title: One Life to Live

text: By 1975, NBC became a serious player in that time slot for the first time in over five years when it expanded its strong soap opera "Another World" to an hour, with its second half occupying the 3:30 timeslot. "One Life to Live" lost a substantial audience share, but its lead-in, "General Hospital," experienced even worse losses. ABC then expanded both "One Life to Live" and "General Hospital" to 45 minutes, with each composing half of a 90-minute block between 2:30 PM and 4 PM. Beginning on July 26, 1976, "One Life to Live" assumed the first position, at 2:30. ABC bet its hopes on viewers staying tuned past the half hour, making them unlikely to switch channels to "Another World" and "All in the Family" reruns on CBS (or "The Match Game" in the case of "General Hospital" fans). This approach showed some promise, until November 7, 1977, when CBS expanded "Guiding Light" to an hour. As "One Life to Live" struggled, its neighbor "General Hospital" was in danger of cancellation after a 15-year run. In order to save "General Hospital" (which was airing at 3:15 PM) from cancellation, ABC expanded both soaps to an hour beginning on January 16, 1978; "The $20,000 Pyramid" was moved to the noon Eastern timeslot, where it remained until its run ended in June 1980. ABC contemplated an expansion of "The Edge of Night" to a full hour if either of these shows were cancelled.


title: One Life to Live

text: "General Hospital" rose rapidly to the top spot in the Nielsen ratings by 1979. As for "One Life to Live," from its tenth birthday onward, its competitors declined in popularity. "Search for Tomorrow," for instance, spent its last several months on CBS against the last half of "One Life to Live". Its replacement, "Capitol", did little better, and after its cancellation, CBS aligned "As the World Turns" against "One Life to Live" and "Another World", a configuration that stayed in place until "Another World"'s cancellation in 1999. The 1980s saw "One Life to Live" reach the height of its popularity, with an estimate of 9 million viewers early in the decade. The show typically ranked between the second and the fourth position in the 1980s.


title: One Life to Live

text: Since 1991, "One Life to Live" returned to the middle of the pack, but its numbers declined, in common with all other soap operas. By the decade's end, the show rested near the bottom of the ratings pack, and it continued to hover around the lower reaches of the weekly ratings throughout the 2000s in terms of total number of viewers; however, the show tended to rank in the mid-range for the target demographic of women aged 18–49, often higher than sister show "All My Children" and usually still winning its timeslot in the key demographic, well ahead of its competitors such as "As The World Turns", "Another World", and "Passions". During the 2000s (decade), "One Life to Live" ran about even with "As the World Turns", with NBC's "Another World" replacement "Passions" trailing significantly.


title: One Life to Live

text: The 2009-2010 season was a particularly difficult year for "One Life to Live". During the week of June 28, 2010, the show ranked last among all soap operas with 2.1 million viewers, compared to 2.3 million for "As the World Turns". As "One Life to Live" entered the 2010-2011 season, ratings improved, but not enough to prevent ABC from cancelling the program on April 14, 2011. After the cancellation announcement, "One Life to Live" began to surpass "General Hospital" in total number of viewers, but "General Hospital" continued to dominate "One Life to Live" in several specific categories, most notably the key demographic of women between 18 and 49 years old, usually prioritized by daytime networks. By November 2011, "One Life to Live" had dethroned "General Hospital" in every category. Overall, "One Life to Live" was the third highest rated program among the five remaining soap operas in its last season, trailing "The Young and the Restless" and "The Bold and the Beautiful", but ahead of "General Hospital" and "Days of Our Lives". The show averaged a 2.3 rating and 3.12 million daily viewers during its final week. Its final episode on January 13, 2012 drew in a 2.7 rating and 3.848 million viewers, one of the highest ratings in the history of soap opera finales.


title: One Life to Live

text: The "One Life to Live" continuation's ratings proved impressive. The first episode was the second most downloaded TV episode on iTunes and second most watched episode on Hulu, with the first place on both sites going to "All My Children" which premiered the same day.


title: One Life to Live

text: Soapnet aired classic "One Life to Live" episodes at 6:00 am (5:00 am CT/PT), 7:00 am (6:00 am CT/PT), and 8:00 am (7:00 am CT/PT).


title: One Life to Live

text: Starting July 15, 2013, OWN began a 10 week trial run of both "One Life to Live" and "All My Children" on its daytime lineup. Episodes of "One Life to Live" are broadcast at 1:30 P.M., following "All My Children" which airs at 1:00 P.M., Mondays through Thursdays.


title: Into Thin Air

text: Into Thin Air: A Personal Account of the Mt. Everest Disaster is a 1997 bestselling nonfiction book written by Jon Krakauer. It details Krakauer's experience in the 1996 Mount Everest disaster, in which eight climbers were killed and several others were stranded by a storm. Krakauer's expedition was led by guide Rob Hall. Other groups were trying to summit on the same day, including one led by Scott Fischer, whose guiding agency, Mountain Madness, was perceived as a competitor to Hall's agency, Adventure Consultants.


title: Into Thin Air

text: Krakauer describes the events leading up to his eventual decision to participate in an Everest expedition in May 1996, despite having mostly given up mountain climbing years before. The 1996 expedition season recorded eight deaths, including that of Krakauer's guide Rob Hall. This was the third-highest recorded number of deaths on the mountain in a single day; the April 2015 Nepal earthquake caused the most at 21.


title: Into Thin Air

text: Krakauer, a journalist for the adventure magazine "Outside", said initially his intention to climb Everest was purely professional. The original magazine story was to have Krakauer climb only to base camp, and report on the commercialization of the mountain. However, the idea of Everest reawakened his childhood desire to climb the mountain. Krakauer asked his editor to put off the story for a year so that he could train for a climb to the summit. From there, the book moves between events that take place on the mountain, and the unfolding tragedy, which takes place during the push to the summit. In the book, Krakauer alleges that essential safety methods adopted over the years by experienced guides on Everest are sometimes compromised by the competition between rival guiding agencies, in order to get their clients to the summit.


title: Into Thin Air

text: Krakauer's recounting of certain aspects of the climb has generated criticism, both from some of the climb's participants and from fellow mountaineers such as Galen Rowell. Much of the disputed material centers on Krakauer's accounting of the actions of Russian climber and guide Anatoli Boukreev. An experienced high-altitude climber and guide for Scott Fischer, Boukreev descended the summit prior to his clients, ostensibly out of concern for their safety and in preparation for potential rescue efforts. Boukreev later mounted repeated solo rescue efforts, saving several lives. In his book, Krakauer acknowledged Boukreev's heroism in saving two climbers' lives, but questions his judgment, his decision to descend before clients, not using supplementary oxygen, his choices of gear on the mountain, and his interaction with clients. Boukreev provides a rebuttal to these allegations in his 1997 book "The Climb".


title: Into Thin Air

text: Galen Rowell criticized Krakauer's account, citing numerous inconsistencies in his narrative while observing that Krakauer was sleeping in his tent while Boukreev was rescuing other climbers. Rowell argued that Boukreev's actions were nothing short of heroic, and his judgment prescient: "[Boukreev] foresaw problems with clients nearing camp, noted five other guides on the peak [Everest], and positioned himself to be rested and hydrated enough to respond to an emergency. His heroism was not a fluke."


title: Into Thin Air

text: The account has also been criticized for not informing the reader that the team members were receiving accurate daily weather forecasts and knew about the storm in advance.


title: Into Thin Air

text: In Krakauer's 1999 paperback edition of "Into Thin Air", he addresses some of the criticism in a lengthy postscript.


title: Into Thin Air

text: Film rights for "Into Thin Air" were purchased by Sony almost immediately after the book's publication. The book was adapted into the TV movie "" (1997), starring Peter Horton as Scott Fischer and Christopher McDonald as Krakauer. The book and the film both contain the same strong editorial viewpoint regarding the fundamental causes of the tragedy, although the film differs sharply from the book in details regarding responsibility.


title: Into Thin Air

text: The 2015 film "Everest", by director Baltasar Kormákur, depicts the same events as the book, with actor Michael Kelly portraying Krakauer. According to Kormákur, it is not based on Krakauer's book.


title: The Lunchbox

text: The Lunchbox is a 2013 Hindi-language drama film written and directed by Ritesh Batra. Produced by Guneet Monga, Anurag Kashyap and Arun Rangachari, "The Lunchbox" is an international co-production of studios in India, the US, Germany and France. It stars Irrfan Khan and Nimrat Kaur alongside Bharti Achrekar, Nakul Vaid and Nawazuddin Siddiqui in supporting roles.


title: The Lunchbox

text: "The Lunchbox" was screened at International Critics' Week at the 2013 Cannes Film Festival, and later won the Critics Week Viewers Choice Award also known as Grand Rail d'Or. It was shown at the 2013 Toronto International Film Festival. The film was released in theatres in India on 20 September 2013. "The Lunchbox" was a box-office success and received unanimous critical acclaim. It was Khan's highest-grossing Hindi film, until it was surpassed by "Hindi Medium" (2017). "The Lunchbox" was nominated for Best Film Not in the English Language at the 2015 British Academy Film Awards .


title: The Lunchbox

text: In Mumbai, Ila is a young wife seeking her husband Rajeev's attention. She tries to put romance back into her marriage by cooking delicious lunches for him. However, when she tries to send the lunchbox to his office, the "dabbawala" system which is to deliver his lunch has a mix-up, and the lunchbox accidentally reaches Saajan Fernandes instead. Saajan is a widower who is about to retire from his accountancy job. When Ila realises the mistake she writes a letter to Saajan informing him of the mix-up and places it in the lunchbox the next day. An exchange of messages between Ila and Saajan via the lunches thus ensues, igniting a friendship between the two, as they share memories and events from their lives.


title: The Lunchbox

text: At his job, Saajan is tasked with training his replacement Aslam Sheikh. Socially distant after his wife's death, Saajan is initially reluctant to interact with Sheikh and train him. After Sheikh reveals that he is an orphan who taught himself accounting, Saajan gradually warms to him; eventually the duo strike a close friendship. At one point, Saajan saves Shaikh's job by covering for his blatant mistakes and becomes his best man at his marriage. Meanwhile, after Ila finds out that Rajeev is having an affair, she gives up hope on rekindling her marriage. In one of the lunchbox letters, she suggests moving to Bhutan where the cost of living is much cheaper than in India. Saajan writes back suggesting that the two move there together. Ila then offers to meet in person at a popular restaurant but at the appointed time, Saajan does not show up. Upon receiving an empty lunchbox on the next day, Saajan writes back to the dejected Ila and apologises to her, saying that he did arrive and saw her from a distance but could not approach her. He explains how young and beautiful she looked, while surmising that he is too old for her and advising her to move on.


title: The Lunchbox

text: Some time later, Ila's father, battling with lung cancer, dies in the care of her mother who confesses how unhappy her marriage was. Ila gets the address of Saajan's office only to learn from Sheikh that he has already retired and headed to Nashik. She writes a last farewell message to Saajan announcing that she has decided to leave Rajeev and move to Bhutan with her young daughter. Meanwhile, Saajan changes his mind and returns to Mumbai. The film ends with Ila waiting for her daughter to return from school and Saajan heading to her house with the "dabbawala" who regularly picked up and delivered the eponymous lunchbox.


title: The Lunchbox

text: Ritesh Batra, who had made short films, "The Morning Ritual", "Gareeb Nawaz ki Taxi" and "Cafe Regular", "Cairo", started researching for a documentary on the famous Lunchbox delivery system of Mumbai, dabbawala, known for their efficiency, however after spending a week with them in 2007, he got to know of many interesting personal stories they would overhear while waiting outside an apartment. This idea gave birth to the idea of the film, and instead of making the documentary he began writing a film script. In time the film became a joint production between Sikhya Entertainment, DAR motion pictures, National Film Development Corporation of India (NFDC), India, ROH Films, Germany, ASAP Films, France and the Cine Mosaic, US of Lydia Dean Pilcher who previously produced films like, "The Talented Mr Ripley" (1999) and "The Namesake" (2007), and Germany's Match Factory became its international sales agent.


title: The Lunchbox

text: Batra completed the first draft of the screenplay in 2011. He was assisted by Rutvik Oza. It went on to win an Honorable Jury Mention at the 2012 Cinemart at the Rotterdam International Film Festival. Thereafter the project was part of the Talent Project Market of Berlin International Film Festival and was mentored at the screenwriter's lab (Torino Film Lab) at the Torino Film Festival. The character of Ila played by Nimrat Kaur, six months prior to the shooting, and the character played by Nawazuddin Siddiqui was further developed and improvised during shooting.


title: The Lunchbox

text: Irrfan Khan liked the script of the film and the concept of his character, not speaking much but talking through notes. After seeing Batra's short film and a couple of meetings he agreed to act in the film. Batra wanted to work with Nawazuddin Siddiqui, another principal character of the film, for a long time. For the female lead, auditions were conducted, wherein Nimrat Kaur was selected. Kaur had extensive experience at the Mumbai theatre and worked in films like "Peddlers". Some of the dabbawalas whom the director befriended while researching for the film, also were cast in minor roles.


title: The Lunchbox

text: The film was shot in 2012 in Mumbai at a budget of ₹220 million. Prior to the filming, the cast rehearsed for six months. It was shot using the Arri Alexa digital film camera. Many of the scenes were logistically broken down to make way for last minute location changes. According to Ritesh Batra, scenes on the train involved the use of only one compartment, and even included actual local commuters when needed.


title: The Lunchbox

text: Principal photography lasted 29 days, with a majority of the film's scenes done in three weeks. Afterwards, footage taken in a documentary manner were shot. Mumbai's famous dabbawalas were provided actual lunchboxes to deliver, and followed by a four-member film crew, which filmed the process in documentary style.


title: The Lunchbox

text: The film was screened on 19 May 2013 as a part of the International Critics' Week at the 2013 Cannes Film Festival, where it received a standing ovation and positive reviews. It won the Critics Week Viewers Choice Award also known as Grand Rail d'Or. "Variety" called it "a notable debut from tyro helmer-scripter Ritesh Batra", for creating a film with "crossover appeal of "Monsoon Wedding"", and also praised acting of Irrfan Khan and Nimrat Kaur.


title: The Lunchbox

text: "The Lunchbox" grossed ₹71 million in its first weekend of release in India, and ₹110 million in its first week. The film continued to gross significant amounts over the next few weeks, earning over ₹200 million in the first three weeks and another estimated ₹40–50 lakhs on its fourth weekend.


title: The Lunchbox

text: In the United States, "The Lunchbox" grossed $4.23 million, and was 2014's third highest grossing foreign film behind "Cantinflas" and "P.K.". By 28 May 2014, the film's worldwide collection was 84.92 crore. In its lifetime run, the film's worldwide gross was 100.85 crore (US$17.24 million). Most of its gross was from overseas, becoming 2013's third highest-grossing Indian film overseas, after "Dhoom 3" and "Chennai Express". It was Irrfan Khan's highest-grossing Hindi film, up until it was surpassed by "Hindi Medium" (2017).


title: The Lunchbox

text: Critic Rajeev Masand of CNN-IBN gave a rating of 5/5 to the film stating, "The greatest love stories are the ones that make you root for the protagonists to come together, despite their destinies. This film illustrates how love transforms the unlikeliest of people." Pratim D. Gupta of "The Telegraph" gave two thumbs up to "The Lunchbox" calling it "as much a moving and muted love story as it is an evocative portrayal of loneliness." Taran Adarsh of Bollywood Hungama gave the movie a 4/5 stating, "A well-told old-fashioned romance, "The Lunchbox" gracefully unknots the trials, tribulations, fears and hopes of everyday people sans the glamour that the city of Mumbai has become synonymous with." Karan Anshuman of the MumbaiMirror also went with a perfect score of 5/5 saying the film was, "one of the best films to come out of India in a long time."


title: The Lunchbox

text: Raja Sen of Rediff.com praised the film further, giving another perfect score of 5/5 and offered particular compliments to the director Ritesh Batra, stating "Batra, who has also written "The Lunchbox", has allowed his smashing actors tremendous room to improvise, all the while himself sketching in nuanced details about the city, its food-ferriers, and the many disparities Mumbai is crammed with." Filmmaker/critic Khalid Mohammed of the Deccan Chronicle said "What stays in the mind at the end of 'The Lunchbox' is pretty much what stays in mind at the end of a memorable set by jazzmen – not their lapses but the heights they scale." Aditya Grover of YouthTimes gave it 4/5 stars and said, "The Lunchbox is delicious and delightful! If you're in the mood to witness genuinely moving cinema, you're in for a treat. The delectable taste of this lunchbox remains in your mouth much after you've left the theatre. Go for it!"


title: The Lunchbox

text: Suparna Sharma of The Asian Age gave it 4 out of 5 stars and said: "The Lunchbox is a gently pulsating sweet-sad story of loneliness and love, of wilting spirits finding water again. There are three women in three marriages in this film, of which two are ailing. The third one is over, almost, only the last rites haven't been performed. There are two men in the film – one who has lived a full life and is getting ready to quietly slip off the face of the earth; the other is eager to begin… What's both shocking and soothing is what the film shows us — that it takes very little for a soul to come back to life. Mostly, just a hint of hope will do."


title: The Lunchbox

text: Trisha Gupta in the "Sunday Guardian" wrote "The Lunchbox is a lovely little film. But it does tick all the boxes that might appeal to festival audiences: quaint Asian urbanism (Mumbai trains, dabba delivery), Indian home-cooking, romance. It provides local colour, without being demandingly untranslatable." In a less positive review for the Chicago Reader, J.R. Jones criticized the film's premise as a gimmick and its purported use of "irritating comic foil" in reference to Nawazuddin Siddiqui's and Bharati Achrekar's characters as Shaikh and Mrs. Deshpande, respectively.


title: The Lunchbox

text: "The Lunchbox" was considered by many people throughout the year to be a lock as India's selection for the 86th Academy Awards Best Foreign Film Category, with many critics enthusiastically praising it and voting for it to be the representative film. Director Karan Johar also put his support behind the film saying "All kinds of audience can connect with it and yet within the parameters of love story it is completely unusual. You feel all the love in the world for the protagonists and the unusual aspect of it is they haven't met."


title: The Lunchbox

text: However, the selection committee of the Film Federation of India (FFI) deliberated on 17 September 2013 and decided to send the Gujarati film "The Good Road" instead. This decision sparked outrage from many supporters of "The Lunchbox", including its cast and crew. The film's producer Anurag Kashyap quickly took to Twitter and expressed his disgust, saying "I don't know who the Federation is, but it goes to show the complete lack of understanding to make films that can travel across borders." He later deleted both his Twitter and Facebook accounts, saying, "this is a moment of defeat for me, and for independent cinema, because, for once, our chances were great." Karan Johar also said he felt very disappointed that such a wonderful chance at Oscar glory with "The Lunchbox" was spoiled. Guneet Monga, "The Lunchbox" other producer, said she was flabbergasted as to how the Federation could select a movie that didn't even have an American distributor, and also listed the number of global festivals and appreciation her film received, concluding that it sadly and supposedly "wasn't enough for the FFI".


title: The Lunchbox

text: In an interview with Siddharth Sivakumar of "Tinpahar", Goutam Ghose, the chairman of the committee revealed:


title: The Lunchbox

text: Once it had been submitted to the Oscar selection committee, that committee did not nominate, nor shortlist, "The Good Road"; that year's Academy Award winner was Italy's "The Great Beauty".


title: Political action committee

text: In the United States, a political action committee (PAC) is a 527 organization that pools campaign contributions from members and donates those funds to campaigns for or against candidates, ballot initiatives, or legislation. The legal term PAC was created in pursuit of campaign finance reform in the United States. Democracies of other countries use different terms for the units of campaign spending or spending on political competition (see political finance). At the U.S. federal level, an organization becomes a PAC when it receives or spends more than $1,000 for the purpose of influencing a federal election, and registers with the Federal Election Commission (FEC), according to the Federal Election Campaign Act as amended by the Bipartisan Campaign Reform Act of 2002 (also known as the McCain–Feingold Act). At the state level, an organization becomes a PAC according to the state's election laws.


title: Political action committee

text: Contributions to PACs from corporate or labor union treasuries are illegal, though these entities may sponsor a PAC and provide financial support for its administration and fundraising. Union-affiliated PACs may solicit contributions only from union members. Independent PACs may solicit contributions from the general public and must pay their own costs from those funds.


title: Political action committee

text: In its 2010 case "Citizens United v. FEC", the Supreme Court of the United States overturned sections of the Campaign Reform Act of 2002 (also known as the McCain–Feingold Act) that had prohibited corporate and union political independent expenditures in political campaigns. "Citizens United" declared it was unconstitutional to prohibit corporations and unions from spending from their general treasuries to promote candidates or from contributing to PACs. It left intact these laws' prohibitions on corporations or unions contributing directly to a candidate or candidate committee.


title: Political action committee

text: The political action committee emerged from the labor movement of 1943. The first PAC was the CIO-PAC, formed in July 1943 under CIO president Philip Murray and headed by Sidney Hillman. It was established after the U.S. Congress prohibited unions from giving direct contributions to political candidates. This restriction was initially imposed in 1907 on corporations through the Tillman Act. The Smith–Connally Act extended its coverage to labor unions in 1943. A series of campaign reform laws enacted during the 1970s facilitated the growth of PACs after these laws allowed corporations, trade associations, and labor unions to form PACs.


title: Political action committee

text: Federal law formally allows for two types of PACs: connected and non-connected. Judicial decisions added a third classification, independent expenditure-only committees, which are colloquially known as "Super PACs".


title: Political action committee

text: Most of the 4,600 active, registered PACs, named "connected PACs", sometimes also called "corporate PACs", are established by businesses, non-profits, labor unions, trade groups, or health organizations. These PACs receive and raise money from a "restricted class", generally consisting of managers and shareholders in the case of a corporation or members in the case of a non-profit organization, labor union or other interest group. As of January 2009, there were 1,598 registered corporate PACs, 272 related to labor unions and 995 to trade organizations.


title: Political action committee

text: Groups with an ideological mission, single-issue groups, and members of Congress and other political leaders may form "non-connected PACs". These organizations may accept funds from any individual, connected PAC, or organization. As of January 2009, there were 1,594 non-connected PACs, the fastest-growing category.


title: Political action committee

text: Elected officials and political parties cannot give more than the federal limit directly to candidates. However, they can set up a Leadership PAC that makes independent expenditures. Provided the expenditure is not coordinated with the other candidate, this type of spending is not limited.


title: Political action committee

text: Under the FEC (Federal Election Commission) rules, leadership PACs are non-connected PACs, and can accept donations from individuals and other PACs. Since current officeholders have an easier time attracting contributions, Leadership PACs are a way dominant parties can capture seats from other parties. A leadership PAC sponsored by an elected official cannot use funds to support that official's own campaign. However, it may fund travel, administrative expenses, consultants, polling, and other non-campaign expenses.


title: Political action committee

text: Super PACs, officially known as "independent expenditure-only political action committees," are unlike traditional PACs in that they may engage in unlimited political spending (on, for example, ads) independently of the campaigns, and may raise funds from individuals, corporations, unions, and other groups without any legal limit on donation size. However, they are not allowed to either coordinate with or contribute directly to candidate campaigns or party coffers. Super PACs are subject to the same organizational, reporting, and public disclosure requirements of traditional PACs.


title: Political action committee

text: Super PACs were made possible by two judicial decisions in 2010: the aforementioned "Citizens United v. Federal Election Commission" and, two months later, "Speechnow.org v. FEC". In "Speechnow.org", the federal Court of Appeals for the D.C. Circuit held that PACs that did not make contributions to candidates, parties, or other PACs could accept unlimited contributions from individuals, unions, and corporations (both for profit and not-for-profit) for the purpose of making independent expenditures.


title: Political action committee

text: The result of the "Citizens United" and "SpeechNow.org" decisions was the rise of a new type of political action committee in 2010, popularly dubbed the "super PAC". In an open meeting on July 22, 2010, the FEC approved two Advisory Opinions to modify FEC policy in accordance with the legal decisions. These Advisory Opinions were issued in response to requests from two existing PACs, the conservative Club for Growth, and the liberal Commonsense Ten (later renamed Senate Majority PAC). Their advisory opinions gave a sample wording letter which all Super PACs must submit to qualify for the deregulated status, and such letters continue to be used by Super PACs up to the present date. FEC Chairman Steven T. Walther dissented on both opinions and issued a statement giving his thoughts. In the statement, Walther stated "There are provisions of the Act and Commission regulations "not addressed by the court in SpeechNow" that continue to prohibit Commonsense Ten from soliciting or accepting contributions from political committees in excess of $5,000 annually or any contributions from corporations or labor organizations" (emphasis in original).


title: Political action committee

text: The term "Super PAC" was coined by reporter Eliza Newlin Carney. According to "Politico", Carney, a staff writer covering lobbying and influence for "CQ Roll Call", "made the first identifiable, published reference to 'super PAC' as it's known today while working at "National Journal", writing on June 26, 2010, of a group called Workers' Voices, that it was a kind of super PAC' that could become increasingly popular in the post-Citizens United world."


title: Political action committee

text: According to FEC advisories, Super PACs are not allowed to coordinate directly with candidates or political parties. This restriction is intended to prevent them from operating campaigns that complement or parallel those of the candidates they support or engaging in negotiations that could result in "quid pro quo" bargaining between donors to the PAC and the candidate or officeholder. However, it is legal for candidates and Super PAC managers to discuss campaign strategy and tactics through the media.


title: Political action committee

text: By January 2010, at least 38 states and the federal government required disclosure for all or some independent expenditures or electioneering communications. These disclosures were intended to deter potentially or seemingly corrupting donations. Contributions to, and expenditures by, Super PACs are tracked by the FEC and by independent organizations such as OpenSecrets.


title: Political action committee

text: The 2020 election attracted record amounts of donations from dark money groups to political committees like super PACs. These groups are required to reveal their backers, but they can hide the true source of funding by reporting a non-disclosing nonprofit or shell company as the donor. By using this tactic, dark money groups can get around a 2020 court ruling that attempts to require nonprofits running political ads to reveal their donors.


title: Political action committee

text: It is also possible to spend money without voters knowing the identities of donors before voting takes place. In federal elections, for example, political action committees have the option to choose to file reports on a "monthly" or "quarterly" basis. This allows funds raised by PACs in the final days of the election to be spent and votes cast before the report is due and the donors identities' are known.


title: Political action committee

text: In one high-profile case, a donor to a super PAC kept his name hidden by using an LLC formed for the purpose of hiding the donor's name. One super PAC, that originally listed a $250,000 donation from an LLC that no one could find, led to a subsequent filing where the previously "secret donors" were revealed. However, campaign finance experts have argued that this tactic is already illegal, since it would constitute a contribution in the name of another.


title: Political action committee

text: A "Pop-Up" Super PAC is one that is formed within 20 days before an election, so that its first finance disclosures will be filed after the election. In 2018 the Center for Public Integrity recorded 44 pop-up Super PACs formed on October 18 or later, a year when the Federal Election Commission pre-general election reports covered activity through October 17. In 2020 there were more than 50.


title: Political action committee

text: Pop-up Super PACs often have local-sounding or issue-oriented names. However they can be funded by much larger party-affiliated PACs. In 2021 the Campaign Legal Center filed a complaint with the FEC, listing 23 pop-up Super PACs which had failed to disclose their affiliation to other PACs mostly affiliated with leaderships of the two major parties.


title: Political action committee

text: Super PACs may support particular candidacies. In the 2012 presidential election, Super PACs played a major role, spending more than the candidates' election campaigns in the Republican primaries. As of early April 2012, Restore Our Future—a Super PAC usually described as having been created to help Mitt Romney's presidential campaign—had spent $40 million. (a pro–Newt Gingrich group) spent $16 million. Some Super PACs are run or advised by a candidate's former staff or associates.


title: Political action committee

text: In the 2012 election campaign, most of the money given to super PACs came from wealthy individuals, not corporations. According to data from OpenSecrets, the top 100 individual super PAC donors in 2011–2012 made up just 3.7% of contributors, but accounted for more than 80% of the total money raised, while less than 0.5% of the money given to "the most active Super PACs" was donated by publicly traded corporations.


title: Political action committee

text: As of February 2012, according to OpenSecrets, 313 groups organized as Super PACs had received $98,650,993 and spent $46,191,479. This means early in the 2012 election cycle, PACs had already greatly exceeded total receipts of 2008. The leading Super PAC on its own raised more money than the combined total spent by the top 9 PACS in the 2008 cycle.


title: Political action committee

text: In the 2016 presidential campaign, Super PACs were described (by journalist Matea Gold) as "finding creative ways to work in concert" with the candidates they supported and work around the "narrowly drawn" legal rule that separated political campaigns from outside groups/SuperPACs. "Nearly every top presidential hopeful" had "a personalized super PAC" that raised "unlimited sums and was "run by close associates or former aides". Not only did the FEC regulations allow campaigns to "publicly signal their needs to independent groups", political operatives on both sides "can talk to one another directly, as long as they do not discuss candidate strategy." Candidates are even allowed by the FEC "to appear at super PAC fundraisers, as long as they do not solicit more than $5,000".


title: Political action committee

text: Representative David E. Price (D–NC) complained “The rules of affiliation are just about as porous as they can be, and it amounts to a joke that there’s no coordination between these individual super PACs and the candidates.” As of mid-2015, despite receiving 29 complaints about coordination between campaigns and Super PACs, "FEC has yet to open an investigation".


title: Political action committee

text: According to Open Secrets, in the 2019-2020 cycle (as of October 29, 2022) 2,415 groups organized as super PACs; they had reported total receipts of a little over $2.5 billion and total independent expenditures of a little under $1.3 billion.


title: Political action committee

text: A hybrid PAC (sometimes called a Carey Committee) is similar to a Super PAC, but can give limited amounts of money directly to campaigns and committees, while still making independent expenditures in unlimited amounts.


title: Political action committee

text: In 2019, Bernie Sanders and Elizabeth Warren self-imposed fundraising restrictions, including "swearing off PAC money." While they do not accept direct financial contributions from either connected or non-connected PACs, both Sanders and Warren were supported by at least one Super PAC.


title: Political action committee

text: OpenSecrets maintains a list of the largest PACs by election cycle on its website OpenSecrets.org. Their list can be filtered by receipts or different types of expenses, political party, and type of PAC.


title: Political action committee

text: In the 2018 election, the top ten PACs donated a total of $29,349,895 (directly, and via their affiliates and subsidiaries) to federal candidates:


title: Kang Mi-na

text: Kang Mi-na (; born December 4, 1999), known mononymously as Mina, is a South Korean singer, rapper and actress signed under Jellyfish Entertainment. She is best known for finishing ninth in Mnet's K-pop girl group survival show "Produce 101". She is a former member of the girl groups I.O.I and Gugudan, as well as its subgroups 5959 and SeMiNa. Kang is also best known for her roles in the television series "Dokgo Rewind" (2018), "Tale of Fairy" (2018), "Hotel del Luna" (2019), "Summer Guys" (2021), "Moonshine" (2021–2022), and "Café Minamdang" (2022).


title: Kang Mi-na

text: Kang Mi-na was born in Icheon, and later moved to Jeju City when she was eight years old. She graduated from School of Performing Arts Seoul in 2018.


title: Kang Mi-na

text: In January 2016, Kang, together with fellow trainees Kim Na-young and Kim Se-jeong, represented Jellyfish Entertainment on reality girl group survival show "Produce 101" for the chance to debut in a Mnet girl group.


title: Kang Mi-na

text: The program came to an end on April 1, 2016, and the final line-up of South Korean girl group I.O.I was announced, made up of the top 11 poll-winners. Kang finished ninth overall, with 173,762 votes, becoming an official member of the girl group.


title: Kang Mi-na

text: On June 10, 2016, YMC Entertainment revealed that Kang would not be taking part in I.O.I's unit promotions, but would instead return to her agency to debut and promote with upcoming South Korean girl group, Gugudan.


title: Kang Mi-na

text: In July 2017, a Gugudan subgroup named Gugudan 5959 was formed with Kang and fellow member Hye-yeon. They debuted with the single "Ice Chu" on August 10, 2017.


title: Kang Mi-na

text: In June 2018, a Gugudan subgroup named Gugudan SeMiNa was formed with Kang and members Sejeong and Nayoung. They debuted with the release of their self-titled single album on July 10, 2018.


title: Kang Mi-na

text: Kang made her acting debut in the MBC romantic comedy series "Children of the 20th Century" in 2017, playing the younger counterpart of Han Ye-seul's character. The same year, she played her first lead role in the 2-episode tvN drama "History of Walking Upright".


title: Kang Mi-na

text: In 2018, Kang began hosting the music program "Show! Music Core". She then starred in the action web film "Dokgo Rewind" alongside Sehun of Exo, and played a supporting role in tvN fantasy romance drama "Tale of Fairy".


title: Kang Mi-na

text: In March 2019, Kang was confirmed as part of the cast for "Law of the Jungle in Thailand". The same year, Kang played Kim Yuna in tvN fantasy drama "Hotel del Luna".


title: Kang Mi-na

text: In 2021, Kang was cast in the web drama "Summer Guys" which premiered on March 30. In June 2021, Kang made a cameo appearance in tvN fantasy-romance drama "My Roommate Is A Gumiho". Later the same year, she starred in the KBS2 historical drama "Moonshine" as Han Ae-jin, the only daughter of a noble family. In 2022, she was cast in "Café Minamdang" as Nam Hye-joon.


title: Advent

text: Advent is a Christian season of preparation for the Nativity of Christ at Christmas. It is the beginning of the liturgical year in Western Christianity.


title: Advent

text: Thus, the season of Advent in the Christian calendar anticipates the "coming of Christ" from three different perspectives: the physical nativity in Bethlehem, the reception of Christ in the heart of the believer, and the eschatological Second Coming.


title: Advent

text: Practices associated with Advent include Advent calendars, lighting an Advent wreath, praying an Advent daily devotional, erecting a Christmas tree or a Chrismon tree, lighting a Christingle, as well as other ways of preparing for Christmas, such as setting up Christmas decorations, a custom that is sometimes done liturgically through a hanging of the greens ceremony.


title: Advent

text: The equivalent of Advent in Eastern Christianity is called the Nativity Fast, but it differs in length and observances, and does not begin the liturgical church year as it does in the West. The Eastern Nativity Fast does not use the equivalent "parousia" in its preparatory services.


title: Advent

text: In the Western Rite of the Orthodox Church, and in the Anglican, Lutheran, Moravian, Presbyterian, and Methodist calendars, Advent commences on the fourth Sunday before Christmas (always falling between 27 November and 3 December), and ends on Christmas Eve on 24 December.


title: Advent

text: In the Roman Rite of the Catholic Church, Advent begins with First Vespers (Evening Prayer I) of the Sunday that falls on or closest to November 30 and it ends before First Vespers (Evening Prayer I) of Christmas.


title: Advent

text: In the Ambrosian Rite and the Mozarabic Rite of the Catholic Church, Advent begins on the sixth Sunday before Christmas, the Sunday after St. Martin's Day ().


title: Advent

text: It is not known when the period of preparation for Christmas that is now called Advent began – it was certainly in existence from about 480 – and the novelty introduced by the Council of Tours of 567 was to order monks to fast every day in the month of December until Christmas. It is "impossible to claim with confidence a credible explanation of the origin of Advent".


title: Advent

text: Associated with Advent as a time of penitence was a period of fasting, known also as St Martin's Lent or the Nativity Fast. According to Saint Gregory of Tours the celebration of Advent began in the fifth century when the Bishop Perpetuus directed that starting with the St. Martin's Day on 11 November until Christmas, one fasts three times per week; this is why Advent was sometimes also named "Lent of St. Martin". This practice remained limited to the diocese of Tours until the sixth century.


title: Advent

text: But the Council of Macon held in 581 adopted the practice in Tours and soon all France observed three days of fasting a week from the feast of Saint Martin until Christmas. The most devout worshipers in some countries exceeded the requirements adopted by the council, and fasted every day of Advent.


title: Advent

text: The first clear references in the Western Church to Advent occur in the Gelasian Sacramentary, which provides Advent Collects, Epistles, and Gospels for the five Sundays preceding Christmas and for the corresponding Wednesdays and Fridays. The homilies of Gregory the Great in the late sixth century showed four weeks to the liturgical season of Advent, but without the observance of a fast. However, under Charlemagne in the ninth century, writings claim that the fast was still widely observed.


title: Advent

text: In the thirteenth century, the fast of Advent was not commonly practised although, according to Durand of Mende, fasting was still generally observed. As quoted in the bull of canonisation of St. Louis, the zeal with which he observed this fast was no longer a custom observed by Christians of great piety. It was then limited to the period from the feast of Saint Andrew until Christmas Day, since the solemnity of this apostle was more universal than that of St. Martin. When Pope Urban V ascended the papal seat in 1362, he imposed abstinence on the papal court but there was no mention of fasting. It was then customary in Rome to observe five weeks of Advent before Christmas. The Ambrosian Rite has six. The Greeks show no more real consistency; Advent was an optional fast that some begin on 15 November, while others begin on 6 December or only a few days before Christmas.


title: Advent

text: The liturgy of Advent remained unchanged until the Second Vatican Council introduced minor changes, differentiating the spirit of Lent from that of Advent, emphasising Advent as a season of hope for Christ's coming now as a promise of his Second Coming.


title: Advent

text: The theme of readings and teachings during Advent is often the preparation for the Second Coming and the Last Judgement. While the Sunday readings relate to the first coming of Jesus Christ as saviour as well as to his Second Coming as judge, traditions vary in the relative importance of penitence and expectation during the weeks in Advent.


title: Advent

text: Since approximately the 13th century, the usual liturgical colour in Western Christianity for Advent has been violet; Pope Innocent III declared black to be the proper colour for Advent, though Durandus of Saint-Pourçain claims violet has preference over black. The violet or purple colour is often used for antependia, the vestments of the clergy, and often also the tabernacle.


title: Advent

text: On the third Sunday of Advent, Gaudete Sunday, rose may be used instead, referencing the rose used on Laetare Sunday, the fourth Sunday of Lent. A rose coloured candle in Western Christianity is referenced as a sign of joy ("Gaudete") lit on the third Sunday of Advent.


title: Advent

text: While the traditional color for Advent is violet, there is a growing interest in and acceptance, by some Christian denominations of blue as an alternative liturgical colour for Advent, a custom traced to the usage of the Church of Sweden (Lutheran) and the Mozarabic Rite, which dates from the 8th century.


title: Advent

text: The Lutheran Book of Worship lists blue as the preferred colour for Advent while the Methodist Book of Worship and the Presbyterian Book of Common Worship identify purple or blue as appropriate for Advent. Proponents of this new liturgical trend argue that purple is traditionally associated with solemnity and somberness, which is fitting to the repentant character of Lent. There has been an increasing trend in Protestant churches to supplant purple with blue during Advent as it is a hopeful season of preparation that anticipates both Bethlehem and the consummation of history in the Second Coming of Jesus Christ.<ref name="CRI/Voice, Institute – The Color Blue in Advent"></ref>


title: Advent

text: This colour is often called "Sarum blue", referring to its purported use at Salisbury Cathedral. Many of the ornaments and ceremonial practices associated with the Sarum rite were revived in the Anglican Communion in the late 19th and early 20th centuries, as part of the Anglo-Catholic Oxford Movement in the Church of England. While Anglican liturgist Percy Dearmer does not object to the use of blue during Advent, he did not attribute its use to Sarum. "[T]he so-called Sarum uses are really one-half made up from the fancy of nineteenth-century ritualists." While the Sarum use was influential, different dioceses, including Salisbury, used a variety of colored vestments. "In the Sarum Rite the Advent colour was red, but it could very well have been the red-purple known as murray..."


title: Advent

text: The Roman Catholic Church retains the traditional violet. Blue is not generally used in Latin Catholicism, and where it does regionally, it has nothing to do with Advent specifically, but with veneration of the Blessed Virgin. However, on some occasions that are heavily associated with Advent, such as the Rorate Mass (but not on Sundays), white is used.


title: Advent

text: During the Nativity Fast, red is used by Eastern Christianity, although gold is an alternative colour.<ref name="Red/Gold in Orthodoxy"></ref>


title: Advent

text: Many churches also hold special musical events, such as Nine Lessons and Carols and singing of Handel's "Messiah" oratorio. Also, the Advent Prose, an antiphonal plainsong, may be sung. The "Late Advent Weekdays", , mark the singing of the Great Advent 'O antiphons'. These are the daily antiphons for the Magnificat at Vespers, or Evening Prayer (in the Roman Catholic and Lutheran churches) and Evensong in Anglican churches, and mark the forthcoming birth of the Messiah. They form the basis for each verse of the popular Advent hymn, "O come, O come, Emmanuel". German songs for Advent include "Es kommt ein Schiff, geladen" from the 15th century and "O Heiland, reiß die Himmel auf", published in 1622. Johann Sebastian Bach composed several cantatas for Advent in Weimar, from "Nun komm, der Heiden Heiland", BWV 61, to "Herz und Mund und Tat und Leben", BWV 147a, but only one more in Leipzig where he worked for the longest time, because there Advent was a silent time which allowed cantata music only on the first of the four Sundays.


title: Advent

text: During Advent, the Gloria of the Mass is omitted, so that the return of the angels' song at Christmas has an effect of novelty. Mass compositions written especially for Lent, such as Michael Haydn's "Missa tempore Quadragesimae", in D minor for choir and organ, have no Gloria and so are appropriate for use in Advent.


title: Advent

text: Bishop Perpetuus of Tours, who died in 490, ordered fasting three days a week from the day after Saint Martin's Day (). In the 6th century, local councils enjoined fasting on all days except Saturdays and Sundays from Saint Martin's Day to Epiphany (the feast of baptism), a period of 56 days, but of 40 days fasting, like the fast of Lent. It was therefore called "Quadragesima Sancti Martini" (Saint Martin's Lent). This period of fasting was later shortened and called "Advent" by the Church.


title: Advent

text: In the Anglican and Lutheran churches this fasting rule was later relaxed. The Roman Catholic Church later abolished the precept of fasting (at an unknown date at the latest in 1917), later, but kept Advent as a season of penitence. In addition to fasting, dancing and similar festivities were forbidden in these traditions. On Rose Sunday, relaxation of the fast was permitted. Eastern Orthodox and Oriental Orthodox churches still hold the tradition of fasting for 40 days before Christmas.


title: Advent

text: In England, especially in the northern counties, there was a custom (now extinct) for poor women to carry around the "Advent images", two dolls dressed to represent Jesus and the Blessed Virgin Mary. A halfpenny coin was expected from every one to whom these were exhibited and bad luck was thought to menace the household not visited by the doll-bearers before Christmas Eve at the latest.


title: Advent

text: In Normandy, farmers employed children under twelve to run through the fields and orchards armed with torches, setting fire to bundles of straw, and thus it was believed driving out such vermin as were likely to damage the crops.


title: Advent

text: In Italy, among other Advent celebrations is the entry into Rome in the last days of Advent of the Calabrian "pifferari", or bagpipe players, who play before the shrines of Mary, the mother of Jesus: in Italian tradition, the shepherds played these pipes when they came to the manger at Bethlehem to pay homage to the infant Jesus.


title: Advent

text: In recent times the most common observance of Advent outside church circles has been the keeping of an advent calendar or advent candle, with one door being opened in the calendar, or one section of the candle being burned, on each day in December leading up to Christmas Eve. In many countries, the first day of Advent often heralds the start of the Christmas season, with many people opting to erect their Christmas trees and Christmas decorations on or immediately before Advent Sunday.


title: Advent

text: Since 2011, an Advent labyrinth consisting of 2500 tealights has been formed for the third Saturday of Advent in Frankfurt-Bornheim.


title: Advent

text: The keeping of an Advent wreath is a common practice in homes or churches. The concept of the Advent wreath originated among German Lutherans in the 16th Century. However, it was not until three centuries later that the modern Advent wreath took shape. The modern Advent wreath, with its candles representing the Sundays of Advent, originated from an 1839 initiative by Johann Hinrich Wichern, a Protestant pastor in Germany and a pioneer in urban mission work among the poor. In view of the impatience of the children he taught as they awaited Christmas, he made a ring of wood, with nineteen small red tapers and four large white candles. Every morning a small candle was lit, and every Sunday a large candle. Custom has retained only the large candles.


title: Advent

text: The wreath crown is traditionally made of fir tree branches knotted with a red ribbon and decorated with pine cones, holly, laurel, and sometimes mistletoe. It is also an ancient symbol signifying several things; first of all, the crown symbolises victory, in addition to its round form evoking the sun and its return each year. The number four represents the four Sundays of Advent, and the green twigs are a sign of life and hope. The fir tree is a symbol of strength and laurel a symbol of victory over sin and suffering. The latter two, with the holly, do not lose their leaves, and thus represent the eternity of God. The flames of candles are the representation of the Christmas light approaching and bringing hope and peace, as well as the symbol of the struggle against darkness. For Christians, this crown is also the symbol of Christ the King, the holly recalling the crown of thorns resting on the head of Christ.


title: Advent

text: The Advent wreath is adorned with candles, usually three violet or purple and one pink, the pink candle being lit on the Third Sunday of Advent, called Gaudete Sunday after the opening word, "Gaudete", meaning "Rejoice", of the entrance antiphon at Mass. Some add a fifth candle (white), known as the Christ Candle, in the middle of the wreath, to be lit on Christmas Eve or Day.


title: Advent

text: The candles symbolise, in one interpretation, the great stages of salvation before the coming of the Messiah; the first is the symbol of the forgiveness granted to Adam and Eve, the second is the symbol of the faith of Abraham and of the patriarchs who believe in the gift of the Promised Land, the third is the symbol of the joy of David whose lineage does not stop and also testifies to his covenant with God, and the fourth and last candle is the symbol of the teaching of the prophets who announce a reign of justice and peace. Or they symbolise the four stages of human history; creation, the Incarnation, the redemption of sins, and the Last Judgment.


title: Advent

text: In Orthodox churches there are sometimes wreaths with six candles, in line with the six-week duration of the Nativity Fast/Advent.


title: Advent

text: In Sweden, white candles, symbol of festivity and purity, are used in celebrating Saint Lucy's Day, 13 December, which always falls within Advent.


title: Advent

text: In the Roman Rite of the Catholic Church, the readings of Mass on the Sundays of Advent have distinct themes:


title: Soldier

text: A soldier is a person who is a member of an army. A soldier can be a conscripted or volunteer enlisted person, a non-commissioned officer, or an officer.


title: Soldier

text: The word "soldier" derives from the Middle English word , from Old French or , meaning mercenary, from , meaning shilling's worth or wage, from or , shilling. The word is also related to the Medieval Latin , meaning soldier (literally, "one having pay"). These words ultimately derive from the Late Latin word , referring to an Ancient Roman coin used in the Byzantine Empire.


title: Soldier

text: In most armies use of the word "soldier" has taken on a more general meaning due to the increasing specialization of military occupations that require different areas of knowledge and skill-sets. As a result, "soldiers" are referred to by names or ranks which reflect an individual's military occupation specialty arm, service, or branch of military employment, their type of unit, or operational employment or technical use such as: trooper, tanker (a member of tank crew), commando, dragoon, infantryman, guardian, artilleryman, paratrooper, grenadier, ranger, sniper, engineer, sapper, craftsman, signaller, medic, or a gunner.


title: Soldier

text: In many countries soldiers serving in specific occupations are referred to by terms other than their occupational name. For example, military police personnel in the British Army are known as "red caps" because of the colour of their caps (and berets).


title: Soldier

text: Infantry are sometimes called "grunts" (in the United States Army) or "squaddies" (in the British Army), while U.S. Army artillery crews, or "gunners," are sometimes referred to as "redlegs", from the service branch color for artillery. U.S. soldiers are often called "G.I.s" (short for the term "General Issue").


title: Soldier

text: French Marine Infantry are called "porpoises" () because of their amphibious role. Military units in most armies have nicknames of this type, arising either from items of distinctive uniform, some historical connotation or rivalry between branches or regiments.


title: Soldier

text: Soldiers in war have various different motivations for fighting including protecting their stated homeland, personal interests and ideological goals. Soldiers have reported not fighting for any national interests or ideological goal but commonly the friendship and connection with their other soldiers through mutual aid, this type of organization is described by horizontal connection.


title: Soldier

text: Some soldiers, such as conscripts or draftees, serve a single limited term. Others choose to serve until retirement; then they receive a pension and other benefits. In the United States, military members can get retirement pay after 20 years. In other countries, the term of service is 30 years, hence the term "30-year man".


title: The One (2001 film)

text: The One is a 2001 American science fiction action film directed by James Wong, written by Wong and Glen Morgan, and starring Jet Li, Delroy Lindo, Carla Gugino, and Jason Statham.


title: The One (2001 film)

text: The film, which deals with the concept of multiverses and interdimensional travel, follows Gabriel Yulaw (Jet Li), a rogue agent who travels to parallel realities in order for him to kill other versions of himself to become a mythical super-being known as "The One". Li plays a dual role as Yulaw and Gabe Law, an LASD deputy sheriff who teams up with a multiverse agent to prevent Yulaw from becoming the One.


title: The One (2001 film)

text: The film was released in the United States by Columbia Pictures on November 2, 2001, and received negative critical reviews but grossed $78,5 million worldwide.


title: The One (2001 film)

text: Gabriel Yulaw (Jet Li), once an agent of the MultiVerse Authority (MVA) which polices interdimensional travel, seeks to hunt down all variations of himself in alternate universes. By killing 124 versions of his other selves and absorbing their life energies, Yulaw believes that he will become a superpowered-godlike being called "The One".


title: The One (2001 film)

text: After killing Lawless, the 123rd variation in the Anubis Universe, Yulaw is captured by MVA agents Roedecker (Delroy Lindo) and Funsch (Jason Statham) and taken back to the MVA headquarters in the Alpha Universe. After he is sentenced to life in the Stygian penal colony in the Hades Universe, Yulaw manages to escape with the help of his lover and teleports to the Charis Universe where the last variation of himself lives.


title: The One (2001 film)

text: The last known variation, Gabe Law, is a deputy sheriff working in the Los Angeles County Sheriff's Department. For two years, Gabe has been experiencing increases in strength, speed, and mental ability, but neither he nor his wife T.K. (Carla Gugino) can understand why. While transporting a prisoner, Gabe "feels" Yulaw's presence in time to avoid being shot. Gabe sustains an injury after falling from a wall which Yulaw scales with ease. Roedecker and Funsch arrive in time to stop Yulaw from finishing off Gabe.


title: The One (2001 film)

text: Although unfamiliar with interdimensional travel, Gabe realizes that Yulaw is identical to him in every way. Rodecker and Funsch track Yulaw to the hospital where Gabe is being examined. Yulaw deters them from shooting him because if he is killed, Gabe would then be left as the One. Dressed alike and identical to each other, Gabe and Yulaw's battle confuses the other police officers. Both Gabe and Yulaw manage to escape the hospital.


title: The One (2001 film)

text: The MVA agents deviate from their orders and split up. Roedecker pursues and fights Yulaw but is killed when the latter breaks his neck, disabling a bomb Roedecker intended to use to finish both of them off. Funsch catches up with Gabe and explains to him that there are multiple universes with wormholes briefly connecting them at uncontrollable times. Yulaw sneaks into Gabe's residence where T.K., believing him to be Gabe, agrees to hide him from the police. She realizes that Yulaw is deceiving her but not in time to avoid being captured. Gabe arrives, only to watch helplessly as Yulaw kills T.K. Funsch finds a guilt-ridden Gabe and both team up to find Yulaw at the next wormhole.


title: The One (2001 film)

text: Gabe and Funsch arrive at an industrial plant, where they encounter and fight Yulaw. Funsch is easily defeated but Gabe and Yulaw are more evenly matched. Gabe manages to gain the upper hand but only seconds before the wormhole arrives. All three of them are sucked into it and collapse on the floor of the MVA headquarters. Yulaw is transported immediately to the Hades Universe after a failed attempt to switch places with Gabe. The MVA then prepares to send Gabe back to his own universe, where he will be arrested and put into prison for the crimes that Yulaw committed. Recalling an earlier conversation with Gabe, Funsch compassionately sends him to a different universe in which Gabe can have a normal life again from when he first met T.K.


title: The One (2001 film)

text: Meanwhile, Yulaw, now on the penal colony in the Hades Universe, declares that he will still become the One and then proceeds to battle a prison inmate. The camera then pulls back to show an army of other prison inmates taking on Yulaw on top of a ziggurat.


title: The One (2001 film)

text: The documentary "Jet Li is 'The One" on the special features section on the DVD explains that both Gabriel Yulaw and "Gabe" Law use martial arts that represent their personalities. Yulaw uses Xingyiquan (The Shape-Will Fist), characterized by aggressive linear movements, while Gabe uses Baguazhang (The Eight Trigram Palms) which uses subtle, circular movements. These martial arts are confirmed by their own personalities as Yulaw is very direct, not caring whom he hurts, while Gabe believes life goes in a circle, perfectly balanced.


title: The One (2001 film)

text: The score was composed by Trevor Rabin and was released on December 11, 2001, but no soundtrack album was released. Noted songs in the film were Drowning Pool's "Bodies" and "Sinner", "Down with the Sickness" by the band Disturbed, "Awake" by Godsmack, "Train of Dreams" by Jesse Dayton and two tracks by Papa Roach, "Blood Brothers" and "Last Resort".


title: The One (2001 film)

text: For its initial theatrical release, the film grossed $43.9 million in the United States and Canada and $28.7 million internationally, grossing $72.7 million worldwide. The film was released in the United Kingdom on April 12, 2004 and grossed $1.3 million, boosting the film's worldwide cume to $74 million.


title: The One (2001 film)

text: The film received mostly negative reviews. Based on reviews collected by Rotten Tomatoes , of critics have given the film a positive review, with an average rating of . The site's critics consensus reads, ""The One" plays more like a video game than a movie and borrows freely from other, better sci-fi actioners, burying Jet Li's spectacular talents under heaps of editing and special effects." On Metacritic, the film has a weighted average score of 25 out of 100 based on reviews from 21 critics, indicating "generally unfavorable reviews". Audiences surveyed by CinemaScore gave the film a grade "B" on scale of A to F.


title: The One (2001 film)

text: Roger Ebert gave the film 1.5 out of 4 stars, calling it "brainless high-tech action without interesting dialogue, characters, motivation or texture." Robert Koehler of "Variety" wrote: "The combo of cheesy effects and martial arts choreographer Cory Yuen's unimaginative staging results in something that's martial artless."


title: The One (2001 film)

text: Loren King of the "Chicago Tribune" gave a favorable review, writing that the movie delivered "the high-octane sequences starring martial-arts expert Jet Li with precision and well-crafted pace." King gave a score of 3 out of 4. Sean Axmaker of the "Seattle Post-Intelligencer" also gave a favourable review noting that James Wong "manage[d] to create a fun, inventive, mischievously tongue-in-cheek showcase" giving a B− score.


title: The One (2001 film)

text: The home video release of "The One" took place on August 19, 2002. The DVD release contained audio commentary, interviews with James Wong, Jet Li and some more. Almar Haflidason of the BBC reviewed the DVD release giving a score of 4 out of 5.


title: Self Esteem (musician)

text: Rebecca Lucy Taylor (born 15 October 1986), is an English singer-songwriter who performs under the stage name of Self Esteem. The inspiration for her stage name comes from the evolution of Taylor's confidence from her early 20s.


title: Self Esteem (musician)

text: Taylor was previously a member of folk duo Slow Club, which formed in Sheffield in 2006. The band consisted of multi-instrumentalists Charles Watson and Taylor, with Watson on the piano, Taylor on the drums, and both performing guitars and vocals. The band split up in 2017, following an extensive tour to support their last album, owing to differing musical interests and Taylor feeling unfulfilled.


title: Self Esteem (musician)

text: Taylor released "Your Wife", her first single under the Self Esteem moniker, in 2017. Her debut album, "Compliments Please", was released on 1 March 2019 on Fiction Records. The album was preceded by the singles "Wrestling", "Rollout", "The Best" and "Girl Crush".


title: Self Esteem (musician)

text: Self Esteem completed a UK tour and played at festivals such as Glastonbury, British Summer Time and Latitude during 2019.


title: Self Esteem (musician)

text: In April 2021, Taylor released "I Do This All The Time", the first single from her second album as Self Esteem. The single was praised by Tracey Thorn and by Jack Antonoff. In July, she released the title track and announced that the record, "Prioritise Pleasure", would coincide with a UK tour in October of the same year. In August, Self Esteem released the third single, "How Can I Help You". Taylor directed the music videos for those singles, filming all three at the Almeida Theatre. In September, the single "Moody" was released. The video for "Moody" was directed by Louise Bhose and features comedian Alistair Green alongside Taylor. In October, Self Esteem released "You Forever", the final single preceding the album.


title: Self Esteem (musician)

text: "Prioritise Pleasure" was released on 22 October 2021. The UK tour started on 6 November 2021 in Edinburgh.


title: Self Esteem (musician)

text: "The Guardian", "The Sunday Times" and "Gigwise" ranked "Prioritise Pleasure" as the best album of 2021. "NME" ranked the album as the fourth best of 2021. "The Guardian" named "I Do This All The Time" as the best song of 2021.


title: Self Esteem (musician)

text: Taylor composed the soundtrack for the West End production of Suzie Miller's play "Prima Facie", which she digitally released on 14 June 2022.


title: Self Esteem (musician)

text: Taylor released her first single as Self Esteem on Kick + Clap, a label run by Django Django member Dave MacLean. Taylor then went on to feature on the Django Django track "Surface to Air", which appeared on the band's album "Marble Skies".


title: Self Esteem (musician)

text: She provided guest vocals for "Strangle of Anna", a song by fellow Sheffield act the Moonlandingz which appeared on their second album, "Interplanetary Class Classics". Taylor also performed with the band live.


title: Self Esteem (musician)

text: Taylor has been openly bisexual since 2013. She has spoken about breaking into the industry in her 30s, stating she used to lie and say she was 25. She said it took her "a while to be proud" of breaking into the industry later in life.


title: Calendar Man

text: Calendar Man (Julian Gregory Day) is a supervillain appearing in American comic books published by DC Comics, as an enemy of the superhero Batman, belonging to the collective of adversaries that make up Batman's rogues gallery. Calendar Man is known for committing crimes that correspond with holidays and significant dates. He often wears costumes to correlate with the date of the designated crime. In his debut, the character was presented as a joke villain, but in later years, writers developed Calendar Man as a dark, disturbed serial killer that toys with Batman.


title: Calendar Man

text: The character made his live-action debut as a cameo in the DC Extended Universe film "The Suicide Squad" (2021), portrayed by Sean Gunn.


title: Calendar Man

text: Calendar Man first appeared in "Detective Comics" #259 (September 1958) and was created by Bill Finger and Sheldon Moldoff. He returned after twenty years to plague Batman again in "Batman" #312 (June 1979).


title: Calendar Man

text: Calendar Man is fascinated by dates and calendars. His crimes always have a relationship to the date that they are committed. The theme may be related to what day of the week it is or to a holiday or to a special anniversary on that date; he will plan his crime around that day. He often wears different costumes which correspond to the significance of the date, though he does have a main costume which has various numbers (meant to represent days on a calendar) sprouting from the shoulders.


title: Calendar Man

text: He next appears in "Batman" #312 (June 1979), in which his crimes are based on the days of the week, and his costumes reflect the Norse and Roman gods they were named for, e.g. Saturn. Calendar Man fires an ultrasonic sound weapon at Batman, nearly killing him. While Batman recuperates, Calendar Man commits crimes on Friday and Saturday. He plans to leave Gotham City on a train called the Western Sun Express on Sunday -- the traditional "day of rest" --knowing that the police would be waiting for him to attempt to steal an artifact of the Egyptian god of the Sun, Ra. Batman captures him at the train station before he boards.


title: Calendar Man

text: This issue also marked the first appearance of his most commonly known "calendar cape" costume. His next appearance in "Batman" #384–385 (June–July 1985) and "Detective Comics" #551 (June 1985), sees the Calendar Man at the onset of the Crisis being used as a pawn of the Monitor in an attempt to find an assassin to eliminate Batman. In this instance, the Calendar Man's theme is holidays, and he attempts to use the young Jason Todd, as Robin, as the Batman's Achilles' heel, with the promise of his demise on the first day of Spring. Ultimately, however, Robin himself captures the villain.


title: Calendar Man

text: His best-known modern appearance is in the miniseries "", where he is portrayed as a Hannibal Lecter-like figure, offering insight in Batman's search for Holiday, a serial killer who uses holidays as his "modus operandi". Like Lecter in the novels of Thomas Harris, Calendar Man knows who the killer is and keeps this information to himself, choosing instead to taunt the heroes with cryptic clues. He returns in that story's sequel, "", in which he impersonates deceased mobster Carmine Falcone in an effort to drive his children, Alberto and Mario, insane. When Calendar Man (as Carmine) tries to get Alberto to kill himself, however, the younger Falcone detects the ruse; Alberto knows that his father abhorred suicide, and thus figures out that Calendar Man is manipulating him. At the end of the story arc, Falcone's daughter Sofia Falcone Gigante beats him to a pulp as revenge for his role in her father's death. In both stories, Calendar Man is bitter that the new murderous rogues have taken the attention off him; he fears that he is being forgotten.


title: Calendar Man

text: Calendar Man teams up with Catman and Killer Moth as part of The Misfits, a group of villains trying to prove themselves in "" #7–9 (1992–1993). Also, he is among the Arkham Asylum inmates freed by Bane in "", but he is easily recaptured by Power Girl shortly after his escape. In "Team Titans" #14 (Nov 1993) Calendar Man and several other villains whose crimes center on time-based motifs, including Time Commander, fight the title's heroes over a valued hourglass. Calendar Man appears in "All the Deadly Days", a story in "80 Page Giant Batman Special Edition" #3 (July 2000), in which he has acquired a new high-tech costume, and moves up to more grandiose crimes. He makes an appearance in the alternate reality story "Superman: Arkham" (beginning in "Superman" (vol. 2) #160), which was also written by Jeph Loeb. Calendar Man appears in the series "Harley Quinn", as an inside informant to the title character.


title: Calendar Man

text: In Week 20 of the weekly series "52", a radio broadcasts a message saying that Calendar Man was left tied up for the cops in Gotham City, even though there is no Batman. It is revealed the new heroine, Batwoman, was responsible for his capture.


title: Calendar Man

text: In September 2011, The New 52 rebooted DC's continuity. In this new timeline, the character appears as a lifestyle reporter in a series of backup stories called "Channel 52". In one, he claims to have kept up a video diary out of scavenged materials because basic human civilization has fallen.


title: Calendar Man

text: In DC Rebirth, Calendar Man is a permanent inmate of Arkham Asylum. When Batman hid Psycho-Pirate in Arkham, Bane came for him and tore through the asylum and defeated all its inmates, who Batman had freed to weaken Bane. Eventually, Bane confronted Calendar Man, but instead of fighting him, Calendar Man stated that everything was just a loop and that all of this was pointless as Bane would never win.


title: Calendar Man

text: Calendar Man is a successful inventor, capable of designing the machinery needed to deploy his various schemes. His talents aid him as he pursues his obsession with quirks of the calendar, carefully planning and theming his crimes around holidays, weekdays and the seasons. Calendar Man is also an experienced hand-to-hand combatant, although his main reason for his success is his intelligence. In his latest incarnation, as written by Scott Snyder and Tom King in the pages of the "Batman Rebirth" special (June 2016), the Calendar Man now ages with the seasonal weather of Gotham City. Every spring he is reborn, with his DNA altered, but retains his memories, and then ages rapidly until winter when he dies, only to be reborn again the next spring by crawling from the husk of his own corpse.


title: Calendar Man

text: The "" version of Calendar Man appears in the story "Last Christmas!" He plans a Christmas Day crime, only to encounter Batman. When a zeta beam teleports Batman away, he claims it to be a Christmas Miracle, minutes before Earth is destroyed. After Batman and Adam Strange restore Earth, Batman proceeds to easily defeat Calendar Man.


title: Calendar Man

text: An older Calendar Man appears in the "Batman Beyond" comic book arc "Hush Beyond". From his wheelchair, he builds a greeting card rigged to explode, intending to kill Commissioner Gordon. Batman arrives to stop him, only to be confronted by Hush. Hush mentions that Batman's "true family" is his many enemies and he plans to destroy it. He then proceeds to kill Calendar Man.


title: Calendar Man

text: Calendar Man appears in ""'s prequel comic, where in Arkham Asylum, he is frustrated when Robin does not recognize him, and attempts to remind Wonder Woman of an encounter they had where she broke one of his ribs as she thwarted a crime he was attempting to commit, and becomes despondent when she only glares at him. Later, he takes part in Harley Quinn's riot and helps Killer Croc hold Batman down as the Riddler prepares to crush his skull with a large rock, but Batman breaks free thanks to Green Arrow. Calendar Man is next seen fighting Nightwing, but is easily held back by the hero. Calendar Man is last seen among the inmates who sorrowfully watch Batman carry Nightwing's body out of the Asylum.


title: Calendar Man

text: Calendar Man appears in "" comic. On Labor Day, Calendar Man murdered several people inside the Campbell Calendar Company. It was all just a plan to draw out Batman, however, the Arkham Knight had given him Electrocutioner's gauntlets to disable Batman's communications. To Batman's great surprise, Calendar Man had gathered seven clones of Solomon Grundy, named after each day of the week, whom Calendar Man claimed to have created. Over the week it took Batman to defeat all of the creatures, Calendar Man had kidnapped a newborn baby. He then gave the exhausted Batman a list of names and told him that those people had been poisoned and had 24 hours to live. He instructed Batman to save them all and then return to him. If Batman failed to save all of the people on the list or brought any of his allies with him when he returned, Calendar Man would execute the baby. The listed citizens were saved but before Batman returned as ordered, Scarecrow visited Julian to dissuade him of his attempt to kill Batman. Grudgingly, Calendar Man relented and gave up the baby without a fight.


title: Calendar Man

text: In the prequel comic to "Injustice 2", Calendar Man is shown to be a member of this universe's Suicide Squad. When the Impostor Batman (a revived Jason Todd in disguise) takes over the Suicide Squad, he deems Calendar Man useless and tries to blow him up with other villains he found worthless, but Calendar Man was lucky for the bomb on his neck was defective. The impostor Batman leaves him behind at the Pentagon.


title: Battle of Karánsebes

text: The Battle of Karánsebes (; ; ; ) was a friendly fire incident in the Austrian army, supposedly occurring during the night of 21–22 September 1788, during the Austro-Turkish War of 1787–1791.


title: Battle of Karánsebes

text: Different portions of an Austrian army, which were scouting for forces of the Ottoman Empire, fired on one another by mistake, causing self-inflicted casualties and severely disrupting the Austrian baggage train, during the night of 21–22 September 1788. The Ottomans took advantage and captured the city of Karánsebes (now Caransebeș, Romania):


title: Battle of Karánsebes

text: Other sources include one from 1843, 60 years after the battle. This made some scholars felt difficulty to draw reliable source and evidence for the detailed account of the battle.


title: Battle of Karánsebes

text: The army of Austria, approximately 100,000 strong, was setting up camp around the town. The army's vanguard, a contingent of hussars, crossed the Timiș River to scout for the presence of the Ottoman army. There was no sign of the Ottoman forces, but the hussars came across a group of Romani people, who offered to sell schnapps to the weary soldiers.


title: Battle of Karánsebes

text: Soon afterwards, some infantry crossed the river. When they saw the party going on, the infantrymen demanded alcohol for themselves. The hussars refused to give them any of the schnapps and, still drunk, set up makeshift fortifications around the barrels. A heated argument ensued, and one soldier fired a shot.


title: Battle of Karánsebes

text: Immediately, the hussars and infantry engaged in combat with one another. During the conflict, some infantry began shouting, ""Turci! Turci!"" ("Turks! Turks!"). The hussars fled the scene, thinking that the Ottoman army's attack was imminent. Most of the infantry also ran away; the army comprised Austrians, Serbs from the military frontier, Croats, and Italians from Lombardy, as well as other minorities, many of whom could not understand one another. While it is not clear which one of these groups did so, they gave the false warning without telling the others, who promptly fled. The situation was made worse when officers, in an attempt to restore order, shouted, "Halt! Halt!" which was misheard by soldiers with no knowledge of German as "Allah! Allah!".


title: Battle of Karánsebes

text: As the hussars fled through the camps, a corps commander, General of Artillery Colloredo, thought that it was a cavalry charge by the Ottoman army and ordered artillery fire. Meanwhile, the entire camp awoke to the sound of battle. The panic caused by the incident demoralised the Holy Roman Emperor Joseph II to the point that he ordered the army to withdraw.


title: Battle of Karánsebes

text: Two days later, the Ottoman army arrived. They discovered dead and wounded soldiers and easily took Karánsebes.


title: Battle of Karánsebes

text: In determining losses, accounts of this incident do not distinguish between losses that were caused by friendly fire, those that were caused by the Turks, and those that resulted from pillaging by the Austrians or by the local Wallachians. One account states that the Austrian rear guard suffered 150 casualties. Another account states that in the days following the incident, 1,200 wounded men were taken to the fortress at Arad, north of Timișoara. Another source claims that 538 men, 24 jäger, and one officer went missing after the incident, but most returned to duty. Also lost were 3 cannons and the chest containing the army's payroll.


title: Battle of Karánsebes

text: Although tens of thousands of casualties occurred within the Austrians' ranks during the course of the 1787 campaign against the Turks, the vast majority of the casualties were the result of disease, particularly malaria and dysentery.


title: Thou

text: The word thou is a second-person singular pronoun in English. It is now largely archaic, having been replaced in most contexts by the word "you", although it remains in use in parts of Northern England and in Scots (). "Thou" is the nominative form; the oblique/objective form is thee (functioning as both accusative and dative); the possessive is thy (adjective) or thine (as an adjective before a vowel or as a possessive pronoun); and the reflexive is thyself. When "thou" is the grammatical subject of a finite verb in the indicative mood, the verb form typically ends in "-(e)st" (e.g. "thou goest", "thou do(e)st"), but in some cases just "-t" (e.g., "thou art"; "thou shalt").


title: Thou

text: Originally, "thou" was simply the singular counterpart to the plural pronoun "ye", derived from an ancient Indo-European root. In Middle English, "thou" was sometimes abbreviated by putting a small "u" over the letter thorn: þͧ. Starting in the 1300s, "thou" and "thee" were used to express familiarity, formality, or contempt, for addressing strangers, superiors, or inferiors, or in situations when indicating singularity to avoid confusion was needed; concurrently, the plural forms, "ye" and "you" began to also be used for singular: typically for addressing rulers, superiors, equals, inferiors, parents, younger persons, and significant others. In the 17th century, "thou" fell into disuse in the standard language, often regarded as impolite, but persisted, sometimes in an altered form, in regional dialects of England and Scotland, as well as in the language of such religious groups as the Society of Friends. The use of the pronoun is also still present in Christian prayer and in poetry.


title: Thou

text: Early English translations of the Bible used the familiar singular form of the second person, which mirrors common usage trends in other languages. The familiar and singular form is used when speaking to God in French (in Protestantism both in past and present, in Catholicism since the post-Vatican II reforms), German, Spanish, Italian, Portuguese, Scottish Gaelic and many others (all of which maintain the use of an "informal" singular form of the second person in modern speech). In addition, the translators of the King James Version of the Bible attempted to maintain the distinction found in Biblical Hebrew, Aramaic and Koine Greek between singular and plural second-person pronouns and verb forms, so they used "thou", "thee", "thy", and "thine" for singular, and "ye", "you", "your", and "yours" for plural.


title: Thou

text: In standard modern English, "thou" continues to be used in formal religious contexts, in wedding ceremonies, in literature that seeks to reproduce archaic language, and in certain fixed phrases such as "fare thee well". For this reason, many associate the pronoun with solemnity or formality. Many dialects have compensated for the lack of a singular/plural distinction caused by the disappearance of "thou" and "ye" through the creation of new plural pronouns or pronominals, such as "yinz", "yous" and "y'all" or the colloquial "you guys". "Ye" remains common in some parts of Ireland, but the examples just given vary regionally and are usually restricted to colloquial speech.


title: Thou

text: Because "thou" has passed out of common use, its traditional forms are often confused by those imitating archaic speech.


title: Thou

text: Verb forms used after "thou" generally end in "-est" (pronounced ) or "-st" in the indicative mood in both the present and the past tenses. These forms are used for both strong and weak verbs.


title: Thou

text: Typical examples of the standard present and past tense forms follow. The "e" in the ending is optional; early English spelling had not yet been standardized. In verse, the choice about whether to use the "e" often depended upon considerations of meter.


title: Thou

text: In Proto-English, the second-person singular verb inflection was "-es". This came down unchanged from Indo-European and can be seen in quite distantly related Indo-European languages: Russian знаешь, "znayesh", thou knowest; Latin "amas", thou lovest. (This is parallel to the history of the third-person form, in Old English -eþ, Russian, знает, "znayet", he knoweth, Latin "amat" he loveth.) The from -es to modern English -est, which took place separately at around the same time in the closely related German and West Frisian languages, is understood to be caused by an assimilation of the consonant of the pronoun, which often followed the verb. This is most readily observed in German: liebes du → liebstu → liebst du (lovest thou).


title: Thou

text: In Dutch, the equivalent of "thou", "du", also became archaic and fell out of use and was replaced by the Dutch equivalent of "you", "gij" (later "jij" or "u"), just as it has in English, with the place of the informal plural taken by "jullie" ("compare" English "y’all").


title: Thou

text: In the subjunctive and imperative moods, the ending in "-(e)st" is dropped (although it is generally retained in "thou wert", the second-person singular past subjunctive of the verb "to be"). The subjunctive forms are used when a statement is doubtful or contrary to fact; as such, they frequently occur after "if" and the poetic "and".


title: Thou

text: In modern regional English dialects that use "thou" or some variant, such as in Yorkshire and Lancashire, it often takes the third person form of the verb "-s". This comes from a merging of Early Modern English second person singular ending "-st" and third person singular ending "-s" into "-s" (the latter a northern variation of "-þ" ("-th")).


title: Thou

text: The present indicative form "art" (""þu eart"") goes back to West Saxon Old English (see OED "s.v. be" IV.18) and eventually became standard, even in the south ("e.g." in Shakespeare and the Bible). For its influence also from the North, "cf." Icelandic "þú ert". The preterite indicative of "be" is generally "thou wast".


title: Thou

text: "Thou" originates from Old English , and ultimately via Grimm's law from the Proto-Indo-European *"tu", with the expected Germanic vowel lengthening in accented monosyllabic words with an open syllable. "Thou" is therefore cognate with Icelandic and Old Norse , German and Continental Scandinavian , Latin and all major Romance languages, Irish, Kurdish, Lithuanian and Latvian or , Greek (), Slavic ты / "ty" or ти / "ti", Armenian (/), Hindi तू (), Bengali: তুই ("tui"), Persian () and Sanskrit त्वम् (). A cognate form of this pronoun exists in almost every other Indo-European language.


title: Thou

text: In Old English, "thou" was governed by a simple rule: "thou" addressed one person, and "ye" more than one. Beginning in the 1300s "thou" was gradually replaced by the plural "ye" as the form of address for a superior person and later for an equal. For a long time, however, "thou" remained the most common form for addressing an inferior person.


title: Thou

text: The practice of matching singular and plural forms with informal and formal connotations is called the T–V distinction and in English is largely due to the influence of French. This began with the practice of addressing kings and other aristocrats in the plural. Eventually, this was generalized, as in French, to address any social superior or stranger with a plural pronoun, which was felt to be more polite. In French, "tu" was eventually considered either intimate or condescending (and to a stranger, potentially insulting), while the plural form "vous" was reserved and formal.


title: Thou

text: Fairly suddenly in the 17th century, "thou" began to decline in the standard language (that is, particularly in and around London), often regarded as impolite or ambiguous in terms of politeness. It persisted, sometimes in an altered form, particularly in regional dialects of England and Scotland farther from London, as well as in the language of such religious groups as the Society of Friends. Reasons commonly maintained by modern linguists as to the decline of "thou" in the 17th century include the increasing identification of "you" with "polite society" and the uncertainty of using "thou" for inferiors versus "you" for superiors (with "you" being the safer default) amidst the rise of a new middle class.


title: Thou

text: In the 18th century, Samuel Johnson, in "A Grammar of the English Tongue", wrote: "in the language of ceremony ... the second person plural is used for the second person singular", implying that "thou" was still in everyday familiar use for the second-person singular, while "you" could be used for the same grammatical person, but only for formal contexts. However, Samuel Johnson himself was born and raised not in the south of England, but in the West Midlands (specifically, Lichfield, Staffordshire), where the usage of "thou" persists until the present day (see below), so it is not surprising that he would consider it entirely ordinary and describe it as such. By contrast, for most speakers of southern British English, "thou" had already fallen out of everyday use, even in familiar speech, by sometime around 1650. "Thou" persisted in a number of religious, literary and regional contexts, and those pockets of continued use of the pronoun tended to undermine the obsolescence of the T–V distinction.


title: Thou

text: One notable consequence of the decline in use of the second person singular pronouns "thou", "thy", and "thee" is the obfuscation of certain sociocultural elements of Early Modern English texts, such as many character interactions in Shakespeare's plays, which were mostly written from 1589 to 1613. Although Shakespeare is far from consistent in his writings, his characters primarily tend to use "thou" (rather than "you") when addressing another who is a social subordinate, a close friend or family member, or a hated wrongdoer.


title: Thou

text: Many European languages contain verbs meaning "to address with the informal pronoun", such as German "duzen", the Norwegian noun "dus" refers to the practice of using this familiar form of address instead of the De/Dem/Deres formal forms in common use, French "tutoyer", Spanish "tutear", Swedish "dua", Dutch "jijen en jouen", Ukrainian "тикати (tykaty)", Russian "тыкать (tykat')", Polish "tykać", Romanian "tutui", Hungarian "tegezni", Finnish "sinutella", etc. Although uncommon in English, the usage did appear, such as at the trial of Sir Walter Raleigh in 1603, when Sir Edward Coke, prosecuting for the Crown, reportedly sought to insult Raleigh by saying,


title: Thou

text: here using "thou" as a verb meaning "to call (someone) "thou" or "thee"". Although the practice never took root in Standard English, it occurs in dialectal speech in the north of England. A formerly common refrain in Yorkshire dialect for admonishing children who misused the familiar form was:


title: Thou

text: Many conservative Christians use "Thee, Thou, Thy and Thine when addressing God" in prayer; in the Plymouth Brethren catechism "Gathering Unto His Name", Norman Crawford explains the practice:


title: Thou

text: When referring to God, "thou" (as with other pronouns) is often capitalized, e.g. "For Thou hast delivered my soul from death" ().


title: Thou

text: As William Tyndale translated the Bible into English in the early 16th century, he preserved the singular and plural distinctions that he found in his Hebrew and Greek originals. He used "thou" for the singular and "ye" for the plural regardless of the relative status of the speaker and the addressee. Tyndale's usage was standard for the period and mirrored that found in the earlier Wycliffe's Bible and the later King James Bible. But as the use of "thou" in non-dialect English began to decline in the 18th century, its meaning nonetheless remained familiar from the widespread use of the latter translation. The Revised Standard Version of the Bible, which first appeared in 1946, retained the pronoun "thou" exclusively to address God, using "you" in other places. This was done to preserve the tone, at once intimate and reverent, that would be familiar to those who knew the King James Version and read the Psalms and similar text in devotional use. The New American Standard Bible (1971) made the same decision, but the revision of 1995 (New American Standard Bible, Updated edition) reversed it. Similarly, the 1989 Revised English Bible dropped all forms of "thou" that had appeared in the earlier New English Bible (1970). The New Revised Standard Version (1989) omits "thou" entirely and claims that it is incongruous and contrary to the original intent of the use of "thou" in Bible translation to adopt a distinctive pronoun to address the Deity.


title: Thou

text: The 1662 "Book of Common Prayer", which is still an authorized form of worship in the Church of England and much of the Anglican Communion, also uses the word "thou" to refer to the singular second person.


title: Thou

text: Quakers traditionally used "thee" as an ordinary pronoun as part of their testimony of simplicity—a practice continued by certain Conservative Friends; the stereotype has them saying "thee" for both nominative and accusative cases. This was started at the beginning of the Quaker movement by George Fox, who called it "plain speaking", as an attempt to preserve the egalitarian familiarity associated with the pronoun. Most Quakers have abandoned this usage. At its beginning, the Quaker movement was particularly strong in the northwestern areas of England and particularly in the north Midlands area. The preservation of "thee" in Quaker speech may relate to this history. Modern Quakers who choose to use this manner of "plain speaking" often use the "thee" form without any corresponding change in verb form, for example, "is thee" or "was thee".


title: Thou

text: In Latter-day Saint prayer tradition, the terms "thee" and "thou" are always and exclusively used to address God, as a mark of respect.


title: Thou

text: In many of the Quranic translations, particularly those compiled by the Ahmadiyya, the terms "thou" and "thee" are used. One particular example is The Holy Quran - Arabic Text and English translation, translated by Maulvi Sher Ali.


title: Thou

text: In the English translations of the scripture of the Baháʼí Faith, the terms "thou" and "thee" are also used. Shoghi Effendi, the head of the religion in the first half of the 20th century, adopted a style that was somewhat removed from everyday discourse when translating the texts from their original Arabic or Persian to capture some of the poetic and metaphorical nature of the text in the original languages and to convey the idea that the text was to be considered holy.


title: Thou

text: Like his contemporaries William Shakespeare uses "thou" both in the intimate, French-style sense, and also to emphasize differences of rank, but he is by no means consistent in using the word, and friends and lovers sometimes call each other "ye" or "you" as often as they call each other "thou", sometimes in ways that can be analysed for meaning, but often apparently at random.


title: Thou

text: For example, in the following passage from "Henry IV", Shakespeare has Falstaff use both forms with Henry. Initially using "you" in confusion on waking he then switches to a comfortable and intimate "thou".


title: Thou

text: While in "Hamlet", Shakespeare uses discordant second person pronouns to express Hamlet's antagonism towards his mother.