title: USS Kearsarge (LHD-3)

text: On 2 March 2011, "Kearsarge", along with , traveled through the Suez Canal in response to the 2011 Libyan civil war. Robert Gates had said days earlier that he ordered the two warships into the Mediterranean, along with an extra 400 Marines, in case they are needed to evacuate civilians or provide humanitarian relief. As of 20 March, AV-8B Harrier II attack aircraft from "Kearsarge" have been reported attacking Libyan targets as part of Operation Odyssey Dawn. On 22 March, V-22 Ospreys from "Kearsarge" conducted a successful TRAP operation to recover the crew of a USAF F-15E Strike Eagle after it crashed in Libya due to a mechanical failure during a combat mission. The "Daily Telegraph" reported a military source, stating that, during the rescue, strafing runs were carried out and two Harriers dropped two 500 lb bombs on a convoy of Libyan vehicles, with other reports alleging that Libyan civilians were wounded in the operation. The ship returned to home port at Norfolk on 16 May 2011.


title: USS Kearsarge (LHD-3)

text: Following a three-day delay due to bad weather, "Kearsarge" deployed from Naval Station Norfolk on 11 March 2013 for a scheduled eight-month deployment. One of her first port visits was to Cyprus. "Kearsarge" later docked at the Israeli port of Eilat for several days beginning on 14 May 2013 before continuing her deployment. One of her MV-22s exercised in a joint operation with .


title: USS Kearsarge (LHD-3)

text: In September 2017, "Kearsarge" was called upon to assist in search-and-rescue operations during Hurricane Maria, after contact was lost with a ship carrying four people that issued a distress signal while battling seas and winds off the coast of Vieques, Puerto Rico. The United States Coast Guard, Navy, and the Royal Navy utilized an HC-130 aircraft, a fast response cutter, and Navy helicopters. A woman and two children were rescued, but a man died aboard their capsized vessel.


title: USS Kearsarge (LHD-3)

text: On 13 May 2022, "Kearsarge" took part in a PASSEX training with the Finnish and Swedish navies in the northern Baltic Sea. From 17 May to 23 May, "Kearsarge" and her amphibious readiness group took part in the NATO vigilance activity, Neptune Shield 2022. On 27 May, "Kearsarge" docked at Tallinn, Estonia ahead of the Exercise BALTOPS 22. During BALTOPS 2022 "Kearsarge" trained operating UUVs and UAVs. On 2 June, she arrived in Stockholm, Sweden. On 20 August, she arrived in Klaipėda, Lithuania.


title: USS Kearsarge (LHD-3)

text: USS "Kearsarge" has been awarded the Golden Anchor for Retention Excellence, Ronald Reagan Distinguished Service Award, the CNO Environmental Safety Award, the Admiral Flatley Memorial Award (aviation safety), SECNAV Energy Award (2002), Department of Energy (DOE) Federal Energy Management Program (FEMP) Mobility Energy Efficiency Award (2002), the Chief of Naval Operations Safety Award and the Commander Naval Surface Force Atlantic Safety Award.


title: USS Kearsarge (LHD-3)

text: Additionally, "Kearsarge" has qualified for the following medals and unit awards: Combat Action Ribbon, Humanitarian award, Navy Unit Commendation (three awards), Meritorious Unit Commendation (one award), Battle Efficiency "E" Award (seven awards), National Defense Service Medal (two awards), Global War on Terrorism Expeditionary Medal, Kosovo Campaign Medal (with bronze star), Armed Forces Service Medal, Sea Service Deployment Ribbon (five awards), and the NATO Medal.


title: USS Kearsarge (LHD-3)

text: Blue and gold are colors traditionally associated with the Navy and symbolize the sea and excellence. The green chevron suggests the green-peaked Mount Kearsarge in New Hampshire. The amphibious nature of the combat operations of the present USS "Kearsarge" is represented by green and blue, alluding land and sea. The arrowheads, together with the white chevronel, which represents a shore line, allude to assault landings. The stars commemorate the battle stars the third "Kearsarge" received for Korean War and Vietnam War service.


title: USS Kearsarge (LHD-3)

text: The wings of the crest symbolize the aviation capabilities of both the present and the third "Kearsarge"; they are gold for the honor and achievement. The white anchor recalls the round-the-world cruise of the second "Kearsarge" of the Great White Fleet in 1907 and denotes the naval prowess of the USS "Kearsarge"s. The blue-and-gray wavy bar highlights the Civil War service for the first USS "Kearsarge". The swords (one a Navy cutlass and the other a Marine mameluke) are crossed, to denote cooperation and teamwork, as well as the combined combat mission of the U.S. Navy and Marine Corps. Motto ~ "Proud ... Bold ... Trustworthy."


title: WordPad

text: WordPad is the basic word processor that has been included with almost all versions of Microsoft Windows from Windows 95 onwards. It is more advanced than Windows Notepad, and simpler than Microsoft Word and Microsoft Works (last updated in 2007). WordPad replaced Microsoft Write.


title: WordPad

text: WordPad can format and print text, including font and bold, italic, colored, and centered text, and lacks functions such as a spell checker, thesaurus, and control of pagination. It does not support footnotes and endnotes. WordPad can read, render, and save many Rich Text Format (RTF) features that it cannot create, such as tables, strikeout, superscript, subscript, "extra" colors, text background colors, numbered lists, right and left indentation, quasi-hypertext and URL linking, and line-spacing greater than 1. Among its advantages are low system-resource usage, simplicity, and speed. Pasting into WordPad from an HTML document, such as a Web page or email, typically automatically converts most or all of it to RTF (this depends partly on the Web browser from which the text is copied). WordPad is suited to taking notes; writing letters and stories; and use on various tablets, PCs, and smart phones. It is underpowered for work that relies heavily on graphics and typesetting, such as most publishing-industry requirements for rendering final hard copy.


title: WordPad

text: A character not on the keyboard can be entered into Wordpad by typing its hexadecimal code point in Unicode followed by . Likewise, the code point of a character from another application can be determined by copying it into Wordpad followed by .


title: WordPad

text: Although WordPad supports RTF, it does not support all the features defined in the RTF/Word 2007 specification. Previous versions of WordPad also supported the "Word for Windows 6.0" format, which is forward compatible with the Microsoft Word format.


title: WordPad

text: In Windows 95, 98, and 2000, WordPad uses Microsoft's RichEdit control, versions 1.0, 2.0, and 3.0, respectively. In Windows XP SP1 and later, it uses RichEdit 4.1; the same is true in Windows 7.


title: WordPad

text: A similar word processor, also called WordPad, is supplied by some vendors on a Windows CE pre-installation. It has simple functionality like its desktop OS cousin. The icon resembles an early Microsoft Word icon.


title: WordPad

text: WordPad was introduced in Windows 95, replacing Microsoft Write, which came with all previous versions of Windows (version 3.11 and earlier). The source code to WordPad was also distributed by Microsoft as a Microsoft Foundation Class Library sample application with MFC 3.2 and later, shortly before the release of Windows 95. It is still available for download from the MSDN website.


title: WordPad

text: The default font used in Windows 95 to Windows Vista was Arial at 10pt; in Windows 7 it was changed to Calibri at 11pt.


title: WordPad

text: WordPad for Windows XP added full Unicode support, enabling WordPad to support multiple languages, but UTF-16/UCS-2 Big Endian is not supported. It can open Microsoft Word (versions 6.0–2003) files, although it opens newer versions of the .doc format with incorrect formatting. Also, unlike previous WordPad versions, it cannot save files in the .doc format (only .txt, .odt, and .rtf). Files saved as Unicode text are encoded as UTF-16 LE. For the sake of security, Windows XP Service Pack 2 and later versions of Windows and its services packs reduced support for opening .WRI.


title: WordPad

text: Windows XP Tablet PC Edition SP2 and Windows Vista include speech recognition, allowing dictation into WordPad. In these and later Windows versions, the RichEdit control exists, making WordPad support extensible third-party services (such as grammar and spell check) built using the "Text Services Framework" (TSF).


title: WordPad

text: In Windows Vista, support for reading Microsoft Word DOC files was removed because of the incorrect rendering and formatting problems, and because a Microsoft security bulletin reported a security vulnerability in opening Word files in WordPad. For viewing older (97–2003) as well as newer (Office Open XML) documents, Microsoft recommends Word Viewer, which is available free. Native Office Open XML and ODF 1.1 support was released in the Windows 7 version of WordPad.


title: WordPad

text: In Windows 7, the program's user interface was updated to use a ribbon, similar to those in Microsoft Office.


title: WordPad

text: In a 2020 insider build of Windows 10, WordPad is modified to include advertising notifications for the Office web apps as an alternative.


title: Velaiilla Pattadhari

text: Velaiilla Pattadhari (), popularly referred to as VIP, is a 2014 Indian Tamil-language comedy drama film written and directed by Velraj, in his directorial debut. The film stars Dhanush and Amala Paul, while Vivek, Saranya Ponvannan, Samuthirakani and Surbhi play supporting roles.


title: Velaiilla Pattadhari

text: Dhanush, besides acting, producing and distributing the venture in association with Escape Artists Motion Pictures, also worked as the lyricist and album producer on the film's original soundtrack. The film's album and score were composed by Anirudh Ravichander.The stunt department of this movie handled by Hari Dinesh. The film focuses on Raghuvaran, a graduate who is unemployed for four years, and how he gets a job, whilst successfully overcoming various obstacles before and after finding employment.


title: Velaiilla Pattadhari

text: Principal photography commenced in August 2013 and was completed by May 2014, with the film being shot primarily in Chennai. The film was released on 18 July 2014, and received positive critical reception. It was remade in Kannada as "Brihaspathi" (2018) and in Bhojpuri as Mehandi Lage Ke Rakhna 3 (2020). A sequel to the film directed by Soundarya Rajinikanth was released on 11 August 2017.


title: Velaiilla Pattadhari

text: Raghuvaran is a graduate in Civil Engineering, but has been unemployed for four years. He is adamant about working in a job related to his field only and is unwilling to accept any other profession. He often comes into conflict with his father, who considers him irresponsible. His younger brother, Karthik, works in an IT company, earning well and, evidently, his father's approval. Raghuvaran's mother, Bhuvana, however, supports him. Raghuvaran falls for his neighbour's daughter, Shalini who hates him initially, but warms up to him after hearing about the difficulties he is facing and eventually reciprocates his love.


title: Velaiilla Pattadhari

text: One day, while Raghuvaran's father and Karthik are absent, he is asked to look after his mother, who has a heart condition. However, he goes out on a date with Shalini. He gets continuous phone calls from his mother, which he ignores despite Shalini's insistence to pick them up. However, on returning home, he finds out that his mother had died of a heart attack. Raghuvaran feels guilty about not being there when his mother needed him and develops depression. Meanwhile, Bhuvana's lungs are transplanted into Anitha, a chain smoker who developed lung cancer. Anitha's father Ramkumar is the chairman of a civil engineering company in Chennai and offers Raghuvaran a job as a token of his gratitude for saving his daughter's life. Raghuvaran accepts the job while also requesting Anitha not to smoke, which she agrees. Six months later, Raghuvaran is offered an assignment on a government project to construct high-rise flats to re-house people living in a nearby slum. Azhagusundaram and Manickam are appointed as his assistants. He successfully wins the contract from the government and begins work on it immediately.


title: Velaiilla Pattadhari

text: Arun Subramaniam, a business novice who took over his father's company's Chennai branch, bids for the same contract, even by using illegal methods. Furious that he did not get the land, he tries to thwart Raghuvaran's progress in a number of ways. Raghuvaran overcomes each of these obstacles and continues his work, but Arun eventually hires rowdies to beat up Raghuvaran's workers at the construction site. The workers get injured and end up in hospital, which prompts Raghuvaran to go to Arun's office to put an end to this issue. He makes Arun confess that he sent the rowdies, which is recorded by a micro spy camera, and demands an apology from Arun, blackmailing him that otherwise the video would be made public. Fearing that the video could tarnish his reputation, Arun's father, Venkat, sends his son to the hospital to apologise. Raghuvaran accepts the apology and the project is completed within ten months.


title: Velaiilla Pattadhari

text: On the day of the flats' inauguration, Arun and a gang of rowdies ambush Raghuvaran en route. He outwits them but spares Arun, much to Arun's surprise. Raghuvaran says he has no intention to compete with or beat him and wishes to be his friend. Raghuvaran takes Arun to the site on his moped, where the state public works minister and Anitha inaugurate the flats.


title: Velaiilla Pattadhari

text: Velraj and Dhanush had worked together on several projects including "Aadukalam" (2011) and "3" (2012) as cinematographer and lead actor respectively. During the production of those films, Dhanush suggested Velraj to make his debut as a director and promised to play the lead role. After Velraj showed Dhanush the film's script, Dhanush agreed to play the lead role as well as produce the film. In July 2013, Dhanush confirmed his collaboration with Velraj, whilst also confirming the inclusion of Amala Paul as the female lead and Anirudh Ravichander as the music director. The title of the film, "Velaiilla Pattadhari" was unveiled on 15 August 2013. After the title launch, Dhanush confirmed that filming would start on 20 August 2013.


title: Velaiilla Pattadhari

text: Regarding the film's development, Velraj said, "Dhanush must have liked something about me to help me grow. It was during our "Aadukalam" days that he promised to make me a director and said he would act in my first film. Several directors would have lined up for this opportunity. He chose me. It's just a bond we share."


title: Velaiilla Pattadhari

text: Velraj shot the film alongside his commitments as cinematographer for "Poriyaalan" (2014) and "Vai Raja Vai", while Anirudh Ravichander and Kola Bhaskar joined the team as music composer and editor respectively. However, Bhaskar was replaced with M. V. Rajesh Kumar after scheduling conflicts arose. The film was planned as a "message to the youth with some comedy on rising unemployment and the growing frustration for jobs with love".


title: Velaiilla Pattadhari

text: When Velraj showed Dhanush the script for the film, he was impressed by it and immediately offered to act in it as well as bankroll the venture. Velraj said besides acting, Dhanush suggested additional inputs to the script. Rather than demand changes, the actor collaborated with the director to develop the best script for the film. Dhanush's well-toned body was remarked upon by the media, but Dhanush clarified the workout was mostly for promoting the film rather than having done it as an integral part of his character. Velraj later commented about the requirement of a muscular appearance for a fight scene in the film's climax, resulting in Dhanush toning his body for the sequence. Dhanush's character was named Raghuvaran after the actor of the same name.


title: Velaiilla Pattadhari

text: Amala Paul was selected to play the role of a doctor named Shalini. She described her character as "very different" from those that she had done before, and that the characters in the film were drawn from real-life archetypes. Vivek, who was added to the cast in May 2014, stated during a press meet of the film that he initially rejected the role and as a result, Dhanush decided to make someone else play the role. Vivek then accepted the role for Dhanush's sake. Saranya Ponvannan was selected to play the role of Bhuvana, Raghuvaran's mother, while Samuthirakani was chosen to play Dhanush's father. Samuthirakani was suggested to Dhanush by Vetrimaaran.


title: Velaiilla Pattadhari

text: Actress Surbhi began filming her scenes in early March 2014. Hrishikesh, who plays Karthik, Raghuvaran's sibling, received an SMS from Dhanush's production office, which asked him to audition for the role. He was selected after his screen test ended successfully. Amitash Pradhan played the main antagonist, Arun Subramaniam. He was recruited from the Anupam Kher Acting School. In an interview with "Gulf News", Amitash described his character to be not the "stereotypical villain" often seen in Tamil cinema, and that his character was more cunning.


title: Velaiilla Pattadhari

text: Principal photography formally began on 20 August 2013. An initial production poster was released to the media on 25 December 2013. On 31 December 2013, the team released a teaser trailer featuring Dhanush, Amala Paul and Saranya. The team began the final shoot on 2 May 2014, with Vivek amongst other actors joining the cast. Filming was completed on 4 May 2014.


title: Velaiilla Pattadhari

text: During the film's shoot, Velraj would often forget to say "Action!", but despite this, there were hardly any retakes. Being a cinematographer, Velraj gave priority to visual presentations and costume designing in the film. Director Subramaniam Siva, who had earlier collaborated with Dhanush for "Thiruda Thirudi" (2003), helped with the post-production work involved in the film. According to Velraj, during the entire schedule of filming, the speaking parts were completed in 52 days.


title: Velaiilla Pattadhari

text: "Velaiilla Pattadhari" raises the issue of unemployed graduates in society. Dhanush's character, Raghuvaran, represented the unemployed graduate who is waiting to move up the social ladder. One scene shows Raghuvaran delivering a speech about the difficulties in finishing an engineering degree only to remain jobless, with some of them having to take jobs not related to their fields to make a living. Dhanush's characterisation was similar to his characters from his previous films like "Polladhavan" (2007), "Yaaradi Nee Mohini" (2008) and "Padikkadavan" (2009). Both Baradwaj Rangan of "The Hindu" and M. Suganth of "The Times of India" compare Dhanush's and Amitash's characters and their encounters with each other to those that took place between the second king of the United Kingdom of Israel and Judah, David and the Philistine warrior, Goliath.


title: Velaiilla Pattadhari

text: The film shifts from exploring self-pity to proving a point, where the protagonist overcomes all hurdles and outwits a rich adversary, as well as building a successful relationship. The father-figure in the film disapproves of his son's continued unemployment, while his mother defends him. Karthik, meanwhile, is a contrasting figure, being settled and prosperous. Amala Paul's character, Shalini, is shown as Raghuvaran's confidante though he feels jealous when she interacts with his brother. The film also portrays the relationship between a mother and her son as particularly important. Prior to the release, there were concerns raised that the film was similar to the Kamal Haasan starrer, "Sathyaa" (1988). Dhanush clarified that there were no similarities between the films, nor was it similar to another Haasan film, "Varumayin Niram Sivappu" (1980), except for the fact that the protagonist was unemployed.


title: Velaiilla Pattadhari

text: The film's soundtrack and score were composed by Anirudh Ravichander. The album, containing eight tracks, was initially scheduled to be released in January 2014, but the release was brought forward to 14 February 2014, to add two additional songs. The team also recorded a track described as a "lilting melody" between Dhanush and singer S. Janaki in October 2013. Anirudh promoted the album on Sun Music a week before the film's release. The track list was released on 10 February 2014. The album was launched at the Suryan FM 93.5 radio station with Dhanush, Amala Paul and Anirudh Ravichander in attendance. The album received positive response from critics. The songs "Velaiilla Pattadhari", "Poo Indru Neeyaga", "What a Karuvad" and "Udhungada Sangu" topped the Radio Mirchi South charts for 31 weeks.


title: Velaiilla Pattadhari

text: The theatrical rights of the film in Tamil Nadu were sold to Madhan of Escape Artists Motion Pictures. ATMUS Entertainment distributed the film in the United States. On 1 July 2014, Madhan confirmed that the film would be released on 18 July 2014.


title: Velaiilla Pattadhari

text: The film was released in 350 screens in Tamil Nadu. The film released in 60 screens in Chengalpattu, 65 screens in Kovai, 30 screens in Madurai, 30 screens in Trichy and 55 screens in Salem. The film also released in 60 screens in Kerala and 65 screens in Karnataka.


title: Velaiilla Pattadhari

text: The film was later dubbed and released into Telugu-language under the title "Raghuvaran B.Tech" and in Hindi as "VIP".


title: Velaiilla Pattadhari

text: The official first look poster of "Velaiilla Pattadhari" was released by Dhanush through his official Twitter account on 24 December 2013. The teaser of the film was uploaded on YouTube on 9 February 2014. The official trailer of the film was released on 18 June 2014 on YouTube, and trended on social networking sites following its release, reaching 2 million views in two weeks.


title: Velaiilla Pattadhari

text: Some of the posters depicting Dhanush smoking were removed, followed by the complaint raised by the authorities, as this did not conform to the Tobacco Control Board's guidelines. The administrators of the Ramakrishna Mission School opposed a dialogue spoken by the character Raghuvaran attributing his weak English to the subpar education he received in that school. Velraj explained that they never contemplated such a huge opposition and did not want to hurt the sentiments of anyone, hence it was decided to remove the dialogue from the film.


title: Velaiilla Pattadhari

text: The film's satellite rights were sold to Sun TV. The television premiere took place on 15 January 2015, coinciding with Pongal. The dubbed Telugu version "Raghuvaran B. Tech" was aired on Star Maa, which bought the Telugu satellite rights on 22 February 2015.


title: Velaiilla Pattadhari

text: The film received generally positive reviews from critics. Writing for "The Hindu", Baradwaj Rangan said "There are films that cater to the actor, and there are films that cater to the star — in , Dhanush gets a film where he gets to showcase both sides ... [Velraj has] given actor-Dhanush fans half a movie to love, and he's handed over the rest to the star-Dhanush fans. Is there much use complaining when both actor and star are in such fine form?" Sify wrote " is a rollicking fun ride. It's pure unadulterated masala laced with all essential ingredients that work with mass audiences. Writer, director and cinematographer R Velraj has made a dream debut with a perfect commercial mix".


title: Velaiilla Pattadhari

text: M. Suganth of "The Times of India" gave the film 4 out of 5 stars and wrote, "[...] Velraj (the cinematographer making his directorial debut) superbly manages to strike a balance between the emotional and mass hero moments.[...] It is fantastic to see Dhanush take this boy-next-door to mass hero mode and he has quite a few punchy lines." Anupama Subramanian of the "Deccan Chronicle" gave the film 3.5 out of 5 stars and wrote, "Dhanush has chosen a befitting script for his 25th milestone film and in the company of his favourite cinematographer turned filmmaker Velraj, who has churned out a mass family entertainer with ", calling it a "wholesome entertainer".


title: Velaiilla Pattadhari

text: Oneindia Entertainment gave the film 3 out of 5 stars and stated that " is a perfect entertainer for Dhanush's fans". S. Saraswathi of Rediff gave the film 3 stars out of 5 and concluded, " is two hours of pure entertainment, definitely worth a watch". Haricharan Pudipeddi of IANS gave the film 3 stars out 5 and stated, "While VIP fortifies Dhanush's heroism in a tailor-made role which he comfortably pulls off, it also achieves so many things right as a commercial film and that's what works in its favour. Dhanush reinforces he's still cut out for commercial cinema with ".


title: Velaiilla Pattadhari

text: In contrast, Malini Mannath of "The New Indian Express" wrote, "With its racy first half and a predictable second half, "VIP" is an average entertainer". Gautaman Bhaskaran of the "Hindustan Times" gave the film 2 out of 5, saying "Although presents a grave social malaise – that of joblessness among engineering graduates in Tamil Nadu with 3000-odd colleges turning out hundreds of thousands of degree holders year after year – the script plays goodsport. Performances do not lift the movie either".


title: Velaiilla Pattadhari

text: The film was released in 30 screens in Chennai alone. Sreedhar Pillai stated that the film had made 100.6 million on its opening day in Tamil Nadu alone. The film collected approximately in Tamil Nadu in first weekend and over in ten days. The film collected a nett collection of worldwide in fourth week. The first weekend gross was 190.8 million. The film made 1000 million in Tamil Nadu overall.


title: Velaiilla Pattadhari

text: "Velaiilla Pattadhari" made 9.83 million in the UK and Ireland together. It also grossed 3.735 million in Australia. The film made one month's collection of 22.3 million in Malaysia. Overall, the film grossed 530 million worldwide.


title: Velaiilla Pattadhari

text: In November 2016, Dhanush announced that he would act in the sequel of the film to be directed by Soundarya Rajinikanth and produced by S. Thanu. Filming for the sequel began on 15 December 2016 with actress Kajol being drafted to play "a prominent role" marking her comeback to Tamil films since "Minsara Kanavu" (1997). Paul and Samuthirakani reprised their roles from "Velaiilla Pattadhari". The sequel was released on 11 August 2017.


title: Velaiilla Pattadhari

text: The film was remade in Kannada as "Brihaspathi" (2018) directed by Nanda Kishore with Manoranjan Ravichandran.


title: Julio Iglesias Jr.

text: Julio José Iglesias Preysler (born 25 February 1973) is a Spanish singer. In 2008, he was declared the winner of the CMT competition "Gone Country".


title: Julio Iglesias Jr.

text: He was born Julio José Iglesias-Preysler (before a later name change) in Madrid, Spain, the son of Spanish singer Julio Iglesias and Filipina socialite and "Hola!" magazine journalist Isabel Preysler. He is the younger brother of Chabeli Iglesias and the older brother of Enrique Iglesias. His parents divorced in 1979. Iglesias Jr. and his siblings moved to Miami to live with their father. Iglesias Jr. went to college near San Francisco at Menlo College in Atherton, California. He won a chance to participate in NBC's "Out of the Blue" and he worked for the Travel Channel, where he hosted a travel show that took him to Latin America.


title: Julio Iglesias Jr.

text: Iglesias Jr., with the help of his friend and manager Darius Jordi Lassus, first got into show business as a model. It was his manager that negotiated an exclusive male modeling agreement with Joey Hunter (at the time he was the president of the Male Model division) at the Ford Models Agency in New York. It was through Joey Hunter, that Iglesias Jr. was discovered by photographer Bruce Weber. He went on to campaign for Versace. Shortly after, Iglesias Jr. signed on with publicity executive Ruben Malaret who began a press campaign to further gain exposure of Iglesias Jr. to the English speaking entertainment industry. Some of his notable accomplishments was his participation on Oprah Winfrey's talk show and was featured in an advertisement for Gap and he modeled for designer John Bartlett VII on Sixth Fashion Show.


title: Julio Iglesias Jr.

text: He was offered two soap opera jobs, one at Televisa and one in the ABC soap opera "All My Children". Iglesias Jr. also received an offer from the Producers of the Broadway show Grease to star as Danny, but decided to turn down these job offers because he wanted to focus on his music. Iglesias Jr. signed a recording agreement with Epic Records and he traveled to Miami where he began to record his first album, "Under My Eyes", with Rodolfo Castillo. Released in 1999, the recording of this album took them to New York City and Los Angeles, two songs released from this English language album are "One More Chance" and "Under My Eyes". Among promotional appearances for the album, Iglesias Jr. performed "One More Chance" at the Miss Universe 1999 Pageant and opened for Cher on her tour of North America. The album failed to gain success in the United States and soon after Iglesias Jr. departed from Epic Records.


title: Julio Iglesias Jr.

text: Iglesias Jr's. second album, "Tercera Dimension", was released in 2003 on the Warner Music Group and featured Spanish pop rock songs with the singles "Los Demas" and "Dejame Volar". Both albums received public interest from the Hispanic media in the United States but attained minority success.


title: Julio Iglesias Jr.

text: He worked for Hola Magazine, appearing in several photoshoots. More recently he has taken part in a series in Spain called "Club de Flo", in which Spanish politicians and celebrities have to present a comedy routine. The show was unsuccessful and cancelled after several episodes. He has moved back to Spain and is living with his mother Isabel Preysler. He appeared on the Spanish version of "Dancing with the Stars" called "¡Mira quien baila!" but was voted out in the thirteenth week. He has played the lead role in a drama film entitled "The Music of You" directed by Lloyd DeSouza.


title: Julio Iglesias Jr.

text: Iglesias Jr. was the winner of the CMT reality Television show "Gone Country," in which artists from other genres of music lived together in a house in Nashville and competed to win a country music contract. His single "The Way I Want You" was released to country radio on 10 March 2008 and was produced by "Gone Country" host John Rich. Iglesias Jr. also appeared on the ABC TV show "the superstars". He was partnered with soccer player Brandi Chastain; they finished in fourth place in the competition.


title: Julio Iglesias Jr.

text: In 2015, he performed a concert (complete show) for the first time with his father Julio Iglesias in a tour in Romania, on 22 May at Sala Polivalentă in Cluj-Napoca and 2 July at Sala Palatului in the capital Bucharest.


title: Julio Iglesias Jr.

text: In October 1999, he legally changed his name from Julio José Iglesias to Julio Iglesias Jr. In May 2011, Iglesias Jr. was engaged to Belgian model Charisse Verhaert (born 1982) after 7 years of dating; the religious wedding took place on 3 November 2012 in Aldea del Fresno, Spain. In August 2020, a petition for divorce was filed in the Miami Court.


title: Julio Iglesias Jr.

text: Iglesias is a Catholic and descendant of the religious Filipino-Spanish clan Arrastia from the Arrastia family of Lubao, Bulacan the Philippines.


title: Everglow

text: Everglow (, stylized in all caps) is a South Korean girl group formed by Yuehua Entertainment. The group is composed of six members: E:U, Sihyeon, Mia, Onda, Aisha, and Yiren. Everglow debuted on March 18, 2019, with the single album "Arrival of Everglow".


title: Everglow

text: Sihyeon competed in the first season of Mnet's reality television competition "Produce 101" in 2016. She finished in 40th place, and subsequently signed with Yuehua Entertainment. Sihyeon and Yiren competed in "Produce 48" but were eliminated in the eleventh episode, finishing in 27th and 28th place, respectively.


title: Everglow

text: Onda, under the name Jo Se-rim, competed on Mnet's reality television competition "Idol School" in 2017. She was eliminated in the fourth episode, finishing in 40th place.


title: Everglow

text: On February 17, 2019, Yuehua Entertainment revealed that they would debut a new girl group named Everglow. The group's official Instagram and fan cafe opened on February 18. The company revealed the members of the group through the "Crank in Film" series on Stone Music Entertainment's YouTube Channel.


title: Everglow

text: On March 18, Everglow released their first single album, "Arrival of Everglow", with the lead single "Bon Bon Chocolat". The song was co-written by American singer and songwriter Melanie Fontana, who previously wrote for groups such as boy band BTS and singer Tiffany Young. Member E:U also participated in co-writing the track "Moon". The group had their debut stage on March 21 on Mnet's music program "M Countdown". Everglow enjoyed commercial success with their releases; "Arrival of Everglow" debuted and peaked at number six on the Gaon Album Chart, selling more than 23,000 copies as of September 2019, while "Bon Bon Chocolat" debuted and peaked at number five on the "Billboard" World Digital Song Sales Chart, selling 5,000 copies in the US as of August.


title: Everglow

text: On August 19, the group released their second single album "Hush" with lead single "Adios". The music video for "Adios" received over 100 million views by August 2019. Due to their commercial success, on September 24, Everglow won their first music program award on "The Show".


title: Everglow

text: On February 3, the group released their first extended play (EP) "Reminiscence" with lead single "Dun Dun". The song marked Everglow's first appearance on one of Gaon's single charts, reaching number 63 on the Download Chart, while the EP debuted at number four on the Album Chart and sold over 27,000 copies in the first month of release. The music video for "Dun Dun" has over 242 million views to date. On January 21, it was announced that Everglow would embark on the "Everlasting Tour in USA", beginning in Dallas, Texas on March 6. Everglow were scheduled to perform in five different cities in the United States, these being Dallas, Atlanta, Chicago, Jersey City and Los Angeles. However, due to concerns of the coronavirus outbreak, their sold-out Los Angeles show was cancelled.


title: Everglow

text: The group's second extended play, "-77.82X–78.29", was released on September 21, alongside the lead single "La Di Da" and three other songs, "Untouchable", "Gxxd Boy" and "No Good Reason". "La Di Da" was co-written by member E:U. The group's concept photos were released along with their schedule for promotions.


title: Everglow

text: On December 1, Yuehua Entertainment confirmed that Sihyeon and Yiren had tested positive for COVID-19.


title: Everglow

text: On January 9, 2021, Yuehua announced that Yiren and Sihyeon would resume activities after finally testing negative for COVID-19.


title: Everglow

text: On May 25, 2021, the group released their third single album "Last Melody" with lead single "First". Their comeback concept was described as "warriors from the future". During the group's showcase for "Last Melody", it was announced that the leadership role of the group, originally held by E:U, had been transferred to Sihyeon. On June 5, "First" entered the "Billboard"s World Digital Song Sales chart at number five along with their two additional singles, "Don't Ask Don't Tell" and "Please, Please", which peaked at numbers 20 and 21, respectively. On June 1, 2021, the group won their second music program trophy on "The Show" with "First".


title: Everglow

text: On December 1, 2021, the group released their third extended play, "Return of the Girl", with the lead single "Pirate".


title: Shango

text: Shango (Yoruba language: Ṣàngó, also known as Changó or Xangô in Latin America; and as Jakuta or Badé) is an Orisha, a deity in Yoruba religion. Genealogically speaking, Shango is a royal ancestor of the Yoruba as he was the third Alaafin of the Oyo Kingdom prior to his posthumous deification. Shango has numerous manifestations, including Airá, Agodo, Afonja, Lubé, and Obomin. He is known for his powerful double axe (Oṣè). He is considered to be one of the most powerful rulers that Yorubaland has ever produced.


title: Shango

text: Ṣàngó was the third Alafin of Oyo, following Oranmiyan and Ajaka. He brought prosperity to the Oyo Empire. According to Professor Mason's "Mythological Account of Heroes and Kings", unlike his peaceful brother Ajaka, he was a powerful and violent ruler. He reigned for seven years which were marked by his continuous campaigns and many battles. His reign ended due to his inadvertent destruction of his palace by lightning. He had three wives, namely Queen Oshun, Queen Oba, and Queen Oya. The Oyo Empire fell into civil war in the 19th century. It lost Ilorin when the Fulani and Hausa soldiers of Afonja led a successful revolt.


title: Shango

text: Some of the slaves brought to the Americas were Yoruba, one of the various ethnic groups drawn into the Atlantic Slave trade, and they brought the worship of Ṣàngó to the New World as a result. Strong devotion to Ṣàngó led to Yoruba religions in Trinidad and Recife, Brazil being named after the deity.


title: Shango

text: In Yorubaland, Ṣàngó is worshiped on the fifth day of the week, which is named Ojo Jakuta. Ritual worship foods include guguru, bitter cola, àmàlà, and gbegiri soup. Also, he is worshiped with the Bata drum. One significant thing about this deity is that he is worshiped using red clothing, just as he is said to have admired red attire during his lifetime.


title: Shango

text: Ṣàngó is viewed as the most powerful and feared of the orisha pantheon. He casts a "thunderstone" to earth, which creates thunder and lightning, to anyone who offends him. Worshippers in Yorubaland in Nigeria do not eat cowpea because they believe that the wrath of the god of iron would descend on them. The Ṣàngó god necklaces are composed in varying patterns of red and white beads; usually in groupings of four or six which are his sacred numbers. Rocks created by lightning strikes are venerated by Ṣàngó worshipers; these stones, if found, are maintained at sacred sites and used in rituals. Ṣàngó is called on during coronation ceremonies in Nigeria to the present day.


title: Shango

text: Ṣàngó is venerated in Santería as "Changó". As in the Yoruba religion, Changó is one of the most feared gods in Santería.


title: Shango

text: In Haïti, he is from the "Nago" Nation, and is known as Ogou Chango. Palo recognizes him as "Siete Rayos".


title: Shango

text: Ṣàngó is known as Xangô in the Candomblé pantheon. He is said to be the son of Oranyan, and his wives include Oya, Oshun, and Oba, as in the Yoruba tradition. Xangô took on strong importance among slaves in Brazil for his qualities of strength, resistance, and aggression. He is noted as the god of lightning and thunder. He became the patron orixa of plantations and many Candomblé terreiros. In contrast Oko, the orixá of agriculture, found little favor among slaves in Brazil and has few followers in the Americas. The main barracão of Ilê Axé Iyá Nassô Oká, or the terreiro Casa Branca, is dedicated to Xangô. Xangô is depicted with an "oxê", or double-sided ax similar to a labrys; and a brass crown.


title: Shango

text: Amalá, also known as "amalá de Xangô", is the ritual dish offered to the orixá. It is a stew made of chopped okra, onion, dried shrimp, and palm oil. Amalá is served on Wednesday at the "pegi", or altar, on a large tray, traditionally decorated with 12 upright uncooked okra. Due to ritual prohibitions, the dish may not be offered on a wooden tray or accompanied by bitter kola. Amalá de Xangô may also be prepared with the addition of beef, specifically an ox tail. Amalá de Xangô is different than àmàlà, a dish common to Yoruba areas of Nigeria.


title: The Rose of Versailles

text: , also known as Lady Oscar and La Rose de Versailles, is a Japanese manga series written and illustrated by Riyoko Ikeda. It was originally serialized in the manga magazine "Margaret" from 1972 to 1973, while a revival of the series was published in the magazine from 2013 to 2018. The series is a historical drama set in the years preceding and during the French Revolution. Using a combination of historical personages and original characters, "The Rose of Versailles" focuses primarily on the lives of two women: the Queen of France Marie Antoinette, and Oscar François de Jarjayes, who serves as commander of the Royal Guard.


title: The Rose of Versailles

text: Ikeda created "The Rose of Versailles" as a story about revolution and populist uprisings after becoming involved with Japan's New Left as a member of the Communist Party of Japan in the late 1960s. The series was developed during a significant transitional period for "shōjo" manga (manga for girls) as a medium, characterized by the emergence of stories with complex narratives focused on politics and sexuality. "The Rose of Versailles" would ultimately become the first "shōjo" manga to achieve mainstream critical and commercial success, proving the genre's viability as a commercial category and granting the genre greater recognition among critics. It contributed significantly to the development of "shōjo" manga, and was one of the primary works responsible for its shift from a genre aimed at children to a genre aimed at adolescents and young adults.


title: The Rose of Versailles

text: "The Rose of Versailles" has been adapted multiple times, notably as a television anime series that aired on Nippon TV, a live-action film directed by Jacques Demy, and a series of musicals staged by the Takarazuka Revue. Several sequels and spin-offs have also been produced, notably "Eikou no Napoleon – Eroica". An English-language translation of the manga has been published by Udon Entertainment, while the anime adaptation is currently licensed in North America by Discotek Media.


title: The Rose of Versailles

text: "The Rose of Versailles" is set in France before and during the French Revolution. The primary character of the story is Marie Antoinette, the teenaged Dauphine and later Queen of France, but the series later re-focuses to a woman named Oscar François de Jarjayes. As the youngest of six daughters, Oscar was raised like a son from birth by her military general father to succeed him as commander of the Royal Guard at the Palace of Versailles. Oscar's friend (and later lover) André Grandier, a commoner who is the grandson of her nanny, serves as her attendant.


title: The Rose of Versailles

text: The primary action of the story revolves around Oscar's growing realization of how France is governed, and of the plight of the country's poor. When Antoinette begins an affair with the Swedish count Axel von Fersen, their relationship becomes the subject of gossip and scandal throughout France, and Antoinette's reputation is damaged. After von Fersen leaves Europe to fight in the American Revolutionary War, a distraught Antoinette begins spending lavishly on jewellery and clothing to distract herself from his absence. Her spending mires France in debt, while the Affair of the Diamond Necklace and the machinations of the scheming Duchess of Polignac further aggravate public sentiment toward the monarchy.


title: The Rose of Versailles

text: As the revolution intensifies, Oscar is unable to ignore the suffering of the French public, and leaves the Royal Guard to join the French Guards. André dies fighting alongside Oscar with the revolutionaries and the French Guards during a skirmish with the military; Oscar herself dies the following day, leading the revolutionaries during the Storming of the Bastille. Sometime thereafter, Antoinette and the royal family are taken as prisoners by the revolutionaries. After being tried by the Revolutionary Tribunal, Antoinette is sentenced to death by guillotine.


title: The Rose of Versailles

text: "The Rose of Versailles" juxtaposes a combination of real-life historical personages and original characters created by Ikeda. The action of the story is primarily focused on Marie Antoinette and Oscar François de Jarjayes, who alternately serve as the primary character of the series, while Axel von Fersen serves as the object of affection for both women. Two additional characters, André Grandier and Rosalie Lamorliere, function within the story as audience surrogates.


title: The Rose of Versailles

text: "The Rose of Versailles" creator Riyoko Ikeda came of age in the 1960s, a decade that saw the rise of the New Left in Japan. This political movement, inspired in part by the ideals of the French Revolution, galvanized Japanese youth and led to the formation of student protest movements. Upon entering university in 1966, Ikeda became a part of this movement after joining the Democratic Youth League of Japan, the youth branch of the Japanese Communist Party. Ikeda made her debut as a manga artist in 1967, with her early works generally falling into one of two categories: romantic stories typical of "shōjo" manga of the era, and socially and politically motivated stories that addressed themes such as poverty, diseases caused by nuclear weapons, and discrimination against Japan's "burakumin" population.


title: The Rose of Versailles

text: "Shōjo" manga (girls' manga) of the 1960s largely consisted of simple stories marketed towards elementary school-aged girls, with discussions of topics such as politics and sexuality considered taboo. These attitudes began to shift in the 1970s, as new authors began to move "shōjo" manga away from an audience of children towards an audience of adolescents and young women. This shift came to be embodied by a new generation of "shōjo" manga artists collectively referred to as the Year 24 Group, of which Ikeda has been associated; the group was so named because its members were born in or around year 24 of the Shōwa era (or 1949 in the Gregorian calendar). The group contributed significantly to the development of "shōjo" manga by expanding the genre to incorporate elements of science fiction, historical fiction, adventure fiction, and same-sex romance: both male-male ("yaoi") and female-female ("yuri").


title: The Rose of Versailles

text: As the New Left declined in the early 1970s, Ikeda decided to create a manga focused on themes of revolution and populist uprising. After researching the French Revolution for two years, Ikeda proposed a manga series that would be a biography of Marie Antoinette to her editors at the Japanese publishing company Shueisha. Though Ikeda's editors were reticent about the concept, the first chapter of "The Rose of Versailles" was published on May 21, 1972, in the weekly magazine "Margaret". As a result of this lack of support from her editors, Ikeda frequently relied on feedback from fans to determine the direction of the story; for example, Rosalie was initially conceived by Ikeda as an audience surrogate character, but she proved to be unpopular among readers and is replaced in this role by the more-popular André as the series progresses.


title: The Rose of Versailles

text: Ikeda modeled her depiction of Antoinette on typical "shōjo" heroines of the era: lively, sentimental, and seeking love, with her rivalry with Madame du Barry mirroring "shōjo" stories that focus on rivalries between schoolgirls. The exotic Western setting marked by a rococo style was also similarly aligned with typical "shōjo" manga settings of the 1970s. Oscar is initially introduced as a supporting character, with Ikeda's decision to make the commander of the Royal Guard a woman rooted in her belief that she could not convincingly write a character who was a male soldier. The character became immediately popular, with Oscar's characterization as a strong and charismatic woman resonating with the "shōjo" audience; in response to positive feedback from readers, Oscar eclipses Antoinette to become the main character of "The Rose of Versailles" as the series progresses.


title: The Rose of Versailles

text: As the series shifted to focus on Oscar, Ikeda pursued a more serious tone relative to early chapters of "The Rose of Versailles" in terms of her depiction of politics, social issues, and sexuality; the art style also shifts, both to reflect this tonal change and to depict how the characters have aged. Following Oscar and André's deaths, readership of "The Rose of Versailles" declined precipitously; the November 4, 1973 issue of "Margaret", published two weeks after Oscar's death, contains a note from the editors indicating that they had been inundated with letters from readers asking for Oscar and André be brought back to life. Though Ikeda wished to continue the series and depict the entirety of the French Revolution, her editors convinced her to conclude the series shortly thereafter. The final chapters of the series shift back to Antoinette as the primary character, and depict the events of the revolution from the fall of the Bastille to Antoinette's death.


title: The Rose of Versailles

text: In 2013, Shueisha invited Ikeda to write a column in "Margaret" to mark the 50th anniversary of the magazine. Ikeda asked if she could instead write additional chapters of "The Rose of Versailles" that she was unable to publish due to the series' shortened serialization; her request was accepted, and additional chapters of "The Rose of Versailles" began serialization in "Margaret" on April 20, 2013. The first chapter, which focuses on André's childhood, adapts a story that Ikeda had written for a musical adaptation of "The Rose of Versailles" staged by the Takarazuka Revue. The final chapter of the revival was published on February 5, 2018, and connects the story of "The Rose of Versailles" to the manga series "The Poe Clan" by Moto Hagio; Ikeda is a friend of Hagio's and a fan of "The Poe Clan", and received Hagio's permission to connect the two stories.


title: The Rose of Versailles

text: Writer and translator Frederik L. Schodt translated "The Rose of Versailles" into English for use as reference by the producers of the manga's 1979 live-action film adaptation "Lady Oscar"; only one copy of the translation was produced, which was lost. In 1981, Schodt again translated the first two volumes of "The Rose of Versailles" into English for the Japanese publishing house Sanyusha, which were published as instructional materials for Japanese readers seeking to learn English. An excerpt from Schodt's translation was included in his 1983 book "Manga! Manga! The World of Japanese Comics".


title: The Rose of Versailles

text: In July 2015, Udon Entertainment announced that it had acquired English-language publishing rights for "The Rose of Versailles". Originally scheduled for release in 2016, the first volume in the five-volume hardcover series was released in December 2019, while the final volume was released in April 2021.


title: The Rose of Versailles

text: "Shōjo" manga of the 1960s and earlier generally depicted one of two kinds of love stories: heterosexual romances between a passive girl and a Prince Charming-like male, and Class S stories that depicted intense but fleeting homoerotic romantic friendships between girls. Rosalie, Oscar's first romantic interest, is reminiscent of Class S dynamics: the young and naïve Rosalie pines for the older and mature Oscar, though Oscar rebuffs her advances on the grounds that they are both women. Her subsequent romantic interests are two Prince Charming figures: von Fersen, who rejects Oscar because he perceives her only as a man, and The Count of Girodelle, Oscar's arranged fiancé whom she rejects because he treats her only as a woman.


title: The Rose of Versailles

text: Oscar ultimately enters a relationship with André, who Ikeda did not initially conceive as a potential romantic partner for Oscar; his status as Oscar's true and final love was incorporated into the story on the basis of reader feedback. Manga scholar Deborah Shamoon notes that while Oscar and André's relationship is "in a biological sense heterosexual, it is still configured within the story as homogender": Oscar is a masculine woman, while André is an emasculated man. Shamoon notes that André is of lower social status relative to Oscar, that it is André and not Oscar who experiences "the stereotypically female pain of unrequited love," and that the close physical resemblance between Oscar and André echoes the aesthetics of the then-emerging boys' love (male-male romance) genre.


title: The Rose of Versailles

text: Ikeda derived the historical elements of "The Rose of Versailles" from the 1932 biography "" by Stefan Zweig. The depiction of Marie Antoinette in "The Rose of Versailles" is largely rendered as it is narrated in the biography: her close relationship with her mother Maria Theresa, her loveless marriage with Louis XVI, her rivalry with Madame du Barry, her friendship with the Duchess of Polignac, the Affair of the Diamond Necklace, and her love for Axel von Fersen. Both Zweig and Ikeda portray Antoinette as a relatively unremarkable person who had an "accidental encounter with fate," contrasting both the villainous portrayals of Antoinette by the "sans-culottes" and the saintly depictions of Antoinette by pre-revolutionary Bourbons.


title: The Rose of Versailles

text: The largest deviations from historical events come in the form of Ikeda's original characters: Oscar, André, and the Jarjayes family are original creations of the author, though Oscar's father is loosely based on the real-life historical figure . The familial connection between Rosalie, Jeanne de Valois-Saint-Rémy, and the Duchess of Polignac is similarly an invention of the author, as are several supporting characters, such as Alain de Soissons. The chronology of certain historical events are also slightly altered for dramatic purposes (for example, von Fersen is not present during the Affair of the Diamond Necklace in the manga), and the manga contains some visual inaccuracies (for example, Oscar's French Guard uniform is actually the uniform worn by the Royal Guard during the Napoleonic era in the early 19th century).


title: The Rose of Versailles

text: Ikeda's depiction of the events of the French Revolution are informed by both her feminist and communist political leanings, and are personified in the story by Oscar. The narrative of "The Rose of Versailles" dramatizes the social realist doctrine advocated by the Japanese communist movement, addressing issues such as class consciousness, inequality between economic classes, the subordinate status of women, the duties of citizens, the material conditions of labor, and the manner in which rights for citizens arise from a mass and spontaneous revolt.


title: The Rose of Versailles

text: The feminist movement of post-war Japan was divided between consumerism, which advocated for the individualist pursuit of personal pleasure, and socialism (as embodied by the New Left), which rejected consumerism and sought a collectivist response to the subordinate status of women. Following the Asama-Sansō incident of February 1972, in which fourteen members of the United Red Army were killed in a purge, an increasing proportion of Japanese feminists rejected socialism in favor of consumerism. According to Nobuko Anan, a scholar of Japanese visual arts and gender, "The Rose of Versailles" embodies the tension between consumerism and socialism as a work of mass consumerist culture that nonetheless depicts what Ikeda describes as "the inner revolution of the Japanese women."


title: The Rose of Versailles

text: Ikeda has stated that she saw Marie Antoinette as a compelling figure in the way that she symbolized insubordination against the patriarchy, specifically her reluctance to accept the social impositions of Versailles, her loveless marriage, and the hatred that she aroused from both the court and public. However, Antoinette is limited in her ability to resist patriarchal forces by the imposition of motherhood; indeed, the abolition of the social obligation to become a mother was one of the main demands of the Japanese feminist movement at the time.


title: The Rose of Versailles

text: Deborah Shamoon argues that Oscar's popularity relative to Antoinette can be owed to her more complex characterization: first, that she is torn between her affection for Antoinette and the realization that she perpetuates a corrupt system; and second, that she "questions the assumptions of heterosexual romance and gender roles" through her androgyny and her search for an equal romantic partner who respects both her femininity and her masculinity. In this regard, the sex scene between Oscar and André is particularly notable: their relationship is egalitarian, both possess an androgynous appearance, and Oscar's breasts are not visible. Academic Yukari Fujimoto argues that the scene's depiction of a highly aestheticized version of sex "determined the image of sex in the minds of middle and high school female students around the time [...] not as a daily activity but as the ultimate way to convey once-in-lifetime love."


title: The Rose of Versailles

text: A television anime adaptation of "The Rose of Versailles", produced by TMS Entertainment, aired on Nippon TV from October 10, 1979, to September 3, 1980. Episodes 1 to 12 of the series were directed by Tadao Nagahama, while episodes 19 to 40 were directed by Osamu Dezaki. Other members of the production team included Shingo Araki as animation director and character designer, Michi Himeno as character designer, and Kōji Makaino as music composer. The series' theme song """" ("Roses Scatter Beautifully") was composed by Makaino, written by , and performed by .


title: The Rose of Versailles

text: In North America, distribution rights for the anime adaptation of "The Rose of Versailles" were acquired by Right Stuf in 2012; the company released the series under its Nozomi Entertainment brand on DVD and on the streaming platform Viki in 2013. Rights for the series were later acquired by Discotek Media, which released the series on Blu-ray in 2021.


title: The Rose of Versailles

text: A single episode summarizing the events of the series, , was also produced. The series was later adapted into the anime film , which was released on VHS on May 21, 1987. A remake of "I'll Love You As Long As I Live" was announced by Toei Animation in 2007, but as of 2021, remains unproduced. On September 6, 2022, a new anime film adaptation of "The Rose of Versailles" was announced to mark the fiftieth anniversary of the release of the manga series.


title: The Rose of Versailles

text: The all-female theater revue the Takarazuka Revue has dramatized "The Rose of Versailles" multiple times since 1974. The show's role in Takarazuka history is particularly notable, as it triggered a significant surge in the revue's popularity and established its "Top Star" system of assigning lead roles. From 1974 to 1976, all four Takarazuka troupes staged "The Rose of Versailles", drawing a total audience of 1.6 million; the revue's 1986 staging alone drew an audience of 2.1 million.


title: The Rose of Versailles

text: "Lady Oscar", a live-action film adaptation of "The Rose of Versailles", was released in Japan on March 3, 1979. The film was directed by Jacques Demy, and stars Catriona MacColl as Oscar and Barry Stokes as André.


title: The Rose of Versailles

text: In 2014, an official Flash animation parody of "The Rose of Versailles" produced by the artist FROGMAN was released. In 2017, video game developer Otomate announced "Berubara Private Academy: Rose of Versailles Re*imagination", a visual novel inspired by "The Rose of Versailles", which was released in 2019.


title: The Rose of Versailles

text: Manga critic Jason Thompson has praised "The Rose of Versailles" as "a classic" of the medium, describing Ikeda's creation of Oscar as a "stroke of genius" and foundational to manga archetype of "a woman who plays the role of a man, sometimes struggling with the burden, but mostly surpassing men at their own game." Thompson notes that while this archetype was established in Osamu Tezuka's manga series "Princess Knight", he favorably compares the "elegant and tragic" Oscar to Tezuka's "childlike and cute" series. Reviewing the first two English-language volumes of "The Rose of Versailles" for "Otaku USA", Danica Davidson similarly praises "The Rose of Versailles" as a series that "helped revolutionize "shōjo" manga," drawing specific attention its "elegant, detailed and Rococo-infused" artwork.


title: The Rose of Versailles

text: Reviewing the anime adaptation of "The Rose of Versailles" for "IndieWire", Charles Solomon noted that while the series "makes American daytime soap operas feel restrained," he cites it as "an intriguing example of cross-cultural cross-pollination." He notes that while that the "Versailles of the story is no more French than the town of Titipu in Gilbert and Sullivan's "The Mikado" is Japanese," he praises he manner in which an "occidental setting [is] treated as an exotic backdrop for a Japanese romantic fantasy, paralleling the way Western works of fiction have treated Japan." Jennifer Berman of THEM Anime gave the adaptation five out of five stars, praising its historical fiction elements but noting that its 1970s-style animation defined by "pointy chins" and "big sparkly eyes" may be unappealing to contemporary viewers.


title: The Rose of Versailles

text: "The Rose of Versailles" was the first major commercial success in the "shōjo" genre, and proved the genre's viability as a commercial category. As of 2013, collected volumes of "The Rose of Versailles" have sold over 20 million copies worldwide; manga artist Moto Hagio notes that the commercial success of "The Rose of Versailles" influenced Japanese manga publishers to routinely publish serialized manga in the "tankōbon" format. Its popularity among Japanese audiences in the early 1970s is referred to as the ; the series contributed to Japanese interest in French culture, and popularized the Palace of Versailles as a destination for Japanese tourists. The impact of "The Rose of Versailles" in promoting French history and culture was such that Ikeda was awarded the Legion of Honour by the French government in 2009.


title: The Rose of Versailles

text: "The Rose of Versailles" contributed significantly to the development of "shōjo" manga as a medium. Susan J. Napier notes that Oscar's characterization as a "complex and three-dimensional" female character who contrasted the "traditional demure and subdued idea of Japanese womanhood" heavily influenced how female characters were portrayed in "shōjo" media subsequent to "The Rose of Versailles"' release. Oscar inspired multiple other "feisty cross-dressing heroines" in manga and anime, in series such as "Hayate × Blade" and "Revolutionary Girl Utena". The series was additionally one of the primary works responsible for "shōjo" manga's shift from a genre aimed at children to a genre aimed at adolescents. This shift is reflected directly in the plot of the story itself, which progresses from a frivolous and light-hearted tone to a serious tone focused on political and social issues. Notably, the often brutal and violent deaths of the series' characters are permanent; this was a new paradigm in "shōjo" manga at the time, where it was common to bring deceased characters back to life using plot contrivances.


title: The Rose of Versailles

text: The series' success and notability has been sustained in the decades subsequent to the release of the manga through its various adaptations, notably the Takarazuka Revue musical adaptations. The musicals have been credited with popularizing Ikeda and "The Rose of Versailles" in Japan among the general public; as of 2014, Takarazuka musical adaptations of "The Rose of Versailles" have been performed roughly 2,100 times to an estimated audience of over 5 million.


title: 576i

text: 576i is a standard-definition digital video mode, originally used for digitizing analog television in most countries of the world where the utility frequency for electric power distribution is 50 Hz. Because of its close association with the legacy color encoding systems, it is often referred to as PAL, PAL/SECAM or SECAM when compared to its 60 Hz (typically, see PAL-M) NTSC-colour-encoded counterpart, 480i.


title: 576i

text: The "576" identifies a vertical resolution of 576 lines, and the "i" identifies it as an interlaced resolution. The field rate, which is 50 Hz, is sometimes included when identifying the video mode, i.e. 576i50; another notation, endorsed by both the International Telecommunication Union in BT.601 and SMPTE in SMPTE 259M, includes the frame rate, as in 576i/25.


title: 576i

text: In analogue television, the full raster uses 625 lines, with 49 lines having no image content to allow time for cathode ray tube circuits to retrace for the next frame (see Vertical blanking interval). These non-displayed lines can be used to transmit teletext or other services. In the digital domain, only the visible 576 lines are considered.


title: 576i

text: Analogue television signals have no pixels; they are continuous along rastered scan lines, but limited by the available bandwidth. The maximal baseband bandwidth is around 6 MHz which, according to the sampling theorem, translates to about 720 pixels. This value is enough to capture all the original information present. In digital applications, the number of pixels per line is an arbitrary choice. Values above about 500 pixels per line are enough for a perceived quality equivalent to analog free-to-air television; DVB-T, DVD and DV allow better values such as 704 or 720 (matching the maximum theoretical resolution of the original analog system).


title: 576i

text: Color information is stored using the YCbCr color space (regardless of the original PAL or SECAM color system) with sampling and following Rec. 601 colorimetry.


title: 576i

text: Originally used for conversion of analog sources in TV studios, this resolution was adopted into digital broadcasting or home use.


title: 576i

text: In digital video applications, such as DVDs and digital broadcasting, colour encoding is no longer significant; in that context, 576i means only


title: 576i

text: The 576i video format can be transported by major digital television formats, ATSC, DVB and ISDB, and on DVD, and it supports aspect ratios of standard and anamorphic .


title: 576i

text: When 576i is used to transmit content that was originally composed of 25 full progressive frames per second (576p25 or 576p/25), the odd field of the frame is transmitted first (this is the opposite to 480i). Systems which recover progressive frames or transcode video should ensure that this field order is obeyed, otherwise the recovered frame will consist of a field from one frame and a field from an adjacent frame, resulting in 'comb' interlacing artifacts. Such progressive content can be marked using encoding flags, for example in DVDs or other MPEG2 based media.


title: 576i

text: Motion pictures are typically shot on film at 24 frames per second. When telecined and played back at PAL's standard of 25 frames per second, films run about 4% faster. This also applies to most TV series that are shot on film or digital 24p. Unlike NTSC's telecine system, which uses to convert the 24 frames per second to the 30 fps frame rate, PAL speed-up results in the telecined video running 4% shorter than the original film as well as the equivalent NTSC telecined video.


title: 576i

text: Depending on the sound system in use, it also slightly increases the pitch of the soundtrack by 70.67 cents (0.7067 of a semitone). More recently, digital conversion methods have used algorithms that preserve the original pitch of the soundtrack, although the frame rate conversion still results in faster playback.


title: 576i

text: Conversion methods exist that can convert 24 frames per second video to 25 frames per second with no speed increase, however image quality suffers when conversions of this type are used. This method is most commonly employed through conversions done digitally (i.e. using a computer and software like VirtualDub), and is employed in situations where the importance of preserving the speed of the video outweighs the need for image quality.


title: 576i

text: Many movie enthusiasts prefer PAL over NTSC despite the former's speed-up, because the latter results in telecine judder, a visual distortion not present in PAL sped-up video. DVDLard states ""the majority of authorities on the subject favour PAL over NTSC for DVD playback quality"". Also DVD reviewers often make mention of this cause. For example, in his PAL vs. NTSC article, the founder of MichaelDVD says: ""Personally, I find [3:2 pulldown] all but intolerable and find it very hard to watch a movie on an NTSC DVD because of it."" In the DVD review of "Frequency", one of his reviewers mentions: ""because of the 3:2 pull-down artefacts that are associated with the NTSC format (…) I prefer PAL pretty much any day of the week"". This is not an issue on modern upconverting DVD players and personal computers, as they play back 23.97 frame/s–encoded video at its true frame rate, without 3:2 pulldown.


title: 576i

text: PAL speed-up does not occur on native 25 fps video, such as British or European TV-series or movies that are shot on video instead of film.


title: 576i

text: Software that corrects the speed-up is available for those viewing 576i DVD films on their computers, WinDVD's PAL TruSpeed being the most ubiquitous. However, this method involves resampling the soundtrack, which results in a slight decrease in audio quality. There is also a DirectShow Filter for Windows called ReClock developed by RedFox (formerly SlySoft) that can be used in a custom DirectShow Graph to remap the reference audio timing clock to correct the clock timing skew using an accurate self-adaptive algorithm resulting in effective removal of judder during panning caused by Euro pulldown including audio pitch correction via time-stretching with WASAPI Exclusive Mode and SPDIF AC/3 Encoding output modes.


title: Salford

text: Salford () is a city and the largest settlement in the City of Salford metropolitan borough in Greater Manchester, England. In 2011, Salford had a population of 103,886. It is also the second and only other city in the metropolitan county after neighbouring Manchester. Salford is located in a meander of the River Irwell which forms part of its boundary with Manchester. The former County Borough of Salford, which also included Broughton, Pendleton and Kersal, was granted city status in 1926. In 1974 the wider Metropolitan Borough of the City of Salford was established with responsibility for a significantly larger region.


title: Salford

text: Historically in Lancashire, Salford was the judicial seat of the ancient hundred of Salfordshire. It was granted a charter by Ranulf de Blondeville, 6th Earl of Chester, in about 1230, making Salford a free borough of greater cultural and commercial importance than its neighbour Manchester. The Industrial Revolution of the late 18th and early 19th centuries reversed that relationship.


title: Salford

text: Salford became a major cotton and silk spinning and weaving factory town in the 18th and 19th centuries and important inland port on the Manchester Ship Canal from 1894. Industries declined in the 20th century, causing economic depression, and Salford became a place of contrasts, with regenerated inner-city areas like Salford Quays next to some of the most socially deprived and violent areas in England.


title: Salford

text: Salford is home to the University of Salford, and has seen several firsts, including the world's first free public library, and the first street to be lit by gas. Salford's MediaCityUK became the headquarters of CBBC and BBC Sport in 2011, joined by ITV Granada in 2013.


title: Salford

text: Salford is directly across the River Irwell opposite Manchester to the northwest and to the north of Old Trafford, southeast of Bolton and south of Bury.


title: Salford

text: The name of Salford derives from the Old English word "Sealhford", meaning a ford by the willow trees. It referred to the willows () or sallows that grew alongside the banks of the River Irwell. The ford was about where Victoria Bridge is today. Willow trees are still found in Lower Broughton. Salford appears in the pipe roll of 1169 as "Sauford" and in the Lancashire Inquisitions of 1226 as "Sainford".


title: Salford

text: The earliest known evidence of human activity in what is now Salford is provided by the Neolithic flint arrow-heads and workings discovered on Kersal Moor and the River Irwell, suggesting that the area was inhabited 7–10,000 years ago. The raw material for such tools was scarce and unsuitable for working, and as a result they are not of the quality found elsewhere. Other finds include a neolithic axe-hammer found near Mode Wheel, during the excavation of the Manchester Ship Canal in 1890, and a Bronze Age cremation urn during the construction of a road on the Broughton Hall estate in 1873.


title: Salford

text: The Brigantes were the major Celtic tribe in what is now Northern England. With a stronghold at the sandstone outcrop on which Manchester Cathedral now stands, opposite Salford's original centre, their territory extended across the fertile lowland by the River Irwell that is now Salford and Stretford. Following the Roman conquest of Britain, General Agricola ordered the construction of a Roman fort named "Mamucium" (Manchester) to protect the routes to "Deva Victrix" (Chester) and "Eboracum" (York) from the Brigantes. Salford was founded when the fort was completed in AD 79, and for over 300 years the "Pax Romana" brought peace to the area. Both the main Roman road to the north, from Mamucium to Ribchester, and a second road to the west, ran through what is now Salford, but few Roman artefacts have been found in the area. The withdrawal of the Romans in AD 410 left the inhabitants at the mercy of the Saxons. The Danes later conquered the area and absorbed what was left of the Brigantes. Angles settled in the region during the Early Middle Ages and gave the locality the name "Sealhford", meaning "ford by the willows". According to the "Anglo-Saxon Chronicle", "Sealhford" was part of the Kingdom of Northumbria until it was conquered in 923 by Edward the Elder.


title: Salford

text: Following the emergence of the united Kingdom of England, Salford became a caput or central manor within a broad rural area in part held by the Kings of England, including Edward the Confessor. The area between the rivers Mersey and Ribble was divided into six smaller districts, referred to as "wapentakes", or hundreds. The south east district became known as the Hundred of Salford, a division of land administered from Salford for military and judicial purposes. It contained nine large parishes, smaller parts of two others, and the township of Aspull in the parish of Wigan.


title: Salford

text: After the defeat of Harold II during the Norman conquest of England, William I granted the Hundred of Salford to Roger the Poitevin, and in the "Domesday Book" of 1086 the Hundred of Salford was recorded as covering an area of with a population of 35,000. Poitevin created the subordinate Manor of Manchester out of the hundred, which has since in local government been separate from Salford. Poitevin forfeited the manor in 1102 when he was defeated in a failed rebellion attempt against Henry I. In around 1115, for their support during the rebellion, Henry I placed the Hundred of Salford under the control of the Earldom of Lancaster, and it is from this exchange that the Hundred of Salford became a royal manor. The Lord of the Manor was either the English monarch, or a feudal land owner who administered the manor for the king. During the reign of Henry II the Royal Manor of Salford passed to Ranulf de Gernon, 4th Earl of Chester.


title: Salford

text: Salford began to emerge as a small town early in the 13th century. In 1228, Henry III granted the caput of Salford the right to hold a market and an annual fair. The fairs were important to the town; a 17th-century order forced each burgess – a freeman of the borough  – to attend, but the fairs were abolished during the 19th century. The Earls of Chester aided the development of the caput, and in 1230 Ranulf de Blondeville, 6th Earl of Chester made Salford a burgage, or free borough. The charter gave its burgesses certain commercial rights, privileges and advantages over traders living outside Salford; one of the 26 clauses of the charter stated that no one could work in the Hundred of Salford unless they also lived in the borough. Salford's status as a burgage encouraged an influx of distinguished families, and by the Late Middle Ages Salford was "rich in its manor houses", with over 30 within a radius of Ordsall. These included Ordsall Hall (owned by the Radclyffe family) and Broughton Hall, owned by the Earls of Derby.


title: Salford

text: During the Civil War of 1640–49, Salford supported the Royalist cause, in contrast to Manchester just across the Irwell which declared in favour of the Parliamentarians. Royalist forces mounted a siege of Manchester across what is now the site of Victoria Bridge, which although short-lived, "did little to improve relations between the two towns". A century later, in 1745, Salford was staunchly in support of Bonnie Prince Charlie, in his attempt to seize the Throne of England. He entered the town at the head of his army and was blessed by the Reverend John Clayton before leaving "in high spirits" to march on London; he returned to Salford in defeat just nine days later.


title: Salford

text: Salford has a history of textile processing that pre-dates the Industrial Revolution, and as an old town had been developing for about 700 years. Before the introduction of cotton there was a considerable trade in woollen goods and fustians. Other cottage industries prevalent at this time included clogging, cobbling, weaving and brewing. The changes to textile manufacture during the Industrial Revolution had a profound effect on both on population and urbanisation, as well as the socioeconomic and cultural conditions of Salford.


title: Salford

text: The well-established textile processing and trading infrastructure, and the ready supply of water from the River Irwell and its tributaries, attracted entrepreneurs who built cotton mills along the banks of the river in Pendleton and Ordsall. Although Salford followed a similar pattern of industrial development to Manchester, most businesses preferred to build their premises on the Manchester side of the Irwell, and consequently Salford did not develop as a commercial centre in the same way as its neighbour. Many of these earlier mills had been based on Arkwright-type designs. These relied on strong falls of water, but Salford is on a meander of the Irwell with only a slight gradient and thus mills tended to be built upstream, at Kersal and Pendleton. However, with the introduction of the steam engine in the late 18th century, merchants began to construct mills closer to the centres of Salford and Manchester, where supplies of labour and coal were more readily available (the first steam-powered mill was built in Manchester in 1780). One of the first factories to be built was Philip's and Lee's Twist Mill in Salford, completed in 1801, the second iron-framed multi-story building to be erected in Britain. The large Salford Engine Twist Company mill was built to the west of Salford, between Chapel Street and the Irwell, and in 1806 was the first large cotton mill to use gas lighting. Many engineering companies were established in this area, including Samuel Ellis and Company at the Irwell Foundry. However, it was outnumbered by the numerous smaller factories and mills throughout the area, including Nathan Gough's steam-driven mule spinning mill, near Oldfield Road, where a serious accident occurred on 13 October 1824 (see illustration).


title: Salford

text: Canal building provided a further stimulus for Salford's industrial development. The opening of the Bridgewater Canal in 1761 improved the transport of fuel and raw materials, reducing the price of coal by about 50%. The later Manchester, Bolton & Bury Canal (which terminated at Salford) brought more cheap coal from pits at Pendleton, Agecroft Colliery and beyond. By 1818 Manchester, Salford and Eccles had about 80 mills, but it was the completion of the Manchester Ship Canal in 1894 which triggered Salford's development as a major inland port. Salford Docks, a major dockland on the Ship Canal east of the Irish Sea, brought employment to over 3,000 labourers. By 1914 the Port of Manchester, most of whose docks were in Salford, had become one of the largest port authorities in the world, handling 5% of the UK's imports and 4.4% of its exports. Commodities handled included cotton, grain, wool, textile machinery and steam locomotives.


title: Salford

text: For centuries, textiles and related trades were the main source of employment in the town. Bleaching was a widely distributed finishing trade in Salford, carried over from the earlier woollen industry. In the 18th century, before the introduction of chemical bleaching, bleaching fields were commonplace, some very close to the town. In 1773 there were 25 bleachers around Salford, most to the west of the township. Printing was another source of trade; the earliest recorded in the region was a calique printer in the Manchester Parish Register of 1763. These industries became more important as Salford faced increasing competition from the nearby towns of Bolton and Oldham. As its cotton spinning industries faltered its economy turned increasingly to other textiles and to the finishing trades, including rexine and silk dyeing, and fulling and bleaching, at a string of works in Salford.


title: Salford

text: Both Karl Marx and Friedrich Engels spent time in Salford, studying the plight of the British working class. In "The Condition of the Working Class in England in 1844", Engels described Salford as "really one large working-class quarter ... [a] very unhealthy, dirty and dilapidated district which, while other industries were almost always textile related is situated opposite the 'Old Church' of Manchester".


title: Salford

text: Salford developed several civic institutions; in 1806, Chapel Street became the first street in the world to be lit by gas (supplied by Phillips and Lee's cotton mill). In 1850, under the terms of the Museums Act 1845, the municipal borough council established the Royal Museum and Public Library, said to have been the first unconditional free public library in England, preceding the Public Libraries Act 1850.


title: Salford

text: The effect on Salford of the Industrial Revolution has been described as "phenomenal". The area expanded from a small market town into a major industrial metropolis; factories replaced cottage industries, and the population rose from 12,000 in 1812 to 70,244 within 30 years. By the end of the 19th century it had increased to 220,000. Large-scale building of low quality Victorian terraced housing did not stop overcrowding, which itself led to chronic social deprivation. The density of housing was as high as 80 homes per acre. Private roads were built for the use of the middle classes moving to the outskirts of Salford. The entrances to such roads, which included Elleray Road in Irlams o' th' Height, were often gated, and patrolled.


title: Salford

text: During the early 20th century, improvements in regional transport infrastructure precipitated the decline of Salford's existing industries, including those at the Salford Docks. Increased foreign competition began to undermine the competitiveness of local textile processing businesses. Rising unemployment during the Great Depression of the 1920s and 1930s, and a significant economic decline in the decades following the Second World War contributed toward a fall in Salford's population. By 1939 local coal mining had almost stopped, and cotton spinning had by 1971 ceased completely. Between 1921 and 1939, the population of Salford decreased by 29%, from 234,045 to 166,386, far greater than the rate of decline within the whole of North West England.


title: Salford

text: A survey in 1931 concluded that parts of Salford contained some of the worst slums in the country. Many houses were infested by rats and lacked elementary amenities. Inspectors found that of 950 houses surveyed, 257 were in a state of bad repair with leaking roofs, broken flooring and rotten woodwork. The inspectors were "struck by the courage and perseverance with which the greater number of tenants kept their houses clean and respectable under most adverse conditions". By 1933, slum clearance projects were under way, and by the end of 1956 over a thousand families had been rehoused in overspill estates at Little Hulton. These clearances have, for some, changed the character of the area to such an extent that "observers in search of the typical Salford may have to look in Eccles and Swinton, for much of the community and townscape ... has gone from Salford, replaced by tall blocks of flats". Large areas of the city were redeveloped in the 1960s and 1970s, with Victorian era terraced housing estates that inspired painter L. S. Lowry and soap opera "Coronation Street" giving way to concrete tower blocks and austere architecture. Life in Salford during the early 20th century was described by Robert Roberts, in his study "The Classic Slum".


title: Salford

text: Despite extensive redevelopment, throughout the 1980s and 1990s the area experienced high levels of deprivation and unemployment, particularly during the recessions of the early years of both decades. This social deprivation was a major factor in the increased levels of gang crime linked to illegal narcotics, firearms and robberies. This was comparable to the similar issues faced in parts of neighbouring Manchester including Moss Side, as well as areas of the more distant neighbouring city of Liverpool.


title: Salford

text: Organised crime in Salford, particularly in Ordsall and Pendleton, "began to have a disturbing effect on grass roots democracy. Both the Liberal Democrats and the Conservatives announced they would not contest certain Salford wards" because they regarded them as "unsafe" and would put their "party workers at risk". Salford's social amenities and the night-time economy folded amid criminal "intimidation", "drug use, fights and demands for money". In early 2005, the Government of Latvia appealed to the European Union to advise people against travelling to Salford after a Latvian man was stabbed in the head in Lower Broughton. However, a crackdown by Greater Manchester Police coupled with investment in, and structural changes to the housing stock, began changing Salford's fortunes; population decline has slowed, and Salford's city councillors have insisted it is a safe place to visit. In August 2005, a survey by Channel 4 television rated the city as the 9th worst place to live in the United Kingdom, based on criteria of crime, education, environment, lifestyle and employment.


title: Salford

text: Salford has suffered from high levels of unemployment, housing, and social problems since around the 1960s, although there are regeneration schemes to reverse its fortunes. Many of the high-rise housing blocks from the 1960s and 1970s were demolished during the 1990s, "a sign that the great social engineering schemes (from that period) had failed". However, the high-rises that remain are a striking feature of Salford's landscape. Work was scheduled to begin on the £180 million redevelopment of the Greengate area of Salford in January 2007. The plans include the construction of what will be the two tallest tower blocks in Salford. Plans also include a five-star hotel, a new public square and park, restaurants, cafes and 403 apartments. Work is ongoing to regenerate the area known as Middlewood Locks, with the restored Salford terminus of the Manchester Bolton & Bury Canal forming the centrepiece of a brand new residential development. As part of the Pathfinder initiative, Salford was identified in 2002 as one of nine areas in specific need of investment for new homes. Between 2003 and 2006 £115M was invested in the Manchester and City of Salford housing markets, £44M of which was invested in central Salford. Rows of terraces in neighbourhoods such as Seedley and Langworthy – once used for the title sequence of "Coronation Street" – are being compulsorily purchased, demolished and replaced by "modern sustainable accommodation". Other schemes such as the "Charlestown and Lower Kersal New deal for Communities", have concentrated on renovating existing terraced housing stock by block improvement and alleygating, as well as demolishing unsuitable properties and building new facilities, in consultation with the local community.


title: Salford

text: Salford now has many tourist attractions, such as Ordsall Hall, the Bridgewater Canal and the Lowry Centre, an award-winning theatre and art gallery complex, consisting of two theatres and three art galleries. The centre is named after the artist L. S. Lowry, who attended Salford School of Art and lived in nearby Pendlebury for 40 years. Many of his paintings of Salford and Manchester mill scenes, populated with small matchstick-like figures, are on display.


title: Salford

text: A notable regeneration project is MediaCityUK, located at Salford Quays. The development houses BBC departments including CBBC, BBC Sport and Radio 5 Live which moved in 2011 and BBC Breakfast, which moved from London in spring 2012.


title: Salford

text: In recent years, various large residential schemes have been built in Salford. A notable development, the £700m Middlewood Locks began construction in 2016.


title: Salford

text: Salford was anciently part of the Manchester parish of the Salford Hundred, an area much larger than the present-day city of Salford, within the historic county boundaries of Lancashire. A stroke of a Norman baron's pen is said to have divorced Manchester and Salford, although it was not Salford that became separated from Manchester, but Manchester, with its humbler line of lords, that was separated from Salford. Salford received its town charter from Ranulf de Blondeville, 6th Earl of Chester, then Lord of the Manor, in 1230. From then until 1791, when police commissioners were appointed, it was governed by a reeve, a medieval administrator and law enforcement official. It was not recognised as a borough in the Municipal Corporations Act 1835, but was granted borough status in 1844; the new Salford borough was made up of the township of Salford and part of Broughton. The remainder of Broughton, the township of Pendleton, and a small part of Pendlebury were added in 1853.


title: Salford

text: When the administrative county of Lancashire was created by the Local Government Act 1888, Salford was elevated to become the County Borough of Salford and was, in modern terms, a unitary authority area exempt from the administration of Lancashire County Council. Following a campaign supported by William Joynson-Hicks, Home Secretary and Member of Parliament (MP) for a neighbouring constituency of Manchester, city status was granted to the county borough by letters patent dated 21 April 1926. This was in spite of the opposition of civil servants in the Home Office who dismissed the borough as "merely a scratch collection of 240,000 people cut off from Manchester by the river". In 1961, a small part of the Municipal Borough of Eccles was added to the city, and in 1966, Salford was twinned with Clermont-Ferrand in France.


title: Salford

text: In 1974 the City and County Borough of Salford was abolished under the Local Government Act 1972, and was replaced by the metropolitan borough of City of Salford, a local government district of the new metropolitan county of Greater Manchester, with triple the territory of the former City of Salford, taking in neighbouring Eccles, Swinton and Pendlebury, and Worsley and Irlam. Both Salford and the wider City of Salford are unparished areas.


title: Salford

text: Salford was enfranchised as a parliamentary borough by the Great Reform Act of 1832, returning a single Member of Parliament (MP). From 1868 it returned two MPs to the House of Commons until the Redistribution of Seats Act 1885, when the constituency was split into three single-member divisions: Salford North, Salford South and Salford West. Boundaries changed again under the provisions of the Representation of the People Act 1948 when the constituencies were reorganised into Salford East and Salford West. Since 1997, Salford has lain within the reconstituted Salford parliamentary constituency. Hazel Blears – a member of the Labour Party – has been the MP for the constituency since 1997. Rebecca Long-Bailey has been the MP for Salford and Eccles since 2015, a member of UK Labour. From the general election of 2010 Salford will be part of the new constituency of Salford and Eccles.


title: Salford

text: The wards of Broughton and Kersal, however, are to be part of the cross boundary constituency of Blackley and Broughton.


title: Salford

text: At (53.483°, −2.2931°), and northwest of central London, Salford stands about above sea level, on relatively flat ground to the west of a meander of the River Irwell – the city's main topographical feature. In 1904, Salford was recorded as "within a great loop of the River Irwell ... roughly three-quarters of a mile from north to south and one mile from east to west". Salford is contiguous with Manchester, and has been described "in participation of its trade, and for all other practical purposes, an integral part of it; presents a near resemblance to it in streets and edifices; contains several public buildings and a great public park, which belong fully more to Manchester than to itself". Greengate, the original centre of Salford, is located at a fording point on the river opposite Manchester Cathedral. In 1969 Nikolaus Pevsner wrote:


title: Salford

text: The Irwell, sourced at Cliviger in Lancashire, flows from the north and for a distance forms the statutory boundary between Salford and Manchester. Flooding has historically been a problem and the Irwell has seen much modification along its course in Salford with some bends being removed, channelisation, and the construction of levees and bank reinforcements. Salford has expanded along the river valley to the north and south and on to higher ground on the valley sides at Irlams o' th' Height and Higher Broughton. Unconsolidated glacial deposits along the riverbank at Broughton have caused several landslides along the riverbank. The City Engineer's Department of the City of Salford recorded one such incident near Great Clowes Street in February 1882, and others in 1886, 1887 and 1888. In 1892 the road was propped with timber supports. The tram service along the road was discontinued in 1925, and the road closed to mechanically propelled vehicles in January 1926. Further slips saw the road closed completely in July 1933, and although no substantial movements have been recorded since 1948 slow subsidence around the Cliff continues to this day.


title: Salford

text: Salford's built environment is made up of a range of building stock. Some inner-city areas are noted for chronic urban decay. Salford's housing stock is characterised by an oversupply of older, smaller terraced housing and flatted accommodation that declined in value during the late 20th century. As demand fell, it left many owners in negative equity and often without the means to maintain their homes in reasonable condition. As a result, much of the built environment is poor.


title: Salford

text: Land use in Salford is overwhelmingly urban, with a number of green spaces. The largest is Kersal Dale Country Park, which covers about . Others include Kersal Moor in Higher Kersal, The Meadow, Peel Park and the adjacent David Lewis Recreation Ground close to the University of Salford, and Albert Park and Clowes Park in Broughton. The territory of Salford is contiguous with other towns on all sides, and as defined by the Office for National Statistics forms the sixth-largest settlement in the Greater Manchester Urban Area, the United Kingdom's second-largest conurbation. The M602 motorway enters Salford from Eccles to the west. The A580 "East Lancashire Road" terminates at Salford, entering the area from Pendlebury. Heavy rail-lines pass through Salford.


title: Salford

text: As of the 2001 UK census, Salford had a population of 72,750. The 2001 population density was 9,151 per mi (3,533 per km), with a 100 to 98.4 female-to-male ratio. Of those over 16 years age, 44.0% were single (never married) and 36.7% married. Salford's 32,576 households included 44.1% one-person, 22.0% married couples living together, 7.6% were co-habiting couples, and 13.3% single parents with their children. Of those aged 16–74, 37.3% had no academic qualifications, similar to that of 35.5% in all of the City of Salford but significantly higher than 28.9% in all of England. 15.9% of Salford's residents aged 16–74 had an educational qualification such as first degree, higher degree, qualified teacher status, qualified medical doctor, qualified dentist, qualified nurse, midwife, health visitor, etc. compared to 20% nationwide.


title: Salford

text: As a result of 19th-century industrialisation, Salford has had ""a special place in the history of the British working class""; together with Manchester it had the world's ""first fully formed industrial working class"". Salford has not, in general, attracted the same minority ethnic and cosmopolitan communities as in other parts of Greater Manchester, although it did attract significant numbers of Irish in the mid-19th century. Many migrated to Salford because of "the Great Hunger" in Ireland combined with Salford's reputation as a hub for employment in its factories and docks. In 1848, Salford Roman Catholic Cathedral opened, reflecting the large Irish-born community in Salford at that time.


title: Salford

text: In the decades following the Second World War, Salford experienced significant population decline, as residents followed employment opportunities to other locations in Greater Manchester, taking advantage of a greater choice in the type and location of housing.