title: Cephalic index

text: The cephalic index was defined by Swedish professor of anatomy Anders Retzius (1796–1860) and first used in physical anthropology to classify ancient human remains found in Europe. The theory became closely associated with the development of racial anthropology in the 19th and early 20th centuries, when historians attempted to use ancient remains to model population movements in terms of racial categories. American anthropologist Carleton S. Coon also used the index in the 1960s, by which time it had been largely discredited.


title: Cephalic index

text: Humans are characterized by having either a dolichocephalic (long-headed), mesaticephalic (moderate-headed), or brachycephalic (short-headed) cephalic index or cranial index.


title: Cephalic index

text: Technically, the measured factors are defined as the maximum width of the bones that surround the head above the supramastoid crest (behind the cheekbones), and the maximum length from the most easily noticed part of the glabella (between the eyebrows) to the most easily noticed point on the back part of the head.


title: Cephalic index

text: The usefulness of the cephalic index was questioned by Giuseppe Sergi, who argued that cranial morphology provided a better means to model racial ancestry. Also, Franz Boas studied the children of immigrants to the United States in 1910 to 1912, noting that the children's cephalic index differed significantly from their parents', implying that local environmental conditions had a significant effect on the development of head shape.


title: Cephalic index

text: Boas argued that if craniofacial features were so malleable in a single generation, then the cephalic index was of little use for defining race and mapping ancestral populations. Scholars such as Earnest A. Hooton continued to argue that both environment and heredity were involved. Boas did not himself claim it was totally plastic.


title: Cephalic index

text: In 2002, a paper by Sparks and Jantz re-evaluated some of Boas's original data using new statistical techniques and concluded that there was a "relatively high genetic component" of head shape. Ralph Holloway of Columbia University argues that the new research raises questions about whether the variations in skull shape have "adaptive meaning and whether, in fact, normalizing selection might be at work on the trait, where both extremes, hyperdolichocephaly and hyperbrachycephaly, are at a slight selective disadvantage."


title: Cephalic index

text: In 2003, anthropologists Clarence C. Gravlee, H. Russell Bernard, and William R. Leonard reanalyzed Boas's data and concluded that most of Boas's original findings were correct. Moreover, they applied new statistical, computer-assisted methods to Boas's data and discovered more evidence for cranial plasticity. In a later publication, Gravlee, Bernard and Leonard reviewed Sparks's and Jantz's analysis. They argue that Sparks and Jantz misrepresented Boas's claims, and that Sparks's and Jantz's data support Boas. For example, they point out that Sparks and Jantz look at changes in cranial size in relation to how long an individual has been in the United States in order to test the influence of the environment. Boas, however, looked at changes in cranial size in relation to how long the mother had been in the United States. They argue that Boas's method is more useful, because the prenatal environment is a crucial developmental factor.


title: Cephalic index

text: Jantz and Sparks responded to Gravlee et al., reiterating that Boas' findings lacked biological meaning, and that the interpretation of Boas' results common in the literature was biologically inaccurate. In a later study, the same authors concluded that the effects Boas observed were likely the result of population-specific environmental effects such as changes in cultural practices for cradling infants, rather than the effects of a general "American environment" which caused populations in America to converge to a common cranial type, as Boas had suggested.


title: Cephalic index

text: A brachycephalic skull is relatively broad and short (typically with the breadth at least 80% of the length). Dog breeds such as the pug are sometimes classified as "Extreme Brachycephalic". Because of the health issues brachycephaly is regarded as torture breeding as it often leads to the Brachycephalic airway obstructive syndrome.


title: Cephalic index

text: A mesaticephalic skull is of intermediate length and width. Mesaticephalic skulls are not markedly brachycephalic or dolichocephalic.


title: Cephalic index

text: When dealing with animals, especially dogs, the more appropriate and commonly used term is not "mesocephalic", but rather "mesaticephalic", which is a ratio of head to nasal cavity. The breeds below exemplify this category.


title: Cephalic index

text: A dolichocephalic skull is relatively long-headed (typically with the breadth less than 80% or 75% of the length).


title: John Cooper (serial killer)

text: John William Cooper (born 3 September 1944) is a Welsh serial killer. On 26 May 2011, he was given a whole life order for the 1985 double murder of siblings Richard and Helen Thomas, and the 1989 double murder of Peter and Gwenda Dixon. The murders were known in the media as the "Pembrokeshire Murders" or the "Coastal Murders". Cooper was also sentenced for the rape of a 16-year-old girl and a sexual assault on a 15-year-old girl, both carried out while a group of five teenagers were held at gunpoint in March 1996, in a wooded area behind the Mount Estate in Cooper's hometown of Milford Haven, Pembrokeshire.


title: John Cooper (serial killer)

text: Cooper had a history of criminal activities, including thirty robberies and violent assaults. Footage from the television game show "Bullseye" in May 1989, in which he appeared as a contestant, was later used as evidence against him, comparing his image with a sketch of a suspect in the Dixons' murder.


title: John Cooper (serial killer)

text: Cooper was sentenced to 14 years in 1998 for robbery and burglary. He was released from prison in January 2009. Because of subsequent developments in DNA and forensic science, the police carried out a cold case review in April 2009 and were able to identify Cooper's shotgun as being the murder weapon. Further DNA evidence was provided by forensic scientist Professor Angela Gallop. The police collected further evidence against him and Cooper was arrested again in May of that year. He was convicted, in May 2011, for the double murders and sexual assaults and sentenced to a whole life order. Cooper has also been linked to other, unsolved, crimes.


title: John Cooper (serial killer)

text: Between the ages of 17 and 21, Cooper was charged with theft of a vehicle, assaulting a police officer, being drunk and disorderly, and assault occasioning actual bodily harm (ABH).


title: John Cooper (serial killer)

text: In 1978, Cooper, then a farm labourer, won £90,000 (worth over £500,000 today) and also a £4,000 car in a newspaper Spot the Ball competition. A friend said: "John developed a huge drink and gambling habit after his winnings went to his head... It was a life-changing amount of money and I saw a real change in him. He spent most of it in pubs and bookies... People were scared of him and he got into a lot of fights. As his money dried up he started the robberies."


title: John Cooper (serial killer)

text: On 22 December 1985, Cooper targeted a three-storey farmhouse at Scoveston Park, killing brother and sister Richard and Helen Thomas, and then burning down the house.


title: John Cooper (serial killer)

text: On 29 June 1989, Peter and Gwenda Dixon were on holiday in Pembrokeshire and were due to take their last walk along the coastal path when they failed to return. Their dead bodies were later found along the path. Cooper had tied the couple up, demanded they hand out their bank card and then forced them to disclose their personal identification number (PIN). Cooper, carrying a sawn-off shotgun, robbed Peter Dixon of £300 and shot the couple in the face at point blank range. In 1996 he attacked five youngsters, threatening them with a gun, sexually assaulting one girl and raping another. By 1998, Cooper had committed 30 burglaries and an armed robbery. Footage from an edition of the ITV gameshow "Bullseye" recorded on 28 May 1989, on which Cooper was a contestant, was later used to match him to a sketch made from witness descriptions.


title: John Cooper (serial killer)

text: In 2011, Cooper was jailed for life for the crimes. In September 2011, he launched an appeal against his convictions. His appeal was rejected in November 2012.


title: John Cooper (serial killer)

text: The UK television series "Real Crime" broadcast a documentary about Cooper in November 2011. On 24 May 2016, the Welsh language television channel S4C broadcast a documentary in the series "Y Ditectif" (The Detective) about the way in which evidence against Cooper was gathered using the latest forensic techniques available at the time, the strategy used by Dyfed-Powys Police in interviewing him and his eventual conviction. On 27 September 2016, the ITV Cymru Wales television channel broadcast a documentary in the series "Crime Files" which examined how police solved the two double murder cases in Pembrokeshire including an interview with the detective who was tasked with interviewing Cooper. On 12 July 2018, a documentary about Cooper, named "The Gameshow Serial Killer: Police Tapes", was aired by ITV as part of the channel's 'Crime and Punishment' season. On 29 January 2019, the UK version of digital channel CBS Reality premiered a further documentary about Cooper's crimes in an episode of its "Murder by the Sea" true crime series.


title: John Cooper (serial killer)

text: In January 2021, ITV broadcast a three-part television series entitled "The Pembrokeshire Murders", most exterior scenes of which were filmed on location in Pembrokeshire. This was followed by an hour-long documentary, "The Pembrokeshire Murders: Catching The Game Show Killer", featuring interviews with Detective Superintendent Steve Wilkins, the man who reopened the investigation, forensic scientists involved in the case, and footage of Cooper as he was interviewed by police.


title: John Cooper (serial killer)

text: After Cooper's convictions in 2011, police stated that they would be investigating the possibility he might have been responsible for other murders, adding that the trial had led to some "interesting issues" requiring further investigation. Some unsolved murders in South Wales bear notable similarities to Cooper's known murders.


title: John Cooper (serial killer)

text: In May 2011, after Cooper was convicted of the four murders, it was revealed that police were considering reopening an inquiry into the unexplained death in 1989 of a woman who lived near Cooper and only two miles from Scoveston Park, the site of his 1985 murders. Flo Evans, a 72-year-old widow, died soon after Cooper murdered Peter and Gwenda Dixon in 1989, being found fully-clothed in a half-full cold bath in her cottage. Cooper and his wife Pat both knew Evans and would visit her regularly at her smallholding, with Cooper often completing odd-jobs for her. She was unexpectedly mentioned by Cooper in his trial as part of his own defence evidence, and during interviews he discussed how he had been in her house, when detectives were already aware of her suspicious death. Her home was in the centre of the area that Cooper committed his burglaries. The family of Evans had long suspected her death was suspicious and not an accident, particularly as she never took baths and as she would not have had any hot water at the time of her death, as no fire had been lit in the kitchen. Evans's death was officially recorded as accidental, with it said at the time that she must have slipped into the bath and hit her head and then drowned. Police contacted the widow's family after Cooper's conviction to discuss her death, saying there was "connectivity" between Cooper and Evans.


title: John Cooper (serial killer)

text: In the 2021 documentary "The Pembrokeshire Murders: Catching The Game Show Killer", shown on ITV after the broadcast of "The Pembrokeshire Murders", the case of Flo Evans was again discussed. Detective Superintendent Steve Wilkins, who oversaw the investigation and convictions of Cooper in 2011, said that Evans was a likely fifth victim of Cooper. Evans did not lock her door, yet it was found to be locked when her body was discovered. Evans had mentioned to friends days before her murder that she couldn't find her house keys. Items of property were also taken from her house including money and shotguns, which fitted Cooper's "Modus Operandi". Cooper regularly burgled the homes of people he knew and reacted violently if disturbed. It is thought Cooper would have known where Evans kept her money. Wilkins said that Cooper "had been at her house on the day she died" and stated that Evans's death should have been a murder inquiry, adding that her death "disturbs me greatly".


title: John Cooper (serial killer)

text: After Cooper's convictions in 2011, it was revealed that detectives were investigating whether there was any "connectivity" between Cooper and the unsolved murders of a couple who were shot at close range at their remote farmhouse at Llanharry near Bridgend in 1993. Harry Tooze, 64, and his wife Megan, 67, had been shot in the head, their bodies dumped in a cowshed and then covered with a carpet. Some similarities with Cooper's known murders were noted, including the fact that both victims were shot at close range and attempts made to hide their bodies. The weapon involved was a shotgun, as Cooper used in his known crimes. It was also observed that there are very few double shotgun murders nationally, and that Cooper was already known to have committed two double shotgun murders. In 2011, the year Cooper was convicted, the case was subsequently re-examined by police. To this day, the case remains one of Wales' most notorious unsolved murders.


title: John Cooper (serial killer)

text: In 2011 a forensic psychologist, Clive Sims, claimed to the BBC that the deaths of an elderly brother and sister at their farmhouse in Pembrokeshire in 1976 could be linked to Cooper. Griff and Patti Thomas, aged 73 and 70 respectively, were found dead in December 1976, and their deaths were originally classified as a double murder until it was decided that Griff Thomas must have argued with the sister he had lived with for 70 years, before hitting her on the head with a blunt instrument and setting himself on fire.


title: John Cooper (serial killer)

text: Speaking to BBC Wales's Taro Naw current affairs programme, Sims questioned the verdict of manslaughter in the case of Patti Thomas and an open verdict in the case of Griff Thomas. Although it was said that Patti was hit by a blunt instrument, no weapon was ever found. Sims said that the pair were killed by an intruder following a botched burglary, something Cooper was known to have committed in the same area in later years, as in Cooper's 1985 double murder at Scoveston Park. A cash box had been emptied at the house, the bureau had been broken into, and the back door was unlocked. Sims highlighted how it was highly unlikely that a serial killer would start killing at age 40, Cooper's age when he committed his first known murders in 1985, and said that it was highly likely that he started killing earlier.


title: John Cooper (serial killer)

text: Over many years, public campaigning has taken place on the basis that the inquest verdicts were not safe and that there was a case for further investigation to establish whether a third person may have been responsible for the deaths. In October 2022, Dyfed-Powys Police detectives began a forensic review into the deaths of the brother and sister. Police have said they were "keeping an open mind" but warned they were unsure what answers - if any - will be provided by the review and that they will continue to keep the family informed of any developments.


title: Kim Sung-cheol

text: Kim Sung-cheol (; born December 31, 1991) is a South Korean actor. He achieved initial success in stage musicals before being cast in his debut television role as Kim Young-cheol (a.k.a. 'Jailbird') in "Prison Playbook" (2017). He is recognised for his roles in "The Battle of Jangsari" (2019), "Do You Like Brahms?" (2020) and "Our Beloved Summer" (2021), among other works.


title: Kim Sung-cheol

text: Kim made his debut in the musical "Puberty" in 2014. In the following years, he appeared in various musicals including "My Bucket List", "Werther" and "Fan Letter". For his performance as Tobias Ragg in the 2016 Korean production of "", he received the award for Best Rookie Actor at the Korea Musical Awards.


title: Kim Sung-cheol

text: He was double-cast with Hong Kwang-ho as the central role of Seo In-hu in the 2017 revival of "Mr. Mouse", a Korean musical based on the short story "Flowers for Algernon".


title: Kim Sung-cheol

text: In 2018, Kim starred in the musical rom-com "To. Jenny" opposite Jung Chae-yeon. Kim also joined in the film "Too Hot to Die." In October 2018, Kim joined the drama OCN "Player".


title: Kim Sung-cheol

text: In 2019, Kim acted in the JTBC drama" The Wind Blows "as well as the tvN series "Arthdal Chronicles". He also starred in the war film "The Battle of Jangsari", for which he won a Best New Actor award in the 27th Korean Culture and Entertainment Awards. The same year, Kim played a supporting role in the film "".


title: Kim Sung-cheol

text: In 2020, Kim appeared in the SBS drama "Do You Like Brahms?", earning him a nomination for Best New Actor at the 2020 SBS Drama Awards. The same year, Kim appeared as Jung Ui-myeong in the Netflix apocalyptic horror series "Sweet Home".


title: Kim Sung-cheol

text: In 2021, Kim made special appearances in "Vincenzo" and "Racket Boys". In addition, Kim was cast as an MC in Channel A's "DIMF Musical Star". Later in July, Kim was confirmed to star in the SBS drama "Our Beloved Summer" which premiered in December 2021. In August 2021, Kim was confirmed to join the historical film "The Owl", where the filming began in September 2021.


title: Multi-party system

text: In political science, a multi-party system is a political system in which multiple political parties across the political spectrum run for national elections, and all have the capacity to gain control of government offices, separately or in coalition. Apart from one-party-dominant and two-party systems, multi-party systems tend to be more common in parliamentary systems than presidential systems and far more common in countries that use proportional representation compared to countries that use first-past-the-post elections. Several parties compete for power and all of them have reasonable chance of forming government.


title: Multi-party system

text: In multi-party systems that use proportional representation, each party wins a number of legislative seats proportional to the number of votes it receives. Under first-past-the-post, the electorate is divided into a number of districts, each of which selects one person to fill one seat by a plurality of the vote. First-past-the-post is not conducive to a proliferation of parties, and naturally gravitates toward a two-party system, in which only two parties have a real chance of electing their candidates to office. This gravitation is known as Duverger's law. Proportional representation, on the other hand, does not have this tendency, and allows multiple major parties to arise. Proportional systems may have multi-member districts with more than one representative elected from a given district to the same legislative body, and thus a greater number of viable parties. Duverger's law states that the number of viable political parties is one, plus the number of seats in a district.


title: Multi-party system

text: Argentina, Armenia, Belgium, Brazil, Denmark, Finland, France, Germany, Iceland, India, Indonesia, Ireland, the Netherlands, New Zealand, Norway, the Philippines, Poland, Sweden, Tunisia, and Ukraine are examples of nations that have used a multi-party system effectively in their democracies. In these countries, usually no single party has a parliamentary majority by itself. Instead, multiple political parties are compelled to form compromised coalitions for the purpose of developing power blocks and attaining legitimate mandate.


title: Multi-party system

text: Unlike a one-party system (or a dominant-party system), a multi-party system encourages the general constituency to form multiple distinct, officially recognized groups, generally called political parties. Each party competes for votes from the enfranchised constituents (those allowed to vote). A multi-party system prevents the leadership of a single party from controlling a single legislative chamber without challenge.


title: Multi-party system

text: A system where only two parties have the possibility of winning an election is called a two-party system. A system where only three parties have a "realistic possibility" of winning an election or forming a coalition is sometimes called a "third-party system". But, in some cases the system is called a "Stalled Third-Party System," when there are three parties and all three parties win a large number of votes, but only two have a chance of winning an election. Usually, this is because the electoral system penalises the third party, e.g. as in Canadian or UK politics.


title: Multi-party system

text: A two-party system requires voters to align themselves in large blocks, sometimes so large that they cannot agree on any overarching principles. Some theories argue that this allows centrists to gain control, though this is disputed. On the other hand, if there are multiple major parties, each with less than a majority of the vote, the parties are strongly motivated to work together to form working governments. This also promotes centrism, as well as promoting coalition-building skills while discouraging polarization.


title: Gaur Gopal Das

text: Gaur Gopal Das () is an Indian monk, lifestyle coach, motivational speaker and former HP engineer. He is a member of the International Society for Krishna Consciousness (ISKCON).


title: Gaur Gopal Das

text: He was born in Pune, Maharashtra, India. He has a diploma in electrical engineering from Cusrow Wadia Institute of Technology, Pune and a degree from College of Engineering, Pune. He worked as an electrical engineer at Hewlett Packard for a brief period, before leaving the company in 1996 to become a monk.


title: Gaur Gopal Das

text: In 2018, he published the book "Life's Amazing Secrets", and received an honorary doctorate by Kalinga Institute of Industrial Technology (KIIT). He was reported as having over 4.36 million YouTube followers with more than 177 million views.


title: Piano Man (song)

text: "Piano Man" is a song written and performed by American singer-songwriter Billy Joel. As his first single in North America, it was included on Joel's 1973 album of the same name and later released as a single on November 2, 1973. The song is sung from Joel's point of view as a piano player at a bar, reminiscing about his experiences there and the people he encountered. "Piano Man" is based on Joel's real-life experiences as a lounge musician in Los Angeles from 1972 to 1973, which he had decided to pursue in an effort to escape his contracted New York City-based record company at the time, Family Productions, following the poor commercial performance of the album "Cold Spring Harbor". Joel describes various characters, including a bartender named John and a "real estate novelist" named Paul, all based on real-life individuals.


title: Piano Man (song)

text: Joel's first major hit and his signature song, "Piano Man" peaked at #25 on the "Billboard" Hot 100 chart in April 1974. Following Joel's breakthrough as a popular musician with the release of "The Stranger", it became one of his most well-known songs. It is now a highlight of Joel's live shows, where he usually allows the audience to sing the chorus. In 2015, the Library of Congress selected "Piano Man" for preservation in the National Recording Registry for its "cultural, historic, or artistic significance".


title: Piano Man (song)

text: "Piano Man" is a fictionalized retelling of Joel's own experience as a piano-lounge singer for six months in 1972–73 at the now defunct Executive Room bar in the Wilshire district of Los Angeles. In a talk on "Inside the Actors Studio", Joel said that he had to get away from New York due to a conflict with his then recording company and hence lived in Los Angeles for three years with his first wife. Since he needed work to pay the bills, but could not use his better known name, he worked at the Executive Room bar as a piano player using the name "Bill Martin" (Joel's full name is William Martin Joel).


title: Piano Man (song)

text: Joel has stated that all of the characters depicted in the song were based on real people. "John at the bar" was really the bartender who worked during Joel's shift at the piano bar. "Paul is a real estate novelist" refers to a real estate agent named Paul who would sit at the bar each night working on what he believed would be the next great American novel. "The waitress is practicing politics" refers to Joel's first wife Elizabeth Weber, with whom he moved to Los Angeles from New York in 1972 and who worked at The Executive Room as a waitress while Joel played the piano. Joel had moved from New York to L.A. to record his first album, "Cold Spring Harbor", which was marred by a mastering error by the album's producers at Family Productions, the first label that signed Joel. After this bad experience, Joel wanted to leave his contract with Family Productions for Columbia Records, but the contract that he had signed made this very difficult. So Joel stated that he was "hiding out" at the bar, performing under the name Bill Martin, while lawyers at Columbia Records tried to get him out of his first record deal.


title: Piano Man (song)

text: The verses of the song are sung from the point of view of a bar piano player who focuses mainly on the "regular crowd" that "shuffles" into the bar at nine o'clock on a Saturday: an old man, John the bartender, the waitress, businessmen, and bar regulars like "real estate novelist" Paul and navy sailor Davy. Most of these characters have broken or unfulfilled dreams, and the pianist's job is to help them "forget about life for a while", as the lyrics state. The pianist makes money when the patrons "sit at the bar, and put bread in my jar, and say, 'Man, what are you doin' here?'" The chorus, in bar-room sing-along style, comes from the bar patrons themselves, who say, "Sing us a song, / You're the piano man; / Sing us a song tonight. / Well, we're all in the mood for a melody, / And you've got us feeling all right." As for the lyrics, Joel has observed that with their five-line grouping, they were more in the form of a limerick than a typical poem.


title: Piano Man (song)

text: "Cash Box" said that the "soft, tender narrative tune, reminiscent of that material being spun by Harry Chapin, is going to attract a ton of folks looking to sink their teeth into an equal blend of music and lyric".


title: Piano Man (song)

text: It was first released as a single on November 2, 1973, and then as the second track on Joel's "Piano Man" album and was later released on several greatest hits collections.


title: Piano Man (song)

text: When originally issued as a single, the song was deemed too long (at 5:37) by Columbia Records executives. Two verses were cut in half and spliced together for the release (at 4:33). A promo 45 contained an even shorter edit (at 3:16), which also removed the 4th verse and final chorus. These single edits were remixed bringing out the acoustic guitars and harmonicas. Joel's followup "The Entertainer" refers to the editing of it by commenting: "It was a beautiful song, but it ran too long. / If you're gonna have a hit, you gotta make it fit. / So they cut it down to 3:05."


title: Piano Man (song)

text: Joel wrote and originally performed the song in the key of C major. It has a waltz time signature and begins with a jazzy piano solo before moving into its piano and harmonica introduction. The verses and the chorus feature a descending walking bassline in C that ends with a D–G turnaround. Instrumentally, Joel's 1973 version features piano, harmonica, bass guitar, acoustic guitar, accordion, mandolin, and drums.


title: Piano Man (song)

text: Joel regretted the fact that the verses and the chorus of the song both use the same chord sequence and a similar melody, stating that the melody "doesn't go anywhere [musically]". Nevertheless, Joel also included minor harmonic variation and a different melody in the song's bridge section.


title: Piano Man (song)

text: The first music video for this song was released in 1973. It features Joel portraying Bill Martin, a bar act performing the song, and shows a typical American bar as a setting. A new version of the video was shot in 1985, with new extras, and a much more crowded and upbeat bar scene. The original video used an alternate take of the song but it was at the same length as the album version, while the new video used said album version.


title: Piano Man (song)

text: The single broke into the "Billboard" Top 40 in April 1974 at #30, going on to ultimately peak at #25, making it Joel's first top 40 hit. In Canada, the song peaked at #10, and established Joel as a star there.


title: Piano Man (song)

text: Initially, "Piano Man" was a moderate hit in the US. However, following the 1977 release of Joel's album "The Stranger", the song became one of his best-known and best-loved songs.


title: Piano Man (song)

text: During the first Face to Face tour featuring Elton John and Joel, ads promoted the event as "Rocket Man meets Piano Man".


title: Piano Man (song)

text: "Piano Man" was ranked #421 in the 2004 list of "Rolling Stone"s 500 Greatest Songs of All Time. Ultimate Classic Rock placed it at #63 in its "Top 100 Classic Rock Songs" list.


title: Piano Man (song)

text: "Piano Man" was selected as one of 25 sound recordings in 2015 to be preserved by the Library of Congress National Recording Registry for being "culturally, historically, or aesthetically significant".


title: Mimesis

text: Mimesis (; , "mīmēsis") is a term used in literary criticism and philosophy that carries a wide range of meanings, including "imitatio", imitation, nonsensuous similarity, receptivity, representation, mimicry, the act of expression, the act of resembling, and the presentation of the self.


title: Mimesis

text: The original Ancient Greek term "mīmēsis" () derives from "mīmeisthai" (, 'to imitate'), itself coming from "mimos" (, 'imitator, actor'). In ancient Greece, "mīmēsis" was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth, and the good. Plato contrasted "mimesis", or imitation, with "diegesis", or narrative. After Plato, the meaning of "mimesis" eventually shifted toward a specifically literary function in ancient Greek society.


title: Mimesis

text: One of the best-known modern studies of mimesis—understood in literature as a form of realism—is Erich Auerbach's "", which opens with a comparison between the way the world is represented in Homer's "Odyssey" and the way it appears in the Bible.


title: Mimesis

text: In addition to Plato and Auerbach, mimesis has been theorised by thinkers as diverse as Aristotle, Philip Sidney, Samuel Taylor Coleridge, Adam Smith, Gabriel Tarde, Sigmund Freud, Walter Benjamin, Theodor Adorno, Paul Ricœur, Luce Irigaray, Jacques Derrida, René Girard, Nikolas Kompridis, Philippe Lacoue-Labarthe, Michael Taussig, Merlin Donald, Homi Bhabha and Roberto Calasso.


title: Mimesis

text: Both Plato and Aristotle saw in mimesis the representation of nature, including human nature, as reflected in the dramas of the period. Plato wrote about mimesis in both "Ion" and "The Republic" (Books II, III, and X). In "Ion", he states that poetry is the art of divine madness, or inspiration. Because the poet is subject to this divine madness, instead of possessing 'art' or 'knowledge' ("techne") of the subject, the poet does not speak truth (as characterized by Plato's account of the Forms). As Plato has it, truth is the concern of the philosopher. As culture in those days did not consist in the solitary reading of books, but in the listening to performances, the recitals of orators (and poets), or the acting out by classical actors of tragedy, Plato maintained in his critique that theatre was not sufficient in conveying the truth. He was concerned that actors or orators were thus able to persuade an audience by rhetoric rather than by telling the truth.


title: Mimesis

text: In Book II of "The Republic", Plato describes Socrates' dialogue with his pupils. Socrates warns we should not seriously regard poetry as being capable of attaining the truth and that we who listen to poetry should be on our guard against its seductions, since the poet has no place in our idea of God.


title: Mimesis

text: Developing upon this in Book X, Plato told of Socrates' metaphor of the three beds: one bed exists as an idea made by God (the Platonic ideal, or form); one is made by the carpenter, in imitation of God's idea; and one is made by the artist in imitation of the carpenter's.


title: Mimesis

text: So the artist's bed is twice removed from the truth. Those who copy only touch on a small part of things as they really are, where a bed may appear differently from various points of view, looked at obliquely or directly, or differently again in a mirror. So painters or poets, though they may paint or describe a carpenter, or any other maker of things, know nothing of the carpenter's (the craftsman's) art, and though the better painters or poets they are, the more faithfully their works of art will resemble the reality of the carpenter making a bed, nonetheless the imitators will still not attain the truth (of God's creation).


title: Mimesis

text: The poets, beginning with Homer, far from improving and educating humanity, do not possess the knowledge of craftsmen and are mere imitators who copy again and again images of virtue and rhapsodise about them, but never reach the truth in the way the superior philosophers do.


title: Mimesis

text: Similar to Plato's writings about mimesis, Aristotle also defined mimesis as the perfection, and imitation of nature. Art is not only imitation but also the use of mathematical ideas and symmetry in the search for the perfect, the timeless, and contrasting being with becoming. Nature is full of change, decay, and cycles, but art can also search for what is everlasting and the first causes of natural phenomena. Aristotle wrote about the idea of four causes in nature. The first, the formal cause, is like a blueprint, or an immortal idea. The second cause is the material cause, or what a thing is made out of. The third cause is the efficient cause, that is, the process and the agent by which the thing is made. The fourth, the final cause, is the good, or the purpose and end of a thing, known as "telos".


title: Mimesis

text: Aristotle's "Poetics" is often referred to as the counterpart to this Platonic conception of poetry. "Poetics" is his treatise on the subject of mimesis. Aristotle was not against literature as such; he stated that human beings are mimetic beings, feeling an urge to create texts (art) that reflect and represent reality.


title: Mimesis

text: Aristotle considered it important that there be a certain distance between the work of art on the one hand and life on the other; we draw knowledge and consolation from tragedies only because they do not happen to us. Without this distance, tragedy could not give rise to catharsis. However, it is equally important that the text causes the audience to identify with the characters and the events in the text, and unless this identification occurs, it does not touch us as an audience. Aristotle holds that it is through "simulated representation," mimesis, that we respond to the acting on the stage, which is conveying to us what the characters feel, so that we may empathise with them in this way through the mimetic form of dramatic roleplay. It is the task of the dramatist to produce the tragic enactment to accomplish this empathy by means of what is taking place on stage.


title: Mimesis

text: In short, catharsis can be achieved only if we see something that is both recognisable and distant. Aristotle argued that literature is more interesting as a means of learning than history, because history deals with specific facts that have happened, and which are contingent, whereas literature, although sometimes based on history, deals with events that could have taken place or ought to have taken place.


title: Mimesis

text: Aristotle thought of drama as being "an imitation of an action" and of tragedy as "falling from a higher to a lower estate" and so being removed to a less ideal situation in more "tragic" circumstances than before. He posited the characters in tragedy as being better than the average human being, and those of comedy as being worse.


title: Mimesis

text: It was also Plato and Aristotle who contrasted "mimesis" with "diegesis" (Greek: διήγησις). Mimesis "shows", rather than "tells", by means of directly represented action that is enacted. Diegesis, however, is the "telling" of the story by a narrator; the author narrates action indirectly and describes what is in the characters' minds and emotions. The narrator may speak as a particular character or may be the "invisible narrator" or even the "all-knowing narrator" who speaks from above in the form of commenting on the action or the characters.


title: Mimesis

text: In Book III of his "Republic" (c. 373 BC), Plato examines the style of poetry (the term includes comedy, tragedy, epic and lyric poetry): all types narrate events, he argues, but by differing means. He distinguishes between narration or report ("diegesis") and imitation or representation ("mimesis"). Tragedy and comedy, he goes on to explain, are wholly imitative types; the dithyramb is wholly narrative; and their combination is found in epic poetry. When reporting or narrating, "the poet is speaking in his own person; he never leads us to suppose that he is anyone else;" when imitating, the poet produces an "assimilation of himself to another, either by the use of voice or gesture." In dramatic texts, the poet never speaks directly; in narrative texts, the poet speaks as himself or herself.


title: Mimesis

text: In his "Poetics", Aristotle argues that kinds of poetry (the term includes drama, flute music, and lyre music for Aristotle) may be differentiated in three ways: according to their "medium", according to their "objects", and according to their "mode" or "manner" (section I); "For the medium being the same, and the objects the same, the poet may imitate by narration—in which case he can either take another personality, as Homer does, or speak in his own person, unchanged—or he may present all his characters as living and moving before us."


title: Mimesis

text: Though they conceive of mimesis in quite different ways, its relation with diegesis is identical in Plato's and Aristotle's formulations.


title: Mimesis

text: In ludology, mimesis is sometimes used to refer to the self-consistency of a represented world, and the availability of in-game rationalisations for elements of the gameplay. In this context, mimesis has an associated grade: highly self-consistent worlds that provide explanations for their puzzles and game mechanics are said to display a higher degree of mimesis. This usage can be traced back to the essay "Crimes Against Mimesis".


title: Mimesis

text: Dionysian "imitatio" is the influential literary method of imitation as formulated by Greek author Dionysius of Halicarnassus in the 1st century BC, who conceived it as technique of rhetoric: emulating, adapting, reworking, and enriching a source text by an earlier author.


title: Mimesis

text: Dionysius' concept marked a significant departure from the concept of "mimesis" formulated by Aristotle in the 4th century BC, which was only concerned with "imitation of nature" rather than the "imitation of other authors." Latin orators and rhetoricians adopted the literary method of Dionysius' "imitatio" and discarded Aristotle's "mimesis".


title: Mimesis

text: Referring to it as "imitation", the concept of mimesis was crucial for Samuel Taylor Coleridge's theory of the imagination. Coleridge begins his thoughts on imitation and poetry from Plato, Aristotle, and Philip Sidney, adopting their concept of imitation of nature instead of other writers. His departure from the earlier thinkers lies in his arguing that art does not reveal a unity of essence through its ability to achieve sameness with nature. Coleridge claims:


title: Mimesis

text: Here, Coleridge opposes imitation to copying, the latter referring to William Wordsworth's notion that poetry should duplicate nature by capturing actual speech. Coleridge instead argues that the unity of essence is revealed precisely through different materialities and media. Imitation, therefore, reveals the sameness of processes in nature.


title: Mimesis

text: One of the best-known modern studies of mimesis—understood in literature as a form of realism—is Erich Auerbach's "", which opens with a famous comparison between the way the world is represented in Homer's "Odyssey" and the way it appears in the Bible. From these two seminal texts—the former being Western and the latter having been written by various Middle Eastern writers—Auerbach builds the foundation for a unified theory of representation that spans the entire history of Western literature, including the Modernist novels being written at the time Auerbach began his study.


title: Mimesis

text: In his essay, "On The Mimetic Faculty"(1933) Walter Benjamin outlines connections between mimesis and sympathetic magic, imagining a possible origin of astrology arising from an interpretation of human birth that assumes its correspondence with the apparition of a seasonally rising constellation augurs that new life will take on aspects of the myth connected to the star.


title: Mimesis

text: Belgian feminist Luce Irigaray used the term to describe a form of resistance where women imperfectly imitate stereotypes about themselves to expose and undermine such stereotypes.


title: Mimesis

text: In "Mimesis and Alterity" (1993), anthropologist Michael Taussig examines the way that people from one culture adopt another's nature and culture (the process of mimesis) at the same time as distancing themselves from it (the process of alterity). He describes how a legendary tribe, the "White Indians" (the Guna people of Panama and Colombia), have adopted in various representations figures and images reminiscent of the white people they encountered in the past (without acknowledging doing so).


title: Mimesis

text: Taussig, however, criticises anthropology for reducing yet another culture, that of the Guna, for having been so impressed by the exotic technologies of the whites that they raised them to the status of gods. To Taussig this reductionism is suspect, and he argues this from both sides in his "Mimesis and Alterity" to see values in the anthropologists' perspective while simultaneously defending the independence of a lived culture from the perspective of anthropological reductionism.


title: Mimesis

text: In "Things Hidden Since the Foundation of the World" (1978), René Girard posits that human behavior is based upon mimesis, and that imitation can engender pointless conflict. Girard notes the productive potential of competition: "It is because of this unprecedented capacity to promote competition within limits that always remain socially, if not individually, acceptable that we have all the amazing achievements of the modern world," but states that competition stifles progress once it becomes an end in itself: "rivals are more apt to forget about whatever objects are the cause of the rivalry and instead become more fascinated with one another."


title: Mimesis

text: In "The Unnameable Present," Calasso outlines the way that mimesis, called "Mimickry" by Joseph Goebbels—though it is a universal human ability—was interpreted by the Third Reich as being a sort of original sin attributable to "the Jew." Thus, an objection to the tendency of human beings to mimic one another instead of "just being themselves" and a complementary, fantasized desire to achieve a return to an eternally static pattern of predation by means of "will" expressed as systematic mass-murder became the metaphysical argument (underlying circumstantial, temporally contingent arguments deployed opportunistically for propaganda purposes) for perpetrating the Holocaust amongst the Nazi elite. Insofar as this issue or this purpose was ever even explicitly discussed in print by Hitler's inner-circle, in other words, this was the justification (appearing in the essay "Mimickry" in a war-time book published by Joseph Goebbels). The text suggests that a radical failure to understand the nature of mimesis as an innate human trait or a violent aversion to the same, tends to be a diagnostic symptom of the totalitarian or fascist character if it is not, in fact, the original unspoken occult impulse that animated the production of totalitarian or fascist movements to begin with.


title: Mimesis

text: Calasso's argument here echoes, condenses and introduces new evidence to reinforce one of the major themes of Adorno and Horkheimer's "Dialectic of the Enlightenment" (1944)"," which was itself in dialog with earlier work hinting in this direction by Walter Benjamin who died during an attempt to escape the gestapo. Calasso insinuates and references this lineage throughout the text. The work can be read as a clarification of their earlier gestures in this direction, written while the Holocaust was still unfolding.


title: Mimesis

text: Calasso's earlier book "The Celestial Hunter," written immediately prior to "The Unnamable Present," is an informed and scholarly speculative cosmology depicting the possible origins and early prehistoric cultural evolution of the human mimetic faculty. In particular, the books first and fifth chapters ("In The Time of the Great Raven" and "Sages & Predators") focuses on the terrain of mimesis and its early origins, though insights in this territory appear as a motif in every chapter of the book.


title: Yakov Yurovsky

text: Yakov Mikhailovich Yurovsky (; – 2 August 1938) was a Russian Old Bolshevik, revolutionary, and Soviet Chekist (secret policeman). He was best known as the chief executioner of Emperor Nicholas II of Russia, his family, and four retainers on the night of 17 July 1918.


title: Yakov Yurovsky

text: Yakov Mikhailovich Yurovsky was the eighth of ten children born to Mikhail Yurovsky, a glazier, and his wife Ester Moiseevna (1848–1919), a seamstress. He was born on in the Siberian city of Tomsk, Russia. The Yurovsky family were Jewish. The historian Helen Rappaport writes that the young Yurovsky studied the Talmud in his early youth, while the family seems to have later attempted to distance themselves from their Jewish roots; this may have been prompted by the prejudice toward Jews frequently exhibited in Russia at the time. Shortly before fully devoting himself to the cause of revolution, in the early twentieth century, Yurovsky converted to Lutheranism.


title: Yakov Yurovsky

text: After returning to Russia during the Russian Revolution of 1905, he joined the Bolsheviks. He received the party ticket no.1500 in the Krasnopresnenskaya organization. Arrested several times over the years, he became a devoted Marxist.


title: Yakov Yurovsky

text: On the night of 16/17 July 1918, a squad of Bolshevik secret police (Cheka), led by Yurovsky, executed Russia's last emperor, Nicholas II, along with his wife Alexandra, their four daughters–Olga, Tatiana, Maria, and Anastasia–and son Alexei. Along with the family, four members of the imperial household (court physician Eugene Botkin, chambermaid Anna Demidova, cook Ivan Kharitonov and footman Alexei Trupp) were also killed. All were shot in a half-cellar room (measured to be x ) of the Ipatiev House in Yekaterinburg, a city in the Ural Mountains region, where they were being held prisoner. The firing squad comprised three local Bolsheviks and seven soldiers. It has been documented that the order to assassinate the imperial family came from Yakov Sverdlov in Moscow.


title: Yakov Yurovsky

text: According to Leon Trotsky's diaries, Lenin supported and decided upon the killing of the Tsar and his family. After Trotsky returned from the front (of the Russian Civil War) he had the following dialogue with Sverdlov:


title: Yakov Yurovsky

text: To prevent the development of a personality cult of the former imperial family, the corpses were stripped and dismembered; then taken to the countryside, where they were initially thrown into an abandoned mineshaft. The following morning, when rumours spread in Yekaterinburg regarding the disposal site, Yurovsky removed the bodies. When the vehicle carrying the bodies broke down on the way to the next chosen site, he made new arrangements and threw the bodies into a pit on Koptyaki Road, a since-abandoned cart track north of Yekaterinburg, and doused the dismembered remains with sulfuric acid before burying them and sealing the pit with wooden railroad ties.


title: Yakov Yurovsky

text: During and after the Russian Civil War, Yurovsky worked as a head of local Cheka in Moscow, then a member of Vyatka Cheka, head of Yekaterinburg Cheka (1919). In 1921, he worked in the Rabkrin and became Chief of the Gold Department of the Soviet State Treasury. Yurovsky achieved a solid reputation by combating corruption and theft. He also worked in management at the Polytechnical Museum starting in 1928 and became its director in 1930. He died in 1938 of a peptic ulcer.


title: Yakov Yurovsky

text: In 1920, a British officer who met Yurovsky alleged he felt "remorse and horror" over his role in the execution of the Romanovs.


title: Elemental

text: An elemental is a mythic being that is described in occult and alchemical works from around the time of the European Renaissance, and particularly elaborated in the 16th century works of Paracelsus. According to Paracelsus and his subsequent followers, there are four categories of elementals, which are gnomes, undines, sylphs, and salamanders. These correspond to the four Empedoclean elements of antiquity: earth, water, air, and fire, respectively. Terms employed for beings associated with alchemical elements vary by source and gloss.


title: Elemental

text: The Paracelsian concept of elementals draws from several much older traditions in mythology and religion. Common threads can be found in folklore, animism, and anthropomorphism. Examples of creatures such as the Pygmy were taken from Greek mythology.


title: Elemental

text: The elements of earth, water, air, and fire, were classed as the fundamental building blocks of nature. This system prevailed in the Classical world and was highly influential in medieval natural philosophy. Although Paracelsus uses these foundations and the popular preexisting names of elemental creatures, he is doing so to present new ideas which expand on his own philosophical system. The homunculus is another example of a Paracelsian idea with roots in earlier alchemical, scientific, and folklore traditions.


title: Elemental

text: In his 16th-century work "A Book on Nymphs, Sylphs, Pygmies, and Salamanders, and on the Other Spirits", Paracelsus identified mythological beings as belonging to one of the four elements. Part of the "Philosophia Magna," this book was first printed in 1566 after Paracelsus' death. He wrote the book to "describe the creatures that are outside the cognizance of the light of nature, how they are to be understood, what marvellous works God has created". He states that there is more bliss in describing these "divine objects" than in describing fencing, court etiquette, cavalry, and other worldly pursuits. The following is his archetypal being for each of the four elements:


title: Elemental

text: The concept of elementals seems to have been conceived by Paracelsus in the 16th century, though he did not in fact use the term "elemental" or a German equivalent. He regarded them not so much as spirits but as beings between creatures and spirits, generally being invisible to mankind but having physical and commonly humanoid bodies, as well as eating, sleeping, and wearing clothes like humans. Paracelsus gave common names for the elemental types, as well as correct names, which he seems to have considered somewhat more proper, ""recht namen"". He also referred to them by purely German terms which are roughly equivalent to "water people," "mountain people," and so on, using all the different forms interchangeably. His fundamental classification scheme on the first page of Tractatus II of the "Book on Nymphs" is based on where the elementals live, and he gives the following names:


title: Elemental

text: Of the names he used, "gnomus", "undina", and "sylph" are all thought to have appeared first in Paracelsus' works, though "undina" is a fairly obvious Latin derivative from the word "unda" meaning "wave."


title: Elemental

text: He noted that undines are similar to humans in size, while sylphs are rougher, coarser, longer, and stronger. Gnomes are short, while salamanders are long, narrow, and lean. The elementals are said to be able to move through their own elements as human beings move through air. Gnomes, for example, can move through rocks, walls, and soil. Sylphs are the closest to humans in his conception because they move through air like we do, while in fire they burn, in water they drown, and in earth, they get stuck. Paracelsus states that each one stays healthy in its particular "chaos," as he terms it, but dies in the others.


title: Elemental

text: Paracelsus conceived human beings to be composed of three parts, an elemental body, a sidereal spirit, and an immortal divine soul. Elementals lacked this last part, the immortal soul. However, by marriage with a human being, the elemental and its offspring could gain a soul.


title: Elemental

text: In his influential "De Occulta Philosophia", published in 1531-33, several decades before the publication of Paracelsus' "Philosophia Magna", Heinrich Cornelius Agrippa also wrote of four classes of spirits corresponding to the four elements. However, he did not give special names for the classes: "In like manner they distribute these into more orders, so as some are fiery, some watery, some aerial, some terrestrial." Agrippa did however give an extensive list of various mythological beings of this type, although without clarifying which belongs to which elemental class. Like Paracelsus, he did not use the term "elemental spirit" "per se".


title: Elemental

text: A 1670 French satire of occult philosophy," Comte de Gabalis", was prominent in popularizing Paracelsus' theory of elementals. It particularly focused on the idea of elemental marriage discussed by Paracelsus. In the book, the titular "Count of Kabbalah" explains that members of his order (to which Paracelsus is said to belong) refrain from marriage to human beings in order to retain their freedom to bestow souls upon elementals. "Comte de Gabalis" used the terms "sylphide" and "gnomide" to refer to female sylphs and gnomes (often "sylphid" and "gnomid" in English translations). Male nymphs (the term used instead of the Paracelsian "undine") are said to be rare, while female salamanders are rarely seen.


title: Elemental

text: The Rosicrucians claimed to be able to see such elemental spirits. To be admitted to their society, it was previously necessary for the eyes to be purged with the Panacea or "Universal Medicine," a legendary alchemical substance with miraculous curative powers. As well, glass globes would be prepared with one of the four elements and for one month exposed to beams of sunlight. With these steps the initiated would see innumerable beings immediately. These beings, known as elementals, were said to be longer lived than man but ceased to exist upon death. However, if the elemental were to wed a mortal, they would become immortal. This exception seemed to work in reverse when it came to immortals, though, for if an elemental were to wed an immortal being, the immortal would gain the mortality of the elemental. One of the conditions of joining the Rosicrucians however, was a vow of chastity in hopes of marrying an elemental.


title: Elemental

text: In Jainism, there is a superficially similar concept within its general cosmology, the "ekendriya jiva", "one-sensed beings" with bodies ("kaya") that are composed of a single element, albeit with a 5-element system (earth, water, air, fire, and plant), but these beings are actual physical objects and phenomena such as rocks, rain, fires and so on which are endowed with souls ("jiva"). In the Paracelsian concept, elementals are conceived more as supernatural humanoid beings which are much like human beings except for lacking souls. This is quite the opposite from the Jain conception which rather than positing soulless elementals is positing that physical objects have some type of soul and that what are commonly considered inanimate objects have this particular type of soul.


title: Elemental

text: In contemporary times there are those who study and practice rituals to invoke elementals. These include Wiccans, and followers of nature-based religions.


title: Elemental

text: Elementals became popular characters in Romantic literature after Paracelsus. Even by the 17th century, elemental spirits after the Paracelsian concept appeared in works by John Dryden and in the "Comte de Gabalis". Alexander Pope cited "Comte de Gabalis" as his source for elemental lore in his 1712 poem "The Rape of the Lock".


title: Elemental

text: Fouqué's wildly popular 1811 novella "Undine" is one of the most influential literary examples. Another example is the DC Comics superhero team The Elementals, composed of the characters Gnome, Sylph, Salamander, and Undine.


title: Elemental

text: Elementals related to the four classical elements appeared in the fiction of Michael Moorcock, notably his 1972 novel "Elric of Melniboné", and a variant appeared in the 1970s "Dungeons and Dragons" role-playing game. The concept has since been expanded on in numerous other fantasy, computer and trading card games.


title: Zinfandel

text: Zinfandel (also known as Primitivo) is a variety of black-skinned wine grape. The variety is grown in over 10 percent of California vineyards. DNA analysis has revealed that it is genetically equivalent to the Croatian grapes Crljenak Kaštelanski and Tribidrag, as well as to the Primitivo variety traditionally grown in Apulia (the "heel" of Italy), where it was introduced in the 18th century and Kratošija in Montenegro. The grape found its way to the United States in the mid-19th century, where it became known by variations of a name applied to a different grape, likely "Zierfandler" from Austria.


title: Zinfandel

text: The grapes typically produce a robust red wine, although, in the United States, a semi-sweet rosé (blush-style) wine called White Zinfandel has six times the sales of the red wine. The grape's high sugar content can be fermented into levels of alcohol exceeding 15 percent.


title: Zinfandel

text: The taste of the red wine depends on the ripeness of the grapes from which it is made. Red berry fruit flavors like raspberry predominate in wines from cooler areas, whereas blackberry, anise and pepper notes are more common in wines made in warmer areas and in wines made from the earlier-ripening Primitivo clone.


title: Zinfandel

text: Archaeological evidence indicates that domestication of "Vitis vinifera" occurred in the Caucasus region around 6000 BCE, and winemaking was discovered shortly after that. Cultivation of the vine subsequently spread to the Mediterranean and surrounding regions. Croatia once had several indigenous varieties related to Zinfandel, which formed the basis of its wine industry in the 19th century. This diversity suggests that the grapes have been grown in Croatia longer than anywhere else. These varieties were almost entirely wiped out, however, by the phylloxera epidemic of the late 19th century, eventually reducing Zinfandel to just nine vines of locally-known "Crljenak Kaštelanski" discovered in 2001 on the Dalmatian coast of Croatia.


title: Zinfandel

text: The first documented use of the term "Primitivo" appears in Italian governmental publications of the 1870s. The name derives from the terms "primativus" or "primaticcio", which refer to the grape's tendency to ripen earlier than other varieties. This name's appearance, 40 years after the first documented use of the term "Zinfandel", was previously thought to suggest that Primitivo was introduced to Italy from across the Atlantic; however, this hypothesis has become unlikely since the discovery of the vine's Croatian origin.


title: Zinfandel

text: Primitivo is now thought to have been introduced as a distinct clone into Italy's Apulia region in the 18th century. Don Francesco Filippo Indellicati, the priest of the church at Gioia del Colle near Bari, selected an early ("primo") ripening plant of the Zagarese variety and planted it in Liponti. This clone ripened at the end of August and became widespread throughout northern Apulia. Cuttings came to the other great Primitivo DOC ("denominazione di origine controllata" or "denomination of controlled origin") as part of the dowry of the Countess Sabini of Altamura when she married Don Tommaso Schiavoni-Tafuri of Manduria in the late 19th century.


title: Zinfandel

text: The arrival of Zinfandel in the United States may have been via the Imperial Nursery in Vienna, Austria, which probably obtained the vines during the Habsburg monarchy's control over the Dalmatian territories of the former Republic of Venice. George Gibbs, a horticulturist on Long Island, received shipments of grapes from Schönbrunn and elsewhere in Europe between 1820 and 1829. Sullivan suggests that the "Black Zinfardel of Hungary" mentioned by William Robert Prince in "A Treatise on the Vine" (1830) may have referred to one of Gibbs's 1829 acquisitions. Webster suggests that the name is a modification of the Hungarian "tzinifándli" ("czirifandli"), which derives from the German Zierfandler, a white grape (Grüner Sylvaner) from Austria's Thermenregion.


title: Zinfandel

text: Gibbs visited Boston in 1830, and Samuel Perkins of that city began selling "Zenfendal" soon afterward. In 1830, Gibbs also supplied Prince with "Black St. Peters," a similar variety that may have come from England, where many vines have "St. Peters" in their names. Little is known about this vine, except that the Black St. Peters that arrived in California in the 1850s was the same as what became known as Zinfandel by the 1870s.


title: Zinfandel

text: By 1835 Charles M. Hovey, Boston's leading nurseryman, was recommending "Zinfindal" as a table grape. It was soon widely grown in heated greenhouses to produce table grapes as early as June. The first reference to making wine from "Zinfindal" appears in John Fisk Allen's "Practical Treatise in the Culture and Treatment of the Grape Vine" (1847). Meanwhile, the fad of hothouse cultivation faded in the 1850s as attention turned to the Concord and other grape varieties that could be grown outdoors in Boston.


title: Zinfandel

text: Prince and other nurseryman, such as Frederick W. Macondray (future son-in-law of Faxon Atherton), joined the California Gold Rush in the 1850s and took Zinfandel with them. Prince's notebook records that the grape dried "perfectly to Raisin" and that he believed his Zinfandel was the same as the "Black Sonora" he found in California. When the vine known as "Black St. Peters" arrived in California, it was initially regarded as a distinct variety, but by the 1870s, it was recognized as the same grape as Zinfandel.


title: Zinfandel

text: Joseph W. Osborne may have made the first wine from Zinfandel in California. He planted Zinfandel from Macondray at his Oak Knoll vineyard just north of Napa, and his wine was much praised in 1857. Planting of Zinfandel boomed soon after, and by the end of the 19th century, it was the most widespread variety in California.


title: Zinfandel

text: These Zinfandel old vines are now treasured for the production of premium red wine, but many were ripped up in the 1920s, during the Prohibition years (1920–1933), but not for the obvious reason. Even during the Prohibition, home winemaking remained effectively legal, and some vineyards embraced the sale of grapes for making wine at home. While Zinfandel grapes proved popular among home winemakers living near the vineyards, it was vulnerable to rot on the long journey to East Coast markets. The thick-skinned Alicante Bouschet was less susceptible to rot, so this and similar varieties were widely planted for the home winemaking market. In 1931, 3000 cars – about – of Zinfandel grapes were shipped, compared to 6000 cars of Alicante Bouschet.


title: Zinfandel

text: By 1930, the wine industry had weakened due to the Great Depression and Prohibition. Many vineyards that survived by supplying the home market were located in California's Central Valley, a non-optimal environment for growing quality Zinfandel. Thus, the end of Prohibition left a shortage of quality wine grapes, and Zinfandel sank into obscurity as most was blended into undistinguished fortified wines. However, some producers remained interested in making single varietal red wines.


title: Zinfandel

text: By the middle of the 20th century, the origins of California Zinfandel had been forgotten. In 1972, one British wine writer wrote, "there is a fascinating Californian grape, the zinfandel, said to have come from Hungary, but apparently, a cépage now unknown there." In 1974 and 1981, American wine writers described it as "a California original, grown nowhere else" and "California's own red grape".


title: Zinfandel

text: In 1972, Bob Trinchero of the Sutter Home Winery decided to try draining some juice from the vats to impart more tannins and color to his Deaver Vineyard Zinfandel. He vinified this juice as a dry wine, and tried to sell it under the name of Oeil de Perdrix, a Swiss wine made by this saignée method. The Bureau of Alcohol, Tobacco and Firearms insisted on an English translation, so he added "White Zinfandel" to the name, and sold 220 cases. At the time, demand for white wine exceeded the availability of white wine grapes, encouraging other California producers to make "white" wine from red grapes, with minimal skin contact. However, in 1975, Trinchero's wine experienced a stuck fermentation, a problem in which the yeast dies off before all the sugar is converted to alcohol. He put the wine aside for two weeks, tasted it, and decided to sell this pinker, sugary wine. Just as Mateus Rosé had become a huge success in Europe after World War II, this medium sweet White Zinfandel became immensely popular. White Zinfandel still accounts for 9.9% of U.S. wine sales by volume (6.3% by value), six times the sales of red Zinfandel. Most white Zinfandel is made from grapes grown for that purpose in California's Central Valley.


title: Zinfandel

text: Wine critics considered white Zinfandel to be insipid and uninteresting in the 1970s and 1980s, although modern white Zinfandels have more fruit and less cloying sweetness. Nevertheless, the success of this blush wine saved many old vines in premium areas, which came into their own at the end of the 20th century as red Zinfandel wines came back into fashion. Although the two wines taste dramatically different, both are made from the same (red) grapes and processed differently.


title: Zinfandel

text: Zinfandel was long considered "America's vine and wine," but when University of California, Davis (UCD) professor Austin Goheen visited Italy in 1967, he noticed how the wine made from Primitivo reminded him of Zinfandel. Others also made the connection about that time. Primitivo was brought to California in 1968, and ampelographers declared it identical to Zinfandel in 1972. The first wine made from these California vines in 1975 also seemed identical to Zinfandel. In 1975, Ph.D. student Wade Wolfe showed that the two varieties had identical isozyme fingerprints.


title: Zinfandel

text: Dr. Lamberti of Bari had suggested to Goheen in 1976 that Primitivo might be the Croatian variety Plavac Mali. By 1982, Goheen had confirmed that they were similar but not identical, probably by isozyme analysis. Some Croatians, however, became convinced that Plavac Mali was the same as Zinfandel, among them Croatian-born winemaker Mike Grgich. In 1991 Grgich and other producers came together as the Zinfandel Advocates and Producers (ZAP) with the objectives of promoting the varietal and wine and supporting scientific research on Zinfandel. With this support, UCD professor Carole Meredith went to Croatia and collected over 150 samples of Plavac Mali throughout Dalmatia, in collaboration with the University of Zagreb.


title: Zinfandel

text: In 1993, Meredith used a DNA fingerprinting technique to confirm that Primitivo and Zinfandel were clones of the same variety. Comparative field trials have found that "Primitivo selections were generally superior to those of Zinfandel, having earlier fruit maturity, similar or higher yield, and similar or lower bunch rot susceptibility." This is consistent with the theory that Primitivo was selected as an early-ripening clone of a Croatian grape.


title: Zinfandel

text: By 1998, Meredith's team realized that Plavac Mali was "not" Zinfandel, but that one was the parent of the other. In 2000 they discovered that Primitivo/Zinfandel was one parent of Plavac Mali. The other parent of Plavac Mali was determined by Ivan Pejić and Edi Maletić (University of Zagreb) to be Dobričić, an ancient variety from the Adriatic island of Šolta.


title: Zinfandel

text: This discovery narrowed down the search to the central Dalmatian coastal strip and its offshore islands. Eventually, a matching DNA fingerprint was found among the samples. The match came from a vine sampled in 2001 in the vineyard of Ivica Radunić in Kaštel Novi. This Crljenak Kaštelanski ("Kaštela Red") appears to represent Primitivo/Zinfandel in its original home, although some genetic divergence may have occurred since their separation. Meredith now refers to the variety as "ZPC" – Zinfandel / Primitivo / Crljenak Kaštelanski.


title: Zinfandel

text: This Croatian vineyard contained nine Crljenak Kaštelanski vines mixed with thousands of other vines. In 2002, additional vines are known locally as Pribidrag were found in the Dalmatian coastal town of Omiš. Both clones are being propagated in California under the aegis of Ridge Vineyards, although virus infections have delayed their release. The first Croatian ZPC wine was made by Edi Maletić in 2005. Meanwhile, plantings of Primitivo have increased in California, where it seems to grow somewhat less vigorously than its sibling. Its wines are reputed to have more blackberry and spice flavors.


title: Zinfandel

text: The 2012 book "Wine Grapes" Masters of wine Jancis Robinson and Julia Harding and Swiss grape geneticist Dr. José Vouillamoz detail the search for Zinfandel's origins. After years of research and DNA testing of vines from vineyards across the globe, a single 90-year-old grapevine from the garden of an elderly lady in Split, Croatia provided the evidence to show that Zinfandel was a Croatian grape that had been known as "Tribidrag" since at least the 15th century.


title: Zinfandel

text: Local wine-labeling regulations are slowly catching up with the DNA evidence, a process that trade disputes have slowed. The European Union recognized Zinfandel as a synonym for Primitivo in January 1999, meaning that Italian Primitivos can be labeled as Zinfandel in the United States and any other country that recognizes EU labeling laws. Italian winemakers have taken advantage of these rules and shipped Primitivo wines to the United States labeled as Zinfandels, with the approval of the Alcohol and Tobacco Tax and Trade Bureau (TTB).


title: Zinfandel

text: As of December 2007, the TTB lists both Zinfandel and Primitivo as approved grape varieties for American wines, but they are not listed as synonyms; U.S. producers, therefore, must label a wine according to whether it is Zinfandel or Primitivo. The Bureau of Alcohol, Tobacco, Firearms and Explosives (ATF) proposed in 2002 that they be recognized as synonyms. In July 2008, the proposed regulation (RIN 1513–AA32, formerly RIN 1512-AC65) was withdrawn.


title: Zinfandel

text: Zinfandel is grown across the continental United States, although California grows the largest proportion. U.S. producers make wine in styles that range from late harvest dessert wines, rosés (White Zinfandel) and Beaujolais-style light reds to big hearty reds and fortified wine in the style of port. The quality and character of American Zinfandel wines largely depend on the climate, location, and age of the vineyard in which they are grown, as well as the technology employed by the winemaker.


title: Zinfandel

text: Historically, California Zinfandel vines were planted as a field blend interspersed with Durif (Petite Sirah), Carignan, Grenache, Mourvèdre, Mission and Muscat. While most vineyards are now fully segregated, California winemakers continue to use other grapes (particularly Petite Sirah) in their Zinfandel wines. Zinfandel is grown on approximately 11% of California's vineyard land area. Around 400,000 short tons (350,000 tonnes) are crushed each year, depending on the harvest, placing Zinfandel third behind Chardonnay and Cabernet Sauvignon and just ahead of Merlot.


title: Zinfandel

text: As of 2019, there were 39,500 acres planted in Zinfandel in California. Of the state's 44 Zinfandel-growing counties, the top 10 hold some 85% of the Zinfandel growing area.


title: Zinfandel

text: However, major producing areas such as San Joaquin County, Stanislaus County, and Madera County produce Zinfandel primarily for blends or jug wine.


title: Zinfandel

text: Certain California regions are regarded as "exceptional" for Zinfandel, each with identifiable flavor characteristics:


title: Zinfandel

text: Most Primitivo is grown in Apulia, a coastal region known as the "heel" of Italy, and it is estimated to be the country's 12th most widely planted grape variety. The main three DOC areas are Primitivo di Manduria, Gioia del Colle Primitivo (Riserva) and Falerno del Massico Primitivo (Riserva o Vecchio). The Manduria DOC covers still red wine as well as sweet (Dolce Naturale) and fortified (Liquoroso Dolce Naturale, Liquoroso Secco) wine. Falerno requires a minimum of 85% Primitivo; the others are 100% Primitivo. Gioia del Colle Rosso and Rosato contain 50–60% Primitivo, and Cilento Rosso/Rosato contains around 15%.


title: Zinfandel

text: Historically, the grape was fermented and shipped north to Tuscany and Piedmont, where it was used as a blending grape to enhance the body of thin red wines produced in those areas. When the link between Primitivo and Zinfandel began to emerge, plantings in the region and production of non-blended varietals increased. Today, most Italian Primitivo is made as a rustic, highly alcoholic red wine with up to 16% alcohol by volume (ABV). Some Italian winemakers age the wines in new American oak to imitate American-style Zinfandel.


title: Zinfandel

text: The Croatian form Crljenak Kaštelanski was not bottled in Croatia as a varietal in its own right before the link to Zinfandel was revealed. UCD has since sent clones of both Zinfandel and Primitivo to Professor Maletić in Croatia, which he planted on the island of Hvar. He made his first ZPC wines in Croatia in 2005. There is high demand for red grapes in the country, and the government has supported ongoing research. Figures from the department of viticulture and enology at the University of Zagreb claim that from only 22 vines of Crljenak Kaštelanski in Croatia in 2001, there were about 2,000 vines in 2008.


title: Zinfandel

text: Old vine Zinfandel plantings dating from the 1930s have been found in Baja California, Mexico. There are also small Zinfandel plantings in Western Australia, Mudgee in New South Wales and the McLaren Vale area of South Australia. South Africa has a small production of Zinfandel, including one estate rated among the country's Zinfandel producers and winner of an international prize. In France, there is a single hectare of Zinfandel grown in the Côtes de Thongue region, sold by Domaine de l'Arjolle.


title: Zinfandel

text: Zinfandel vines are quite vigorous and grow best in warm but not too hot climates because grapes may shrivel in hot weather. Zinfandel's thin-skinned grapes grow in large, tight bunches that are sometimes prone to bunch rot. The fruit ripens reasonably early and produces juice with high sugar content. If weather conditions permit, the grapes may be late-harvested to make dessert wine. Zinfandel is often praised for its ability to reflect both its "terroir" and its winemaker's style and skill.


title: Zinfandel

text: The grapes exhibit an uneven pattern of ripening: a single bunch may contain both raisin-like, over-ripe grapes, and green, unripened grapes. Some winemakers choose to vinify the bunches with these varying levels of ripeness, while others hand-harvest the bunches, even by single berries, in multiple passes through the vineyards over several weeks. This extensively laborious practice is one component of the high cost of some Zinfandels.


title: Zinfandel

text: Red Zinfandel wines have been criticized for being too "hot" (too alcoholic), although modern winemaking techniques have helped make them more approachable. On the other hand, Zinfandel producers such as Joel Peterson of Ravenswood believe that alcohol-removing technologies, such as reverse osmosis and spinning cones, remove a sense of terroir from the wine. If a wine has the tannins and other components to balance 15% alcohol, Peterson argues, it should be accepted on its terms.


title: Zinfandel

text: Factors that affect the wine's flavors include the length of fermentation, length of the maceration period with skin contact, the level of oak aging, and the degrees Brix of the harvested grapes. White Zinfandel is normally harvested early at 20°Bx when the grapes have yet to develop much varietal character, though some examples can develop hints of tobacco and apple skin. At 23°Bx (the degree that most red wine is considered "ripe"), strawberry flavors develop. Cherry flavors appear at 24°Bx followed by blackberry notes at 25°Bx.


title: Zinfandel

text: Crljenak Kaštelanski, Gioia Del Colle, Locale, Morellone, Plavac Veliki, Primaticcio, Primativo, Primitivo, Primitivo Di Gioia, Primitivo Nero, Uva Della Pergola, Uva Di Corato, Zin (informal), ZPC, Black St. Peters, Zenfendal, Zinfardel, Zinfindal, Taranto, Zeinfandall, Zinfardell, Zinfindel, Zinfandal.


title: Domina (TV series)

text: Domina is a British-Italian historical drama television series created and written by Simon Burke for Sky Atlantic (Italy) and Sky Atlantic (UK). Starring Kasia Smutniak as Livia Drusilla, it examines the power struggles of Ancient Rome from a female perspective. The series premiered on 14 May 2021. "Domina" has been renewed for a second series.


title: Domina (TV series)

text: The series charts the life and rise of Livia Drusilla, the powerful wife of the Roman emperor Augustus Caesar.


title: Domina (TV series)

text: Written by Simon Burke, the lead director is Australian filmmaker Claire McCarthy. Filming for "Domina" resumed at the Cinecittà studios in Rome in July 2020 following delays from the initial start in 2019 due to the COVID-19 pandemic. The show's title comes from the female version of 'Dominus', the Ancient Roman title for sovereignty, and from which the word 'dominate' originates.


title: Domina (TV series)

text: As pointed out by Nicola Maccanico (executive vp programming of Sky Italia), Domina is an international production with strong Italian roots. Ancient Rome is brought back to life, bringing together at Cinecittà the great international artistic values and the best Italian talents in the sector: the costumes will be designed by the Academy Award winning Gabriella Pescucci (The Age of Innocence, Once Upon A Time in America, etc.), and production design by the ADG award winner, Luca Tranchino (Prison Break, etc.)


title: Domina (TV series)

text: The series was released in its entirety on 14 May 2021 on Sky Box Sets and NOW in Italy and the UK. It premiered on television the same day on Sky Atlantic (Italy) and Sky Atlantic (UK).


title: Domina (TV series)

text: The series has received mostly positive reviews from critics. On Rotten Tomatoes, the series holds an approval rating of 78% based on 9 reviews, with an average score of 6.3/10. Suzi Feay in "The Financial Times" dubbed the series “Game of Romans”. Historian Tom Holland in "The Times" agreed that “The echoes of "Game of Thrones" in the first two episodes are strong, and surely deliberate...the rest of the series approximates more closely to a political thriller”. Holland praised the show “the meat of the show is so enjoyably done that the odd anachronism hardly matters. The 20s BC, sandwiched between the suicides of Antony and Cleopatra and the maturity of Augustus, have never before been the subject of popular drama, but Domina demonstrates to brilliant effect how unjustly neglected they have been... Part of the fun of the series is seeing characters who became significant players in the later decades of Augustus’s life as teenagers”.


title: As Time Goes By (TV series)

text: As Time Goes By is a British romantic sitcom which aired on BBC One from 12 January 1992 to 14 December 2005, running for nine series and two specials. It has made it into the top 30 of Britain's Best Sitcom.


title: As Time Goes By (TV series)

text: Starring Judi Dench and Geoffrey Palmer, it follows the relationship between two former lovers who meet unexpectedly after not having been in contact for 38 years.


title: As Time Goes By (TV series)

text: The programme's original working title had been Winter with Flowers but was changed during its first day of filming due to the cast's protestations. The new title was taken from the 1931 Herman Hupfeld song "As Time Goes By", and the recorded version by Joe Fagin was used as the title music.


title: As Time Goes By (TV series)

text: The show was created by Colin Bostock-Smith, was produced and directed by Sydney Lotterby and was written by Bob Larbey, who had co-written both "The Good Life" and "Ever Decreasing Circles" with John Esmonde. In 2004, "As Time Goes By" was ranked No. 29 in "Britain's Best Sitcom".


title: As Time Goes By (TV series)

text: The series was produced by Theatre of Comedy Entertainment, in association with DLT Entertainment Ltd. for the BBC.


title: As Time Goes By (TV series)

text: In the March 2011 PBS pledge drive programming special "Behind the Britcoms: from Script to Screen" hosted by cast members Moira Brooker and Philip Bretherton, the series creator/producer revealed that Jean Simmons had declined the first offer of the role of Jean (which was written with her in mind) due to her reluctance to uproot her life, specifically mentioning her dogs, garden, and family, in California.


title: As Time Goes By (TV series)

text: Second Lieutenant Lionel Hardcastle and Middlesex Hospital nurse Jean Pargetter met in the summer of 1953 and fell head over heels in love, but then Lionel was posted to Korea. When he wrote to give her his mailing address there, the letter went astray. Jean assumed he had lost interest in her and stubbornly refused to ask the army to locate him; he decided she must have lost interest in him.


title: As Time Goes By (TV series)

text: After his war service Lionel emigrated to Kenya, became a coffee planter, and married Margaret, whom he later divorced due to "mutual boredom". Some time after his divorce he returned to England. Meanwhile, Jean had also married and borne one child, Judith. After her husband's death, Jean opened Type for You, a secretarial agency. Her daughter Judith, 35 years old during the series, is twice divorced (from Ken, who had "sad eyes", and Edward, who was "very clever") and, during most of the series, lives with her mother and also works at the secretarial agency.


title: As Time Goes By (TV series)

text: Lionel, now writing his memoir, "My Life in Kenya", hires a typist through Type for You, unaware that Jean owns the agency. He and Jean first meet again when Lionel picks up Judith for a dinner date. Although Lionel and Jean's reunion is full of missteps and miscues, their romance gradually rekindles. In the third series, Lionel moves into Jean's house in Holland Park, London; they marry during the fourth series.


title: As Time Goes By (TV series)

text: Lionel's memoir is published by Alistair Deacon, a go-getting entrepreneur much younger than Lionel. When pressed by Lionel, Alistair eventually admits that he only agreed to publish the book as a favour to Lionel's father, whose loan to Alistair's father was the foundation of Alistair's wealth; but he works hard for the success of the book and over time he becomes good friends with Lionel and Jean. Alistair is vain, and a ladies' man, and likes to call Lionel "Li", but he is also good-hearted and energetic, and proves resourceful enough to handle many situations that arise.


title: As Time Goes By (TV series)

text: In the first series Judith develops a crush on Lionel while Alistair takes a similar interest in Jean and likes to call her "lovely lady". Both crushes are brief; eventually Judith and Alistair fall for each other and, in the final series, marry. Other story arcs feature Lionel being asked to write an American TV mini-series, "Just Two People", based on his early romance with Jean. The mini-series fails after much rewriting and network interference. Jean eventually retires from Type for You and later volunteers at a charity shop.


title: As Time Goes By (TV series)

text: Jean's very efficient secretary and Judith's best friend is Sandy, who eventually moves in with the Hardcastles after splitting with her boyfriend Nick. After Jean's retirement, Judy and Sandy become co-managers of Type for You. Sandy dates Harry, a policeman and amateur rugby player, whom she marries at the end of the series. Sandy's last name is never revealed on the show.


title: As Time Goes By (TV series)

text: Other notable characters include Lionel's irrepressible father Rocky, whose favourite saying is "Rock on!" and who owns a large country house in Hampshire which he later gives to Lionel; Rocky's housekeeper, Mrs Bale, who has an unusual interest in the Shipping Forecast and gives exact times that meals will be ready; Rocky's gardener, Lol Ferris, who says Jean is a "tender woman"; and Lionel's glamorous young secretary Daisy, who firmly repels Alistair's clumsy efforts to chat her up every time they meet. In series 3 of the show, Lionel is told by Rocky's physician that his father has less than a year to live, but this plotline was dropped and Rocky continued to appear throughout the show's later series, including the final "Christmas Specials" in 2005.


title: As Time Goes By (TV series)

text: Rocky marries Madge, as much a character as Rocky is, when he is 85 and she is 78 (Rocky features in the 2005 Christmas Special, where he must be around 97 years old). They travel the world, are country and western music fans, tool about in Madge's classic Cadillac convertible (with steer horns on the grille), and hang out at the local pub, where Madge sings. In series nine, Madge is mentioned as being on an archaeological dig in Egypt; in reality Joan Sims died before filming began. Also appearing many times are Penn, the meddling, neurotic sister of Jean's late first husband, who calls Jean "poor Jean", and Penny's well-meaning but dull dentist husband, Stephen, who once accidentally declined an OBE.


title: As Time Goes By (TV series)

text: The programme ran for ten series, from 12 January 1992 to 30 December 2005. All of the episodes were thirty minutes long with the exception of the final three episodes which were considerably longer. In December 2020, UKTV split the final two episodes which were also Christmas specials, into four shorter episodes. They added a 'next time on' and 'last time on' segment at the start and end of each episode.


title: As Time Goes By (TV series)

text: "As Time Goes By" has appeared in the United States on BBC America, and has been running weekly on PBS member stations almost continuously since the early 2000s, with various cast members appearing on its perennial pledge drives. It has run in Canada on BBC Canada and TVOntario, in Australia on ABC, 7TWO, 9Gem and Fox Classics, in New Zealand on both UKTV and SKY Network Television, in Finland on YLE TV1, and on DSTV in Nigeria. RTÉ One has broadcast the series in Ireland repeatedly. It has been broadcast by Gold for viewers in the UK and Ireland as of 2010, and by UKTV in Australia and the UK as of 2011. As of 2017, series 1-9 are available to stream through the BBC/ITV online digital video subscription service Britbox. Starting in 2022 the series is being shown on the UKTV channel Drama.


title: As Time Goes By (TV series)

text: "As Time Goes By" was adapted and recorded for radio. Three series were broadcast on BBC Radio 2 between 1997 and 1999. The first episode included a flashback to Jean and Lionel 38 years before. All episodes correspond to a TV episode and featured the original cast, apart from Jon Glover substituting for Bretherton in episodes 1-5 of Series One. Only the first series was released on BBC audio cassette. Series One was repeated on BBC Radio 4 Extra from December 2014 to January 2015.


title: As Time Goes By (TV series)

text: In Region 1 in North America the complete series has been released in individual sets and as a complete series from BBC Video. In the United Kingdom on Region 2, the series has been released several times; Universal Playback released the first four series on VHS and DVD format, with 2 Entertain acquiring the rights to release the remaining series on DVD, and additionally re-releasing the Series one to four and a complete collection on DVD. Cinema Club acquired the right to release the complete series over two sets, with the first containing Series One to Four and the following set containing Series Five to Nine. Acorn Media has released to 'The Reunion Specials' on DVD. In Australia on Region 4, the complete series has been released as individual sets and as a complete collection.


title: Al Di Meola

text: Albert Laurence Di Meola (born July 22, 1954) is an American guitarist. Known for his works in jazz fusion and world music, he began his career as a guitarist of the group Return to Forever in 1974. Between the 1970s and 1980s, albums such as "Elegant Gypsy" and "Friday Night in San Francisco" earned him both critical and commercial success.


title: Al Di Meola

text: Born in Jersey City, New Jersey, into an Italian family with roots in Cerreto Sannita, a small town northeast of Benevento, Di Meola grew up in Bergenfield, where he attended Bergenfield High School. He has been a resident of Old Tappan, New Jersey.


title: Al Di Meola

text: When he was eight years old, he was inspired by Elvis Presley and the Ventures to start playing guitar. His teacher directed him toward jazz standards. He cites as influences jazz guitarists George Benson and Kenny Burrell and bluegrass and country guitarists Clarence White and Doc Watson.


title: Al Di Meola

text: He attended Berklee College of Music in 1971. At nineteen, he was hired by Chick Corea to replace Bill Connors in the pioneering jazz fusion band Return to Forever with Stanley Clarke and Lenny White. He recorded three albums with Return to Forever, helping the quartet earn its greatest commercial success as all three albums cracked the Top 40 on the U.S. "Billboard" pop albums chart.


title: Al Di Meola

text: As Return to Forever was disbanding around 1976, Di Meola began recording solo albums on which he demonstrated a mastery of jazz fusion, flamenco, and Mediterranean music. His album "Elegant Gypsy" (1977) received a gold certification. In 1980, he recorded the acoustic live album, "Friday Night in San Francisco", with Paco de Lucía and John McLaughlin.


title: Al Di Meola

text: In the beginning of his career, as evidenced on his first solo album "Land of the Midnight Sun" (1976, on which Jaco Pastorius and the ex-members of RTF collaborated), Di Meola was noted for his technical mastery and extremely fast, complex guitar solos and compositions. But even on his early albums, he had begun to explore Mediterranean cultures and acoustic genres like flamenco. Notable examples are "Mediterranean Sundance" and "Lady of Rome, Sister of Brazil" from the "Elegant Gypsy" album (1977).


title: Al Di Meola

text: His early albums were influential among rock and jazz guitarists. Di Meola continued to explore Latin music within jazz fusion on "Casino" and "Splendido Hotel". He exhibited a more subtle touch on acoustic numbers "Fantasia Suite for Two Guitars" from the "Casino" album and on the best-selling live album with McLaughlin and de Lucia, "Friday Night in San Francisco". The latter album became one of the most popular live albums for acoustic guitar, selling more than two million copies worldwide.


title: Al Di Meola

text: In the mid-1980s, Di Meola began to incorporate the Synclavier guitar synthesizer into his compositions. Except for the occasional electric guitar foray on albums such as 1991's "Kiss My Axe", he spent most of the next two decades exploring acoustic music and world music. He rediscovered his love of the electric guitar in 2006, and the DVD of his concert at the Leverkusen Jazz Festival 2006 is subtitled "Return to Electric Guitar". In 2018, Di Meola was awarded an honorary doctorate of music from his alma mater, Berklee College of Music.


title: Amateur pornography

text: Amateur pornography is a category of pornography that features models, actors or non-professionals performing without pay, or actors for whom this material is not their only paid modeling work. Reality pornography is made porn that seeks to emulate the style of amateur pornography. Amateur porn has been called one of the most profitable and long-lasting genres of pornography.


title: Amateur pornography

text: The introduction of Polaroid cameras in 1948 allowed amateurs to self-produce pornographic photographs immediately and without the need for sending them to a film processor, who might have reported them as violations of obscenity laws. One of the more significant increases in amateur pornographic photography came with the advent of the internet, image scanners, digital cameras, and more recently camera phones. These have enabled people to take private photos and then share the images almost instantly, without the need for expensive distribution, and this has resulted in an ever-growing variety and quantity of material. It has also been argued that in the Internet age it has become more socially acceptable to make and view amateur porn. Starting in the 1990s, pornographic images were shared and exchanged via online services such as America Online (AOL). Photo sharing sites such as Flickr and social networking sites such as MySpace have also been used to share amateur pornographic photographs usually nudes but also hardcore photos. A more private and easy to control method of sharing photos is through Yahoo or Google Groups which have access restricted to group members.


title: Amateur pornography

text: The general public has become more aware in recent years of the potential dangers to teenagers or children, who may be unaware of the consequences, using their camera phones to make videos and images which are then shared amongst their friends, as in sexting. Images initially meant to be shared between couples can now be spread around the world. The result is now a small but growing amount of online amateur porn depicting underage models, created by the young people themselves.


title: Amateur pornography

text: Before the advent of camcorders and VHS tapes couples had to film themselves using Super 8 film which then had to be sent for film processing. This was both expensive and risky as the processing laboratory might report the film to the police depending on their local laws.


title: Amateur pornography

text: Amateur pornography began to rapidly increase in the 1980s, with the camcorder revolution, when people began recording their sex lives and watching the results on VCRs. These home movies were initially shared for free, often under the counter at the local video store. Homegrown Video was the first company to release and distribute these types of amateur adult videos commercially. They were established in 1982, and AVN magazine ranked Homegrown Video #1 among the 50 most influential adult titles ever made because it resulted in the creation of the amateur pornography genre in adult video. Several people who sent their tapes to Homegrown Video became professional porn stars, including Stephanie Swift, Melissa Hill, Rayveness, and Meggan Mallone. In 1991, in response to a "Boston Glob"e investigation, video store proprietors reported that between 20 and 60% of video rentals and sales were of adult amateur home video films.


title: Amateur pornography

text: One highly publicized case was that of Kathy Willets and her husband Jeffrey in 1991. Jeffrey was a deputy sheriff in Broward County, Florida who had recorded his "nymphomaniac" wife's sexual exploits with up to eight men a day. He was charging up to $150 an hour and had also taped some significant local figures, so the two were arrested and charged with prostitution. Ellis Rubin acted as defense counsel and contended that Willets' nymphomania was caused by the use of Prozac. In the end, they pleaded guilty and both were convicted, although Kathy has gone on to a career in the adult film industry.