title: Marvel Television

text: By October 2013, Marvel was preparing four drama series and a miniseries, totaling 60 episodes, to present to video on demand services and cable providers, with Netflix, Amazon, and WGN America expressing interest. In November 2013, it was announced that Disney would provide Netflix with live-action series starting in 2015, based on Daredevil, Jessica Jones, Iron Fist, and Luke Cage, leading up to a miniseries based on the Defenders. Responding to the Netflix announcement, Disney CEO Bob Iger said that Daredevil, Luke Cage, Iron Fist and Jessica Jones may appear on film if their shows are successful and that another outlet was chosen as ABC and Disney XD could not handle all Marvel shows. Disney will spend approximately $200 million in financing for the series. The four Netflix shows are set in the Marvel Cinematic Universe.


title: Marvel Television

text: It was also revealed in November 2013 that the Hulk project first announced in 2012 had been shelved, with Loeb saying, when "we saw what Joss Whedon and Mark Ruffalo were creating in "The Avengers", that was a better solution". Additionally, Del Toro wanted to created a more violent take on the character than what ABC was hoping to achieve with the series. On May 8, 2014, ABC officially renewed "Agents of S.H.I.E.L.D." for a second season and ordered "Marvel's Agent Carter" straight to series, which later aired in January 2015.


title: Marvel Television

text: In early April 2015, two unspecified shows were said to be in development to air on ABC: one was a spin-off series of "Agents of S.H.I.E.L.D." centered on Bobbi Morse (Adrianne Palicki) and Lance Hunter (Nick Blood), which was being developed by Bell and writer Paul Zbyszewski based on storylines occurring at the end of the second season, and would receive its own pilot rather than a backdoor pilot; and another with writer-producer John Ridley. On May 7, 2015, ABC renewed "Agents of S.H.I.E.L.D." and "Agent Carter" for a third and second season, respectively. Additionally, ABC also passed on the "Agents of S.H.I.E.L.D." spinoff, though ABC Entertainment president Paul Lee did not rule out returning to the spin-off in the future, and Lee also confirmed that Ridley was working on a Marvel property for ABC. Also in May, Iger indicated that Disney saw potential in creating a streaming service dedicated to Marvel content as a way to further "take product... directly to consumer".


title: Marvel Television

text: In August 2015, the "Agents of S.H.I.E.L.D." spin-off series received new life as a reworked series, titled "Marvel's Most Wanted", with a pilot order. Bell and Zbyszewski once again developed the series, while also serving as co-writers of the pilot, executive producers, and showrunners, with Loeb also attached as executive producer. The series would still focus on Morse and Hunter, with Palicki and Blood both attached, but is no longer intended to be a true spin-off of "Agents of S.H.I.E.L.D." as previously believed, instead "being described as a new take focusing on the same duo and their continuing adventures."


title: Marvel Television

text: At the end of August 2015, Marvel Entertainment's film subsidiary Marvel Studios was integrated into The Walt Disney Studios, leaving Marvel Television and Marvel Animation (formerly part of Marvel Studios) under Marvel Entertainment and CEO Isaac Perlmutter's control.


title: Marvel Television

text: In October 2015, ABC ordered a put pilot for a half-hour live action comedy series "Damage Control", based on the comics construction company of the same name. The series is being developed by Ben Karlin. Later in the month, FX ordered a pilot for "Legion", about David Haller, a young man who may be more than human. The pilot was produced by FX Productions (FXP) and Marvel Television, with FXP handling the physical production. Also in October, Fox Broadcasting Company announced that 20th Century Fox Television and Marvel Television were developing a series titled "Hellfire Club", based on the secret society from the comics of the same name.


title: Marvel Television

text: In January 2016, Lee stated the "Most Wanted" pilot would begin production "in the next few months" and announced that a second Marvel comedy series was in development in addition to "Damage Control". Also in January, Netflix was in the early stages of developing a Punisher television series starring Jon Bernthal, who appeared in the second season of "Daredevil". More information was revealed regarding the "Legion" series, including that in addition to the pilot, FX had ordered several scripts and that it would not take place in the established "X-Men" film universe but in a parallel universe instead. Should the series be picked up, it would consist of 10 episodes and is expected to air in 2016.


title: Marvel Television

text: In April 2016, the ABC-owned network Freeform greenlit "Cloak & Dagger" with a straight-to-series order as Marvel's first work with ABC Signature. The series, which is set in the MCU, premiered in 2018. At the end of the month, Marvel and Netflix officially picked up the series, "The Punisher", with Bernthal attached to reprise his role as the lead character. In May 2016, ABC cancelled "Agent Carter" and passed on the pilot for "Most Wanted".


title: Marvel Television

text: In July 2016, Fox and Marvel announced a put pilot order for an untitled series developed by Matt Nix. The series, which will be produced by 20th Century Fox and Marvel, with 20th Century Fox handling physical production, focuses on two ordinary parents who discover their children possess mutant powers, forcing them to run from the government and join an underground network of mutants. Nix will serve as an executive producer along with Bryan Singer, Lauren Shuler Donner, Simon Kinberg, Loeb and Jim Chory. It was also revealed that "Hellfire Club" was no longer in development.


title: Marvel Television

text: The following month, it was announced that "Runaways" had received a pilot order, along with additional scripts, from the streaming service Hulu, based on the team of the same name. The pilot is written by Josh Schwartz and Stephanie Savage, who also serve as executive producers and showrunners. By the end of the month, the division and ABC Studios were developing a half-hour comedy series based on the New Warriors featuring Squirrel Girl, with the series being offered to cable networks and streaming outlets. In April 2017, Freeform announced a straight-to-series order for the half-hour live action series, "Marvel's New Warriors", with the first season, consisting of 10 episodes, set to air in 2018. In May 2017, Hulu ordered "Runaways" to series with 10 episodes, to premiere on November 21, 2017.


title: Marvel Television

text: In November 2016, Marvel Television and IMAX Corporation announced "Inhumans", to be produced in conjunction with ABC Studios, and to air on ABC. The series, which is co-financed by IMAX and saw the first two episodes and select subsequent action sequences filmed with IMAX digital cameras, had versions of the first two episodes be screened in IMAX beginning September 1, 2017, for two weeks, before premiering on ABC on September 29.


title: Marvel Television

text: In May 2017, Fox ordered the Matt Nix TV series, now titled "The Gifted", to series, and FXX placed a series order for an adult animated series based on Deadpool, which will be co-produced by Marvel Television, FX Productions and ABC Signature Studios. Donald Glover and his brother Stephen Glover would serve as showrunners, executive producers and writers for the series. In August 2017, senior vice president of original programming Karim Zreik indicated that Marvel Television was working with ABC on a ""Jessica Jones"-esque" female-focused show. By November 2017, Disney was developing a Marvel series specifically for release on its new Disney+ streaming service, which it planned to launch before the end of 2019. By March 2018, the Deadpool series was no longer in development. In May 2018, ABC cancelled "Inhumans" after one season. By September, Allan Heinberg began developing a Marvel series for ABC about female superheroes.


title: Marvel Television

text: In October 2018, Netflix cancelled both "Iron Fist" and "Luke Cage", each after two seasons, followed by the cancellation of "Daredevil" in November after three seasons. "Luke Cage" was cancelled due to third season financial terms, while "Daredevil" was due to Netflix looking to fund their own properties. Kevin Mayer, chairman of Walt Disney Direct-to-Consumer and International, indicated that he would consider the show for Disney+, but the Netflix-Marvel TV pact restricts the appearance of the four original characters from any non-Netflix series for two years after being canceled. Thus 2020 would be the earliest that the shows could be revived on Disney+.


title: Marvel Television

text: In February 2019, it was announced that "Legion" would end after its third season. It was also revealed that Heinberg's series would not move forward at ABC. In addition, Hulu ordered four adult animated Marvel series leading up to a crossover special titled "The Offenders", all to be executive produced by Loeb. Hulu also expressed interest in reviving the cancelled Netflix series. Netflix then cancelled both "Jessica Jones" and "The Punisher". In August 2019, Loeb revealed Marvel Television was working on series for the streaming service Disney+.


title: Marvel Television

text: In October 2019, Marvel Studios President Kevin Feige was given the title of Chief Creative Officer, Marvel, and would oversee Marvel Television and Marvel Family Entertainment (animation), with both being placed under the Marvel Studios banner. With the promotion of Feige, Loeb was expected to leave his post as the head of Marvel Television by Thanksgiving. Later in December 10, Marvel Television was folded into Marvel Studios, which inherited all of Marvel Television's shows that were in development at the time, and no new series were being considered from Marvel Television. In January 2022, Hulu's head of content Craig Erwich stated that additional seasons of "M.O.D.O.K." and "Hit Monkey", the two remaining series from Marvel Television, would be determined solely by the Marvel Studios team.


title: Josh Barnett

text: Joshua Lawrence Barnett (born November 10, 1977) is an American mixed martial artist, submission grappler, professional wrestler and color commentator currently signed to Bellator MMA, where he competes in their Heavyweight division. Barnett previously competed for the Ultimate Fighting Championship (UFC), where he was the youngest ever UFC Heavyweight Champion. In 2003, Barnett was the final Openweight King Of Pancrase and was a finalist in both the 2006 PRIDE Openweight Grand Prix and the 2012 Strikeforce Heavyweight Championship Grand Prix. He has also competed in Affliction, World Victory Road, DREAM and Impact FC. In Brazilian jiu-jitsu, Barnett was the World No-Gi Brazilian Jiu-Jitsu Champion in 2009 and won the inaugural Metamoris Heavyweight Championship in 2014.


title: Josh Barnett

text: As a professional wrestler, Barnett made his in-ring debut in 2003 in the main event of New Japan Pro-Wrestling's annual January 4 Tokyo Dome Show, in a bout against IWGP Heavyweight Champion Yuji Nagata. Since then he has also wrestled for Inoki Genome Federation and Total Nonstop Action Wrestling. In January 2015, Barnett began working as a color commentator for NJPW's weekly program on America's AXS TV.


title: Josh Barnett

text: Born and raised in Seattle, Washington, Barnett had a troubled childhood and often got into fights. He was put into anger management programs at a young age and learned to cope with his anger by participating in athletics. Barnett attended Ballard High School, where he excelled at wrestling, football, and also trained in judo and Muay Thai. After seeing UFC 2 as a sophomore, he decided that he wanted to be a mixed martial artist. Barnett had originally attended the University of Montana to play football for the school as a walk-on, but decided not to play the sport for the university. At the recommendation of an instructor at Montana, Barnett went to train at the Bushidokan dojo of Jim Harrison. Although he did not have the money for classes, he received training in exchange for helping with maintenance and labor at the dojo.


title: Josh Barnett

text: Barnett's documented professional debut was in early 1997 in Washington, competing for United Full Contact Federation. He won via rear-naked choke submission under three minutes into the fight. He would continue to dominate, reaching a 9–0 record with seven first-round stoppages and wins over future UFC Hall of Famer Dan Severn, Bobby Hoffman, John Marsh, and Bob Gilstrap twice. With a 9–0 record, Barnett was invited to compete in the UFC.


title: Josh Barnett

text: Barnett made his UFC debut at UFC 28 on November 17, 2000 against 6' 10" Gan "The Giant" McGee and Barnett won via TKO in the second round. Despite suffering a KO loss in his next fight against Pedro Rizzo at UFC 30 he would bounce back and win his next two fights over 7' 0" Dutch kickboxer Semmy Schilt via armbar submission at UFC 32, and then received a submission win in a rematch with Bobby Hoffman at UFC 34. Subsequent to his win over Hoffman, Barnett tested positive for banned substances and was given a warning by the Nevada State Athletic Commission. Barnett was then given a title shot for the UFC Heavyweight Championship against then-champion and future UFC Hall of Famer Randy Couture at UFC 36. He won via TKO after using the ground and pound technique and became the new and youngest-ever UFC Heavyweight Champion. However, after the bout it was revealed that he had again tested positive for banned substances and his title was stripped.


title: Josh Barnett

text: Barnett competed in MMA in both PRIDE and Pancrase in Japan. While in Pancrase, he became the Openweight King of Pancrase by defeating Yuki Kondo. Winning this title put him alongside the likes of Ken Shamrock, Frank Shamrock and Bas Rutten as one of the few fighters to be a titleholder in both Pancrase and the UFC.


title: Josh Barnett

text: In his first fight in PRIDE, at PRIDE 28 against Croatian Mirko Cro Cop, he suffered a simultaneous fracture and dislocated shoulder injury that required surgery and over six months of rehab. His first fight back post-injury was a rematch against Cro Cop at PRIDE 30, which he lost by a unanimous decision. He came back with a win against Kazuhiro Nakamura at PRIDE 31. Josh Barnett was scheduled to fight Pride World Heavyweight Champion Fedor Emelianenko for the title but withdrew from the fight due to an appendicitis. Barnett underwent surgery to remove his appendix later that night.


title: Josh Barnett

text: Barnett later beat Alexander Emelianenko by an americana submission in the second round of the PRIDE Openweight Grand Prix at PRIDE Total Elimination Absolute. He submitted Mark Hunt via kimura in the first round of the Openweight Grand Prix at Pride Critical Countdown Absolute. Barnett defeated Antônio Rodrigo Nogueira by split decision in the semi finals of the Openweight Grand Prix, however he lost the final match of the PRIDE Final Conflict Absolute to Cro Cop on September 10, 2006, submitting after an unintentional finger poke to the eye. In a post-fight interview, Barnett explained the incident: "I opened up my guard and I grabbed his leg to go for a leg lock, and in the scramble Mirko put his hand out to post and he caught a finger deep in my right eye. And as soon as it happened I let go of the leg and grabbed my face, and I couldn't see anything at the time and I had no idea where he was and I just didn't want him to punt me in the face with a kick when I can't see and I'm blinded. He said, you know, 'Sorry' and I said to him that he was winning that night and it was an accident. He didn't mean [to do it]". This also marked the third time he was beaten by the MMA legend.


title: Josh Barnett

text: Next, Barnett fought the Polish Judo gold medalist Pawel Nastula at PRIDE 32, the organization's first show in the United States. To fight again in Nevada, the Nevada State Athletic Commission required that Barnett pass a mandatory drug test. In a surprisingly competitive match, Nastula controlled the first round and most of the second. Barnett reversed Nastula from the bottom and was able to secure a toe-hold submission, which earned him the victory. At a post-fight press conference, Barnett complimented Nastula on his performance. Nastula, however, subsequently tested positive for steroids. Barnett then lost a rematch by unanimous decision to Antônio Rodrigo Nogueira at Pride Shockwave 2006.


title: Josh Barnett

text: After the bout against Nogueira and the acquisition of PRIDE by the UFC, Barnett did not participate in any MMA events in 2007. Barnett did not follow many other PRIDE veterans to the UFC because he desired to join an organization that included the top Heavyweight fighter in the world, Fedor Emelianenko. In 2008, Barnett joined the newly organized MMA promotion, Sengoku, and fought in consecutive main events at and , submitting Hidehiko Yoshida with a heel hook in the third round, and defeating Jeff Monson by unanimous decision.


title: Josh Barnett

text: Since his contract with World Victory Road was not exclusive, Barnett was able to join other MMA events. Barnett participated in the inaugural MMA event held by Affliction Entertainment, in July 2008. Seven years after his only knockout loss to Pedro Rizzo, he avenged that loss at with a knockout of his own in the second round.


title: Josh Barnett

text: In January 2009, Barnett fought PRIDE veteran Gilbert Yvel at . Barnett defeated Yvel by a submission resulting from strikes in the third round. His next match-up, scheduled on August 1, 2009 against Fedor Emelianenko at Affliction's 3rd event , was one of the most anticipated match-up between the then ranked number one Heavyweight Emelianenko and number two Heavyweight Barnett. Dana White announced if Barnett were to defeat Emelianenko, he would sign him back into the UFC and would grant him a title shot against UFC Heavyweight Champion Brock Lesnar. However, the fight was officially pulled 10 days before the fight by the California State Athletic Commission after Barnett tested positive for anabolic steroids (a metabolite of drostanolone) for a third time. The event and Affliction Entertainment itself was cancelled July 24, 2009 as a result. Barnett requested that they test his "B" sample hoping there was an error in the test. His "B" sample was also positive.


title: Josh Barnett

text: Due to the positive drug tests, Barnett made a re-licensure appeal to the California State Athletic Commission (CSAC). The CSAC postponed Barnett's appeal three times. The first two postponements occurred because Barnett's law firm required additional information from the laboratory that conducted Barnett's tests. Michael J. DiMaggio, Barnett's attorney, was unable to attend the hearing because of travel problems, causing the third extension, which would have taken place February 22, 2010.


title: Josh Barnett

text: Barnett was a no-show at his hearing on February 22, 2010, making this the fourth delay in his appeal. Shannon Hooper, Barnett's manager, told MMAjunkie.com that on Monday February 22, 2010 Barnett was in Japan on Sunday February 21, 2010 for a professional wrestling match and would return to the U.S. later that day. He claimed he was unaware that his presence was required, but the CSAC stated they had notified him of this months before. Barnett later signed on with MMA organization Strikeforce.


title: Josh Barnett

text: Barnett signed to fight for DREAM in 2010, and made his debut on March 22, 2010 at DREAM 13 against Mighty Mo. He won the fight via submission in the first round. During the fight, he accidentally kicked Mighty Mo in the groin so immediately after winning the fight, Barnett approached Mighty Mo apologizing for the illegal strike and in return allowed Mighty Mo to knee him in the groin.


title: Josh Barnett

text: On September 13, 2010 it was announced that Josh Barnett had signed a multi-fight deal with Strikeforce.


title: Josh Barnett

text: Barnett faced Brett Rogers on June 18, 2011 at in the opening round of a Strikeforce Heavyweight Tournament. Barnett submitted Rogers with an arm triangle choke in the second round of the bout.


title: Josh Barnett

text: Barnett defeated Sergei Kharitonov in the semi-final of the tournament headlining on September 10, 2011 at U.S. Bank Arena in Cincinnati, Ohio.


title: Josh Barnett

text: He faced fellow finalist Daniel Cormier on May 19, 2012 at to determine the Strikeforce Heavyweight Grand Prix Champion. Dana White announced if Barnett were to defeat Cormier, he would be allowed back into the UFC, "If he wins the fight, I can't see why he wouldn't come [to the UFC]." Barnett lost the bout via unanimous decision (49–46, 50–45, and 50–45), losing for the first time in over 5 years.


title: Josh Barnett

text: In January 2013, Barnett faced a promotional newcomer, Nandor Guelmino, at , the final Strikeforce event. Barnett defeated Guelmino via arm triangle choke submission in the first round.


title: Josh Barnett

text: Barnett initially declined to sign with the UFC. However, on May 21, 2013, it was announced that Barnett had returned to the UFC and signed a multi-fight contract with the promotion.


title: Josh Barnett

text: Barnett faced former UFC Heavyweight Champion Frank Mir on August 31, 2013 at UFC 164. He won the fight in the first round by technical knockout.


title: Josh Barnett

text: Barnett faced Travis Browne on December 28, 2013 at UFC 168. He lost the fight via knockout due to elbow strikes in the first round.


title: Josh Barnett

text: After working as a coach on Road to UFC Japan, Barnett faced Roy Nelson in the main event at UFC Fight Night 75. He won the fight via unanimous decision (48–47, 48–47, and 50–45). The win also earned Barnett his first "Performance of the Night" bonus award.


title: Josh Barnett

text: Barnett faced Ben Rothwell on January 30, 2016 at UFC on Fox 18. He lost the fight in the second round due to a guillotine choke, resulting in the first loss due to a submission hold during Barnett's lengthy MMA career.


title: Josh Barnett

text: Barnett next faced Andrei Arlovski on September 3, 2016 at UFC Fight Night 93. He won the fight via rear naked choke submission in the third round, earning a "Performance of the Night" bonus. Both participants were awarded "Fight of the Night" for their performance.


title: Josh Barnett

text: In December 2016, UFC was notified of a potential USADA doping violation by Barnett from an out-of-competition test. In March 2018, Barnett was clear to fight and received a "public reprimand" instead of a suspension from USADA after it was determined that his failed test was the result of a contaminated supplement.


title: Josh Barnett

text: On June 20, 2018, Barnett was granted his request to be released from UFC, claiming he does not trust the United States Anti-Doping Agency.


title: Josh Barnett

text: On April 1, 2019, it was revealed that Barnett signed a multi-fight contract with Bellator MMA. Barnett was expected to make his promotional debut against Ronny Markes on December 20, 2019 at Bellator's Salute the Troops event in Honolulu, Hawaii, but was deemed unable to compete due to severe illness on the night of the event. The bout was rescheduled for Bellator 241 on March 13, 2020, but Barnett failed medical tests and was replaced by Matt Mitrione.


title: Josh Barnett

text: Barnett competed against former KSW Heavyweight Champion Marcin Różalski in a bare-knuckle boxing match with elbows allowed on October 23, 2020, thanks to coming to an agreement with Bellator. The fight took place at the KSW event titled Genesis. Barnett defeated Różalski by TKO via doctor stoppage after the second round.


title: Josh Barnett

text: Barnett began his overseas career as a professional wrestler in the New Japan Pro-Wrestling (NJPW) organization, where he wrestled numerous matches in 2003 and 2004. In his first match, he wrestled champion Yuji Nagata for that promotions version of the IWGP Heavyweight Championship. Although unsuccessful in that match, Barnett formed a tag team with Perry Saturn and was undefeated in the following NJPW tour, Fighting Spirit 2003. Barnett wrestled over 50 matches in total for the NJPW promotion.


title: Josh Barnett

text: Barnett debuted in Antonio Inoki's Inoki Genome Federation (IGF) wrestling promotion in June 2007 with a victory over Tadao Yasuda. He racked up victories against Don Frye and Montanha Silva before suffering his first loss against Naoya Ogawa. The same man he beat earlier in the night. Since the loss, he has been on a winning streak beating The Predator, Hitokui Yoshiki, Tank Abbott, Jon Andersen, Fonseca, Atsushi Sawada, Bob Sapp, Ultimate Mask, Tim Sylvia, Montanha Silva, Bobby Lashley and Hideki Suzuki.


title: Josh Barnett

text: Starting in February at IGF Genome 14, IGF began a title tournament to crown a new Heavyweight Champion and Barnett not only continued his winning streak but he advanced to the semi-finals of the tournament with his victory over Montanha Silva. In July at IGF Genome 16, he defeated Bobby Lashley with a cross armbreaker to advance to the finals of the title tournament. He was scheduled to face Jérôme Le Banner for the IGF Heavyweight Championship in a tournament final scheduled for August 27 at the IGF Super Stars Festival 2011. However, it was announced on August 19 that Barnett had to pull out of the match up and Le Banner was declared the first ever IGF champion on August 22. However, Josh Barnett would get his shot at the IGF Heavyweight Championship on December 2 against the champion, Jerome Le Banner. Barnett would lose the contest by knockout.


title: Josh Barnett

text: On New Year's Eve, Barnett made his return to Japan for the event, where he would face Hideki Suzuki in an IGF Rules match. After a wrestling clinic was put on by both athletes, it was Barnett who won with a brainbuster to seal the victory.


title: Josh Barnett

text: During the January 2017 "Impact Wrestling" tapings, Barnett joined Total Nonstop Action Wrestling (TNA), answering an open challenge from Bobby Lashley, for a match for the TNA World Heavyweight Championship.


title: Josh Barnett

text: Barnett returned to IGF on April 5, 2017, defeating Shinichi Suzukawa on the promotion's inaugural Next Exciting Wrestling (NEW) event.


title: Josh Barnett

text: Josh Barnett hosted the GCW Bloodsport event of 2019. He fought Minoru Suzuki in the main event. On June 22, 2019 it was announced that Bloodsport 2 would happen on September 14, 2019 in Atlantic City, New Jersey. Jon Moxley was announced as his opponent. After Moxley had to bow out of the bout due to injury, Chris Dickinson would be announced as his replacement. Josh Barnett would go on to defeat Chris Dickinson in the main event.


title: Josh Barnett

text: On January 13, 2020 Josh announced that on April 2, 2020 at Josh Barnett's: Bloodsport 3, he would finally face off against Jon Moxley. Due to the COVID-19 pandemic, the event was rescheduled for October 11 in Marion County, Indiana and the main event announced for Bloodsport 3 was Jon Moxley vs. Chris Dickinson.


title: Josh Barnett

text: Barnett competed in the California Classic 2009 BJJ Tournament on November 15, 2009. Barnett lost a decision to ADCC veteran and Brazilian jiu-jitsu World Champion Romulo Barral from Gracie Barra in the Black Belt Gi Absolute division. On December 19, 2009, Erik Paulson awarded Barnett his Brazilian jiu-jitsu black belt. Even though Barnett had never trained in Brazilian jiu-jitsu he was given his belt based on competition merit and overall knowledge.


title: Josh Barnett

text: In the co-main event of Metamoris 4, Barnett faced Dean Lister, a multiple-time world champion in both gi and no-gi Brazilian jiu-jitsu. Barnett became the first person in sixteen years to defeat Lister via submission, tapping Lister with a scarf hold in the waning seconds of the match.


title: Josh Barnett

text: In 2017 Barnett formed his own fight team. They took their name from the shoot style that Billy Robinson helped popularize in Japan. The team is called UWF USA, it is a Shootfighting and Catch Wrestling based fighting team. Barnett is the head coach/trainer for the team.


title: Josh Barnett

text: Barnett appeared as himself in an episode of the 2013 web series "Black Dynamite Teaches a Hard Way!", where a Black Dynamite mannequin teaches him the consequences of littering.


title: Josh Barnett

text: Barnett defines himself as a catch wrestler. His grappling technique is based on catch, utilizing the controls, rides and pinning holds from said discipline to exert pressure over his opponent and grind him down when the fight gets to the ground. In order to finish the match, he is skilled in the aspect of lockflow or chain wrestling, in which he gets from a position to another to get a submission hold. As well as his grappling expertise, Barnett also has a powerful Muay Thai game, which features the ability to switch stances during the fight, confusing his opponent and strengthening Barnett's assault. Barnett has also shown the ability to enhance his striking with catch wrestling, using collar ties and wrist grips to set up elbows and knees against the fence.


title: Josh Barnett

text: In an interview on "The Steve Austin Show", Barnett confirmed that he is not religious. In his spare time, he enjoys driving and repairing automobiles, preferring vintage models. He is a self-proclaimed cinephile and cites the final cut of "Blade Runner" as his favorite motion picture.


title: Josh Barnett

text: Barnett's nickname 'The Warmaster' was inspired by a song by the British death metal band Bolt Thrower, itself named after a character from the Sci-Fi-themed miniature wargame Warhammer 40,000. Barnett is a noted heavy metal fan, and has used Bolt Thrower as entrance music during his MMA career.


title: Leitmotif

text: A leitmotif or leitmotiv () is a "short, recurring musical phrase" associated with a particular person, place, or idea. It is closely related to the musical concepts of "idée fixe" or "motto-theme". The spelling "leitmotif" is an anglicization of the German "Leitmotiv" (), literally meaning "leading motif", or "guiding motif". A musical motif has been defined as a "short musical idea ... melodic, harmonic, or rhythmic, or all three", a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: "the smallest structural unit possessing thematic identity."


title: Leitmotif

text: In particular, such a motif should be "clearly identified so as to retain its identity if modified on subsequent appearances" whether such modification be in terms of rhythm, harmony, orchestration or accompaniment. It may also be "combined with other leitmotifs to suggest a new dramatic condition" or development. The technique is notably associated with the operas of Richard Wagner, and most especially his "Der Ring des Nibelungen", although he was not its originator and did not employ the word in connection with his work.


title: Leitmotif

text: Although usually a short melody, it can also be a chord progression or even a simple rhythm. Leitmotifs can help to bind a work together into a coherent whole, and also enable the composer to relate a story without the use of words, or to add an extra level to an already present story.


title: Leitmotif

text: By association, the word has also been used to mean any sort of recurring theme (whether or not subject to developmental transformation) in literature, or (metaphorically) the life of a fictional character or a real person. It is sometimes also used in discussion of other musical genres, such as instrumental pieces, cinema, and video game music, sometimes interchangeably with the more general category of "theme".


title: Leitmotif

text: The use of characteristic, short, recurring motifs in orchestral music can be traced back to the early seventeenth century, such as "L'Orfeo" by Monteverdi. In French opera of the late eighteenth century (such as the works of Gluck, Grétry and Méhul), "reminiscence motif" can be identified, which may recur at a significant juncture in the plot to establish an association with earlier events. Their use, however, is not extensive or systematic. The power of the technique was exploited early in the nineteenth century by composers of Romantic opera, such as Carl Maria von Weber, where recurring themes or ideas were sometimes used in association with specific characters (e.g. Samiel in "Der Freischütz" is coupled with the chord of a diminished seventh). The first use of the word "leitmotif" in print was by the critic Friedrich Wilhelm Jähns in describing Weber's work, although this was not until 1871.


title: Leitmotif

text: Motifs also figured occasionally in purely instrumental music of the Romantic period. The related idea of the musical "idée fixe" was coined by Hector Berlioz in reference to his "Symphonie fantastique" (1830). This purely instrumental, programmatic work (subtitled "Episode in the Life of an Artist … in Five Sections") features a recurring melody representing the object of the artist's obsessive affection and depicting her presence in various real and imagined situations.


title: Leitmotif

text: Though perhaps not corresponding to the strict definition of leitmotif, several of Verdi's operas feature similar thematic tunes, often introduced in the overtures or preludes, and recurring to mark the presence of a character or to invoke a particular sentiment. In "La forza del destino", the opening theme of the overture recurs whenever Leonora feels guilt or fear. In "Il trovatore", the theme of the first aria by Azucena is repeated whenever she invokes the horror of how her mother was burnt alive and the devastating revenge she attempted then. In "Don Carlos", there are at least three leitmotifs that recur regularly across the five acts: the first is associated with the poverty and suffering from war, the second is associated with prayers around the tomb of Carlos V, and the third is introduced as a duet between Don Carlo and the Marquis of Posa, thereafter accentuating sentiments of sincere friendship and loyalty.


title: Leitmotif

text: Richard Wagner is the earliest composer most specifically associated with the concept of leitmotif. His cycle of four operas, "Der Ring des Nibelungen" (the music for which was written between 1853 and 1869), uses hundreds of leitmotifs, often related to specific characters, things, or situations. While some of these leitmotifs occur in only one of the operas, many recur throughout the entire cycle. Wagner had raised the issue of how music could best unite disparate elements of the plot of a music drama in his essay "Opera and Drama" (1851); the leitmotif technique corresponds to this ideal.


title: Leitmotif

text: Some controversy surrounded the use of the word in Wagner's own circle: Wagner never authorised the use of the word "leitmotiv", using words such as "Grundthema" (basic idea), or simply "Motiv". His preferred name for the technique was "Hauptmotiv" (principal motif), which he first used in 1877; the only time he used the word "Leitmotiv", he referred to "so-called Leitmotivs".


title: Leitmotif

text: The word gained currency with the overly literal interpretations of Wagner's music by Hans von Wolzogen, who in 1876 published a "Leitfaden" (guide or manual) to the "Ring". In it he claimed to have isolated and named all of the recurring motifs in the cycle (the motif of "Servitude", the "Spear" or "Treaty" motif, etc.), often leading to absurdities or contradictions with Wagner's actual practice. Some of the motifs he identified began to appear in the published musical scores of the operas, arousing Wagner's annoyance; his wife Cosima Wagner quoted him as saying "People will think all this nonsense is done at my request!". In fact Wagner himself never publicly named any of his leitmotifs, preferring to emphasize their flexibility of association, role in the musical form, and emotional effect. The practice of naming leitmotifs nevertheless continued, featuring in the work of prominent Wagnerian critics Ernest Newman, Deryck Cooke and Robert Donington.


title: Leitmotif

text: The resulting lists of leitmotifs also attracted the ridicule of anti-Wagnerian critics and composers (such as Eduard Hanslick, Claude Debussy, and Igor Stravinsky). They identified the motif with Wagner's own approach to composing, mocking the impression of a musical "address book" or list of "cloakroom numbers" it created.


title: Leitmotif

text: However, later commentators have defended Wagner’s use of the leitmotif. According to Pierre Boulez, “Wagner’s was the first music in which forms never return literally, are never repeated. As the music progresses, it carries all the thematic elements with it, linking them in new ways, placing them in different relations to each other, showing them in unfamiliar lights and giving them unexpected meanings.” Boulez adds: “"Leitmotivs" are in fact anything but the traffic signals to which they have been mistakenly compared, for they have a double virtue – both poetic and dramatic, as well as formal. They are essential to the structure of both music and drama as well as to the different characters and situations. Their evolution is a kind of ‘time-weave’, an integrating of past and present; and they also imply dramatic progression.”


title: Leitmotif

text: Since Wagner, the use of leitmotifs has been taken up by many other composers. Richard Strauss used the device in many of his operas and several of his symphonic poems. Despite his sometimes acerbic comments on Wagner, Claude Debussy utilized leitmotifs in his opera "Pelléas et Mélisande" (1902). Arnold Schoenberg used a complex set of leitmotifs in his choral work "Gurre-Lieder" (completed 1911). Alban Berg's opera "Wozzeck" (1914–1922) also utilizes leitmotifs. The leitmotif was also a major feature of the opera "The Immortal Hour" by the English composer Rutland Boughton. His constantly recurrent, memorably tuneful leitmotifs contributed significantly to the widespread popularity of the opera. In Prokofiev's "Peter And The Wolf" (1936) each character or animal has its own leitmotif played on a particular instrument.


title: Leitmotif

text: The critic Theodor W. Adorno, in his book "In Search of Wagner" (written in the 1930s), expresses the opinion that the entire concept of the leitmotif is flawed. The motif cannot be both the bearer of expression and a musical "gesture", because that reduces emotional content to a mechanical process. He notes that "even in Wagner's own day the public made a crude link between the leitmotifs and the persons they characterised" because people's innate mental processes did not necessarily correspond with Wagner's subtle intentions or optimistic expectations. He continues:


title: Leitmotif

text: The degeneration of the leitmotiv is implicit in this ... it leads directly to cinema music where the sole function of the leitmotif is to announce heroes or situations so as to allow the audience to orient itself more easily.


title: Leitmotif

text: The main ideology behind leitmotif is to create a sense of attachment to that particular sound that evokes audiences to feel particular emotions when that sound is repeated through the film. Leitmotifs in Adorno's "degenerated" sense frequently occur in film scores, and have since the early decades of sound film. One of the first people to implement leitmotif in early sound films was Fritz Lang in his revolutionary hit "M". Lang set the benchmark for sound film through his use of leitmotif, creating a different type of atmosphere in his films.


title: Imposters (TV series)

text: Imposters is an American dark comedy television series. The show premiered February 7, 2017, on the Bravo cable network with a 10-episode season. Announced in April 2015 as "My So Called Wife", the series follows con artist Maddie, played by Inbar Lavi, who gets involved in relationships with men and women before leaving them "used and robbed of everything including their hearts". On April 17, 2017, Bravo renewed the series for a second season, which premiered on April 5, 2018. On June 1, 2018, Bravo canceled the series after two seasons.


title: Imposters (TV series)

text: Maddie Jonson (Inbar Lavi) is a con artist who works with Max (Brian Benben) and Sally (Katherine LaNasa) at the behest of a mysterious figure called "The Doctor" (Ray Proscia) who has teams of con artists working for him in multiple cities. Their method of operation is to make their targets (male or female) fall in love with Maddie while insinuating themselves into their lives, and then steal all their valuables shortly after marrying them. After Ezra Bloom (Rob Heaps) becomes the latest victim of their con, he is visited by Richard Evans (Parker Young), one of Maddie's previous targets, who is looking for her. Together they find Jules Langmore (Marianne Rendón), an artist, who also was married to Maddie. The three decide to team up and look for Maddie.


title: Imposters (TV series)

text: Season 1 revolves around the three jilted spouses Ezra, Richard and Jules venturing out together to look for their con artist wife. They brainstorm their way into finding clues about her roots and end up discovering her hometown and her parents' home. In the meanwhile Maddie has found a new target in Seattle and is working on him while an unexpected love interest sparks between her and independently rich Patrick she meets at a coffee shop. Maddie's partners in crime, Max does not approve of her love interest and prompts Maddie to concentrate on her work. Ezra, Richard and Jules finally find Maddie and discover that they all still have feelings for her so can never let any real harm come her way. They warn her about the reality of Patrick which shakes Maddie and she plans a counter action. Season 1 ends in a wedding, a chase and a stolen ring that FBI is looking for.


title: Imposters (TV series)

text: The first season was filmed in Vancouver, British Columbia, Canada. Season 2 was filmed in Toronto, Niagara Falls and Mexico.


title: Imposters (TV series)

text: The show has received largely positive reviews. On the site Metacritic, it received a score of 70, indicating "generally favorable reviews". On Rotten Tomatoes, the show is rated 92% fresh, with the site's consensus reading, "Imposters meshes slapstick comedy, top-notch writing, unexpected twists, and a noteworthy lead performance, with satisfying -- and surprisingly ambitious -- results".


title: Imposters (TV series)

text: The series was nominated for Drama Series, and Inbar Lavi won Actress Drama Series, at the 2017 Women's Image Network Awards.


title: Thai people

text: Thai people (; "endonym"), Central Thai people (, ; "exonym and also domestically") or Siamese (; "historical exonym and sometimes domestically"), T(h)ai Noi people (; "historical endonym and sometimes domestically"), in a narrow sense, are a Tai ethnic group dominant in Central and Southern Thailand (Siam proper). Part of the larger Tai ethno-linguistic group native to Southeast Asia as well as Southern China and Northeast India, Thais speak the Sukhothai languages (Central Thai and Southern Thai language), which is classified as part of the Kra–Dai family of languages. The majority of Thais are followers of Theravada Buddhism.


title: Thai people

text: As a result of government policy during the 1930s and 1940s resulting in successful forced assimilation of many the various ethno-linguistic groups in the country into the dominant Thai language and culture, the term "Thai people" has come to refer to the population of Thailand in general. This includes other subgroups of the Tai ethno-linguistic group, such as the Yuan people and the Isan people, as well as non-Tai groups, the largest of which is that of the ethnic Chinese.


title: Thai people

text: According to Michel Ferlus, the ethnonyms Thai/Tai (or Thay/Tay) would have evolved from the etymon *k(ə)ri: 'human being' through the following chain: *kəri: > *kəli: > *kədi:/*kədaj > *di:/*daj > *daj (Proto-Southwestern Tai) > tʰaj (in Siamese and Lao) or > taj (in the other Southwestern and Central Tai languages classified by Li Fangkuei). Michel Ferlus' work is based on some simple rules of phonetic change observable in the Sinosphere and studied for the most part by William H. Baxter (1992).


title: Thai people

text: Michel Ferlus notes that a deeply rooted belief in Thailand has it that the term ‘Thai’ derives from the last syllables -daya in Sukhodaya/ Sukhothay (สุโขทัย), the name of the first Thai Kingdom. The spelling emphasizes this prestigious etymology by writing ไทย (transliterated ai-d-y) to designate the Thai/ Siamese people, while the form ไท (transliterated ai-d) is occasionally used to refer to Tai speaking ethnic groups. Lao writes ໄທ (transliterated ai-d) in both cases.


title: Thai people

text: The French diplomat Simon de la Loubère, mentioned that, “The Siamese give to themselves the Name of Tai, or Free, and those that understand the Language of Pegu, affirm that Siam in that Tongue signifies Free. 'Tis from thence perhaps that the Portugues have derived this word, having probably known the Siamese by the Peguan. Nevertheless Navarete in his Historical Treatises of the Kingdom of China, relates that the Name of Siam, which he writes Sian, comes from these two words Sien lo, without adding their signification, or of what Language they are; altho' it may be presumed he gives them for Chinese, Meuang Tai is therefore the Siamese Name of the Kingdom of Siam (for Meuang signifies Kingdom) and this word wrote simply Muantay, is found in Vincent le Blanc, and in several Geographical Maps, as the Name of a Kingdom adjoining to Pegu: But Vincent le Blanc apprehended not that this was the Kingdom of Siam, not imagining perhaps that Siam and Tai were two different Names of the same People. In a word, the Siamese, of whom I treat, do call themselves Tai Noe,*little Siams. There are others, as I was informed, altogether savage, which are called Tai yai, great Siams, and which do live in the Northern Mountains.”


title: Thai people

text: Based on Chinese source, Ming Shilu, in 1375 Zhao Bo-luo-ju "the heir to the old Ming-tai prince of the country of


title: Thai people

text: Xian-luo-hu" () sent envoy to China. Geoff Wade suggested that Ming Tai () might represent the word “Muang Tai” while the word Jiu () means old.


title: Thai people

text: There have been many theories proposing the origin of the Tai peoples — of which the Thai are a subgroup — including an association of the Tai people with the Kingdom of Nanzhao that has been proven to be invalid. A linguistic study has suggested that the origin of the Tai people may lie around Guangxi Zhuang Autonomous Region of southern China, where the Zhuang people currently account for approximately one third of the total population. The Qin dynasty founded Guangdong in 214 BC, initiating the successive waves of Chinese migrations from the north for hundreds of years to come.


title: Thai people

text: With the political and cultural pressures from the north, some Tai peoples migrated south where they met the classical Indianized civilizations of Southeast Asia. According to linguistic and other historical evidence, the southwestward migration of Southwestern Tai-speaking tribes, in particular, from Guangxi took place sometime between the 8th-10th centuries.


title: Thai people

text: The Tais from the north gradually settled in the Chao Phraya valley from the tenth century onwards, in lands of the Dvaravati culture, assimilating the earlier Austroasiatic Mon and Khmer people, as well as coming into contact with the Khmer Empire. The Tais who came to the area of present-day Thailand were engulfed into the Theravada Buddhism of the Mon and the Hindu-Khmer culture and statecraft. Therefore, the Thai culture is a mixture of Tai traditions with Indic, Mon, and Khmer influences.


title: Thai people

text: Early Thai chiefdoms included the Sukhothai Kingdom and Suphan Buri Province. The Lavo Kingdom, which was the center of Khmer culture in Chao Phraya valley, was also the rallying point for the Thais. The Thai were called "Siam" by the Angkorians and they appeared on the bas relief at Angkor Wat as a part of the army of Lavo Kingdom. Sometimes the Thai chiefdoms in the Chao Phraya valley were put under the Angkorian control under strong monarchs (including Suryavarman II and Jayavarman VII) but they were mostly independent.


title: Thai people

text: A new city-state known as Ayutthaya Covering the areas of central and southern Thailand, named after the Indian city of Ayodhya, was founded by Ramathibodi and emerged as the center of the growing Thai empire starting in 1350. Inspired by the then Hindu-based Khmer Empire, the Ayutthayan empire's continued conquests led to more Thai settlements as the Khmer empire weakened after their defeat at Angkor in 1431. During this period, the Ayutthayans developed a feudal system as various vassal states paid homage to the Ayutthayans kings. Even as Thai power expanded at the expense of the Mon and Khmer, the Thai Ayutthayans faced setbacks at the hands of the Malays at Malacca and were checked by the Toungoo of Burma.


title: Thai people

text: Though sporadic wars continued with the Burmese and other neighbors, Chinese wars with Burma and European intervention elsewhere in Southeast Asia allowed the Thai to develop an independent course by trading with the Europeans as well as playing the major powers against each other in order to remain independent. The Chakkri dynasty under Rama I held the Burmese at bay, while Rama II and Rama III helped to shape much of Thai society, but also led to Thai setbacks as the Europeans moved into areas surrounding modern Thailand and curtailed any claims the Thai had over Cambodia, in dispute with Burma and Vietnam. The Thai learned from European traders and diplomats, while maintaining an independent course. Chinese, Malay, and British influences helped to further shape the Thai people who often assimilated foreign ideas, but managed to preserve much of their culture and resisted the European colonization that engulfed their neighbors. Thailand is also the only country in Southeast Asia that was not colonized by European powers in modern history.


title: Thai people

text: The concept of a Thai nation was not developed until the beginning of the 20th century, under Prince Damrong and then King Rama VI (Vajiravudh). Before this era, Thai did not even have a word for 'nation'. King Rama VI also imposed the idea of "Thai-ness" "(khwam-pen-thai)" on his subjects and strictly defined what was "Thai" and "un-Thai". Authors of this period re-wrote Thai history from an ethno-nationalist viewpoint, disregarding the fact that the concept of ethnicity had not played an important role in Southeast Asia until the 19th century. This newly developed nationalism was the base of the policy of "Thaification" of Thailand which was intensified after the end of absolute monarchy in 1932 and especially under the rule of Field Marshal Plaek Phibunsongkhram (1938–1944). Minorities were forced to assimilate and the regional differences of northern, northeastern and southern Thailand were repressed in favour of one homogenous "Thai" culture. As a result, many citizens of Thailand cannot differentiate between their nationality "(san-chat)" and ethnic origin "(chuea-chat)". It is thus common for descendants of "Jek" เจ๊ก (Chinese) and "Khaek" แขก (Indian, Arab, Muslim), after several generations in Thailand, to consider themselves as ""chuea-chat Thai"" (ethnic Thai) rather than identifying with their ancestors' ethnic identity.


title: Thai people

text: Other peoples living under Thai rule, mainly Mon, Khmer, and Lao, as well as Chinese, Indian or Muslim immigrants continued to be assimilated by Thais, but at the same time they influenced Thai culture, philosophy, economy and politics. In his paper "Jek pon Lao" (1987) (เจ้กปนลาว—Chinese mixed with Lao), Sujit Wongthet, who describes himself in the paper as a Chinese mixed with Lao ("Jek pon Lao"), claims that the present-day Thai are really Chinese mixed with Lao. He insinuates that the Thai are no longer a well-defined race but an ethnicity composed of many races and cultures. The biggest and most influential group are the Thai Chinese. Theraphan Luangthongkum, a Thai linguist of Chinese extraction, claims that 40% of the Thai population are descendants of former Chinese immigrants. A recent study shows that there is a close genetic relationship between central Thai and Mon people in Thailand, who migrated from southern Myanmar.


title: Thai people

text: The vast majority of the Thai people live in Thailand, although some Thais can also be found in other parts of Southeast Asia. About 51–57 million live in Thailand alone, while large communities can also be found in the United States, China, Laos, Taiwan, Malaysia, Singapore, Cambodia, Burma, South Korea, Germany, the United Kingdom, Canada, Australia, Sweden, Norway, Libya, and the United Arab Emirates.


title: Thai people

text: The Thais can be broken down into various regional groups with their own regional varieties of Thai. These groups include the Central Thai (also the standard variety of the language and Culture), the Southern Thai, the Isan (more closely related to the standard Lao of Laos than to standard Thai), the Lanna Thai, and Yawi/Malay-speaking Thai Malays. Within each regions exist multiple ethnic groups.


title: Thai people

text: Modern Central Thai culture has become more dominant due to official government policy, which was designed to assimilate and unify the disparate Thai in spite of ethnolinguistic and cultural ties between the non-Central-Thai-speaking people and their communities.


title: Thai people

text: Indigenous arts include "muay Thai" (kick boxing), Thai dance, "makruk" (Thai Chess), Likay, and "nang yai" (shadow play).


title: Thai people

text: Thai form the second largest ethno-linguistic group among Buddhists in the world. The modern Thai are predominantly Theravada Buddhist and strongly identify their ethnic identity with their religious practices that include aspects of ancestor worship, among other beliefs of the ancient folklore of Thailand. Thais predominantly (more than 90%) avow themselves Buddhists. Since the rule of King Ramkhamhaeng of Sukhothai and again since the "orthodox reformation" of King Mongkut in the 19th century, it is modeled on the "original" Sri Lankan Theravada Buddhism. The Thais' folk belief however is a syncretic blend of the official Buddhist teachings, animistic elements that trace back to the original beliefs of Tai peoples, and Brahmin-Hindu elements from India, partly inherited from the Hindu Khmer Empire of Angkor.


title: Thai people

text: The belief in local, nature and household spirits, that influence secular issues like health or prosperity, as well as ghosts (, ผี) is widespread. It is visible, for example, in so-called spirit houses "(san phra phum)" that may be found near many homes. "Phi" play an important role in local folklore, but also in modern popular culture, like television series and films. "Ghost films" "(nang phi)" are a distinct, important genre of Thai cinema.


title: Thai people

text: Hinduism has left substantial and present marks on Thai culture. Some Thais worship Hindu gods like Ganesha, Shiva, Vishnu, or Brahma (e.g., at Bangkok's well-known Erawan Shrine). They do not see a contradiction between this practice and their primary Buddhist faith. The Thai national epic Ramakien is an adaption of the Hindu Ramayana. Hindu mythological figures like Devas, Yakshas, Nagas, gods and their mounts "(vahana)" characterise the mythology of Thais and are often depicted in Thai art, even as decoration of Buddhist temples. Thailand's national symbol Garuda is taken from Hindu mythology as well.


title: Thai people

text: A characteristic feature of Thai Buddhism is the practice of "tham boon" (ทำบุญ) ("merit-making"). This can be done mainly by food and in-kind donations to monks, contributions to the renovation and adornment of temples, releasing captive creatures (fish, birds), etc. Moreover, many Thais idolise famous and charismatic monks, who may be credited with thaumaturgy or with the status of a perfected Buddhist saint "(Arahant)". Other significant features of Thai popular belief are astrology, numerology, talismans and amulets (often images of the revered monks)


title: Thai people

text: Besides Thailand's two million Muslim Malays, there are an additional more than a million ethnic Thais who profess Islam, especially in the south, but also in greater Bangkok. As a result of missionary work, there is also a minority of approximately 500,000 Christian Thais: Catholics and various Protestant denominations. Buddhist temples in Thailand are characterized by tall golden stupas, and the Buddhist architecture of Thailand is similar to that in other Southeast Asian countries, particularly Cambodia and Laos, with which Thailand shares cultural and historical heritage.


title: Parallel Lines

text: Parallel Lines is the third studio album by American rock band Blondie, released in September 1978, by Chrysalis Records to international commercial success. The album reached No. 1 in the United Kingdom in February 1979 and proved to be the band's commercial breakthrough in the United States, where it reached No. 6 in April 1979. In "Billboard" magazine, "Parallel Lines" was listed at No. 9 in the top pop albums year-end chart of 1979. The album spawned several successful singles, notably the international hit "Heart of Glass".


title: Parallel Lines

text: Blondie's second studio album "Plastic Letters" was their last album produced by Richard Gottehrer, whose sound had formed the basis of Blondie's new wave and punk output. During a tour of the west coast of the US in support of "Plastic Letters", Blondie encountered Australian producer Mike Chapman in California. Peter Leeds, Blondie's manager, conspired with Chrysalis Records to encourage Chapman to work with Blondie on new music. Drummer Clem Burke recalls feeling enthusiastic about the proposition, believing Chapman could create innovative and eclectic records. However, lead vocalist Debbie Harry was far less enthusiastic about Chapman's involvement as she knew him only by reputation; according to Chapman, her animosity towards him was because "they were New York. [He] was L.A.". Harry's cautiousness abated after she played Chapman early cuts of "Heart of Glass" and "Sunday Girl" and he was impressed.


title: Parallel Lines

text: In June 1978 the band entered the Record Plant in New York to record their third album, and first with Chapman. However, Chapman found the band difficult to work with, remembering them as the worst band he ever worked with in terms of musical ability, although praising Frank Infante as "an amazing guitarist". Sessions with Chris Stein were hampered by him being stoned during recording, and Chapman encouraged him to write songs rather than play guitar. Similarly, according to Chapman, Jimmy Destri would prove himself to be far better at songwriting than as a keyboardist and Clem Burke had poor timing playing drums. As a result, Chapman spent time improving the band, especially Stein with whom Chapman spent hours rerecording his parts to ensure they were right. Bassist Nigel Harrison became so frustrated with Chapman's drive for perfection that he threw a synthesizer at him during recording. Chapman recalls the atmosphere at the Record Plant in an interview for "Sound on Sound":


title: Parallel Lines

text: Chapman took an unorthodox approach when recording with Harry whom he describes as "a great singer and a great vocal stylist, with a beautifully identifiable voice. However ... also very moody". Chapman was far more cautious of demanding much from Harry as he saw her as a highly emotional person who would vest these emotions in the songs they made. He remembers Harry disappearing into the bathroom in tears for several hours at a time during recording. During a day of recording, Harry sang two lead parts and some harmonies, less work than she did previously with Gottehrer. This was due to Chapman encouraging her to be cautious about the way she sang, particularly to recognise phrasing, timing and attitude.


title: Parallel Lines

text: Blondie recorded "Parallel Lines" in six weeks, despite being given six months by Terry Ellis, co-founder of Chrysalis Records, to do so. For the drums, a traditional set-up was used and Chapman fitted Neumann microphones to the toms, snare and hi-hat, as well as several above the site. When recording, Chapman would start with the bass track, which was difficult to record at the time, by way of "pencil erasing". Chapman explained in an interview for "Sound on Sound", "that meant using a pencil to hold the tape away from the head and erasing up to the kick drum. If a bass part was ahead of the kick, you could erase it so that it sounded like it was on top of the kick. That's very easy to do these days, but back then it was quite a procedure just to get the bottom end sounding nice and tight." A combination DI/amp method was used to record Harrison's bass and Destri's synthesizer. Shure SM57 and AKG 414 microphones were used to capture Infante's Les Paul guitar. King Crimson guitarist Robert Fripp makes a guest appearance on his main instrument on "Fade Away and Radiate".


title: Parallel Lines

text: After the basic track was complete, Chapman would record lead and backing vocals with Harry. However, this process was hampered by many songs not being written in time for the vocals to be recorded. "Sunday Girl", "Picture This" and "One Way Or Another" were all unfinished during the rehearsal sessions. When recording vocal parts, Chapman remembers asking Harry if she was ready to sing, only for her to reply "Yeah, just a minute" as she was still writing lyrics down. Chapman notes that many "classic" songs from the album were created this way.


title: Parallel Lines

text: During the last session at the Record Plant, the band were asleep on the floor only to be awakened at six o'clock in the morning by Mike Chapman and his engineer Peter Coleman leaving for Los Angeles with the tape tracks. Despite Blondie's belief that "Parallel Lines" would resonate with a wider audience, Chrysalis Records was not as enthusiastic and label executives told them to start again, only to be dissuaded by Chapman's assurance that its singles would prove popular.


title: Parallel Lines

text: According to music journalist Robert Christgau, "Parallel Lines" was a pop rock album in which Blondie achieved their "synthesis of the Dixie Cups and the Electric Prunes". Its style of "state-of-the-art pop/rock circa 1978", as AllMusic's William Ruhlmann described it, showed Blondie deviating from new wave and emerging as "a pure pop band." Ken Tucker believed the band had eschewed the "brooding artiness" of their previous albums for more hooks and pop-oriented songs. Chapman later said, "I didn't make a punk album or a New Wave album with Blondie. I made a pop album." The album's eleven pop songs have refined melodics, and its sole disco song, "Heart of Glass", features jittery keyboards, rustling cymbals by drummer Clem Burke, and a circular rhythm. Burke credited Kraftwerk and as influences for the song and said that he was "trying to get that groove that the drummer for the Bee Gees had".


title: Parallel Lines

text: Lyrically, "Parallel Lines" abandoned what "Rolling Stone" magazine's Arion Berger called the "cartoonish postmodernist referencing" of Blondie's previous new wave songs in favor of a "romantic fatalism" that was new for the band. "Sunday Girl" deals with the theme of teen loneliness. Music critic Rob Sheffield said that the lyric "dusty frames that still arrive / die in 1955", in "Fade Away and Radiate", is the "best lyric in any rock'n'roll song, ever, and it's still the ultimate statement of a band that always found some pleasure worth exploiting in the flashy and the temporary."


title: Parallel Lines

text: "Parallel Lines" took its name from an unused track written by Harry, the lyrics of which were included in the first vinyl edition of the album. The cover sleeve image was photographed by Edo Bertoglio and was chosen by Blondie's manager, Peter Leeds, despite being rejected by the band. The photo shows the band posing in matching dress suits and smiling broadly in contrast to Harry who poses defiantly with her hands on her hips while wearing a white dress and high heels. According to music journalist Tim Peacock, the cover became "iconic – and instantly recognisable".


title: Parallel Lines

text: The album was released by Chrysalis in September 1978, to international success. The album entered the "Billboard" album chart the week ending September 23, 1978 at No. 186, reflecting retail sales during the survey period ending September 10, 1978. In the United Kingdom, it entered the albums chart at No.13, eventually reaching the no.1 spot in February 1979 after the band had scored hits with the singles "Picture This" (UK #12), "Hanging on the Telephone" (UK #5), and "Heart of Glass" (UK #1). "Sunday Girl" was released in the UK as a fourth single from the album in May 1979 and also reached no.1, and "Parallel Lines" became the UK's biggest selling album of the year. Blondie embarked on a sold-out tour of the UK and appeared at an autograph signing event for Our Price Records on Kensington High Street; according to Peacock, it "descended into Beatlemania-esque chaos when the band were mobbed by thousands of fans".


title: Parallel Lines

text: "Parallel Lines" was also a commercial success elsewhere in Europe, Australia, and the United States, where the band had struggled to sell their previous records. "Heart of Glass" became their first number-one hit on the American "Billboard" Hot 100, with help from a promotional video directed by Stanley Dorfman depicting Blondie in a performance of the song at a fashionable nightclub in New York. The single was "responsible for turning the band into bona fide superstars", Peacock said.


title: Parallel Lines

text: The album was met with universal acclaim from critics. Writing in "The Village Voice" in 1978, Robert Christgau said although Blondie still could not write a perfect hit single, the record was a consistent improvement over "Plastic Letters". Years later, he wrote in "Blender" that it was "a perfect album in 1978" and remained so with "every song memorable, distinct, well-shaped and over before you get antsy. Never again did singer Deborah Harry, mastermind Chris Stein and their able four-man cohort nail the band's signature paradoxes with such unfailing flair: lowbrow class, tender sarcasm, pop rock." "New York Times" critic John Rockwell named "Parallel Lines" the eighth best album of 1978. Daryl Easlea from BBC Music, who felt the record combined power pop and new wave styles, credited Mike Chapman's production and flair for pop songwriting for helping make "Parallel Lines" an extremely popular album in the United Kingdom, where it was a number-one hit and charted for 106 weeks during the late 1970s. "Q" magazine called the album "a crossover smash with sparkling guitar sounds, terrific hooks and middle-eights more memorable than some groups' choruses."


title: Parallel Lines

text: In a retrospective appraisal of 1970s post-punk albums, "Spin" magazine's Sasha Frere-Jones said "Parallel Lines" may have been "the perfect pop-rock record" and Blondie's best album. Christian John Wikane from "PopMatters" later called it "a creative and commercial masterpiece by Blondie ... indisputably one of the great, classic albums of the rock and roll era." In the opinion of "Pitchfork" critic Scott Plagenhoef, the album popularized "the look and sound of 1980s new wave" with classic songs that showcased the depth and complexity of Harry's sexuality and singing. Sal Cinquemani from "Slant Magazine" was also impressed by her singing, which he felt varied from "purring like a kitten and then building to a mean growl", and cited "Heart of Glass" as the album's best track because of her "honey-dipped vocal".


title: Parallel Lines

text: In 2000, "Parallel Lines" was voted number 57 in Colin Larkin's book "All Time Top 1000 Albums". Three years later, it was ranked at number 140 on "Rolling Stone"s list of the 500 greatest albums of all time, maintaining the rating in a 2012 revised list; an accompanying essay said the album was "where punk and New Wave broke through to a mass U.S. audience". It has also been placed at number 18 and 45 on "NME"s 100 Best Albums of All Time (2003) and 500 Greatest Albums of All Time (2013) lists, respectively; number 7 on "Blender"s 100 Greatest American Albums of All Time; number 94 on Channel 4's 2005 list of the 100 greatest albums of all time; and number 76 on "Pitchfork"s list of the best albums from the 1970s.


title: Parallel Lines

text: The album was reissued and remastered in 2001 along with Blondie's back catalog and featured four bonus tracks: a 1978 demo of "Heart of Glass", live cover of T. Rex's song "Bang a Gong (Get It On)" and two live tracks taken from the "Picture This Live" live album.


title: Parallel Lines

text: On June 24, 2008, an expanded 30th Anniversary Edition of the album was released, which featured new artwork and bonus tracks along with bonus DVD. The liner notes once again featured lyrics to the unfinished "Parallel Lines" song. The "Parallel Lines 30th Anniversary Edition" included the 7″ single version of "Heart of Glass", the French version of "Sunday Girl" and some remixes, plus a DVD with albums, promo videos and TV performance.


title: Parallel Lines

text: The band also launched a world tour of the same name to promote the re-release and celebrate the event.


title: Spectrophotometry

text: Spectrophotometry is a branch of electromagnetic spectroscopy concerned with the quantitative measurement of the reflection or transmission properties of a material as a function of wavelength. Spectrophotometry uses photometers, known as spectrophotometers, that can measure the intensity of a light beam at different wavelengths. Although spectrophotometry is most commonly applied to ultraviolet, visible, and infrared radiation, modern spectrophotometers can interrogate wide swaths of the electromagnetic spectrum, including x-ray, ultraviolet, visible, infrared, and/or microwave wavelengths.


title: Spectrophotometry

text: Spectrophotometry is a tool that hinges on the quantitative analysis of molecules depending on how much light is absorbed by colored compounds. Important features of spectrophotometers are spectral bandwidth (the range of colors it can transmit through the test sample), the percentage of sample-transmission, the logarithmic range of sample-absorption, and sometimes a percentage of reflectance measurement.


title: Spectrophotometry

text: A spectrophotometer is commonly used for the measurement of transmittance or reflectance of solutions, transparent or opaque solids, such as polished glass, or gases. Although many biochemicals are colored, as in, they absorb visible light and therefore can be measured by colorimetric procedures, even colorless biochemicals can often be converted to colored compounds suitable for chromogenic color-forming reactions to yield compounds suitable for colorimetric analysis. However, they can also be designed to measure the diffusivity on any of the listed light ranges that usually cover around 200–2500 nm using different controls and calibrations. Within these ranges of light, calibrations are needed on the machine using standards that vary in type depending on the wavelength of the "photometric determination".


title: Spectrophotometry

text: An example of an experiment in which spectrophotometry is used is the determination of the equilibrium constant of a solution. A certain chemical reaction within a solution may occur in a forward and reverse direction, where reactants form products and products break down into reactants. At some point, this chemical reaction will reach a point of balance called an equilibrium point. In order to determine the respective concentrations of reactants and products at this point, the light transmittance of the solution can be tested using spectrophotometry. The amount of light that passes through the solution is indicative of the concentration of certain chemicals that do not allow light to pass through.


title: Spectrophotometry

text: The absorption of light is due to the interaction of light with the electronic and vibrational modes of molecules. Each type of molecule has an individual set of energy levels associated with the makeup of its chemical bonds and nuclei and thus will absorb light of specific wavelengths, or energies, resulting in unique spectral properties. This is based upon its specific and distinct makeup.


title: Spectrophotometry

text: The use of spectrophotometers spans various scientific fields, such as physics, materials science, chemistry, biochemistry, Chemical Engineering, and molecular biology. They are widely used in many industries including semiconductors, laser and optical manufacturing, printing and forensic examination, as well as in laboratories for the study of chemical substances. Spectrophotometry is often used in measurements of enzyme activities, determinations of protein concentrations, determinations of enzymatic kinetic constants, and measurements of ligand binding reactions. Ultimately, a spectrophotometer is able to determine, depending on the control or calibration, what substances are present in a target and exactly how much through calculations of observed wavelengths.


title: Spectrophotometry

text: In astronomy, the term spectrophotometry refers to the measurement of the spectrum of a celestial object in which the flux scale of the spectrum is calibrated as a function of wavelength, usually by comparison with an observation of a spectrophotometric standard star, and corrected for the absorption of light by the Earth's atmosphere.


title: Spectrophotometry

text: Invented by Arnold O. Beckman in 1940 , the spectrophotometer was created with the aid of his colleagues at his company National Technical Laboratories founded in 1935 which would become Beckman Instrument Company and ultimately Beckman Coulter. This would come as a solution to the previously created spectrophotometers which were unable to absorb the ultraviolet correctly. He would start with the invention of Model A where a glass prism was used to absorb the UV light. It would be found that this did not give satisfactory results, therefore in Model B, there was a shift from a glass to a quartz prism which allowed for better absorbance results. From there, Model C was born with an adjustment to the wavelength resolution which ended up having three units of it produced. The last and most popular model became Model D which is better recognized now as the DU spectrophotometer which contained the instrument case, hydrogen lamp with ultraviolet continuum and a better monochromator. It was produced from 1941 to 1976 where the price for it in 1941 was US$723 (far-UV accessories were an option at additional cost). In the words of Nobel chemistry laureate Bruce Merrifield, it was "probably the most important instrument ever developed towards the advancement of bioscience."


title: Spectrophotometry

text: Once it became discontinued in 1976, Hewlett-Packard created the first commercially available diode-array spectrophotometer in 1979 known as the HP 8450A. Diode-array spectrophotometers differed from the original spectrophotometer created by Beckman because it was the first single-beam microprocessor-controlled spectrophotometer that scanned multiple wavelengths at a time in seconds. It irradiates the sample with polychromatic light which the sample absorbs depending on its properties. Then it is transmitted back by grating the photodiode array which detects the wavelength region of the spectrum. Since then, the creation and implementation of spectrophotometry devices has increased immensely and has become one of the most innovative instruments of our time.


title: Spectrophotometry

text: There are two major classes of devices: single-beam and double-beam. A double-beam spectrophotometer compares the light intensity between two light paths, one path containing a reference sample and the other the test sample. A single-beam spectrophotometer measures the relative light intensity of the beam before and after a test sample is inserted. Although comparison measurements from double-beam instruments are easier and more stable, single-beam instruments can have a larger dynamic range and are optically simpler and more compact. Additionally, some specialized instruments, such as spectrophotometers built onto microscopes or telescopes, are single-beam instruments due to practicality.


title: Spectrophotometry

text: Historically, spectrophotometers use a monochromator containing a diffraction grating to produce the analytical spectrum. The grating can either be movable or fixed. If a single detector, such as a photomultiplier tube or photodiode is used, the grating can be scanned stepwise (scanning spectrophotometer) so that the detector can measure the light intensity at each wavelength (which will correspond to each "step"). Arrays of detectors (array spectrophotometer), such as charge coupled devices (CCD) or photodiode arrays (PDA) can also be used. In such systems, the grating is fixed and the intensity of each wavelength of light is measured by a different detector in the array. Additionally, most modern mid-infrared spectrophotometers use a Fourier transform technique to acquire the spectral information. This technique is called Fourier transform infrared spectroscopy.


title: Spectrophotometry

text: When making transmission measurements, the spectrophotometer quantitatively compares the fraction of light that passes through a reference solution and a test solution, then electronically compares the intensities of the two signals and computes the percentage of transmission of the sample compared to the reference standard. For reflectance measurements, the spectrophotometer quantitatively compares the fraction of light that reflects from the reference and test samples. Light from the source lamp is passed through a monochromator, which diffracts the light into a "rainbow" of wavelengths through a rotating prism and outputs narrow bandwidths of this diffracted spectrum through a mechanical slit on the output side of the monochromator. These bandwidths are transmitted through the test sample. Then the photon flux density (watts per metre squared usually) of the transmitted or reflected light is measured with a photodiode, charge coupled device or other light sensor. The transmittance or reflectance value for each wavelength of the test sample is then compared with the transmission or reflectance values from the reference sample. Most instruments will apply a logarithmic function to the linear transmittance ratio to calculate the 'absorbency' of the sample, a value which is proportional to the 'concentration' of the chemical being measured.


title: Spectrophotometry

text: Many older spectrophotometers must be calibrated by a procedure known as "zeroing", to balance the null current output of the two beams at the detector. The transmission of a reference substance is set as a baseline (datum) value, so the transmission of all other substances are recorded relative to the initial "zeroed" substance. The spectrophotometer then converts the transmission ratio into 'absorbency', the concentration of specific components of the test sample relative to the initial substance.


title: Spectrophotometry

text: Spectrophotometry is an important technique used in many biochemical experiments that involve DNA, RNA, and protein isolation, enzyme kinetics and biochemical analyses. Since samples in these applications are not readily available in large quantities, they are especially suited to being analyzed in this non-destructive technique. In addition, precious sample can be saved by utilizing a micro-volume platform where as little as 1uL of sample is required for complete analyses.


title: Spectrophotometry

text: A brief explanation of the procedure of spectrophotometry includes comparing the absorbency of a blank sample that does not contain a colored compound to a sample that contains a colored compound. This coloring can be accomplished by either a dye such as Coomasie Brilliant Blue G-250 dye measured at 595 nm or by an enzymatic reaction as seen between β-galactosidase and ONPG (turns sample yellow) measured at 420 nm. The spectrophotometer is used to measure colored compounds in the visible region of light (between 350 nm and 800 nm), thus it can be used to find more information about the substance being studied.


title: Spectrophotometry

text: In biochemical experiments, a chemical and/or physical property is chosen and the procedure that is used is specific to that property in order to derive more information about the sample, such as the quantity, purity, enzyme activity, etc.


title: Spectrophotometry

text: Spectrophotometry can be used for a number of techniques such as determining optimal wavelength absorbance of samples, determining optimal pH for absorbance of samples, determining concentrations of unknown samples, and determining the pKa of various samples. Spectrophotometry is also a helpful process for protein purification and can also be used as a method to create optical assays of a compound. Spectrophotometric data can also be used in conjunction with the Beer–Lambert Equation, formula_1, in order to determine various relationships between transmittance and concentration, and absorbance and concentration. Because a spectrophotometer measures the wavelength of a compound through its color, a dye binding substance can be added so that it can undergo a color change and be measured. It is possible to know the concentrations of a two component mixture using the absorption spectra of the standard solutions of each component. To do this, it is necessary to know the extinction coefficient of this mixture at two wave lengths and the extinction coefficients of solutions that contain the known weights of the two components. In addition to the traditional Beer-Lamberts law model, cuvette based label free spectroscopy can be used, which add an optical filter in the pathways of the light, enabling the spectrophotometer to quantify concentration, size and refractive index of samples following the hands law. Spectrophotometers have been developed and improved over decades and have been widely used among chemists. Additionally, Spectrophotometers are specialized to measure either UV or Visible light wavelength absorbance values. It is considered to be a highly accurate instrument that is also very sensitive and therefore extremely precise, especially in determining color change. This method is also convenient for use in laboratory experiments because it is an inexpensive and relatively simple process.


title: Spectrophotometry

text: Most spectrophotometers are used in the UV and visible regions of the spectrum, and some of these instruments also operate into the near-infrared region as well. The concentration of a protein can be estimated by measuring the OD at 280 nm due to the presence of tryptophan, tyrosine and phenylalanine. This method is not very accurate since the composition of proteins varies greatly and proteins with none of these amino acids do not have maximum absorption at 280 nm. Nucleic acid contamination can also interfere. This method requires a spectrophotometer capable of measuring in the UV region with quartz cuvettes.


title: Spectrophotometry

text: Ultraviolet-visible (UV-vis) spectroscopy involves energy levels that excite electronic transitions. Absorption of UV-vis light excites molecules that are in ground-states to their excited-states.


title: Spectrophotometry

text: Visible region 400–700 nm spectrophotometry is used extensively in colorimetry science. It is a known fact that it operates best at the range of 0.2–0.8 O.D. Ink manufacturers, printing companies, textiles vendors, and many more, need the data provided through colorimetry. They take readings in the region of every 5–20 nanometers along the visible region, and produce a spectral reflectance curve or a data stream for alternative presentations. These curves can be used to test a new batch of colorant to check if it makes a match to specifications, e.g., ISO printing standards.


title: Spectrophotometry

text: Traditional visible region spectrophotometers cannot detect if a colorant or the base material has fluorescence. This can make it difficult to manage color issues if for example one or more of the printing inks is fluorescent. Where a colorant contains fluorescence, a bi-spectral fluorescent spectrophotometer is used. There are two major setups for visual spectrum spectrophotometers, d/8 (spherical) and 0/45. The names are due to the geometry of the light source, observer and interior of the measurement chamber. Scientists use this instrument to measure the amount of compounds in a sample. If the compound is more concentrated more light will be absorbed by the sample; within small ranges, the Beer–Lambert law holds and the absorbance between samples vary with concentration linearly. In the case of printing measurements two alternative settings are commonly used- without/with uv filter to control better the effect of uv brighteners within the paper stock.


title: Spectrophotometry

text: Samples are usually prepared in cuvettes; depending on the region of interest, they may be constructed of glass, plastic (visible spectrum region of interest), or quartz (Far UV spectrum region of interest). Some applications require small volume measurements which can be performed with micro-volume platforms.


title: Spectrophotometry

text: As described in the applications section, spectrophotometry can be used in both qualitative and quantitative analysis of DNA, RNA, and proteins. Qualitative analysis can be used and spectrophotometers are used to record spectra of compounds by scanning broad wavelength regions to determine the absorbance properties (the intensity of the color) of the compound at each wavelength. One experiment that can demonstrate the various uses that visible spectrophotometry can have is the separation of β-galactosidase from a mixture of various proteins. Largely, spectrophotometry is best used to help quantify the amount of purification your sample has undergone relative to total protein concentration. By running an affinity chromatography, B-Galactosidase can be isolated and tested by reacting collected samples with ONPG and determining if the sample turns yellow. Following this testing the sample at 420 nm for specific interaction with ONPG and at 595 for a Bradford Assay the amount of purification can be assessed quantitatively. In addition to this spectrophotometry can be used in tandem with other techniques such as SDS-Page electrophoresis in order to purify and isolate various protein samples.


title: Spectrophotometry

text: Spectrophotometers designed for the infrared region are quite different because of the technical requirements of measurement in that region. One major factor is the type of photosensors that are available for different spectral regions, but infrared measurement is also challenging because virtually everything emits IR light as thermal radiation, especially at wavelengths beyond about 5 μm.


title: Spectrophotometry

text: Another complication is that quite a few materials such as glass and plastic absorb infrared light, making it incompatible as an optical medium. Ideal optical materials are salts, which do not absorb strongly. Samples for IR spectrophotometry may be smeared between two discs of potassium bromide or ground with potassium bromide and pressed into a pellet. Where aqueous solutions are to be measured, insoluble silver chloride is used to construct the cell.


title: Spectrophotometry

text: Spectroradiometers, which operate almost like the visible region spectrophotometers, are designed to measure the spectral density of illuminants. Applications may include evaluation and categorization of lighting for sales by the manufacturer, or for the customers to confirm the lamp they decided to purchase is within their specifications. Components:


title: My Sassy Girl

text: My Sassy Girl () is a 2001 South Korean comedy film directed by Kwak Jae-yong, starring Jun Ji-hyun and Cha Tae-hyun. The film is based on a true story told in a series of blog posts written by Kim Ho-sik, who later adapted them into a fictional novel.


title: My Sassy Girl

text: The film was very successful in South Korea, where it was the highest-grossing comedy of all time, and one of the top five highest-grossing films ever at the time. When "My Sassy Girl" was released across East Asia, it became a blockbuster in the region, becoming a hit in Japan, Taiwan and Hong Kong. The film's success in Asia drew comparisons to "Titanic". Its DVD release also drew a large international cult following, particularly in China, Southeast Asia, and parts of South Asia. "My Sassy Girl" sparked an international breakthrough for Korean cinema, and it played a key role in the spread of the Korean Wave.


title: My Sassy Girl

text: The film has spawned an international media franchise, consisting of film remakes and television adaptations in different countries as well as a sequel. An American remake, starring Jesse Bradford and Elisha Cuthbert, and directed by Yann Samuell, was released in 2008. A Japanese drama adaptation with Tsuyoshi Kusanagi and actress Rena Tanaka as the leads started broadcasting in April 2008. A sequel, "My New Sassy Girl", a collaborative work between Korea and China, was released in 2016. "My Sassy Girl" has received numerous remakes and adaptations, including Japanese and Korean television adaptations as well as a number of remakes from other countries (American, Indian, Chinese, Nepali, Lithuanian, Philippine, and Indonesian versions).


title: My Sassy Girl

text: The film tells the love story of a male engineering college student, Gyeon-woo, and "the Girl" (whose name is never mentioned in the movie). Gyeon-woo just cannot seem to catch a romantic break. Their personalities stand opposite to the "characteristics traditionally associated with masculinity and femininity...in Asian societies in general".


title: My Sassy Girl

text: One day, at dinner and drinks with his college friends, Gyeon-woo is interrupted by a call from his mother, telling him to visit his aunt and meet a potential date. At the train station on his way to his aunt's, he observes a drunk girl, standing precariously close to the edge of the train platform as the train approaches; he pulls her to safety just in time. Inside the train, Gyeon-woo cannot help but stare at the girl who is his "type" but repulsed by her drunkenness. Finally, she throws up on a passenger and faints but not before she calls Gyeon-woo "honey". The passenger aggressively chides Gyeon-woo and tells him to take care of his "girlfriend". Gyeon-woo, completely flustered, leaves her on a subway platform bench, but his conscience compels him to take her to the nearest hotel for safety. While the girl is passed out on the bed, her phone rings and Gyeon-woo picks up. He gives vague answers in regards to the girl's whereabouts and perhaps through GPS tracking, police raid the room and Gyeon-woo gets maced and sent to jail. He is sent home from jail the next morning, and to his surprise he gets a phone-call from the girl, who demands they meet by the train station so she can figure out what happened the night before. Over "soju" the Girl cries, admits to breaking up with her boyfriend the day before and gets thoroughly drunk, resulting in a second trip to the same hotel. Thus begins his comically ill-fated relationship with the Girl.


title: My Sassy Girl

text: After this second overnight stay at the hotel, she begins to become a more active part of his life. She visits Gyeon-woo in college and pulls him out of class, telling the teacher that Gyeon-woo is the father of her soon-to-be-aborted baby. The Girl's mood swings wildly from joyful to downright violent, but Gyeon-woo puts up with it and lets her abuse him for her amusement.


title: My Sassy Girl

text: She is an aspiring scriptwriter and throughout the movie gives Gyeon-woo three different screenplays from different genres. The first is an action movie—"The Demolition Terminator"—which switches gender roles, symbolically having the Girl save her helpless lover (Gyeon-woo). The second is a wild perversion of a Korean short story—"Sonagi"—in which the Girl, having died, asks that her lover be buried along with her—even though he's still alive. The last is a "wuxia/samurai movie" spoof full of genre "clichés" and anachronisms. All three feature the same common thread: the Girl is from the future.


title: My Sassy Girl

text: Despite all the horrible things Gyeon-woo endures, he is determined to help cure the girl's pain. He decides to surprise her on her birthday and takes her on a nighttime trip to an amusement park which ends up quite differently from how he planned: the pair encounter an AWOL soldier who holds them hostage and rants about his misery after being jilted. Gyeon-woo convinces him to release her, and she in turn convinces the soldier to free Gyeon-woo and go on with his life and pursue another love.


title: My Sassy Girl

text: The Girl and Gyeon-woo's relationship takes a turn for the better; her cruel treatment of Gyeon-woo is her way of showing affection and the two grow closer. After a day of hanging out, he walks her home in the pouring rain and she demands he meet her father, who is a habitual drinker. Her parents do not take to Gyeon-woo and on leaving, he overhears an impassioned argument between the girl and her mother over her relationship with him. He does not hear from her for quite some time and his life without her begins.


title: My Sassy Girl

text: One day however, the Girl calls him and tells him to bring her a rose during class (the Girl attends an all-girls college) to commemorate their 100th-day anniversary. He does this, leading to a touching and romantic scene where he arrives in disguise as a food delivery person into a packed auditorium and watches her play the melody of George Winston's variations on Pachelbel's "Canon in D" on a piano onstage. He presents her the rose and the two hug while the classmates applaud in approval at his romantic gesture. As part of their celebration, they hit the bars and clubs together dressed in high-school uniforms; she gets drunk and as Gyeon-woo carries her on his back, a stranger slips him a condom. Gyeon-woo drops her off inside and is confronted at her house by her parents again; the father interrogates him and forces him to empty his pockets, where he embarrassingly presents the condom. Her father demands that the two break up.


title: My Sassy Girl

text: The Girl does not contact him again and Gyeon-woo naturally thinks they have broken up, until one day seemingly out of the blue, she calls Gyeon-woo to meet her for dinner as she is on a blind date. The Girl introduces Gyeon-woo to the date, who thinks Gyeon-woo is a great friend of hers based on how highly she speaks of him. She is unusually soft and gentle as there is clear awkwardness between the two. She excuses herself to the washroom and appears to not be handling the break-up so well. The Girl returns to the table to see Gyeon-woo gone; he left while she was in the bathroom, but not before offering the blind date ten rules to follow to ensure her happiness:


title: My Sassy Girl

text: While the blind date recites these rules to her, she realizes how well Gyeon-woo understands her and realizes her love for him. She abruptly leaves her date and searches for Gyeon-woo at the subway station.


title: My Sassy Girl

text: They cross paths several times, but never run into each other, so she goes into the subway security office to see the security monitors. She sees him standing close to the edge of the platform (just like she was in the beginning). While an employee makes an announcement in the microphone, she yells his name; he hears and they re-unite at the office.


title: My Sassy Girl

text: Once reunited the two realize they are at a turning point in their relationship, but, for some unknown reason, the Girl decides it is time for them to part. As a gesture to their happy times, the two write letters to each other and bury them in a "time capsule" under a particular tree on a mountain in the countryside. They agree to meet again at the tree after two years to read the letters together. After burying the "time capsule" they go their separate ways for good.


title: My Sassy Girl

text: During the two-year span, Gyeon-woo works hard to improve himself; he practices kendo and squash and learns to swim. To pass the time, he also began writing about his dating experiences with the Girl on the internet as a means to cope. His stories gain so much notoriety that he is approached by movie producers to turn his letters into a movie; he is ecstatic because the Girl's life-long dream was to have one of her screenplays made into a film. He so desperately wants to share this news with her, but chooses to wait until they agree to meet.


title: My Sassy Girl

text: Two years have passed and on the agreed date, he travels to the tree on the mountain-top, but the Girl does not show up. He comes day after day without opening the time-capsule in hopes that she would appear, but she never does. Eventually, he opens the time capsule and reads her letter and learns the root of her angst and behavior: Gyeon-woo reminds her of her previous boyfriend who, rather than breaking up with her, actually died before she met Gyeon-woo. On the day they met on the train platform, she was supposed to go on a blind date set up by the mother of her deceased boyfriend, with whom she kept a close bond. Because of her chance meeting with Gyeon-woo, part of her feels that it was her ex that brought the two of them together and she develops guilt for falling in love with him. She needs time apart to heal and move on from her ex alone.