title: Tamia

text: Tamia was born in Windsor, Ontario. The only daughter of a white father and black mother, Barbara Washington-Peden, she has three younger brothers named Tiras, Tajhee, and Trajan. Peden gave birth to Tamia when she was 17 years old and raised her children as a single mom in the projects between Glengarry Avenue and McDougall Street in downtown Windsor. Aside from the music she heard and sang at church, Tamia was exposed to diverse music from an early age by her mother. As early as age six, she was on stage singing at the local church, and by age 12, had already been involved in several musicals which helped hone her musical skills. Tamia studied piano and voice with renowned Windsor musician, Eugene Davis, who was also instrumental in encouraging her to pursue her vocal talent. It was not long before she was able to develop her skills in the Walkerville Centre for Creative Arts program for visual and performing arts students, introduced at Walkerville Collegiate Institute in Windsor.


title: Tamia

text: Along with attending high school at Walkerville, she made several appearances in local theater and choral concerts before winning Canada's prestigious YTV Vocal Achievement Award in 1993. In 1994, Tamia performed at a multiple sclerosis benefit in Aspen, Colorado when she met music manager, Lionel Richie's ex-wife Brenda Richie, who was cosponsoring the event and introduced herself to Tamia after the show. A few months later, Tamia, who was being courted by Warner Bros. Records at the time, called Richie to say that she was coming to Los Angeles for a photo session, resulting in her lasting stay and a management deal with Richie. Weeks later, Richie arranged for her to perform at a star-studded party that she held for singer Luther Vandross. Her performance reportedly impressed all in attendance, including veteran producer Quincy Jones, who took notice and later offered her the chance to appear on his album "Q's Jook Joint" (1995).


title: Tamia

text: "You Put a Move on My Heart", a Mica Paris cover, was one out of several Jones songs Tamia recorded vocals for. Selected as the first single from "Q's Jook Joint", it became a moderate commercial success, reaching the top twenty of the US "Billboard" Hot R&B/Hip-Hop Songs, but earned acclaim from critics, resulting in a Grammy Award nomination for Best Female R&B Vocal Performance at the 39th ceremony. Tamia along with Babyface, Portrait, and Barry White received a second nomination that night for "Slow Jams", the second single from Jones' album, which fared similarly on the charts, peaking at number two on the New Zealand Singles Chart, and received a third nod in the Best Pop Collaboration with Vocals category for her performance on "Missing You", a collaboration with singers Brandy, Gladys Knight, and Chaka Khan for the soundtrack of the 1996 motion picture "Set It Off". A top thirty success on the US "Billboard" Hot 100, it was certified gold by the Recording Industry Association of America (RIAA).


title: Tamia

text: In 1997, Tamia made her film debut in the action-thriller "". Playing the cruise liner's musical entertainer, she performed the Diane Warren-penned single "Make Tonight Beautiful", which was released as part of the . The same year, she has also appeared in television sitcoms such as "Rock Me Baby" and "Kenan and Kel" and recorded the all-star charity single "Love Shouldn't Hurt" for the National Committee for the Prevention of Child Abuse along with All-4-One, Michael Bolton, and others. Following this, Jones enlisted the services of several producers to work on Tamia's debut self-titled album, including Jermaine Dupri, Tim & Bob, and Mario Winans, many of which would become frequent producers on subsequent projects. Upon its April 1998 release, "Tamia" received a mixed to positive reception by critics, who complimented Tamia's vocal performance and the progression from her earlier recordings but found the material uneven. It debuted and peaked at number sixty-seven on the US "Billboard" 200. Five singles were released from the album, including the top twenty entries "Imagination" and "So into You". In 1999, "Tamia" garnered the singer two Juno Award nominations for Best New Solo Artist and R&B/Soul Recording of the Year.


title: Tamia

text: In 1999, Tamia collaborated with American singer Eric Benét on his single "Spend My Life with You". The song reached the top of "Billboard"s Hot R&B/Hip-Hop Songs chart and earned her a fourth Grammy Award nomination as well as the NAACP Image Award for Outstanding Song. Frustrated by Qwest's label politics, Tamia transitioned to Elektra Records the same year and began worked on her second album "A Nu Day". Rapper-producer Missy Elliott, frequent co-producer Bink, Dallas Austin and Shep Crawford worked with Tamia on the majority project, which she declared "not as ballad-driven as" her debut album and felt it was "more aggressive in terms of the formats of the songs". Released in October 2000, "A Nu Day" received a mixed response from critics, who complimented her more stylish sound but found the material inconsistent. It debuted and peaked at number forty-six on the "Billboard" 200 and became her first top ten entry on the Top R&B/Hip-Hop Albums, peaking at number eight. A steady seller, it reached gold status in the US and produced three of Tamia's commercially most successful singles, including her only US "Billboard" Hot 100 top ten hit single "Stranger in My House". In 2001, "A Nu Day" was nominated in the R&B/Soul Recording of the Year category at the annual Juno Awards.


title: Tamia

text: In 2003, Tamia appeared on the international top ten hit "Into You", a collaboration with rapper Fabolous from his second studio album "Street Dreams" (2003) based on her 1998 single "So into You". It reached the top five in Australia and the US and was followed by "Officially Missing You", the lead single from her third album. Initially titled "Still", the project was indefinitely bumped from its original August 2003 schedule after Tamia's multiple sclerosis diagnosis and subsequent treatment. With the illness in remission, she resumed work later that year and arranged additional recording sessions to revamp parts of the album. Finally released in April 2004, "More" was released to generally mixed reception from music critics and debuted and peaked at number 17 on the US "Billboard" 200 and number four on the Top R&B/Hip-Hop Albums, with first week sales of 71,000 copies, marking the highest-selling and highest-charting opening of Tamia's catalogue yet. In support of "More", Tamia was featured as a special guest on the Verizon Ladies First Tour, co-headlined by Beyoncé, Alicia Keys and Missy Elliott, which became one of the biggest concert tours of the year. In 2005, "More" became Tamia's third consecutive album to earn a Juno Award nomination in the R&B/Soul Recording of the Year category.


title: Tamia

text: In order to gain more creative control over future projects, Tamia left Elektra amid its merger with Atlantic Records in 2005 and decided to go independent, founding her own record label Plus One Music Group. Unlike previous projects, she only consulted longtime contributor Shep Crawford to work with her on her fourth studio album. A rather intimate process, the pair met on a daily basis in an Orlando recording studio to write and produce new songs, with Rodney "Darkchild" Jerkins providing additional material late into the production of the album. Alluding to her working relationship with Crawford, it was eventually titled "Between Friends", and first released in South Africa in May 2006 in South Africa, followed by a worldwide distribution in the fourth quarter of 2006. A moderate commercial success, it number 66 on the "Billboard" 200, while peaking at number 2 on "Billboard"s Independent Albums. Its first two singles, "Can't Get Enough" and "Me", both reached the top 30 on the Hot R&B/Hip-Hop Songs chart.


title: Tamia

text: In November 2009, "Greatest Hits", a compilation album, was released in South Africa. The same year, Tamia announced that she was working with Crawford to form a supergroup called TDK along with singers Kelly Price and Deborah Cox. Their joint album "The Queen Project" failed to materialize however due timing issues and label politics. In August 2012, Tamia's fifth studio "Beautiful Surprise" was released on Plus One and EMI Music. The singer worked with a vast of different producers on the album, including Chuck Harmony, The Runners, and Carvin & Ivan. "Beautiful Surprise" earned a mixed reception from music critics and debuted at 23 on the "Billboard" 200 and at number six on the Top R&B/Hip-Hop Albums. Lead single "Beautiful Surprise", co-written by Claude Kelly and Salaam Remi, peaked at number 24 on the Hot R&B/Hip-Hop Songs. Both the single and its parent album received nominations in the Best R&B Song and Best R&B Album categories at the 55th Annual Grammy Awards, while garnering Tamia a Soul Train Music Award nomination at the 2012 Soul Train Music Awards. In support of "Beautiful Surprise", Tamia joined R. Kelly during his The Single Ladies Tour from October until December 2012.


title: Tamia

text: In August 2014, Tamia signed with Def Jam Recordings, marking her return to major label ranks. "Love Life", her sixth album, was completed in ten days and released on June 9, 2015, in the United States in collaboration with her own label, Plus One Music Group. A departure from her previous independent projects, she worked with a wider range of high-profile producers on its songs, including Polow da Don as well as Oak Felder and Pop Wansel from duo Pop & Oak as well as frequent collaborators Christopher "Tricky" Stewart and The-Dream. "Love Life" earned generally favorable reviews from critics, who summed it as "grown-up, worn-in R&B at its finest", and debuted at number 24 on the US "Billboard" 200, selling 16,000 copies in the week ending June 14, 2015. It also debuted on top of "Billboard"s Top R&B Albums and at number two on the Top R&B/Hip-Hop Albums, becoming Tamia's highest-charting album ever on both charts, and spawned produced three singles, including lead single "Sandwich and a Soda" and follow-up “Stuck with Me” both of which reached the top twenty on "Billboard"s Adult R&B Songs.


title: Tamia

text: "Passion Like Fire", Tamia's seventh album, was released in September 2018 through Plus One, 21 Entertainment, and eOne Music. A breakaway from her previous album, the singer worked with a smaller team of collaborators on the album, involving longtime contributors Lil Ronnie, Shep Crawford and Salaam Remi. While critical reception was generally lukewarm, the album debuted at number 145 on the US "Billboard" 200, becoming her lowest-charting album yet, also reaching number 17 on Top R&B Albums chart. Its release was preceded by the singles "Leave It Smokin'" and "Today I Do", the former of which became her biggest hit in years, peaking at number two on "Billboard"s Adult R&B Songs. In support of the album, Tamia embarked on the Passion Like Fire Tour which launched on September 18, 2018, and visited most of the major US cities. In 2019, she was awarded the Soul Music Icon Award at the fourth annual Black Music Honors.


title: Tamia

text: Singer Anita Baker introduced Tamia to American basketball player Grant Hill through a blind date in Detroit, Michigan in 1996. After a courtship of about three years, the pair eventually married on July 24, 1999, in a private reception in Battle Creek, Michigan. The ceremony was officiated by Rev. John H. Grant, Hill's cousin, and attended by 250 guests. The couple initially resided in Detroit, but later relocated to Orlando, Florida when Hill left the Detroit Pistons to sign with the Orlando Magic team. Their first daughter, Myla Grace, was born on January 23, 2002. A second daughter Lael Rose Hill followed on August 9, 2007.


title: Tamia

text: In 2003, amid the recording of her third album "More", doctors at Duke University Hospital in Durham, North Carolina diagnosed Tamia with multiple sclerosis, a demyelinating disease in which the insulating covers of nerve cells in the brain and spinal cord are damaged, after she had been experiencing mystifying bouts of fatigue and numbness in her hands, feet and legs. While the music project was indefinitely bumped from its original August 2003 schedule, the singer went into subsequent treatment, using corticosteroids to help delay the onset of more severe symptoms. Diagnosed early, the illness has since been in remission though she has occasional but controllable symptoms.


title: Himalayan cat

text: The Himalayan (short for Himalayan Persian, or Colourpoint Persian as it is commonly referred to in Europe), is a breed or sub-breed of long-haired cat similar in type to the Persian, with the exception of its blue eyes and its point colouration, which were derived from crossing the Persian with the Siamese. Some registries may classify the Himalayan as a long-haired sub-breed of Siamese, or a colorpoint sub-breed of Persian. The World Cat Federation has merged them with the Colorpoint Shorthair and Javanese into a single breed, the Colorpoint.


title: Himalayan cat

text: There is little or no information from the literature or early pictorial representations to indicate how ancient the four main groups of cats are; these being the two varieties of tabby, the single coloured black or white, and the sex-linked orange (marmalade or tortoiseshell cats). In addition, there are other breeds of cat that are more closely controlled by humans, such as the Manx, the Persian, Siamese, and Abyssinian, to name but a few.


title: Himalayan cat

text: The Cat Fanciers' Association considers the Himalayan Persian simply a color variation of the Persian rather than a separate breed, although they do compete in their own color division. It was for the color that the breed was named "Himalayan": a reference to the coloration of Himalayan animals, in particular the Himalayan rabbit. It has been suggested that the Persian long-haired cats are descended from Pallas's cat, Felis manul, a wild cat that inhabits central Asia and which is unmarked with spots or stripes and has very long soft fur. There is, however, no osteological or other evidence for this and it is more likely that the long-haired domestic cats are the result of artificial selection for this characteristic by humans.


title: Himalayan cat

text: Tests are still being done to discover the ancestors of cats such as Himalayans. An example of this research and experimentation is in that of the following: A rare color variant of the American mink ("Neogale vison"), discovered on a ranch in Nova Scotia and referred to as the ‘‘marbled’’ variety, carries a distinctive pigment distribution pattern resembling that found in some other species, e.g., the Siamese cat and the Himalayan mouse.


title: Himalayan cat

text: Work to formally establish a breed with combined Persian and Siamese traits, explicitly for the cat fancy, began in the United States in the 1930s at Harvard University, under the term Siamese–Persian, and the results were published in the "Journal of Heredity" in 1936, but were not adopted as a recognized breed by any major fancier groups at the time. Brian Sterling-Webb independently developed the cross-breed over a period of ten years in the UK, and in 1955 it was recognized there as the Longhaired Colourpoint by the Governing Council of the Cat Fancy (GCCF).


title: Himalayan cat

text: California cat breeder Jean Mill took a series of graduate classes in genetics at the University of California, Davis. By 1948, she was one of three breeders independently crossing the Persian and Siamese to create the Himalayan cat.


title: Himalayan cat

text: Separate US-based breeding efforts had begun around 1950, and a breeder known to sources simply as Mrs. Goforth received breed recognition from the Cat Fanciers' Association (CFA) near the end of 1957 for the Himalayan. Early breeders were mostly interested in adding Siamese colouration to long-haired cats, and therefore reinforced the stock by outbreeding to Persians only to retain the Persian trait dominance. However, by the 1960s, some were re-introducing Siamese stock and producing less "Persian-style" cats, In the 1980s, a concerted effort to re-establish the breed along more formally Persian lines ultimately caused the breed to be merged into Persian as a variant in some registries (e.g. in 1984 by CFA), and a decline in the "old" or Siamese-like specimens.


title: Himalayan cat

text: Like Persians more generally, the Himalayan tends to have a round (cobby) body and short legs, which makes it harder for them to jump as high as other cats do. Since the 1960s, however, some have more of a Siamese-like body, and thus do not have this limitation, but may not be acceptable as show cats, depending on the specific breed standards of the organisation in question.


title: Himalayan cat

text: As with other Persians, there are two types of Himalayans, the traditional or doll-face, and the peke-faced or ultra-typed which has the more extreme squashed-looking facial features. The seal-point Himalayan in the photo to the left is doll-faced while the red(flame)-point in the title image is peke-faced.


title: Himalayan cat

text: Show Himalayans display a nose break as do peke-faced Persians, and have very large, round eyes with the nose leather directly between the eyes. Breeder or pet Himalayans generally have longer noses than the show cats, and may display a longer muzzle and smaller eyes than the show cats do. All three types of cat are Himalayans, however.


title: Himalayan cat

text: The bulk of the fur on the body of a Himalayan is white or cream, but the points come in many different colors: Seal (or Black), Blue, Lilac, Chocolate, Red (Flame), and Cream. The points can also be Tabby, Lynx, or Tortoiseshell-patterned.


title: Himalayan cat

text: The Chocolate and Lilac point Himalayans are the most difficult to produce, because both parents must carry the gene for Chocolate/Lilac to produce a Chocolate or Lilac kitten, as the trait is autosomal recessive.


title: Himalayan cat

text: Due to their Persian ancestry, some Himalayans may have the gene that causes Polycystic kidney disease, (PKD); however, a genetic test can reveal which cats carry the PKD gene, so that they may be spayed or neutered.


title: Himalayan cat

text: Like many long-haired cats, Himalayans need to be brushed daily to keep their coats looking their best and healthiest. In addition, they may need their face wiped daily, depending on the cat. Bathing a Himalayan is also recommended by some breeders, to help reduce the amount of oil on the cat's fur and skin.


title: Joel Courtney

text: Joel Courtney (born January 31, 1996) is an American actor known for his role in the 2011 film "Super 8" and for his starring role in Netflix's ""The Kissing Booth"" film series"."


title: Joel Courtney

text: Courtney was born in Monterey, California, on January 31, 1996, and was raised in Moscow, Idaho, where he attended Logos School, a Classical Christian school. While still living in Idaho, Courtney took a trip to Los Angeles during the first week of his summer school break in 2010, where he hoped to be in a commercial and make $100.


title: Joel Courtney

text: Casting director Patti Kalles advised Courtney to audition for Paramount Pictures' "Super 8" (2011). After 11 callbacks, Courtney landed the starring role of Joe Lamb in the film. At the 2012 Saturn Awards, Courtney won the award for Best Performance by a Younger Actor.


title: Joel Courtney

text: In August 2011, Courtney filmed "Tom Sawyer & Huckleberry Finn" (2014) in Bulgaria, playing the part of Tom Sawyer.


title: Joel Courtney

text: In 2012, Courtney filmed the supernatural thriller "Don't Let Me Go" (2016), playing a disgruntled teen who joins his father on a camping trip only to have a run-in with otherworldly forces. That same year, he appeared in the Fox TV movie "Rogue".


title: Joel Courtney

text: In November 2012, Courtney was cast in the Stephen King film "Mercy", which was released direct-to-video in 2014.


title: Joel Courtney

text: In 2013, Courtney was cast in the direct-to-video indie films "Dear Eleanor" (2016) and "Sins of our Youth" (2016).


title: Joel Courtney

text: Courtney appeared in the lead ensemble of the CW Television Network series "The Messengers", which was cancelled during its single 2014–15 season.


title: Joel Courtney

text: In 2016, Courtney had a one-episode role in the third season of "Agents of S.H.I.E.L.D." as Nathaniel Malick.


title: Joel Courtney

text: Courtney played the lead in the indie project "The River Thief" (2016), directed by N. D. Wilson. In 2015, Courtney joined the cast of the indie film "Replicate" and, in 2016, joined the cast of the indie film "F the Prom". In 2018, he starred in the Netflix film "The Kissing Booth", a role he reprised in the film's 2020 sequel "The Kissing Booth 2". Courtney also reprised his "Kissing Booth" role in the series' third film, "The Kissing Booth 3", released in 2021.


title: Joel Courtney

text: On February 14, 2020, he proposed to his longtime girlfriend, Mia Scholink. He married Scholink on September 27, 2020.


title: Joel Courtney

text: Courtney's favorite book series are "100 Cupboards" and "Ashtown Burials", both by N. D. Wilson, who directed the 2016 film "The River Thief", which Courtney starred in.


title: Super Bowl XVIII

text: Super Bowl XVIII was an American football game played on January 22, 1984, at Tampa Stadium between the National Football Conference (NFC) champion and defending Super Bowl XVII champion Washington Redskins and the American Football Conference (AFC) champion Los Angeles Raiders to determine the National Football League (NFL) champion for the 1983 season. The Raiders defeated the Redskins, 38–9. The Raiders' 38 points scored and 29-point margin of victory broke Super Bowl records; it remains the most points scored by an AFC team in a Super Bowl. This is the first time the city of Tampa hosted the Super Bowl and was the AFC's last Super Bowl win until Super Bowl XXXII, won by the Denver Broncos.


title: Super Bowl XVIII

text: The Redskins entered the game as the defending Super Bowl XVII champions, finished the 1983 regular season with a league-best 14–2 record, led the league in fewest rushing yards allowed, and set a then-NFL record in scoring with 541 points. The Raiders posted a 12–4 regular-season record in 1983, their second in Los Angeles, having moved there from Oakland in May 1982.


title: Super Bowl XVIII

text: The Raiders outgained the Redskins in total yards, 385 to 283. Los Angeles built a 21–3 halftime lead, aided by touchdowns on Derrick Jensen's blocked punt recovery, and Jack Squirek's 5-yard interception return on a screen pass with seven seconds left in the first half. Raiders running back Marcus Allen, who became the third Heisman Trophy winner to be named the Super Bowl MVP, carried the ball 20 times for a then-record total of 191 yards and two touchdowns, including a then-record 74-yard run in the third quarter. He also caught 2 passes for 18 yards.


title: Super Bowl XVIII

text: The telecast of the game on CBS was seen by an estimated 77.62 million viewers. The broadcast was notable for airing the famous "1984" television commercial, introducing the Apple Macintosh. The NFL highlight film of this game is the final voiceover work for famous NFL narrator John Facenda.


title: Super Bowl XVIII

text: As of the 2021 season, this is the Raiders' most recent Super Bowl championship, and it was also the only time that a Los Angeles-based team had won the Super Bowl until their then cross-town rival Los Angeles Rams won Super Bowl LVI at SoFi Stadium in Inglewood, California.


title: Super Bowl XVIII

text: NFL owners voted to award Super Bowl XVIII to Tampa on June 3, 1981, at a league meeting held in Detroit. This is the first time Tampa hosted the game, making it the first Super Bowl to be played in Florida in a city other than Miami.


title: Super Bowl XVIII

text: The Redskins entered the game appearing to be even better than the previous season when they defeated the Miami Dolphins 27–17 in Super Bowl XVII. The Redskins finished the regular season with a 14–2 record, the best in the NFL, and their two losses were only by one point each. In addition, the Redskins set new NFL records with 541 points (since broken by the 1998 Minnesota Vikings, the 2007 and 2012 New England Patriots, 2011 Green Bay Packers, 2011 New Orleans Saints, 2013 Denver Broncos, and 2018 Kansas City Chiefs), and also had a turnover margin of +43 and the top-ranked run defense.


title: Super Bowl XVIII

text: The Redskins had a number of efficient offensive weapons. Quarterback Joe Theismann won the NFL Most Valuable Player Award for being the second rated passer in the league behind Steve Bartkowski, completing 276 out of 459 (60.1 percent) of his passes for 3,714 yards, 29 touchdowns, and only 11 interceptions. He rushed for 234 yards and another touchdown. Washington's main deep threats were wide receivers Charlie Brown (78 receptions, 1,225 yards, and 8 touchdowns) and Art Monk (47 receptions, 746 yards, and 5 touchdowns), with the latter fully healthy after the previous year's injury that caused him to miss the entire postseason. Wide receiver Alvin Garrett, who replaced Monk during that time, emerged as a significant contributor by catching 25 passes for 332 yards. Fullback John Riggins once again was the team's top rusher with 1,347 yards, and set a then-NFL record by scoring the most rushing touchdowns in a season (24). Multi-talented running back Joe Washington recorded 772 rushing yards, while catching 47 passes for 454 yards and 6 touchdowns. Kicker Mark Moseley led the NFL in scoring with 161 points, while Riggins ranked second with 144, making them the first teammates to finish a season as the NFL's top two scorers since 1951. Washington's powerful offensive line, "The Hogs", were led by two Pro Bowlers, guard Russ Grimm and tackle Joe Jacoby.


title: Super Bowl XVIII

text: The Redskins' defense led the league in fewest rushing yards allowed (1,289). Pro Bowl defensive tackle Dave Butz recorded 11.5 sacks and a fumble recovery. On the other side of the line, defensive end Dexter Manley recorded 11 sacks and an interception. Defensive back Mark Murphy led the NFL with 9 interceptions, while the other starters in the secondary, Vernon Dean, Anthony Washington and Ken Coffey, along with rookie cornerback Darrell Green, combined for 13 interceptions. Washington, Coffey and Green filled the void left by the season-long suspension of safety Tony Peters and the season-long holdout by cornerback Jeris White.


title: Super Bowl XVIII

text: The Raiders made it to their fourth Super Bowl in team history after posting a 12–4 regular-season record. Raiders quarterback Jim Plunkett completed 230 out of 379 (60.7 percent) passes resulting in 2,935 yards and 20 touchdowns. His favorite target was tight end Todd Christensen, who led the NFL with 92 receptions for 1,247 yards and 12 touchdowns. Wide receivers Cliff Branch and Malcolm Barnwell combined for 74 receptions, 1,209 yards, and 6 touchdowns. But the largest impact on offense was running back Marcus Allen. In just his second NFL season, Allen led the team in rushing yards (1,014) and total yards from scrimmage (1,604), while ranking second on the team in receptions (68) and touchdowns (11). But Allen was not the only key running back on the team. Kenny King and Frank Hawkins combined for 1,119 total rushing and receiving yards, and 10 touchdowns. Los Angeles also had a powerful special teams attack led by Greg Pruitt, who led the NFL in punt returns (58), and punt return yards, setting a new NFL record with 666. He also added another 604 yards returning kickoffs and rushed for 154 yards and two scores.


title: Super Bowl XVIII

text: On defense, their three-man front was led by Pro Bowl defensive linemen Howie Long (13 sacks, 2 fumble recoveries) and Lyle Alzado, who had 7 sacks, along with rookie Greg Townsend, who recorded 10.5 sacks and a 66-yard fumble return touchdown. The linebacking corps was led by Pro Bowlers Rod Martin and Matt Millen, along with 15-year veteran Ted Hendricks. Martin had six sacks and four interceptions. Cornerbacks Mike Haynes (acquired in a trade from New England) and Lester Hayes were widely considered to be the best cornerback tandem in the NFL. Pro Bowl Safety Vann McElroy recovered 3 fumbles and ranked second in the NFL with 8 interceptions. The Raiders' head coach was Tom Flores.


title: Super Bowl XVIII

text: The Raiders only allowed a combined total of 24 points in their playoff victories over the Pittsburgh Steelers, 38–10, and the Seattle Seahawks (who had beaten the Raiders twice during the regular season), 30–14. Allen had been particularly effective in the playoffs, gaining a total of 375 combined yards and scoring three touchdowns. The Raiders' defense limited Seahawks running back Curt Warner, who had led the AFC in rushing yards (1,449 yards), to just 26 yards on 11 carries.


title: Super Bowl XVIII

text: Meanwhile, the Redskins crushed the Los Angeles Rams 51–7, and then narrowly defeated the San Francisco 49ers 24–21, with Mark Moseley kicking the game-winning field goal with just 40 seconds left. Mirroring the previous postseason, Riggins was a key contributor, rushing for a combined playoff total of 242 yards and five touchdowns in the two games. In doing so, Riggins extended his NFL record of consecutive playoff games with at least 100 rushing yards to six. Brown also was a key contributor in both playoff wins, recording a combined total of 11 receptions for 308 yards and a touchdown. Washington's defense was just as effective at stopping their postseason opponent's rushing attack as they had been during the regular season, limiting running backs Eric Dickerson and Wendell Tyler to a combined total of 60 rushing yards. Dickerson was the NFL's leading rusher with 1,808 yards and 18 touchdowns during the season, but could only gain 16 yards on 10 carries against the Redskins' defense.


title: Super Bowl XVIII

text: The game was broadcast in the United States by CBS and featured the broadcast team of play-by-play announcer Pat Summerall and color commentator John Madden. Hosting pregame coverage for "The Super Bowl Today" was Brent Musburger; Irv Cross; Phyllis George (her final assignment for CBS) and Jimmy "The Greek" Snyder. Other contributors to CBS coverage included Jim Hill (who was also sports director of KNXT in Los Angeles which aired the game in that market {KNXT changed its call letters to the current KCBS-TV that April}; WDVM aired the game in Washington, D.C.); Charlsie Cantey; Pat O'Brien; Dick Vermeil; Tom Brookshier; Hank Stram (who also worked the game alongside Jack Buck on CBS Radio); John Tesh and CBS News correspondent Charles Osgood. Dick Stockton would serve as pregame host for CBS Radio coverage; while Musburger would also contribute halftime commentary in addition to hosting CBS television coverage During this game, CBS introduced a new theme and open that would later be used for their college football coverage until it was replaced by the current college football theme introduced on Super Bowl XXI (the next Super Bowl CBS aired at the end of the 1986 season).


title: Super Bowl XVIII

text: In addition to King and Marotta, who called the game over KRLA in Los Angeles, additional local radio coverage of Super Bowl XVIII was provided by WMAL-AM with Frank Herzog, Sam Huff and Sonny Jurgensen announcing. Nationally, Jack Buck and Hank Stram announced for CBS Radio.


title: Super Bowl XVIII

text: Apple's famous "1984" television commercial, introducing the Macintosh computer and directed by Ridley Scott, ran during a timeout in the third quarter. The advertisement changed how the Super Bowl would be used as a media advertising platform.


title: Super Bowl XVIII

text: As previously mentioned, the highlight package to Super Bowl XVIII was voiceover artist John Facenda's final project for NFL Films. Facenda died eight months after the game. An expanded version of "Black Sunday" (the highlight film's title) has appeared on "NFL's Greatest Games" and contains an additional hour of game footage plus audio play-by-play from Bill King and Rich Marotta (Raiders), and Frank Herzog and Sonny Jurgensen (Redskins), while retaining Facenda's narration.


title: Super Bowl XVIII

text: The pregame festivities, which paid tribute to George Halas, featured the University of Florida Fightin' Gator Marching Band and the Florida State University Marching Chiefs. After a moment of silence for Halas, singer Barry Manilow performed the national anthem. The coin toss ceremony featured Pro Football Hall of Fame fullback and defensive tackle Bronko Nagurski.


title: Super Bowl XVIII

text: During the first half, the Raiders scored on offense, defense, and special teams, becoming the first team to score two non-offensive touchdowns in a Super Bowl. Less than five minutes into the game, Los Angeles's Derrick Jensen blocked Jeff Hayes' punt deep in Washington territory and recovered the ball in the end zone to give the Raiders a 7–0 lead. On their ensuing drive, Washington was forced to punt, but Los Angeles punt returner Ted Watts muffed the catch, and Washington safety Greg Williams recovered the ball at the Raiders 42-yard line. However, the Redskins advanced only to the Raiders 27-yard line and came away with no points after kicker Mark Moseley missed a 44-yard field goal attempt.


title: Super Bowl XVIII

text: Early in the second quarter, Raiders punter Ray Guy prevented a disaster when he leaped to pull in a high snap one-handed, before punting through the endzone for a touchback. After Washington was forced to punt, Raiders quarterback Jim Plunkett completed a 50-yard pass to wide receiver Cliff Branch, advancing the ball to the Redskins' 15-yard line. Branch said that the Raiders took advantage of the tailwind after the teams switched sides. Two plays later, Plunkett threw a 12-yard touchdown pass to Branch, increasing the lead to 14–0. One of the key contributors on the touchdown play was center Dave Dalby. After snapping the ball, Dalby had no one in front of him to block, so he backpedaled into the backfield and spotted linebacker Rich Milot coming at Plunkett from the left side, managing to throw a block against him just in time to prevent a sack and enable Plunkett to throw the ball. Cliff Branch became just the fourth player to catch a touchdown in two different Super Bowls (after Lynn Swann, John Stallworth, and Butch Johnson).


title: Super Bowl XVIII

text: On their next drive, the Redskins moved the ball 73 yards in 12 plays to the Raiders 7-yard line, with Joe Theismann completing a 17-yard pass to receiver Alvin Garrett and three passes to tight end Clint Didier for 50 yards. However, linebacker Rod Martin broke up Theismann's third-down pass attempt, forcing Washington to settle for a 24-yard field goal by Moseley. Los Angeles took the ensuing kickoff and drove 41 yards to the Redskins 39-yard line. The drive stalled when Plunkett's third-down pass fell incomplete, but Ray Guy's 27-yard punt pinned Washington back at their own 12-yard line with 12 seconds left in the half. From there, head coach Joe Gibbs had Theismann run a screen play called "Rocket Screen", but Raiders linebacker Jack Squirek intercepted the pass and returned it for a touchdown to give the Raiders a 21–3 halftime lead. The defense was prepared for the play, as Theismann had successfully completed an identical screen pass to Joe Washington for a 67-yard gain in their 37–35 victory over the Raiders on October 2. In fact, Los Angeles linebackers coach Charlie Sumner had sent Squirek onto the field as a last-second substitution specifically to cover Washington. "I was mad," said linebacker Matt Millen, who had to run off the field to avoid a penalty. "I'd called a blitz, and I was cranked up for it, but he told Jack to play the screen and sent him in. I guess Charlie knows what he's doing, huh?"


title: Super Bowl XVIII

text: The Redskins regrouped in the second half and scored on their opening drive by marching 70 yards in nine plays. First, Garrett returned the opening kickoff 35 yards from 5 yards deep in the end zone to the Washington 30-yard line. Then, Theismann completed a 23-yard pass to receiver Charlie Brown to the Raiders 47-yard line. Eight plays later, fullback John Riggins finished the drive with a 1-yard touchdown run. (Riggins became the second player to run for touchdowns in back-to-back Super Bowls; he had one in Super Bowl XVII en route to winning that game's Super Bowl MVP award.) Moseley's extra point attempt was blocked by reserve tight end Don Hasselbeck, but the Redskins had cut the score to 21–9 and were just two touchdowns away from taking the lead.


title: Super Bowl XVIII

text: However, the Raiders completely took over the rest of the game, preventing any chance of a Washington comeback. On the ensuing drive, Washington defensive back Darrell Green was called for a 38-yard pass interference penalty while trying to cover Raiders receiver Malcolm Barnwell, setting up running back Marcus Allen's 5-yard touchdown run seven plays later to make the score 28–9. Late in the third quarter, the Redskins had an opportunity to score after defensive back Anthony Washington forced and recovered a fumble from Branch at the Raiders 35-yard line. They moved the ball nine yards in their next three plays, and then faced fourth down and one. Washington attempted to convert the fourth down with a run by Riggins, just like their successful fourth-down conversion against the Miami Dolphins in the previous Super Bowl. But this time, Riggins was tackled by Martin for no gain.


title: Super Bowl XVIII

text: On the next play, the last play of the third quarter, Plunkett handed the ball off to Allen, who started to run left as the play was designed. But after taking an unusually wide turn in that direction (he later confessed, "I messed up."), Allen saw a lot of defenders in front of him and cut back to the middle before taking off for a then-Super Bowl record 74-yard touchdown run, increasing L.A.'s lead to 35–9 (Allen's run broke the previous record of 58 yards set by Tom Matte in Super Bowl III). This play would later be immortalized by one of the last great lines from narrator John Facenda, who said, "As Washington's hopes faded into the dying daylight, on came Marcus Allen, running with the night."


title: Super Bowl XVIII

text: In the fourth quarter, the Raiders sacked Theismann three times, forcing him to fumble once, and intercepted a pass. Meanwhile, a 39-yard run from Allen set up a 21-yard field goal from kicker Chris Bahr to make the final score of the game 38–9.


title: Super Bowl XVIII

text: Plunkett finished the game with 16 out of 25 pass completions for 172 yards and a touchdown. Theismann threw for more yards than Plunkett (243), but was just 16 out of 35 and was intercepted twice. He was also sacked six times. Branch was the top receiver of the game with six receptions for 94 yards and a touchdown. Guy punted seven times for 299 yards (42.7 average), with 244 net yards (34.8 average) and planted five of his seven punts inside the 20. Martin recorded a sack, a pass deflection, and a fumble recovery. Riggins, who had rushed for over 100 yards in his last six postseason games, was held to 64 yards and a touchdown on 26 carries, with his longest gain being just 8 yards. Brown was their top receiver with three receptions for 93 yards. Tight end Clint Didier caught five passes for 65 yards. Garrett recorded 100 yards on kickoff returns, and one reception for 17 yards. Part of both of Allen's touchdown runs were cutbacks, which, according to "New York Daily News" writer Larry Fox, burned an overpursuing Redskins defense.


title: Super Bowl XVIII

text: After the game, Redskins general manager Bobby Beathard said that Lester Hayes and Mike Haynes were the difference in the game. Haynes had played out his contract with the Patriots after the 1982 season, and sat out most of the first part of the 1983 season during contract negotiations. He eventually signed with the Raiders, who were forced to give the Patriots draft picks in compensation. He played the final five games of the regular season; his addition gave the Raiders two shutdown corners. According to Beathard, Hayes and Haynes "changed our whole game plan." Hayes had only one tackle, but had the left side of the field covered so effectively that Theismann hardly bothered to throw there. Haynes had two tackles, one interception, and two pass breakups. Although Brown averaged 31 yards on his 3 receptions, Redskin wide receivers combined for only 5 catches, with none in the first half. Another factor was Guy; he punted seven times for an average of 42.7 yards and 34.8 net yards. Five of those punts pinned the Redskins inside their own 20.


title: Super Bowl XVIII

text: This marked the final game in the Hall of Fame career of Raiders linebacker Ted Hendricks, who retired upon earning his fourth Super Bowl ring (three with the Raiders and one with the Baltimore Colts).


title: Super Bowl XVIII

text: The Raiders were the first team to score an offensive, defensive, and special teams touchdown in the same Super Bowl. The Redskins became the second defending champion to lose a Super Bowl (their divisional rivals, the Dallas Cowboys, were the first, losing Super Bowl XIII after winning Super Bowl XII). The Redskins would be joined by the Green Bay Packers in 1998 (won Super Bowl XXXI, lost Super Bowl XXXII), the Seattle Seahawks in 2015 (won Super Bowl XLVIII, lost Super Bowl XLIX), the New England Patriots in 2018 (won Super Bowl LI, lost Super Bowl LII), and the Kansas City Chiefs in 2021 (won Super Bowl LIV, lost Super Bowl LV).


title: Super Bowl XVIII

text: The following records were set in Super Bowl XVIII, according to the official NFL.com boxscore, the 2016 NFL Record & Fact Book and the ProFootball reference.com game summary. <br>Some records have to meet NFL minimum number of attempts to be recognized. The minimums are shown (in parenthesis).


title: Charles in Charge

text: Charles in Charge is an American sitcom television series that premiered on October 3, 1984, on CBS. The series was a production of Al Burton Productions and Scholastic Productions in association with Universal Television and starred Scott Baio, who had previously starred in "Happy Days", in the title role. Willie Aames, who had previously been a cast member on "Eight Is Enough", also starred as Charles’ best friend Buddy Lembeck.


title: Charles in Charge

text: "Charles in Charge" joined the CBS Wednesday night lineup at 8:00 pm, placing it against ABC’s hit action series "The Fall Guy" and the new Michael Landon-led "Highway to Heaven" on NBC. At the time, with the exception of their Monday-night comedies ("Kate & Allie" and "Newhart"), CBS's sitcom lineup was not performing well in the ratings and "Charles in Charge" did not do much to change that. Still, the network allowed the show to remain in production to complete the 22 episodes it had ordered for the season.


title: Charles in Charge

text: After the February 27, 1985, episode, CBS placed "Charles in Charge" on hiatus. Two episodes had yet to air, and CBS aired them on March 13 and April 3, 1985. The network then dropped "Charles in Charge" from its Wednesday lineup in favor of the mystery drama series "Double Dare"; the show was moved to Saturday, where it aired in reruns for several weeks until it was replaced by the drama "Cover Up". None of these series were renewed for a second season, nor were either of the two comedies that shared the hour with "Charles in Charge" ("Dreams" and "E/R").


title: Charles in Charge

text: One year later, after seeing the success of some cancelled network series after they were revived for first-run syndication (which was a significant trend at the time), Universal decided to rework and relaunch "Charles in Charge" in syndication. The show premiered on local stations at the midway point of the 1986-87 season, with the first episode of the new series premiering on January 3, 1987. Four seasons were produced for syndication, with the last episode airing on November 10, 1990. In total, 126 episodes were produced, 22 in the abbreviated first season and 26 in each of the syndicated seasons.


title: Charles in Charge

text: The series takes place in New Brunswick, New Jersey. Charles, whose last name is never revealed, is a student at Copeland College (fictional, perhaps meant to represent Rutgers University, whose main campus is in New Brunswick) and is 19 years old when the series begins.


title: Charles in Charge

text: Needing a place to live while attending school, Charles applies for a job working for Stan and Jill Pembroke, an affluent couple in search of a live-in housekeeper. An arrangement is reached where Charles would take the job with the Pembrokes while he attended Copeland, and in lieu of a salary, he would receive room and board for his duties as caretaker for their children Jason, Douglas, and Lila, all three of whom are not much younger than he is. In addition to this, as well as his escapades with his best friend Buddy, Charles has a crush on fellow Copeland student Gwendolyn Pierce and spends quite a bit of his free time trying to court her, which never seems to work.


title: Charles in Charge

text: When the show returned in 1987, only Scott Baio and Willie Aames returned from the original cast, as the producers reworked the story to accommodate the changes in cast.


title: Charles in Charge

text: The second season's first episode featured Charles returning to New Brunswick from his summer vacation, only to discover an unfamiliar family living in the Pembrokes' home. He learns that the Pembrokes left New Jersey while he was away and have moved across the country to Seattle. The new family, the Powells, agreed to sublet the house from the Pembrokes, which included retaining Charles' services as live-in babysitter.


title: Charles in Charge

text: The Powell clan consisted of mother Ellen and grandfather Walter, who was Ellen's husband's widowed father and who was living with them to fulfill his son's role as he served overseas in the U.S. Navy. Like the Pembrokes, the Powells also had three children, daughters Jamie and Sarah and younger brother Adam.


title: Charles in Charge

text: Charles' previously unseen widowed mother Lillian became a central character in the revival series. She was played by Ellen Travolta, which marked the second time that she had played mother to a character portrayed by Baio; she had done the same thing on "Joanie Loves Chachi" several years earlier (although she first played cousin Jimmy Baio’s mother on a 1978 episode of “The Love Boat.”)


title: Charles in Charge

text: Michael Pearlman and Jennifer Runyon are the only other actors, besides Baio and Aames, to reprise their roles on the show after the first season. Pearlman appeared in the second-season premiere, "Amityville". (Lisa Donovan played Jill Pembroke in that episode.) Runyon appeared in "Twice Upon a Time (Part 1)" and "Twice Upon a Time (Part 2)".


title: Charles in Charge

text: In the final two seasons, Sandra Kerns only made three more appearances (once in season 4 and twice in season 5). Baio and Aames are the only two cast members who appear in every single episode.


title: Charles in Charge

text: The theme song was composed by David Kurtz, Michael Jacobs, and Al Burton, and performed by Shandi Sinnamon. The theme music was mellower in the first season, and was remixed for the syndication run.


title: Charles in Charge

text: The song was performed by the "a cappella" group The Blanks in the medical sitcom, "Scrubs", and was featured on their 2004 album, "Riding the Wave".


title: Charles in Charge

text: Universal Pictures released a three-disc set of the first season of "Charles in Charge" on DVD in North America on February 14, 2006. Due to poor sales, no further seasons were released.


title: Charles in Charge

text: In September 2007, Arts Alliance America (which subsequently changed its name to Virgil Films & Entertainment during the summer of 2007) announced it had acquired the rights to the series. They subsequently released seasons 2–5 on DVD. Seasons 4 and 5 were Manufacture-on-Demand (MOD) releases, available exclusively through Amazon.com.


title: Charles in Charge

text: All five seasons of the series were made available for streaming through Amazon Video and season one only on Hulu Plus. In addition, the entire series can be streamed on the NBC.com app.


title: Charles in Charge

text: When "Charles in Charge" returned to television, an arrangement had been made with stations owned by Tribune Broadcasting to carry the program in first run. Through this arrangement, the show was also able to gain nationwide carriage as its Chicago affiliate, WGN-TV, was a national cable superstation.


title: Charles in Charge

text: In 1988, with the series nearing the 100-episode mark, distributor MCA Television began advertising in trade publications that it would begin selling reruns of "Charles in Charge" to local stations for a fall 1989 launch. The show reached the mark when the 1988-89 season ended, and the show began airing daily in syndication shortly thereafter. After the final episode aired in 1990, the syndication package added them, as well; the package included the first 22 episodes that had aired on CBS and the 78 that had aired over the first three seasons in syndication.


title: Uralvagonzavod

text: It is one of the largest scientific and industrial complexes in Russia and the largest main battle tank manufacturer in the world.


title: Uralvagonzavod

text: The plant was built during 1931–1936 (mostly during the second Soviet five-year plan), launched on October 11, 1936, and named after Felix Dzerzhinsky. Initially it manufactured freight cars.


title: Uralvagonzavod

text: After the German invasion of 1941, Joseph Stalin ordered hundreds of factories in Ukraine and western Russia to be evacuated east. The KhPZ Factory No. 183 in Kharkiv was moved to Nizhny Tagil by rail, and merged with the Dzerzhinsky Works, to form the Stalin Ural Tank Factory No. 183. During the Second World War it became the largest producer of tanks in the world, including the T-34. For its services, Uralvagonzavod received several honorary awards over 1941–1945, including the Order of the Red Banner of Labour (1942), Order of the Red Banner (1943), Order of Lenin (1944), Order of the Patriotic War (1945).


title: Uralvagonzavod

text: After the war, tank production was scaled down, and part of the Vagonka's manufacturing and design assets were transferred back to Kharkiv's Diesel Factory No. 75 during 1945–1951. Uralvagonzavod was expanded to produce other kinds of machinery: agricultural, construction, aviation, and space, including design and production of the Vostok, Voskhod, Proton and Energia expendable rockets.


title: Uralvagonzavod

text: It is the location of the Kartsev-Venediktov Design Bureau (OKB-520) where the T-54A and T-55 (development of Morozov's T-54), T-62, T-72, and T-90 tanks have been designed, and was working on one possibility for a next-generation main battle tank, rumored to be called the T-95, until this project was cancelled in May 2010. It also manufactures Russia's newest main battle tank, the T-14 Armata.


title: Uralvagonzavod

text: On July 16, 2014, the Obama administration imposed sanctions through the US Department of Treasury's Office of Foreign Assets Control (OFAC) by adding Uralvagonzavod and other entities to the Specially Designated Nationals List (SDN) in retaliation for the ongoing annexation of the Crimean Peninsula by the Russian Federation and the Russian interference in Ukraine.


title: Uralvagonzavod

text: The company's main products include railway cars, tanks, road-building vehicles, agricultural vehicles such as the RT-M-160, metallurgical products, tools and consumer goods.


title: Uralvagonzavod

text: Production of T-90 main battle tanks accounts for 18–20% of the company's overall production. In 2008, Uralvagozavod produced about 175 tanks, including 62 T-90As for the Russian Ministry of Defense and 60 T-90Ss for India. This represents the highest level of tank production at UralVagonZavod and in Russia as a whole since 1993. Moreover, according to Moscow Defense Brief, it would appear that in 2008 the number of tanks produced by the company was greater than the number of main battle tanks produced by all the other countries of the world taken together.


title: Uralvagonzavod

text: Railway cars and other civilian production amounted to two-thirds of the company's overall output in 2008.


title: Rahul Bose

text: Rahul Bose (born 27 July 1967) is an Indian actor, director, screenwriter, and social activist. Bose has appeared in Bengali films such as "Mr. and Mrs. Iyer", "Kalpurush", "Anuranan", "Antaheen", "Laptop" and "The Japanese Wife". He has also appeared in Hindi films such as "Pyaar Ke Side Effects", "Maan Gaye Mughal-e-Azam", "Jhankaar Beats", "Kucch Luv Jaisaa", "Dil Dhadakne Do", "Chameli" and "Shaurya". He also played the antagonist in the Tamil thriller "Vishwaroopam" (2013) and its sequel. "Time" magazine named him "the superstar of Indian arthouse cinema" while "Maxim" named him "the Sean Penn of Oriental cinema" for his work in parallel cinema films like "English, August" and "Mr. and Mrs. Iyer". He is also notable for his social activism: he participated in the relief efforts that followed the 2004 Boxing Day tsunami and is also the founder of the anti-discrimination NGO, The Foundation.


title: Rahul Bose

text: Bose's first acting role was at the age of six when he played the lead character in a school play, "Tom, the Piper's Son". As a child he took an interest in sports after his mother introduced him to boxing and rugby union. He also played cricket and was coached by former India cricket captain Mansoor Ali Khan Pataudi.


title: Rahul Bose

text: He is an alumnus of the Cathedral and John Connon School in Mumbai. After being rejected by a number of American universities, Bose attended Sydenham College. While at the college he played on the school's rugby team and competed in the Western India Championships, winning a silver medal in boxing. After his mother's death in 1987, Bose began working as a copywriter at Rediffusion and was later promoted to advertising creative director. Bose left the job to become a full-time actor after the release of his first film, "English, August".


title: Rahul Bose

text: Bose started his acting career on the Mumbai stage in Rahul D'Cunha's "Topsy Turvey" and "Are There Tigers in the Congo?". D'Cunha's aunt was the casting director for director Dev Benegal's film "English, August" and suggested that Bose should play the lead role. After filming a screen test, Benegal decided to cast him as civil servant Agastya Sen. Based on the novel of the same name by Upamanyu Chatterjee, "English, August" was one of the first Hinglish films and gained Bose international recognition when it became the first Indian film to be purchased by 20th Century Fox and won several awards at international film festivals.


title: Rahul Bose

text: After "English, August" Bose found work in television; he was offered a role in India's first English-language television serial, "A Mouthful of Sky" and also co-hosted BBC World's "Style!" with Laila Rouass. In 1998 he appeared in Kaizad Gustad's "Bombay Boys" with Naseeruddin Shah and starred in Dev Benegal's second film, "Split Wide Open". To prepare for his role as a roving water vendor, Bose lived in Mumbai's slums and observed a drug dealer for two weeks. He later cited this time—along with the 2002 Gujarat riots—as the beginning of the awakening of his social conscience. Although "Split Wide Open" was controversial in India because of its depictions of sexual abuse, Bose received the Silver Screen Award for Best Asian Actor at the 2000 Singapore International Film Festival for his performance. He also performed abroad in the Leicester Haymarket in England where he starred in the English version of Tim Murari's play, "The Square Circle".


title: Rahul Bose

text: In 1997, Bose was cast to play the role of Saleem Sinai in the BBC adaptation of Salman Rushdie's novel "Midnight's Children". The project was eventually canceled after the Indian and Sri Lankan governments refused to allow filming.


title: Rahul Bose

text: After seeing Bose in "English, August", director Govind Nihalani cast him in the villain role opposite Ajay Devgan in the mainstream film "Thakshak". The film was not a financial success, although Bose received positive reviews.


title: Rahul Bose

text: In 2001, Bose made his directorial debut with "Everybody Says I'm Fine!". Starring Rehaan Engineer and Koel Purie and featuring Bose in a supporting role, "Everybody" received mixed reviews from critics, but won Bose the runner-up John Schlesinger Award for best directorial debut at the 2003 Palm Springs International Film Festival. In 2002, Bose starred opposite Konkona Sen Sharma in Aparna Sen's art film "Mr. and Mrs. Iyer". The film, a critique of communal violence, was a critical success and won several awards at international film festivals as well as three National Film Awards.


title: Rahul Bose

text: In 2003, Bose entered mainstream Bollywood cinema with "Jhankaar Beats" in which he played one of two friends, R.D. Burman fans who are obsessed with winning a music competition. Boosted by a successful soundtrack, "Jhankaar Beats" was a surprise hit in urban multiplexes and went on to win several awards for its music. The same year, Bose appeared in another Bollywood film, "Mumbai Matinee" which saw a UK release. He starred in "Chameli" opposite Kareena Kapoor, playing a wealthy chain-smoking Mumbai banker who is stranded in the monsoon rains with a prostitute. The film was not a box office success, but won several Filmfare and IIFA awards.


title: Rahul Bose

text: Bose's second film pairing with Konkona Sen Sharma, "15 Park Avenue" released in January 2006. Directed by Aparna Sen and filmed in English, "15 Park Avenue" won the 2006 National Film Award for Best Feature Film in English.


title: Rahul Bose

text: With his next effort, the romantic comedy "Pyaar Ke Side Effects", Bose moved once more into mainstream Bollywood cinema. The film follows the rocky relationship of Bose's commitment phobic Mumbai DJ Sid and his Punjabi girlfriend, Trisha played by Mallika Sherawat. Critics noted the freshness of Bose's narration style which involves breaking the fourth wall, a device not commonly used in Indian cinema. The film opened well in multiplexes and was a moderate financial success, eventually ranking among the top-grossing films of 2006. Both Bose and Sherawat received positive reviews for their performances. Sherawat and Bose also starred together in another Bollywood comedy, "Maan Gaye Mughal-e-Azam" (2008), which was a commercial and critical failure.


title: Rahul Bose

text: In 2006, Bose starred in the first of a trio of Bengali films, Aniruddha Roy Chowdhury's "Anuranan". "Anuranan" was well received on the festival circuit and ran successfully for three months in Bengal. It was then dubbed into Hindi and released nationally. "Kaalpurush", Bose's second Bengali film, was released commercially in April 2008. "Kaalpurush" details a father-son relationship and earned writer-director Buddhadeb Dasgupta a National Film Award for Best Feature Film. Bose teamed with Chowdhury again in 2009 for "Antaheen" which tells the story of online relationships. Like "Anuranan", "Antaheen" was released commercially in West Bengal and was screened at various film festivals, including the Mahindra Indo-American Arts Council Film Festival (MIACC) and the International Film Festival of India (IFFI). "Antaheen" went on to win several National Awards including one for Best Film.


title: Rahul Bose

text: Bose continued working in a mix of mainstream and arthouse films in 2008, with the English-language film, "Before the Rains". "Before the Rains" was released in the US and the UK and Bose's performance was praised by many critics, although the film received mixed reviews. Bose also appeared in "Shaurya", a military court room drama modelled on the American film "A Few Good Men". Bose's performance was well-received; critic Taran Adarsh said his "performance easily ranks as one of his finest works". His appearance in "Dil Kabaddi" paired him with Konkona Sen Sharma for the third time, this time playing a husband and wife undergoing marital difficulties. "The Japanese Wife", with Japanese actress Chigusa Takaku, the third Aparna Sen film in which he has appeared, released on 9 April 2010. He also appeared as a contestant in the reality show "Khatron Ke Khiladi" where he was eliminated in the 12th round. He hosted the second series of Bloomberg UTV reality show "The Pitch". His role as a gay man harassed by the police in "I Am" was appreciated by critics.


title: Rahul Bose

text: He appeared in Deepa Mehta's version of "Midnight's Children" where he played the role of General Zulfikar. He also played the villain in the 2013 Tamil film "Vishwaroopam". Naren Weiss who was 19 years old at the time, acted opposite Bose in all of his scenes for "Vishwaroopam", and credited Bose for working with him during filming. He was scheduled to begin shooting his adaptation of Mohsin Hamid's novel, "Moth Smoke" in early 2010, but the project was postponed after the film's financial backers pulled out. In 2013, he also played opposite Konkona Sen Sharma again in Suman Mukhopadhyay's "Shesher Kabita". In 2017, he directed, produced and acted in the biopic "Poorna" about the youngest girl to climb Mount Everest.


title: Rahul Bose

text: In 1998, Bose was part of the first Indian national rugby team to play in an international event, the Asian Rugby Football Union Championship. He has played both scrum-half and right-winger positions. In an interview with "Daily News & Analysis", Bose announced that he would not return to the team for the 2009 season.


title: Rahul Bose

text: Bose assisted in the relief efforts in the Andaman and Nicobar Islands after the 2004 Boxing Day tsunami. As a result of this work, Bose launched the Andaman and Nicobar Scholarship Initiative through his NGO, The Foundation. The scholarship program provides for the education of underprivileged children from the Andaman and Nicobar Islands.


title: Rahul Bose

text: Bose is associated with several charitable organizations such as Teach for India, Akshara Centre, Breakthrough, Citizens for Justice and Peace and the Spastics Society of India. He is closely associated with the Teach For India movement to eradicate inequity in education. In addition, he became the first Indian Oxfam global ambassador in 2007. He is the founder and chairman of The Group of Groups, an umbrella organisation for 51 Mumbai charitable organisations and NGOs. He is also an ambassador for the American India Foundation, the World Youth Peace Movement and Planet Alert. He was also a vocal proponent of Narmada Bachao Andolan and its efforts to halt the construction of the Narmada dam. He also recorded the Terre des hommes audio book "Goodgoodi karna, gale lagana; Sparsh ke niyam sikhiye" (English: "Tickle and hugs: Learning the touching rules"), which is designed to give children resources against sexual abuse.


title: Rahul Bose

text: Bose has given lectures on gender equality and human rights at Oxford and during the 2004 World Youth Peace Summit. In 2009, he toured Canada lecturing on global climate change under the auspices of Climate Action Network and demonstrated with protesters at the Copenhagen Climate Change Summit. In 2011, he worked in conjunction with Bhaichung Bhutia to raise funds for victims of the Sikkim earthquake.


title: Rahul Bose

text: At the 8th convocation of BRAC University Bangladesh on 17 February 2013, Bose delivered the convocation speech.


title: Rahul Bose

text: Bose has one elder sister, Anuradha, who is married to Tariq Ansari, the owner and director of Mid-Day Multimedia. She had a cameo role in "Everybody Says I'm Fine!". Bose is single.


title: Rahul Bose

text: In July 2019, Bose complained of having been charged ₹442 for two bananas at JW Marriott, Chandigarh, and provoked an outcry on Twitter and other social media, where he gained much attention.


title: Begonia

text: Begonia is a genus of perennial flowering plants in the family Begoniaceae. The genus contains more than 2,000 different plant species. The Begonias are native to moist subtropical and tropical climates. Some species are commonly grown indoors as ornamental houseplants in cooler climates. In cooler climates some species are cultivated outside in summertime for their bright colorful flowers, which have sepals but no petals.


title: Begonia

text: With 2,002 species, "Begonia" is one of the largest genera of flowering plants. The species are terrestrial (sometimes epiphytic) herbs or undershrubs, and occur in subtropical and tropical moist climates, in South and Central America, Africa, and southern Asia. Terrestrial species in the wild are commonly upright-stemmed, rhizomatous, or tuberous. The plants are monoecious, with unisexual male and female flowers occurring separately on the same plant; the male contains numerous stamens, and the female has a large inferior ovary and two to four branched or twisted stigmas. In most species, the fruit is a winged capsule containing numerous minute seeds, although baccate fruits are also known. The leaves, which are often large and variously marked or variegated, are usually asymmetric (unequal-sided).


title: Begonia

text: The genus name "Begonia" was coined by Charles Plumier, a French patron of botany, and adopted by Linnaeus in 1753, to honor Michel Bégon, a former governor of the French colony of Saint-Domingue (now Haiti).


title: Begonia

text: The different groups of begonias have different cultural requirements, but most species come from tropical regions, so they and their hybrids require warm temperatures. Most are forest understory plants and require bright shade; few will tolerate full sun, especially in warmer climates. In general, begonias require a well-drained growing medium that is neither constantly wet nor allowed to dry out completely. Many begonias will grow and flower year-round except for tuberous begonias, which usually have a dormant period. During this dormant period, the tubers can be stored in a cool, dry place. Begonias of the semperflorens group (or wax begonias) are frequently grown as bedding plants outdoors. Wax begonias are very attractive, they adapt well when brought inside the house for overwintering and can live up to 4-5 years.


title: Begonia

text: A recent group of hybrids derived from this group is marketed as "Dragonwing" begonias; they are much larger both in leaf and in flower. Tuberous begonias are frequently used as container plants. Although most "Begonia" species are tropical or subtropical in origin, the Chinese species "B. grandis" is hardy to USDA hardiness zone 6 and is commonly known as the "hardy begonia". Most begonias can be grown outdoors year-round in subtropical or tropical climates, but in temperate climates, begonias are grown outdoors as annuals, or as house or greenhouse plants.


title: Begonia

text: Most begonias are easily propagated by division or from stem cuttings. In addition, some can be propagated from leaf cuttings or even sections of leaves, particularly the members of the rhizomatous and rex groups.


title: Begonia

text: The nomenclature of begonias can be very complex and confusing. The term 'picotee' refers to edging on the petals that is in contrast to the color of the main petal if the colors blend. If they do not, then the term 'marginata' is used, but sometimes these terms are used simultaneously. 'Non-Stop' refers to a camellia tuberous hybrid that under certain conditions will bloom 'non-stop' all year round.


title: Begonia

text: Because of their sometimes showy flowers of white, pink, scarlet, or yellow color and often attractively marked leaves, many species and innumerable hybrids and cultivars are cultivated. The genus is unusual in that species throughout the genus, even those coming from different continents, can frequently be hybridized with each other, and this has led to an enormous number of cultivars. The American Begonia Society classifies begonias into several major groups:


title: Begonia

text: For the most part, these groups do not correspond to any formal taxonomic groupings or phylogeny, and many species and hybrids have characteristics of more than one group or do not fit well in any of them.


title: Begonia

text: The following is a selection from about 70 species, varieties and cultivars which currently hold the Royal Horticultural Society's Award of Garden Merit:-


title: Begonia

text: Most begonias are sour to the taste, and some people in some areas eat them. This is safe in small amounts but potentially toxic in large quantities due to the prevalence of oxalic acid in the tissues.


title: The Blacklist (season 7)

text: The seventh season of the American crime thriller television series "The Blacklist" premiered on NBC on Friday, October 4, 2019 at 8.00 p.m. The season was originally set to contain 22 episodes. The impact of the COVID-19 pandemic forced the show to shut down production; the season was cut to 19 episodes, with the season finale containing some animated sections to complete the episode.


title: The Blacklist (season 7)

text: The series continues to be produced by Davis Entertainment, Universal Television and Sony Pictures Television, and executive produced by Jon Bokenkamp, John Davis, John Eisendrath, John Fox and Joe Carnahan.


title: The Blacklist (season 7)

text: At the end of previous season, Raymond (James Spader) is kidnapped by Katarina Rostova (Laila Robins), Liz's mother and former Russian agent who wants the informations about being framed by her closest people and hunted by Townsend's Directive. Her conflict with him also enters the conflict with Elizabeth and FBI Task Force. During the season, Katarina disguises as friendly neighbour to Liz to enter into her life. When Liz discovers more about her past and relationships with Raymond, her father Dom Wilkinson (Brian Dennehy), and Ilya Kozlov (Brett Cullen), this forces her to choose the side: Raymond or Rostova.


title: The Blacklist (season 7)

text: In March 2019, NBC renewed the series for a seventh season, with the original cast set to reprise their roles. On March 14, 2020, Sony Pictures Television suspended production on the series following the COVID-19 pandemic. The final episode utilizes animation to complete the episode, as it had been in the middle of filming when production was suspended. The actors were able to record dialogue for the animation from their homes. The producers considered having the cast "read their lines while an old fashioned radio appeared on the TV screen, or just putting voiceover to still comic book frames" before settling on fully animated sequences. Thought bubbles and text boxes were also added "to help bridge the gap" between the animated sequences and the live action footage. The animation was created by previsualization studio Proof, Inc in London and Atlanta, and was made to look like the style of "The Blacklist" comics and old Batman comics. 35 artists worked to create approximately 20 minutes of footage for the episode. Additionally, the plots from the three unproduced episodes were being considered for season eight.


title: The Blacklist (season 7)

text: Laura Sohn joined the cast as a new Task Force member Alina Park. Joely Richardson had been cast as Cassandra Bianchi. The character has been described as "elegant, charming and ruthless", and is a former lover of Raymond Reddington.


title: Dots per inch

text: Dots per inch (DPI, or dpi) is a measure of spatial printing, video or image scanner dot density, in particular the number of individual dots that can be placed in a line within the span of . Similarly, dots per centimetre (d/cm or dpcm) refers to the number of individual dots that can be placed within a line of .


title: Dots per inch

text: DPI is used to describe the resolution number of dots per inch in a digital print and the printing resolution of a hard copy print dot gain, which is the increase in the size of the halftone dots during printing. This is caused by the spreading of ink on the surface of the media.


title: Dots per inch

text: Up to a point, printers with higher DPI produce clearer and more detailed output. A printer does not necessarily have a single DPI measurement; it is dependent on print mode, which is usually influenced by driver settings. The range of DPI supported by a printer is most dependent on the print head technology it uses. A dot matrix printer, for example, applies ink via tiny rods striking an ink ribbon, and has a relatively low resolution, typically in the range of . An inkjet printer sprays ink through tiny nozzles, and is typically capable of 300–720 DPI. A laser printer applies toner through a controlled electrostatic charge, and may be in the range of 600 to 2,400 DPI.


title: Dots per inch

text: The DPI measurement of a printer often needs to be considerably higher than the pixels per inch (PPI) measurement of a video display in order to produce similar-quality output. This is due to the limited range of colours for each dot typically available on a printer. At each dot position, the simplest type of color printer can either print no dot, or print a dot consisting of a fixed volume of ink in each of four color channels (typically CMYK with cyan, magenta, yellow and black ink) or 2 = 16 colours on laser, wax and most inkjet printers, of which only 14 or 15 (or as few as 8 or 9) may be actually discernible depending on the strength of the black component, the strategy used for overlaying and combining it with the other colours, and whether it is in "color" mode.


title: Dots per inch

text: Higher-end inkjet printers can offer 5, 6 or 7 ink colours giving 32, 64 or 128 possible tones per dot location (and again, it can be that not all combinations will produce a unique result). Contrast this to a standard sRGB monitor where each pixel produces 256 intensities of light in each of three channels (RGB).


title: Dots per inch

text: While some color printers can produce variable drop volumes at each dot position, and may use additional ink-color channels, the number of colours is still typically less than on a monitor. Most printers must therefore produce additional colours through a halftone or dithering process, and rely on their base resolution being high enough to "fool" the human observer's eye into perceiving a patch of a single smooth colour.


title: Dots per inch

text: The exception to this rule is dye-sublimation printers, which can apply a much more variable amount of dye—close to or exceeding the number of the 256 levels per channel available on a typical monitor—to each "pixel" on the page without dithering, but with other limitations:


title: Dots per inch

text: These disadvantages mean that, despite their marked superiority in producing good photographic and non-linear diagrammatic output, dye-sublimation printers remain niche products, and thus other devices using higher resolution, lower color depth, and dither patterns remain the norm.


title: Dots per inch

text: This dithered printing process could require a region of four to six dots (measured across each side) in order to faithfully reproduce the color in a single pixel. An image that is 100 pixels wide may need to be 400 to 600 dots in width in the printed output; if a 100 × 100-pixel image is to be printed in a one-inch square, the printer must be capable of 400 to 600 dots per inch to reproduce the image. Fittingly, 600 dpi (sometimes 720) is now the typical output resolution of entry-level laser printers and some utility inkjet printers, with 1200–1440 and 2400–2880 being common "high" resolutions. This contrasts with the 300–360 (or 240) dpi of early models, and the approximate 200 dpi of dot-matrix printers and fax machines, which gave faxed and computer-printed documents—especially those that made heavy use of graphics or coloured block text—a characteristic "digitized" appearance, because of their coarse, obvious dither patterns, inaccurate colours, loss of clarity in photographs, and jagged ("aliased") edges on some text and line art.


title: Dots per inch

text: In printing, DPI (dots per inch) refers to the output resolution of a printer or imagesetter, and PPI (pixels per inch) refers to the input resolution of a photograph or image.


title: Dots per inch

text: "DPI" refers to the physical dot density of an image when it is reproduced as a real physical entity, for example printed onto paper. A digitally stored image has no inherent physical dimensions, measured in inches or centimetres. Some digital file formats record a DPI value, or more commonly a PPI (pixels per inch) value, which is to be used when printing the image. This number lets the printer or software know the intended size of the image, or in the case of scanned images, the size of the original scanned object. For example, a bitmap image may measure 1,000 × 1,000 pixels, a resolution of 1 megapixel. If it is labelled as 250 PPI, that is an instruction to the printer to print it at a size of 4 × 4 inches. Changing the PPI to 100 in an image editing program would tell the printer to print it at a size of 10 × 10 inches. However, changing the PPI value would not change the size of the image in pixels which would still be 1,000 × 1,000. An image may also be resampled to change the number of pixels and therefore the size or resolution of the image, but this is quite different from simply setting a new PPI for the file.


title: Dots per inch

text: For vector images, there is no equivalent of resampling an image when it is resized, and there is no PPI in the file because it is resolution independent (prints equally well at all sizes). However, there is still a target printing size. Some image formats, such as Photoshop format, can contain both bitmap and vector data in the same file. Adjusting the PPI in a Photoshop file will change the intended printing size of the bitmap portion of the data and also change the intended printing size of the vector data to match. This way the vector and bitmap data maintain a consistent size relationship when the target printing size is changed. Text stored as outline fonts in bitmap image formats is handled in the same way. Other formats, such as PDF, are primarily vector formats which can contain images, potentially at a mixture of resolutions. In these formats the target PPI of the bitmaps is adjusted to match when the target print size of the file is changed. This is the converse of how it works in a primarily bitmap format like Photoshop, but has exactly the same result of maintaining the relationship between the vector and bitmap portions of the data.


title: Dots per inch

text: Since the 1980s, Apple Macintosh computers have set the default display "DPI" to 72 PPI, while the Microsoft Windows operating system has used a default of 96 PPI. These default specifications arose out of the problems rendering standard fonts in the early display systems of the 1980s, including the IBM-based CGA, EGA, VGA and 8514 displays as well as the Macintosh displays featured in the 128K computer and its successors. The choice of 72 PPI by Macintosh for their displays arose from existing convention: the official 72 "points per inch" mirrored the 72 "pixels per inch" that appeared on their display screens. (Points are a physical unit of measure in typography, dating from the days of printing presses, where 1 point by the modern definition is of the international inch (25.4 mm), which therefore makes 1 point approximately 0.0139 in or 352.8 µm). Thus, the 72 pixels per inch seen on the display had exactly the same physical dimensions as the 72 points per inch later seen on a printout, with 1 pt in printed text equal to 1 px on the display screen. As it is, the Macintosh 128K featured a screen measuring 512 pixels in width by 342 pixels in height, and this corresponded to the width of standard office paper (512 px ÷ 72 px/in ≈ 7.1 in, with a 0.7 in margin down each side when assuming  in × 11 in North American paper size; in the rest of the world, it is 210 mm × 297 mm – called A4. B5 is 176 mm × 250 mm).


title: Dots per inch

text: A consequence of Apple's decision was that the widely used 10-point fonts from the typewriter era had to be allotted 10 display pixels in em height, and 5 display pixels in "x-height". This is technically described as 10 "pixels per em" ("PPEm"). This made 10-point fonts be rendered crudely and made them difficult to read on the display screen, particularly the lowercase characters. Furthermore, there was the consideration that computer screens are typically viewed (at a desk) at a distance 30% greater than printed materials, causing a mismatch between the perceived sizes seen on the computer screen and those on the printouts.


title: Dots per inch

text: Microsoft tried to solve both problems with a hack that has had long-term consequences for the understanding of what DPI and PPI mean. Microsoft began writing its software to treat the screen as though it provided a PPI characteristic that is of what the screen actually displayed. Because most screens at the time provided around 72 PPI, Microsoft essentially wrote its software to assume that every screen provides 96 PPI (because 72 × = 96). The short-term gain of this trickery was twofold:


title: Dots per inch

text: Thus, for example, a 10-point font on a Macintosh (at 72 PPI) was represented with 10 pixels (i.e., 10 PPEm), whereas a 10-point font on a Windows platform (at 96 PPI) at the same zoom level is represented with 13 pixels (i.e., Microsoft rounded to 13 pixels, or 13 PPEm) – and, on a typical consumer grade monitor, would have physically appeared around to inch high instead of . Likewise, a 12-point font was represented with 12 pixels on a Macintosh, and 16 pixels (or a physical display height of maybe inch) on a Windows platform at the same zoom, and so on. The negative consequence of this standard is that with 96 PPI displays, there is no longer a one-to-one relationship between the font size in pixels and the printout size in points. This difference is accentuated on more recent displays that feature higher pixel densities. This has been less of a problem with the advent of vector graphics and fonts being used in place of bitmap graphics and fonts. Moreover, many Windows software programs have been written since the 1980s which assume that the screen provides 96 PPI. Accordingly, these programs do not display properly at common alternative resolutions such as 72 PPI or 120 PPI. The solution has been to introduce two concepts:


title: Dots per inch

text: Software programs render images to the virtual screen and then the operating system renders the virtual screen onto the physical screen. With a logical PPI of 96 PPI, older programs can still run properly regardless of the actual physical PPI of the display screen, although they may exhibit some visual distortion thanks to the effective 133.3% pixel zoom level (requiring either that every third pixel be doubled in width/height, or heavy-handed smoothing be employed).


title: Dots per inch

text: Displays with high pixel densities were not common up to the Windows XP era. High DPI displays became mainstream around the time Windows 8 was released. Display scaling by entering a custom DPI irrespective of the display resolution has been a feature of Microsoft Windows since Windows 95. Windows XP introduced the GDI+ library which allows resolution-independent text scaling.


title: Dots per inch

text: Windows Vista introduced support for programs to declare themselves to the OS that they are high-DPI aware via a manifest file or using an API. For programs that do not declare themselves as DPI-aware, Windows Vista supports a compatibility feature called DPI virtualization so system metrics and UI elements are presented to applications as if they are running at 96 DPI and the Desktop Window Manager then scales the resulting application window to match the DPI setting. Windows Vista retains the Windows XP style scaling option which when enabled turns off DPI virtualization for all applications globally. DPI virtualization is a compatibility option as application developers are all expected to update their apps to support high DPI without relying on DPI virtualization.


title: Dots per inch

text: Windows Vista also introduces Windows Presentation Foundation. WPF .NET applications are vector-based, not pixel-based and are designed to be resolution-independent. Developers using the old GDI API and Windows Forms on .NET Framework runtime need to update their apps to be DPI aware and flag their applications as DPI-aware.


title: Dots per inch

text: Windows 7 adds the ability to change the DPI by doing only a log off, not a full reboot and makes it a per-user setting. Additionally, Windows 7 reads the monitor DPI from the EDID and automatically sets the system DPI value to match the monitor's physical pixel density, unless the effective resolution is less than 1024 × 768.


title: Dots per inch

text: In Windows 8, only the DPI scaling percentage is shown in the DPI changing dialog and the display of the raw DPI value has been removed. In Windows 8.1, the global setting to disable DPI virtualization (only use XP-style scaling) is removed and a per-app setting added for the user to disable DPI virtualization from the Compatibility tab. When the DPI scaling setting is set to be higher than 120 PPI (125%), DPI virtualization is enabled for all applications unless the application opts out of it by specifying a DPI aware flag (manifest) as "true" inside the EXE. Windows 8.1 retains a per-application option to disable DPI virtualization of an app. Windows 8.1 also adds the ability for different displays to use independent DPI scaling factors, although it calculates this automatically for each display and turns on DPI virtualization for all monitors at any scaling level.


title: Dots per inch

text: There are some ongoing efforts to abandon the DPI Image resolution unit in favour of a metric unit, giving the inter-dot spacing in dots per centimetre (px/cm or dpcm), as used in CSS3 media queries or micrometres (µm) between dots. A resolution of 72 DPI, for example, equals a resolution of about 28 dpcm or an inter-dot spacing of about 353 µm.


title: Klingon

text: The Klingons ( ; Klingon: "tlhIngan" ) are a fictional species in the science fiction franchise "Star Trek".


title: Klingon

text: Developed by screenwriter Gene L. Coon in 1967 for the , Klingons were swarthy humanoids characterized by prideful ruthlessness and brutality. Klingons practiced feudalism and authoritarianism, with a warrior caste relying on slave labor. With a greatly expanded budget for makeup and effects, the Klingons were completely redesigned for "" (1979), acquiring ridged foreheads. In subsequent television series and in later films, the militaristic traits of the Klingons were bolstered by an increased sense of honor and strict warrior code similar to those of bushido.


title: Klingon

text: Klingons are recurring antagonists in the 1960s television series "", and have appeared in all subsequent series, along with ten of the "Star Trek" feature films. Initially intended to be antagonists for the crew of the USS "Enterprise", the Klingons became a close ally of humanity in "". In the 1990s series "", humans and Klingons join with the Romulans to fight the Dominion.


title: Klingon

text: Among the elements created for the revised Klingons was a complete Klingon language, developed by Marc Okrand from gibberish suggested by actor James Doohan. Spoken Klingon has entered popular culture, even to the extent that some of the works of William Shakespeare and parts of the Bible have been translated into it. A dictionary, a book of sayings, and a cultural guide to the language have been published. According to the "Guinness World Records", Klingon is the world's most popular fictional language as measured by number of speakers.


title: Klingon

text: The Klingons were created by screenwriter Gene L. Coon, and first appeared in the "Star Trek" episode "Errand of Mercy" (1967). They were named after Lieutenant Wilbur Clingan, who served with "Star Trek" creator Gene Roddenberry in the Los Angeles Police Department. In the original television series ("TOS"), Klingons were typically portrayed with bronze skin and facial hair suggestive of Asian people and possessed physical abilities similar to humans (in fact, Coon's only physical description of them in his "Errand of Mercy" script is "oriental" and "hard-faced"). The swarthy look of Klingon males was created with the application of shoe polish and long, thin moustaches; budget constraints limited creativity. The overall look of the aliens, played by white actors, suggested orientalism, at a time when memories of Japanese actions during World War II were still fresh. The production crew never came to an agreement on the name "Klingon"; Coon was adamant about keeping the name, and it persisted because no one else offered up a better name.


title: Klingon

text: The Klingons took on the role of the Soviet Union with the fictional government the United Federation of Planets playing the role of the United States. As a result, the Klingons were generally portrayed as inferior to the crew of the "Enterprise". While occasionally capable of honor, this depiction treated the Klingons as close to wild animals. Overall, they were shown without redeeming qualities—brutish, scheming, and murderous. Klingons became the primary antagonists of the "Enterprise" crew, in part because the makeup necessary to make another alien race, the Romulans, was too time-consuming and costly.


title: Klingon

text: For the first two seasons, no Klingon ships were seen despite being frequently mentioned. This was because of budget constraints; designer Matt Jefferies did not have the money to create a Klingon ship until the third season. When the episodes were , Klingon ships were digitally inserted into shots earlier than their original appearances.


title: Klingon

text: For "" (1979), the Klingons' appearance was radically changed. To give the aliens a more sophisticated and threatening demeanor, the Klingons were depicted with ridged foreheads, snaggled and prominent teeth, and a defined language and alphabet. Lee Cole, a production designer, used red gels and primitive shapes in the design of Klingon consoles and ship interiors, which took on a dark and moody atmosphere. The alphabet was designed as angular, with sharp edges alluding to the Klingons' militaristic focus. Costume designer Robert Fletcher created new uniforms for the Klingons, reminiscent of feudal Japanese armor.


title: Klingon

text: Certain elements of Klingon culture, resembling Japanese culture with honor at the forefront, were actually first explored with the script for the planned two-part "Kitumba" episode for the unproduced 1978 "" series. Writer John Meredyth Lucas said, "I wanted something that we had never seen before on the series, and that's a penetration deep into enemy space. I started to think of how the Klingons lived. Obviously for the Romulans we had Romans, and we've had different cultures modeled on those of ancient Earth, but I tried to think of what the Klingon society would be like. The Japanese came to mind, so basically that's what it was, with the Sacred Emperor, the Warlord and so on."


title: Klingon

text: While no Klingon characters were seen in "", their appearance as the central enemy in "" (1984) led to minor alterations. For the third generation of Klingons, the heavy, cragged head ridges of "The Motion Picture" were redesigned and made less pronounced. While Fletcher was happy with the original film uniforms, more had to be created as the old costumes had been lost, destroyed, or loaned out and altered irreparably. New costumes were fabricated, retaining the air of feudal Japanese design; Fletcher thought it was an important part of the Klingon authoritarian attitude. New Klingon weaponry was designed, including an energy weapon and a special knife known as a "d'k tahg".


title: Klingon

text: The release of a new television series, "", prompted a further revision in the depiction of Klingon culture, though Gene Roddenberry had wanted to avoid re-appearances of races from the old series. Set a century later than the original series, the USS "Enterprise"-D featured a Klingon crewmember, Worf. Makeup artist Michael Westmore needed a consistent reference to base the Klingon look on, as each individual Klingon was to have distinct head ridges. He found what he was looking for in a book of dinosaurs: observing dinosaur vertebrae laid out flat, Westmore cut the designs in half and modified them to suit each Klingon. Westmore designed his Klingons' beards to be Elizabethan, combining prehistoric and aristocratic elements to give audiences a feeling of depth from the appearance. Over time, Westmore and the other makeup artists designed different sizes of prosthetic headpieces which could be quickly applied and modified to save time; the amount of preparation to turn an actor into a Klingon decreased from around three hours to one. While important characters had custom headpieces, background actors used pre-made masks with minor touchup around the eyes and mouth. "The Next Generation" effects artist Dan Curry used his martial arts experience to create a flowing fighting style for the race. When the episode "" called for a special Klingon blade, Curry drew on Far East influences to develop a weapon known as the "batleth". Curry, a collector of weapons, was annoyed by fictional weaponry that was designed to "look cool" but could not be handled practically. Curry combined elements of the Himalayan "kukri", Chinese axes and fighting crescents to create a two-handed, curved weapon that has since been widely used in the franchise.


title: Klingon

text: The culture of the Klingons began to resemble revised western stereotypes of civilizations such as the Zulu, the Vikings, and various Native American nations — as a proud, warlike and principled race. Whereas the "TOS" Klingons served as an allegory to contemporary totalitarian regimes, "The Next Generation" Klingons held principles more in line with Bushidō; actor Michael Dorn stated that without the revision in Klingon culture, his character, Worf, would not have been a Starfleet officer. With the first Klingon-centric story in "The Next Generation", the first-season episode "Heart of Glory", the Klingons once again became an important part of the Star Trek universe, and by the advent of the series "", Klingons had become heroes rather than villains, though often at cross purposes to the Federation.


title: Klingon

text: The final "Star Trek" film to feature the entire cast from the original television series, "" (1991), served to bridge the original series' Klingons at war with the Federation to the time of "The Next Generation" and presents a subtly different treatment of the race. At the time of the film's development, the Soviet Union was collapsing, and with the advent of glasnost, the old allegory of Klingons as Russians was becoming obsolete. The Klingons were redesigned to evoke the Nazis, with the red, white and black Klingon flag deliberately similar to that of the Nazi Party. The Klingons in the film liberally quote Shakespeare, a trait stemming from director Nicholas Meyer's comparison of the Empire's appropriation of Shakespeare to the Nazis' similar attempt in the 1930s. Meyer also felt it was apropos for Shakespearean actors such as Christopher Plummer and David Warner to speak the lines. The breakdown of the Klingons' empire because of a Chernobyl-like incident results in a new age for the Federation and Klingons, leading to the time of "The Next Generation" and later series where the two governments are trade partners and occasional allies. Starfleet members are shown to be highly bigoted against Klingons, who in turn feel that their way of life will be obliterated by peace. The Klingons were given new uniforms designed by Dodie Shepard, in part because there were not enough of Fletcher's "The Motion Picture" costumes to meet the demands of the film.


title: Klingon

text: Dorn described playing a Klingon as simple, joking that after hours sitting in a makeup chair, actors were highly motivated to get the dialogue right the first time. Repeat Klingon Robert O'Reilly told all neophyte Klingons that the most important part of speaking was to say the lines with belief and "go all the way". When O'Reilly and Dorn's character had a confrontation, makeup artists wiped spittle off each between takes, a consequence of the harsh-sounding language. Todd Bryant (Captain Klaa in "") similarly noted that if an actor was projectile-spitting on others as he spoke Klingon, he was doing a great job.


title: Klingon

text: When filming "The Undiscovered Country", Christopher Plummer asked director Nicholas Meyer to adapt his character's look, feeling the heavy forehead appliances looked rather fake. Instead, Plummer's character, General Chang, was made bald with subdued ridges and an eyepatch bolted to his skull. Plummer felt that the unique appearance helped "humanize" the character. In contrast to white actors portraying the warriors, more recent Klingon roles have been predominantly played by black actors.


title: Klingon

text: For "", the Klingon appearance was once again modified with more extensive facial and teeth prosthetics and elongated craniums. The new Klingons were initially bald, in contrast with the previous depictions, but this was retconned in season 2. The lack of hair was said to have been ceremonial during the time of war with the Federation, harking back to the tale of Kahless having cut off a lock of hair to forge the first bat'leth. They also have black and purple skin color variations.


title: Klingon

text: According to the official "Star Trek" web site, the Klingons' varying appearance was "probably the single most popular topic of conversation among "Star Trek" fans".


title: Klingon

text: While the real reason for the discrepancy between "The Original Series" Klingons and their feature film and later television series counterparts was a lack of budget, fans took it upon themselves to contrive an acceptable canon reason for the sudden change.