other everyday items include musical instruments, such as a pair of trumpets; a variety of weapons, including a dagger made of iron, a rare commodity in Tutankhamun's time; and about 130 staffs, including one bearing the label "a reed staff which His Majesty cut with his own hand."


title: Tomb of Tutankhamun

text: Tutankhamun's clothes—loose tunics, robes and sashes, often elaborately decorated with dye, embroidery or beadwork—exhibit more variety than the clothes depicted in art from his time, which consist largely of plain white kilts and tight sheaths. No crowns were found in the tomb, although crooks and flails, which also served as emblems of kingship, were stored there. Tyldesley suggests that crowns may have not been considered personal property of the king and were instead passed down from reign to reign.


title: Tomb of Tutankhamun

text: Some of the objects in the tomb shed limited light on the end of the Amarna Period. A piece of a box found in the corridor bears the names of Akhenaten, Neferneferuaten and Akhenaten's daughter Meryetaten, while a calcite jar from the tomb bore two erased royal names that have been reconstructed as those of Akhenaten and Smenkhkare. These are key pieces of evidence in attempts to reconstruct the relationships between members of the royal family and the sequence in which they reigned, although scholars' interpretations have varied greatly. The faces of Tutankhamun's second coffin and his canopic coffinettes differ from the faces of most portrayals of him, so these items may originally have been made for another ruler, such as Smenkhkare or Neferneferuaten, and reused for Tutankhamun's burial.


title: Tomb of Tutankhamun

text: Some objects bear evidence of the shift in religious policy in Tutankhamun's reign. The golden throne portrays Tutankhamun and Ankhesenamun beneath the rays of the Aten, in the Amarna art style. The king and queen are labeled with the later forms of their names, referring to Amun rather than the Aten, but there are signs that these labels were altered after the throne was made, and the open-work arms and back of the throne bear the king's original name, Tutankhaten. A sceptre from the annexe bears an inscription mentioning both the Aten and Amun, implying an attempt to integrate the two religious systems.


title: Tomb of Tutankhamun

text: Other information about the reign is provided by the labels on wine jars, which are labeled by the year in which they were produced. Jars that are explicitly labeled as coming from Tutankhamun's reign range from Year 5 to Year 9, while one jar from an unidentified reign is labeled Year 10 and another Year 31. The Year 31 wine probably comes from the reign of Amenhotep III, so the remaining jars suggest that Tutankhamun reigned for nine or ten years. The flowers and fruits in the funerary garlands would have been available from mid-March to mid-April, indicating that Tutankhamun's funeral took place then. The royal annals of the Hittite Empire record a letter from an unnamed Egyptian queen, referred to as "Dakhamunzu", recently widowed by the death of a pharaoh and offering to marry a Hittite prince. The dead king is most commonly thought to be Tutankhamun, and Ankhesenamun the sender of the letter, but the letter indicates the king in question died in August or September, meaning either that Tutankhamun was not the king in the Hittite annals or that he remained unburied far longer than the traditional 70-day period of mummification and mourning.


title: Tomb of Tutankhamun

text: The thefts make Tutankhamun's tomb one of the most important sources for understanding tomb robbery and restoration in the New Kingdom, particularly for the early part of that period, when robberies were more opportunistic than the large-scale plundering that took place in the late Twentieth Dynasty. Many of the boxes in the tomb bear dockets in hieratic writing that list their original contents, making it possible to partially reconstruct what the tomb originally held and which items were lost. The dockets of the jewellery boxes in the treasury, for instance, indicate that about 60 per cent of their contents is missing. Thieves would have prized what was valuable, portable and either untraceable or possible to disguise through dismantling or melting. Most of the metal vessels originally buried with Tutankhamun were stolen, as were those of glass, indicating that glass was a valuable commodity at the time. The robbers also took bedding and cosmetics; the theft of the latter shows that the robberies took place soon after burial, as the Egyptians' fat-based unguents would have turned rancid within a few years. One of the boxes in the antechamber contained a set of gold rings wrapped in a scarf, which Carter believed had been dropped by the thieves and placed in the box by the restorers. The unlikelihood that robbers would forget something so valuable led him to suggest they had been caught in the act. The broken objects found in the fill of the corridor all came from the antechamber, implying that the first group of thieves only had access to that chamber and that it was the second group who reached as far as the treasury.


title: Tomb of Tutankhamun

text: A man named Djehutymose, apparently the official who carried out the restoration of the tomb, wrote his name on a jar stand in the annexe. The same man left a note in KV43, the tomb of Thutmose IV, recording the restoration of that tomb in Year 8 of the reign of Horemheb. These two tombs were among several in the Valley of the Kings that were robbed at the end of the Eighteenth Dynasty, suggesting that political uncertainty following Tutankhamun's death caused a weakening of security there.


title: Tomb of Tutankhamun

text: After the completion of the clearance in 1932, the tomb was emptied of nearly all its contents. The main exceptions were the sarcophagus, with its original lid replaced by a glass plate, and the outermost of the three coffins, in which Tutankhamun's mummy was placed. Carter also took a handful of small artefacts from the tomb, without permission; upon his death, his heir, Phyllis Walker, discovered them and had them returned to the Egyptian government. A few items are suspected of having illicitly made their way into other collections of Egyptian antiquities, but their provenance is uncertain.


title: Tomb of Tutankhamun

text: For several decades after his tomb was cleared, the overwhelming majority of Tutankhamun's burial goods were stored at either the Egyptian Museum in Cairo or Luxor Museum. Only the most major pieces have been on display, while the rest have been in storage at one of the two sites. Selected pieces have also gone on museum exhibition tours, raising money for the Egyptian government and serving to improve its relations with the host countries. There have been several exhibitions, visiting Europe, North America, Japan and Australia, in three major phases, one from 1961 to 1967, another from 1972 to 1981, and a third from 2004 to 2013. Many exhibitions of replicas have also taken place, beginning with a set made for the British Empire Exhibition in 1924.


title: Tomb of Tutankhamun

text: Beginning in 2011, the objects from the tomb were gradually transferred to the Grand Egyptian Museum in Giza. Upon its opening in 2022, the museum is planned to display all the tomb's artefacts.


title: Tomb of Tutankhamun

text: When it was uncovered in November 1925, Tutankhamun's mummy was in poor condition. The unguents that were poured over the wrappings before burial had undergone a chemical reaction that Lucas called "some kind of slow spontaneous combustion", possibly caused by fungi in the tomb. As a result most of the wrappings, and even much of the tissues in the mummy, had been carbonised. Tutankhamun's condition contrasted with the much better-preserved mummies of other New Kingdom rulers. These mummies had been removed from their plundered tombs, placed in simpler coffins and buried in two caches during the Twenty-first Dynasty, a few centuries after they were originally entombed. It is not known whether they suffered less deterioration because they were less liberally treated with unguents, or because their removal from their original coffins prevented the unguents from soaking through the wrappings.


title: Tomb of Tutankhamun

text: The solidified unguents glued together Tutankhamun's remains, his mummy wrappings and the objects on his body, forming a single mass stuck to the bottom of the coffin encasing it. The excavators concluded that to remove the mummy and extricate the burial goods they would have to cut it into sections, chiseling each piece out of its setting. Two anatomists, Douglas Derry and Saleh Bey Hamdi, examined the pieces as they came free before coating the fragile flesh in paraffin wax to prevent further deterioration. They determined that Tutankhamun had been close to the age of 18 when he died, and that his skull shape, closely resembling that of an unidentified royal mummy from KV55, showed he was of royal blood rather than having married into the royal family, as Egyptologists had previously believed. When the examination concluded, Carter placed the dismembered mummy on a sand tray, which he returned to the sarcophagus in the burial chamber the following year.


title: Tomb of Tutankhamun

text: The mummified fetuses found in the treasury are at different stages of development, one at five months' gestation and the other at seven to nine. Their coffins do not specify names, so they are designated based on the object number of the box that contained them (317); the smaller fetus is known as 317a(2) and the larger as 317b(2). They were examined by Derry in 1932 and subsequently stored at the medical school where he worked, now part of Cairo University.


title: Tomb of Tutankhamun

text: Tutankhamun's mummy has often been analysed to see what health conditions he had, and particularly to determine his cause of death. Such efforts are often contentious, as it is difficult to distinguish damage inflicted on the body in recent times from damage Tutankhamun suffered while alive. For instance, in 1996, the Egyptologist Bob Brier suggested that fragments of bone in the skull cavity, seen in the X-rays that Harrison had taken in 1968, were a sign that Tutankhamun had died of a blow to the head and might have been murdered. The bone fragments were later found to be fragments of vertebrae that were pushed into the skull cavity during Derry's examination. The fetuses have faced similar problems; Harrison, in 1977, said 317b(2) had Sprengel's deformity, but a study in 2011 by the radiologist Sahar Saleem argued that the signs of deformity were actually postmortem damage.


title: Tomb of Tutankhamun

text: Both Tutankhamun's mummy and the fetuses have undergone genetic testing. A 2010 study of the DNA of many of the mummies from the Valley of the Kings announced that the fetuses were Tutankhamun's children by a woman whose mummy was found in KV21, who was presumed to be Ankhesenamun. However, the results of genetic studies of Egyptian mummies have been questioned by several geneticists, such as Svante Pääbo, who argue that DNA breaks down so rapidly in Egypt's heat that remains more than a few centuries old cannot produce an analysable DNA sample.


title: Tomb of Tutankhamun

text: The replica of the burial chamber includes copies of the wall decoration and of the sarcophagus. Both were reproduced based on highly detailed scans. The replica was presented to the Egyptian government in 2012 and installed next to Carter House, where Carter lived while working on the tomb, near the entrance to the Valley of the Kings.


title: EMI

text: EMI Group Limited (originally an initialism for Electric and Musical Industries, also referred to as EMI Records Ltd. or simply EMI) was a British transnational conglomerate founded in March 1931 in London. At the time of its break-up in 2012, it was the fourth largest business group and record label conglomerate in the music industry, and was one of the "Big Four" record companies (now the "Big Three"). Its labels included EMI Records, Parlophone, Virgin Records, and Capitol Records, which are now owned by other companies.


title: EMI

text: EMI was listed on the London Stock Exchange, and was also once a constituent of the FTSE 100 Index, but faced financial problems and US$4 billion in debt, leading to its acquisition by Citigroup in February 2011. Citigroup's ownership was temporary, as EMI announced in November 2011 that it would sell its music arm to Vivendi's Universal Music Group for $1.9 billion and its publishing business to a Sony/ATV consortium for around $2.2 billion. Other members of the Sony consortium include the estate of Michael Jackson, the Blackstone Group, and the Abu Dhabi-owned Mubadala Development Company. EMI's locations in the United Kingdom, the United States, and Canada were all disassembled to repay debt, but the primary head office located outside those countries is still functional.


title: EMI

text: EMI is now owned by Sony/ATV Music Publishing, the music publishing division of Sony Music which bought another 70% stake in EMI Music Publishing.


title: EMI

text: Electric and Musical Industries Ltd was formed in March 1931 by the merger of the Columbia Graphophone Company and the Gramophone Company, with its "His Master's Voice" record label, firms that have a history extending back to the origins of recorded sound. The new vertically integrated company produced sound recordings as well as recording and playback equipment.


title: EMI

text: The company's gramophone manufacturing led to 40 years of success with larger-scale electronics and electrical engineering.


title: EMI

text: On 16 August 1996, Thorn EMI shareholders voted in favour of demerging Thorn from EMI again: the Company became EMI Group plc, and the electronics and rentals divisions were divested as Thorn plc.


title: EMI

text: In 1934, an EMI research team led by Sir Isaac Shoenberg developed the electronic Marconi-EMI system for television broadcasting, which quickly replaced Baird's electro-mechanical system following its introduction in 1936. After the Second World War, EMI resumed its involvement in making broadcasting equipment, notably providing the BBC's second television transmitter at Sutton Coldfield. It also manufactured broadcast television cameras for British television production companies as well as for the BBC. The commercial television ITV companies also used them alongside cameras made by Pye and Marconi. Their best-remembered piece of broadcast television equipment was the EMI 2001 colour television camera, which became the mainstay of much of the British television industry from the end of the 1960s until the early 1990s. Exports of this piece of equipment were low, however, and EMI left this area of product manufacture.


title: EMI

text: EMI engineer Alan Blumlein received a patent for the invention of stereophonic sound in 1931. He was killed in 1942 whilst conducting flight trials on an experimental H2S radar set.


title: EMI

text: During and after World War II, the EMI Laboratories in Hayes, Hillingdon developed radar equipment (including the receiver section of the British Army's GL-II anti-aircraft fire-control radar), microwave devices such as the reflex klystron oscillator (having played a crucial role in the development of early production types following on from the British Admiralty Signal School's pioneering NR89, the so-called "Sutton tube"), electro-optic devices such as infra-red image converters, and eventually guided missiles employing analogue computers.


title: EMI

text: The company was also for many years an internationally respected manufacturer of photomultipliers. This part of the business was transferred to Thorn as part of Thorn-EMI, then later became the independent concern Electron Tubes Ltd.


title: EMI

text: The EMI Electronic Business Machine, a valve and magnetic drum memory computer, was built in the 1950s to process the British Motor Corporation payroll.


title: EMI

text: In 1958 the EMIDEC 1100, the UK's first commercially available all-transistor computer, was developed at Hayes under the leadership of Godfrey Hounsfield, an electrical engineer at EMI.


title: EMI

text: In the early 1970s, with financial support by the UK Department of Health and Social Security as well as EMI research investment, Hounsfield developed the first CT scanner, a device which revolutionised medical imaging. In 1973 EMI was awarded a prestigious Queen's Award for Technological Innovation for what was then called the "EMI scanner", and in 1979 Hounsfield won the Nobel Prize for his accomplishment.


title: EMI

text: After brief, but brilliant, success in the medical imaging field, EMI's manufacturing activities were sold off to other companies, notably Thorn (see Thorn EMI). Subsequently, development and manufacturing activities were sold off to other companies and work moved to other towns such as Crawley and Wells.


title: EMI

text: Emihus Electronics, based in Glenrothes, Scotland, was owned 51% by Hughes Aircraft, of California, US, and 49% by EMI. It manufactured integrated circuits electrolytic capacitors and, for a short period in the mid-1970s, hand-held calculators under the Gemini name.


title: EMI

text: Early in its life, the Gramophone Company established its subsidiary operations and branch offices in a number of many other countries inside and outside of the British Commonwealth, including Europe, the Middle East and Africa as well as in Canada, Russia, India, China, Japan, Australia and New Zealand. Gramophone's (later EMI's) Australian and New Zealand subsidiaries dominated the popular music industries in those countries across the Asia-Pacific region from the 1920s until the 1960s, when other locally owned labels (such as Festival Records) began to challenge the near monopoly of EMI. Over 150,000 78-rpm recordings from around the world are held in EMI's temperature-controlled archive in Hayes, some of which have been released on CD since 2008 by Honest Jon's Records.


title: EMI

text: In 1931, the year the company was formed, it opened the legendary recording studios at London's Abbey Road. During the 1930s and 1940s, its roster of artists included Arturo Toscanini, Sir Edward Elgar, and Otto Klemperer, among many others. During this time EMI appointed its first A&R managers. These included George Martin, who later brought the Beatles into the EMI fold.


title: EMI

text: When the Gramophone Company merged with the Columbia Graphophone Company (including Columbia's subsidiary label Parlophone) in 1931, the new Anglo-American group was incorporated as Electric & Musical Industries Limited. At this point, the Radio Corporation of America had a majority shareholding in the new company due to RCA purchasing the Victor Talking Machine Company in 1929. Victor owned 50% of the British affiliated Gramophone Company, giving RCA chairman David Sarnoff a seat on the EMI board.


title: EMI

text: However, EMI was subsequently forced to sell Columbia USA due to anti-trust action taken by its American competitors. By this time the record industry had been hit hard by the Depression and in 1934 a much-diminished Columbia USA was purchased for just US$70,500 by ARC-BRC (American Record Corporation–Brunswick Record Company), which also acquired the OKeh label.


title: EMI

text: RCA sold its stake in EMI in 1935, but due to its 1929 takeover of Victor, RCA retained the North and South American rights to the "His Master's Voice" trademark. In other countries, the Nipper logo was used by the EMI subsidiary label HMV, even though the "His Master's Voice" slogan itself would be retained by RCA along with the logo.


title: EMI

text: In 1938 ARC-Brunswick was taken over by CBS, which then sold the American Brunswick label to American Decca Records, which along with its other properties, Vocalion Records and Aeolian Vocalion Records, used it as a subsidiary budget label afterward. CBS then operated Columbia as its flagship label in both the United States and Canada.


title: EMI

text: EMI retained the rights to the Columbia name in most other territories including the UK, Australia and New Zealand. It continued to operate the label with moderate success until 1973, when it was retired and replaced by the EMI Records imprint, making records with the Columbia Records label manufactured outside North America between 1972 and 1992 rare.


title: EMI

text: In 1990, following a series of major takeovers that saw CBS Records acquired by the Sony Corporation of Japan, EMI sold its remaining rights to the Columbia name to Sony and the label is now operated exclusively throughout the world by Sony Music Entertainment; except in Japan where the trade mark is owned by Columbia Music Entertainment.


title: EMI

text: EMI released its first LPs in 1952 and its first stereophonic recordings in 1955 (first on reel-to-reel tape and then LPs, beginning in 1958). In 1957, to replace the loss of its long-established licensing arrangements with RCA Victor and Columbia Records (Columbia USA cut its ties with EMI in 1951), EMI entered the American market by acquiring 96% of the stock for Capitol Records USA.


title: EMI

text: From 1960 to 1995 their "EMI House" corporate headquarters was located at 20 Manchester Square London, England, the stairwell from which was featured on the cover of the Beatles' "Please Please Me" album. In addition, an unused shot from the "Please Please Me" photo session, featuring the boys in short hair and cleancut attire, was used for the cover of the Beatles' first double-disc greatest-hits compilation entitled "1962–1966" (aka "The Red Album"). In 1969, Angus McBean took a matching group photograph featuring the boys in long hair and beards to contrast with the earlier cleancut image to show that the boys could have appeal across a wide range of audiences. This photo was originally intended for the "Get Back" album which later was entitled "Let It Be". The photo was used instead for the cover of the Beatles' second greatest-hits double-disc compilation entitled "1967–1970" (aka "The Blue Album"). (The two compilations were released in 1973.)


title: EMI

text: EMI's classical artists of the period were largely limited to the prestigious British and European orchestras, such as the Philharmonia Orchestra and London Symphony Orchestra as well as the Choir of King's College, Cambridge. During the era of the long-playing record (LP), a number of very few American and Canadian orchestras had their principal recording contracts with EMI, one notable exception being that of the Pittsburgh Symphony Orchestra, especially during the tenure of William Steinberg.


title: EMI

text: From the late 1950s to the early 1970s, the company enjoyed huge success in the popular music field under the management of Sir Joseph Lockwood. The strong combination of EMI and its subsidiary labels (including Parlophone, HMV, Columbia and Capitol Records) along with a roster of stellar groups such as the Hollies, the Shadows, the Beach Boys and the Beatles


title: EMI

text: along with hit solo performers such as Frank Sinatra, Cliff Richard, and Nat 'King' Cole, made EMI the best-known and most successful recording company in the world at that time.


title: EMI

text: In 1967, while shifting their focus on pop and rock music roster to Columbia and Parlophone, EMI converted HMV solely to a classical music label exclusively. For the emerging progressive rock genre including Pink Floyd, who had debuted on Columbia, EMI established a new subsidiary label, Harvest Records, two years later.


title: EMI

text: In 1971, Electric & Musical Industries changed its name to EMI Ltd. and on 1 January 1973 EMI phased out most of its heritage labels and replacing them with the EMI imprint. On 1 July 1973 the Gramophone Company subsidiary (The Gramophone Co. Ltd.) was renamed EMI Records Ltd as well, and in 1978, EMI launched EMI America Records as its second label in the United States after Capitol. EMI Music Worldwide was also formed in 1978 with Bhaskar Menon as chairman and CEO. In February 1979, EMI Ltd acquired United Artists Records and with it their subsidiary labels Liberty Records and Imperial Records. Eight months later, Thorn Electrical Industries merged with EMI Ltd. to form Thorn EMI.


title: EMI

text: Sometime in the late 1980s, EMI America merged with sister label Manhattan Records, founded in 1984, becoming EMI Manhattan and eventually EMI USA when Capitol absorbed it in 1989.


title: EMI

text: Also in 1989, Thorn EMI bought a 50% interest in Chrysalis Records, completing the buyout two years later. Six months after completing the buyout of Chrysalis, Thorn EMI bought Virgin Records from Richard Branson in one of its highest-profile and most expensive acquisitions in record music history. In 1992, Thorn EMI entered the Christian music market by acquiring Sparrow Records.


title: EMI

text: Due to the increasing divergence of business models, Thorn EMI shareholders voted in favour of demerger proposals on 16 August 1996. The resulting media company was now known as EMI Group PLC. In 1997, EMI Records USA was folded into both Virgin and Capitol.


title: EMI

text: Since the 1930s, the Baak Doi label headquartered in Shanghai, China had been published under the EMI banner and since then, EMI had also been the dominant label in the cantopop market throughout Greater China until the genre's decline in the mid-1980s. Between the years 2004–2006, EMI then completely and totally divested itself from the c-pop market, and after that, all Hong Kong music artists previously associated with EMI had their music published by Gold Label, a concern unaffiliated with EMI and with which EMI did not yet hold any interest.


title: EMI

text: On 21 November 2000, Streamwaves and EMI signed a deal licensing EMI's catalogue in a digital format for their online streaming music service. This was the first time EMI had licensed any of its catalogue to a streaming music website.


title: EMI

text: Pop star Robbie Williams signed a six-album deal in 2002 paying him over £80 million ($157 million), which was not only the biggest recording contract in British music history at the time, but also the second biggest in music history behind that of Michael Jackson.


title: EMI

text: Apple Records, the record label representing The Beatles, launched a suit against EMI for non-payment of royalties on 15 December 2005. The suit alleged that EMI had withheld $50 million from the record label; however, an EMI spokesman noted that audits of record label accounts are not that unusual, confirming at least two hundred such audits performed on the label, but that these audits rarely result in legal action. A legal settlement was announced on 12 April 2007 and terms were undisclosed.


title: EMI

text: On 2 April 2007, EMI announced it would be releasing its music in DRM-free formats. These were to be issued in AAC format, which gave higher quality for the same bitrate compared with the ubiquitous MP3 format. The music would be distributed via Apple's iTunes Store (under the iTunes Plus category).


title: EMI

text: Tracks were to cost $1.29/€1.29/£0.99. Legacy tracks with FairPlay DRM would still be available for $0.99/€0.99/£0.79 – albeit with lower quality sound and DRM restrictions still in place. Users would be able to 'upgrade' the EMI tracks that they had already bought for $0.30/€0.30/£0.20. Albums were also to be available at the same price as their lower quality, DRM counterparts and music videos from EMI would also be DRM-free. The higher-quality, DRM-free files became available worldwide on iTunes on 30 May 2007, and were expected to appear on other music download services soon thereafter.


title: EMI

text: Following this decision, Universal Music Group also announced sales of DRM-free music (which was described as an experiment).


title: EMI

text: In May 2006, EMI attempted to buy Warner Music Group, which would have reduced the world's four largest record companies (Big Four) to three; however, the bid was rejected. Warner Music Group launched a Pac-Man defense, offering to buy EMI. EMI rejected the $4.6 billion offer.


title: EMI

text: After a decline in the British market share from 16% to 9%, and the announcement that it had sustained a loss of £260 million in 2006/2007, in August 2007 EMI was acquired by Terra Firma Capital Partners for £4.2 billion. Following the transition, several artists including Radiohead left EMI, while other artists such as Paul McCartney had left ahead of the takeover. At the same time, the Rolling Stones signed a one-album deal with Interscope Records/Universal Music Group outside its contract with EMI, which expired in February 2008, and then in July 2008 signed a new long-term deal with Universal Music Group. The Terra Firma takeover was also reported to have been the catalyst behind a lawsuit filed by Pink Floyd over unpaid royalties. In January 2011 Pink Floyd signed a new global agreement with EMI.


title: EMI

text: Around the same time, Guy Hands, CEO of Terra Firma Capital Partners, came to EMI with restructuring plans to cut between 1,500 and 2,000 jobs and to reduce costs by £200 million a year. As a result, the UK chief executive Tony Wadsworth left EMI after 25 years in January 2008. The cuts were planned to take effect over the year 2008, and would affect up to a third of EMI's 5,500 staff. Thirty Seconds to Mars tried to exit their contract with EMI following the layoff of its staff and due to unpaid royalties, prompting the label to file a lawsuit for $30 million citing breach of contract. The suit was later settled following a defence based on a contract case involving actress Olivia de Havilland decades before. Jared Leto explained, "The California Appeals Court ruled that no service contract in California is valid after seven years, and it became known as the De Havilland Law after she used it to get out of her contract with Warner Bros." Many industry watchers viewed the suit as a punitive harassment meant to scare other musicians. The band's troubles with the label resonate through their third studio album "This Is War" (2009) and were the subject of the 2012 documentary "Artifact".


title: EMI

text: In 2008, EMI withdrew from the South-East Asian market entirely, forcing its large roster of acts to search out contracts with other unaffiliated labels. As a result, the South-East Asian market was the only region in the world where EMI was not in operation, although the record label continued to operate in Hong Kong and Indonesia (which was named Arka Music Indonesia). The Chinese and Taiwanese operation of EMI as well as the Hong Kong branch of Gold Label, was sold to Typhoon Group and reformed as Gold Typhoon. The Philippine branch of EMI changed its name to PolyEast Records, and was a joint venture between EMI itself and Pied Piper Records Corporation. The physical audio and video products of the label have been distributed in South-East Asia by Warner Music Group since December 2008, while new EMI releases in China and Taiwan, were distributed under Gold Typhoon which was previously known as EMI Music China and EMI Music Taiwan, respectively. Meanwhile, the Korean branch of EMI (known as EMI Korea Limited) had its physical releases distributed by Warner Music Korea. EMI Music Japan, the Japanese EMI branch, remains unchanged from the reflection of Toshiba's divestiture to the business by EMI buying the whole branch way back July 2007, making it a full subsidiary.


title: EMI

text: In July 2009, there were reports that EMI would not sell CDs to independent album retailers in a bid to cut costs, but in fact only a handful of small physical retailers were affected.


title: EMI

text: In February 2010, EMI Group reported pre-tax losses of £1.75 billion for the year ended March 2009, including write-downs on the value of its music catalogue.


title: EMI

text: In addition, KPMG issued a going concern warning on the holding company's accounts regarding an ability to remain solvent.


title: EMI

text: Citigroup (which held $4 billion in debt) took 100% ownership of EMI Group from Terra Firma Capital Partners on 1 February 2011, writing off £2.2 billion of debt and reducing EMI's debt load by 65%. The group was put up for sale and final bids were due by 5 October 2011.


title: EMI

text: On 12 November 2011, it was announced that EMI would sell its recorded music operations to Universal Music Group (UMG) for £1.2 billion ($1.9 billion) and its music publishing operations to Sony/ATV Music Publishing-for $2.2 billion. Among the other companies that had competed for the recorded music business was Warner Music Group which was reported to have made a $2 billion bid. However, IMPALA has said that it would fight the merger. In March 2012, the European Union opened an investigation into Universal's purchase of EMI's recorded music division and had asked rivals and consumer groups whether the deal will result in higher prices and shut out competitors.


title: EMI

text: On 21 September 2012, the sale of EMI to UMG was approved in both Europe and the United States by the European Commission and the Federal Trade Commission respectively. The European Commission approved the deal, however, under the condition that the merged company divest itself of one third of its total operations to other companies with a proven track record in the music industry. To comply with this condition, UMG divested V2 Records, Parlophone Records, Sanctuary Records, Chrysalis Records, Mute Records, EMI Classics, Virgin Classics, Vivendi Visual Entertainment, the 2CD Originals Series and EMI's regional labels in most of Europe. These labels were operated separately under the name "Parlophone Label Group", pending their sale. Universal would, however, retain its ownership of the Beatles' library (moved to the newly formed Calderstone Productions) and Robbie Williams' Chrysalis recordings (moved to the Island Records label).


title: EMI

text: Universal Music Group completed its acquisition of EMI on 28 September 2012, followed by worldwide compliance and complete rebranding by 1 April 2013. In compliance with the conditions of the European Commission, on 22 December, Universal Music Group sold the Mute catalogue, previously property of EMI, to German-based music rights company BMG. In turn, Vivendi Visual Entertainment was acquired by Gaiam and renamed Gaiam Vivendi Entertainment. On 8 February 2013, Warner Music Group signed an agreement to acquire Parlophone, Chrysalis Records, EMI Classics, Virgin Classics, the 2CD Originals Series and some of EMI's regional labels across Europe for US$765 million (£487 million). Regulatory approval was received on 15 May. Universal retained EMI's former European labels in Ireland, Italy, the Netherlands, Germany, Switzerland, Austria, Hungary, and Finland.


title: EMI

text: Universal Music has continued to operate EMI entities it retained using the EMI name and formed Virgin EMI Records as a UMG label unit in the UK. The former EMI Records Ltd. was renamed Parlophone Records Ltd. in 2013, when Warner Music Group acquired Parlophone Music Group which has the rights to the old EMI Records catalogue.


title: EMI

text: The Australian and New Zealand EMI Columbia catalogues, including recordings by John Farnham, who went by Johnny during his time with the label, were ceded to Universal Music Australia's imprint EMI Recorded Music and Universal Music New Zealand respectively.


title: EMI

text: Warner Music incorporated EMI Classics and Virgin Classics into its Warner Classics unit with the EMI Classics artist roster and catalogue absorbed into the Warner Classics label and the Virgin Classics artist roster and catalogue absorbed into the revived Erato Records label.


title: EMI

text: On 14 November 2013, EMI's Middle Eastern branch was folded into Universal Music, causing the distribution of Warner Music Group's releases in that region to be moved to Universal Music.


title: EMI

text: On 30 June 2014, Universal Music Group re-established EMI's Taiwanese division, with A-Mei, Rainie Yang and Show Lo signing first to the label.


title: EMI

text: In May 2016, an independent company, Blue Raincoat Music, bought most of Chrysalis's British catalogue from Warner Music, making Chrysalis an independent label again. However, the remainder of Chrysalis's British catalogue, namely other past artists Spandau Ballet, Jethro Tull, Ramones and The Proclaimers, stayed with Parlophone in the UK and (excluding Ramones) Rhino Entertainment in the United States. The Ramones American back catalogue remained with Island's sister label Geffen Records, the successor of MCA Records, which previously distributed the band's releases on Radioactive Records, and is licensed to Universal Music Enterprises. Additionally, the majority of Chrysalis's American catalogue also remained with Capitol Music Group, parent of Island's and Geffen's sister label Capitol Records, and is currently distributed by that label. Debbie Harry's only Chrysalis album with an American release, "KooKoo", was later divested by Capitol. The European Chrysalis catalogue, including Harry's four albums, plus the rights to ten artists not originally signed to the label are owned and distributed by Blue Raincoat.


title: EMI

text: The number of initial non-Chrysalis artists was later increased to 11 after adding former EMI artists Naked Eyes. However, the rights to their albums originally on EMI America Records in North America stayed with Capitol. Belinda Carlisle's only Chrysalis album, "A Woman & a Man", had its distribution and rights outside the US reverted to CMG's Virgin Records, Carlisle's former label which was the second in her career.


title: EMI

text: Also in May 2016 the history of the record label was examined in the hour-long BBC documentary "EMI: The Inside Story".


title: EMI

text: On 16 June 2020, Universal rebranded Virgin EMI as EMI Records, reopening the iconic label, and named Rebecca Allen, former president of Decca Records, as the new EMI's president. UMG has continued to operate Virgin as an imprint of EMI.


title: EMI

text: In 1964 EMI acquired Blackpool Tower from the Bickerstaffe family. In 1967, they also took over the Winter Gardens complex in Blackpool.


title: EMI

text: In 1967, EMI acquired the Grade Organisation, the UK's largest showbusiness talent agency, for £7.5 million. This also included the recently acquired Shipman and King chain of 32 cinemas in the Home Counties.


title: EMI

text: EMI Films was created in 1969 following the acquisition of Associated British Picture Corporation (ABPC). At the time ABPC owned 270 ABC Cinemas; a half share in the ITV contractor Thames Television; Elstree Studios at Shenley Road, and had recently bought Anglo-Amalgamated, a film studio. Bernard Delfont of the Grade Organisation became chairman and Chief Executive. In 1970, Delfont sold his own Bernard Delfont Organisation to EMI and the agencies were divested. He later became Chief Executive of EMI in 1979.


title: EMI

text: Their flagship cinema was the ABC 1 and 2 Shaftesbury Avenue which was built at the old Saville Theatre in London.


title: EMI

text: In 1974, the Film & Theatre Corporation was split into EMI Cinemas and EMI Leisure Enterprises. On formation, EMI Cinemas ran 272 cinemas in the UK, including those of ABC.


title: EMI

text: Following EMI's merger with Thorn Electrical Industries in 1979, EMI's film division was renamed Thorn EMI Screen Entertainment. In April 1986, Thorn EMI sold its film production and distribution arm (Thorn EMI Screen Entertainment), home video (Thorn EMI Video), and cinema (ABC Cinemas) operations to businessman Alan Bond. Bond, in turn, sold it to The Cannon Group a week later.


title: EMI

text: EMI Leisure Enterprises was formed in April 1974 and controlled Blackpool Tower; EMI's 16 squash clubs and five bowling alleys; discotheques; 23 licensed premises and other amusement interests. It began developing new leisure businesses, including Brighton Marina and golf activities with the opening of Aldenham Golf Club. In April 1977 they acquired the Empire Ballroom and Cinema in Leicester Square in London and in September 1977 acquired Bailey Leisure Services Limited which they renamed EMI Dancing which provided the group with dance halls, cabaret clubs and discotheques around the UK. By the late 1970s, the leisure business contributed 15% of group revenues. In 1978, EMI acquired the Prince Edward Theatre. It also owned two other theatres in London as well as theatres in the rest of the UK.


title: EMI

text: Following the merger with Thorn, part of EMI's leisure interests were sold to Trust House Forte in November 1980 for £16 million. Lord Delfont became chairman and chief executive of THF's leisure division. EMI Social Centres chain of bingo halls remained with Thorn EMI.


title: EMI

text: In 1972 EMI Hotels won a bidding war against Ralston Purina to buy the Golden Egg group from the Kaye brothers for £14 million, which included a stake in Angus Steakhouse restaurants and the Selfridge Hotel, which opened in July 1973.


title: EMI

text: In June 1977, EMI acquired the Tower Hotel, London. At the end of 1978 they owned 4 other hotels, Royal Horseguards Hotel; Royal Angus; Royal Trafalgar; and Royal Westminster.


title: EMI

text: As well as Angus Steakhouse their restaurants also included Wimpy Bars, Picnic Basket and Tennessee Pancake Houses.


title: EMI

text: Following the merger with Thorn, seven hotels and 12 Angus Steakhouse restaurants were sold in July 1980 for £23 million to Scottish & Newcastle Breweries.


title: EMI

text: As well as the well-known record label the group also owned EMI Music Publishing, which was the largest music publisher in the world. EMI Music Publishing has won the "Music Week" Award for Publisher of the Year every year for over 10 years; in 2009, for the first time in history the award was shared jointly with Universal Music Publishing. As is often the case in the music industry, the publishing arm and record label are very separate businesses.


title: EMI

text: EMI administered the publishing rights of over 1.3 million songs, headlined by Queen, Carole King, The Police, the Motown catalog, Kanye West, Alicia Keys, Drake, Sia, P!nk, Pharrell Williams, and Calvin Harris. EMI also owns the recorded catalogue of Philles Records, with distribution handled by Sony's Legacy Recordings.


title: EMI

text: EMI's music publishing operations were sold to a consortium led by Sony/ATV Music Publishing in 2012; BMG acquired the music publishing libraries of Virgin Music (which EMI held) and Famous Music UK (which Sony/ATV held).


title: EMI

text: Between 1995 and 2000 music companies were found to have used illegal marketing agreements such as minimum advertised pricing to artificially inflate prices of compact discs in order to end price wars by discounters such as Best Buy and Target in the early 1990s.


title: EMI

text: A settlement in 2002 included the music publishers and distributors; Sony Music, Warner Music, Bertelsmann Music Group, EMI and Universal Music. In restitution for price fixing they agreed to pay a $67.4 million fine and distribute $75.7 million in CDs to public and non-profit groups but admitted no wrongdoing. It is estimated customers were overcharged by nearly $500 million and up to $5 per album.


title: EMI

text: On Internet Freedom Day in January 2013, EMI evoked controversy after the removal of Martin Luther King Jr's "I Have a Dream" speech from Vimeo due to a copyright violation.


title: Talia al Ghul

text: Talia al Ghul (; ) is a fictional character appearing in American comic books published by DC Comics, commonly in association with Batman. The character was created by writer Dennis O'Neil and artist Bob Brown, and first appeared in "Detective Comics" #411 (May 1971). Talia is most commonly known as being the daughter of the supervillain Ra's al Ghul as well as the on-and-off lover of the superhero Batman and the mother of their son Damian Wayne (the fifth Robin) who was born during a brief marriage. Over the years, she has alternately been depicted as an anti-heroine that is constantly torn between being an ally and an enemy of Batman due to her loyalty to both him and her environmentalist father, whom she shares the same vision with when it comes to saving the planet and nature, but not the means he uses to achieve that goal.


title: Talia al Ghul

text: Talia has appeared in over 700 individual comics issues, and has been featured in various media adaptations. The character was voiced by Helen Slater and Olivia Hussey in the DC Animated Universe, which became her first appearances in media other than comic books. The character was subsequently portrayed by Marion Cotillard in the 2012 film "The Dark Knight Rises" and by Lexa Doig in the Arrowverse television series "Arrow".


title: Talia al Ghul

text: The character was created by the writer Dennis O'Neil and artist Bob Brown as simply Talia originally. The character's creation and depiction was inspired by other works of fiction, such as the 1969 James Bond film "On Her Majesty's Secret Service", and the Fu Manchu fiction. The character first appeared in "Detective Comics" #411 (May 1971). She is most commonly depicted as a romantic interest for Batman, a villain, or a combination of the two. Her father, the leader of a worldwide criminal and terrorist empire, considered Batman the man most worthy to marry Talia and become his successor. Absent a spouse, Talia was considered as an heir to her father and his organization. While Batman is uninterested in the criminal empire, he has often demonstrated romantic feelings for Talia.


title: Talia al Ghul

text: Talia has saved the life of Batman or helped him on numerous occasions. The majority of her criminal acts have been committed at the behest of her father and motivated by loyalty to her father rather than personal gain. She had been depicted as morally ambiguous or an antiheroic figure. In the mid to late 1990s part of her father's name was incorporated to hers as a kind of surname to help readers associate her with Ra's al Ghul. Recent depictions have shown her to be more often an enemy of Batman and a supervillain in her own right, such as leading the League of Assassins, as part of the Secret Society of Super Villains, and as the mastermind behind Leviathan.


title: Talia al Ghul

text: IGN's list of the Top 100 Comic Book Villains of All Time List ranked Talia as #42. She was ranked 25th in "Comics Buyer's Guide's" "100 Sexiest Women in Comics" list.


title: Talia al Ghul

text: The first Talia comic story appears in "Into the Den of the Death-Dealers!" in "Detective Comics" #411 (May 1971), written by Dennis O'Neil. In the story, Batman rescues her from Dr. Darrk, apparently the leader of the League of Assassins. It is eventually revealed that the League is just one part of Ra's al Ghul's organization, The Demon, and that Darrk apparently turned against Ra's after failing in a mission (the usual punishment for this is death). At the end of the story, she shoots and kills Darrk to save Batman's life.


title: Talia al Ghul

text: Talia next appears in "Daughter of the Demon" in "Batman" #232 (June 1971). In the story, Dick Grayson (Robin) is kidnapped. Ra's al Ghul enters the Batcave, revealing to Batman that he knows Batman's secret identity and saying that Talia was also kidnapped along with Dick. Batman then goes with Ra's to search for Dick and Talia; in the end, it is revealed that Talia loves Batman and that the entire kidnapping is a setup designed by Ra's as a final test of Batman's suitability to be Talia's husband and his successor. Though Batman rejects Ra's offer, he nevertheless returns Talia's feelings. Ra's and Talia consider Batman to be married to Talia with only their consent necessary in "DC Special Series" #15 (1978) in the story "I Now Pronounce You Batman and Wife!".


title: Talia al Ghul

text: In the years since the character met Batman, Talia is repeatedly depicted as torn between her love for the Caped Crusader and her loyalty to her father. However, she has proven an important ally in her way; most prominently, she encourages Batman to return to Gotham City when it is declared a "No Man's Land" (1999) following an earthquake.


title: Talia al Ghul

text: In the graphic novel "" (1987) by Mike W. Barr, Ra's al Ghul successfully enlists Batman's aid in defeating a rogue assassin who had murdered his wife and Talia's mother, Melisande. Talia witnessed the murder as a young child. During this storyline, Batman marries Talia and the prior marriage from "DC Special Series" #15 (1978) is referenced. They have sex which results in her becoming pregnant. Batman is nearly killed protecting Talia from an attack by the assassin's agents. In retrospect, Talia concludes that she could never keep Batman, as he would be continuously forced to defend her, so she fakes a miscarriage, and the marriage is dissolved.


title: Talia al Ghul

text: In later continuity, after Talia gives birth the child is left at an orphanage. He is adopted and given the name "Ibn al Xu'ffasch" which is Arabic for 'son of the bat'. The only other clue to the child's heritage is a jewel-encrusted necklace Batman had given to Talia which Talia leaves with the child.


title: Talia al Ghul

text: It is referenced in three Elseworlds storylines: "Kingdom Come", its sequel "The Kingdom," and "Brotherhood of the Bat" feature two alternate versions of the child as an adult, coming to terms with his dual heritage.


title: Talia al Ghul

text: The graphic novel "Batman: Birth of the Demon" (1992) by Dennis O'Neil explains how her father met her mother at Woodstock, New York. Talia's mother is confirmed deceased of a drug overdose in this story. This introduction of Talia's mother in particular, (as well as Talia al Ghul's origin) is revised and further elaborated in "Batman, Incorporated" #2 (2012) by Grant Morrison and Chris Burnham.


title: Talia al Ghul

text: After Bane enters the League of Assassins, Ra's considers Bane a potential heir to his empire instead of Batman and wants his daughter to marry him. Talia later rejects the brute, regarding him as merely a cunning animal compared to the more cultured intelligence of his predecessor. After Batman defeats Bane in the "" comic series (1996), Ra's agrees that Bane was unworthy of his daughter ("Detective Comics" #701 and "Robin" #33), and calls off their engagement. Following "Legacy", Bane has a nightmare in "Batman: Bane" (1997) of Talia (presumed to be deceased) betraying him and stabbing him and then embracing Batman. In "Birds of Prey" #26 (2001), written by Dixon, Bane continues to express his obsession with Talia. At the end of the story, Talia is pleased with the supposed death of Bane in one of her father's underground sanctums.


title: Talia al Ghul

text: The Talia character was written to begin a new phase of her fictional life near the turn of the century. Talia, disillusioned with her father and his plans and using the name Talia Head for herself, leaves him to run LexCorp as its new CEO when Lex Luthor becomes President of the United States. Although she seemingly supports Luthor, she secretly works to undermine him, anonymously leaking news of his underhanded dealings to Superman. In "Superman/Batman" #6 (March 2004), when the time comes for Luthor's downfall, she sells all of LexCorp's assets to the Wayne Foundation, leaving Luthor penniless and his crimes exposed to all.