title: Succinic acid

text: Succinate is one of three oncometabolites, metabolic intermediates whose accumulation causes metabolic and non-metabolic dysregulation implicated in tumorigenesis. Loss-of-function mutations in the genes encoding succinate dehydrogenase, frequently found in hereditary paraganglioma and pheochromocytoma, cause pathological increase in succinate. SDH mutations have also been identified in gastrointestinal stromal tumors, renal tumors, thyroid tumors, testicular seminomas and neuroblastomas. The oncogenic mechanism caused by mutated SHD is thought to relate to succinate's ability to inhibit 2-oxogluterate-dependent dioxygenases. Inhibition of KDMs and TET hydroxylases results in epigenetic dysregulation and hypermethylation affecting genes involved in cell differentiation. Additionally, succinate-promoted activation of HIF-1α generates a pseudo-hypoxic state that can promote tumorneogensis by transcriptional activation of genes involved in proliferation, metabolism and angiogenesis. The other two oncometabolites, fumarate and 2-hydroxyglutarate have similar structures to succinate and function through parallel HIF-inducing oncogenic mechanisms.


title: Succinic acid

text: Succinate accumulation under hypoxic conditions has been implicated in the reperfusion injury through increased ROS production. During ischemia, succinate accumulates. Upon reperfusion, succinate is rapidly oxidized leading to abrupt and extensive production of ROS. ROS then trigger the cellular apoptotic machinery or induce oxidative damage to proteins, membranes, organelles etc. In animal models, pharmacological inhibition of ischemic succinate accumulation ameliorated ischemia-reperfusion injury. As of 2016 the inhibition of succinate-mediated ROS production was under investigation as a therapeutic drug target.


title: Suicide (Durkheim book)

text: Suicide: A Study in Sociology () is an 1897 book written by French sociologist Émile Durkheim. It was the first methodological study of a social fact in the context of society. It is ostensibly a case study of suicide, a publication unique for its time that provided an example of what the sociological monograph should look like.


title: Suicide (Durkheim book)

text: In Durkheim's view, suicide comes in four types, which are based on the degrees of imbalance of two social forces: social integration and moral regulation. Durkheim noted the effects of various crises on social aggregates—war, for example, leading to an increase in altruism, economic boom or disaster contributing to anomie.


title: Suicide (Durkheim book)

text: Egoistic suicide reflects a prolonged sense of not belonging, of not being integrated in a community. It results from the suicide's sense that they have no tether. This absence can give rise to meaninglessness, apathy, melancholy, and depression.


title: Suicide (Durkheim book)

text: Durkheim calls such detachment "excessive individuation." Those individuals who were not sufficiently bound to social groups (and therefore well-defined values, traditions, norms, and goals) were left with little social support or guidance, and were therefore more likely to commit suicide. Durkheim found that suicide occurred more often among unmarried people, especially unmarried men, whom he found had less to bind and connect them to stable social norms and goals.


title: Suicide (Durkheim book)

text: Altruistic suicide is characterized by a sense of being overwhelmed by a group's goals and beliefs. It occurs in societies with high integration, where individual needs are seen as less important than the society's needs as a whole. They thus occur on the opposite integration scale as egoistic suicide. As individual interest would not be considered important, Durkheim stated that in an altruistic society there would be little reason for people to commit suicide. He described one exception: when the individual is expected to kill themself on behalf of society, for example in military service. Individual is overly attached to the society.


title: Suicide (Durkheim book)

text: Anomic suicide reflects an individual's moral confusion and lack of social direction, which is related to dramatic social and economic upheaval. It is the product of moral deregulation and a lack of definition of legitimate aspirations through a restraining social ethic, which could impose meaning and order on the individual conscience. This is symptomatic of a failure of economic development and division of labour to produce Durkheim's organic solidarity. People do not know where they fit within their societies. Durkheim explains that this is a state of moral disorder where people do not know the limits on their desires and are constantly in a state of disappointment. This can occur when they go through extreme changes in wealth; while this includes economic ruin, it can also include windfall gains—in both cases, previous expectations from life are brushed aside and new expectations are needed before they can judge their new situation in relation to the new limits.


title: Suicide (Durkheim book)

text: Fatalistic suicide occurs when a person is excessively regulated, when their futures are pitilessly blocked and passions violently choked by oppressive discipline. It is the opposite of anomic suicide, and occurs in societies so oppressive their inhabitants would rather die than live on. For example, some prisoners might prefer to die than live in a prison with constant abuse and excessive regulation. Unlike the other concepts he developed, Durkheim believed that fatalistic suicide was theoretical and probably did not exist in reality.


title: Suicide (Durkheim book)

text: He also concluded that, the higher the education level, the more likely it was that an individual would choose suicide. However, Durkheim established that there is more correlation between an individual's religion and suicide rate than an individual's education level. Jewish people were generally highly educated but had a low suicide rate.


title: Suicide (Durkheim book)

text: Durkheim has been accused of committing an ecological fallacy, since Durkheim's conclusions are apparently about individual behaviour (e.g. suicide), although they are derived from aggregate statistics (the suicide rate among Protestants and Catholics). This type of inference, which explains particular events (the "micro") in terms of statistical data (the "macro"), is often misleading, as Simpson's paradox shows.


title: Suicide (Durkheim book)

text: However, diverging views have contested whether Durkheim's work really contained an ecological fallacy. Van Poppel and Day (1996) argue that differences in reported suicide rates between Catholics and Protestants could be explained entirely in terms of how these two groups record deaths. Protestants would record "sudden deaths" and "deaths from ill-defined or unspecified cause" as suicides, while Catholics would not. If so, then Durkheim's error was empirical, not logical. Inkeles (1959), Johnson (1965), and Gibbs (1958) claimed that Durkheim only intended to explain suicide "sociologically," within a holistic perspective, emphasizing that "he intended his theory to explain variation among social environments in the incidence of suicide, not the suicides of particular individuals".


title: Suicide (Durkheim book)

text: More recently, Berk (2006) questions the micro–macro relations underlying criticisms of Durkheim's work. He notices that


title: Suicide (Durkheim book)

text: Durkheim explores the differing suicide rates among Protestants and Catholics, arguing that stronger social control among Catholics results in lower suicide rates. According to Durkheim, Catholic society has normal levels of integration while Protestant society has low levels.


title: Suicide (Durkheim book)

text: This interpretation has been contested. Durkheim may have over-generalized. He took most of his data from earlier researchers, notably Adolph Wagner and Henry Morselli, but they had been more careful in generalizing from their data. Indeed, later researchers found that the Protestant–Catholic differences in suicide seemed to be limited to German-speaking Europe, thus suggesting a need to account for other contributing factors. Despite its limitations, Durkheim's work on suicide has influenced proponents of control theory, and is often mentioned as a classic sociological study.


title: Staff (music)

text: In Western musical notation, the staff (US and UK) or stave (UK) (plural: staffs or staves) is a set of five horizontal lines and four spaces that each represent a different musical pitch or in the case of a percussion staff, different percussion instruments. Appropriate music symbols, depending on the intended effect, are placed on the staff according to their corresponding pitch or function. Musical notes are placed by pitch, percussion notes are placed by instrument, and rests and other symbols are placed by convention.


title: Staff (music)

text: The absolute pitch of each line of a non-percussive staff is indicated by the placement of a clef symbol at the appropriate vertical position on the left-hand side of the staff (possibly modified by conventions for specific instruments). For example, the treble clef, also known as the G clef, is placed on the second line (counting upward), fixing that line as the pitch first G above "middle C".


title: Staff (music)

text: The lines and spaces are numbered from bottom to top; the bottom line is the "first line" and the top line is the "fifth line".


title: Staff (music)

text: The musical staff is analogous to a mathematical graph of pitch with respect to time. Pitches of notes are given by their vertical position on the staff and notes are played from left to right. Unlike a graph, however, the number of semitones represented by a vertical step from a line to an adjacent space depends on the key, and the exact timing of the beginning of each note is not directly proportional to its horizontal position; rather, exact timing is encoded by the musical symbol chosen for each note in addition to the tempo.


title: Staff (music)

text: A time signature to the right of the clef indicates the relationship between timing counts and note symbols, while bar lines group notes on the staff into measures.


title: Staff (music)

text: "Staff" is more common than "stave" in both American English and British English. The plural of "staff" is "staffs" or "staves" in both American and British English. ("Stave" is, in fact, a back-formation from "staves".) In addition to the pronunciations expected from the spellings, both plural forms are also pronounced in American English.


title: Staff (music)

text: The vertical position of the notehead on the staff indicates which note to play: higher-pitched notes are marked higher on the staff. The notehead can be placed with its center intersecting a line ("on a line") or in between the lines touching the lines above and below ("in a space"). Notes outside the range of the staff are placed on or between ledger lines—lines the width of the note they need to hold—added above or below the staff.


title: Staff (music)

text: Which staff positions represent which notes is determined by a clef placed at the beginning of the staff. The clef identifies a particular line as a specific note, and all other notes are determined relative to that line. For example, the treble clef puts the G above middle C on the second line. The interval between adjacent staff positions is one step in the diatonic scale. Once fixed by a clef, the notes represented by the positions on the staff can be modified by the key signature or accidentals on individual notes. A clefless staff may be used to represent a set of percussion sounds; each line typically represents a different instrument.


title: Staff (music)

text: A vertical line drawn to the left of multiple staves creates a system, indicating that the music on all the staves is to be played simultaneously. A bracket is an additional vertical line joining staves to show groupings of instruments that function as a unit, such as the string section of an orchestra. A brace is used to join multiple staves that represent an instrument, such as a piano, organ, harp, or marimba. Sometimes a second bracket is used to show instruments grouped in pairs, such as the first and second oboes or first and second violins in an orchestra. In some cases, a brace is used for this purpose.


title: Staff (music)

text: When more than one system appears on a page, often two parallel diagonal strokes are placed on the left side of the score to separate them.


title: Staff (music)

text: Four-part SATB vocal settings, especially in hymnals, use a "divisi" notation on a two-staff system with soprano and alto voices sharing the upper staff and tenor and bass voices on the lower staff.


title: Staff (music)

text: Confusingly, the German "System" (often in the combined forms "Liniensystem" or "Notensystem") may refer to a single staff as well as to the "Akkolade" (from the French) or system in the English sense; the Italian term is "accollatura".


title: Staff (music)

text: When music on two staves is joined by a brace, or is intended to be played at once by a single performer (usually a keyboard instrument or harp), a grand staff (American English) or great stave (British English) is created. Typically, the upper staff uses a treble clef and the lower staff has a bass clef. In this instance, middle C is centered between the two staves, and it can be written on the first ledger line below the upper staff or the first ledger line above the lower staff. Very rarely, a centered line with a small C clef is written, and usually used to indicate that B, C, or D on the line can be played with either hand (ledger lines are not used from a center alto as this creates confusion). When playing the piano or harp, the upper staff is normally played with the right hand and the lower staff with the left hand. In music intended for organ with pedalboard, a grand staff normally comprises three staves, one for each hand on the manuals and one for the feet on the pedalboard.


title: Staff (music)

text: Early Western medieval notation was written with neumes, which did not specify exact pitches but only the shape of the melodies, i.e. indicating when the musical line went up or down; presumably these were intended as mnemonics for melodies which had been taught by rote.


title: Staff (music)

text: During the 9th through 11th centuries a number of systems were developed to specify pitch more precisely, including diastematic neumes whose height on the page corresponded with their absolute pitch level (Longobardian and Beneventan manuscripts from Italy show this technique around the year 1000). Digraphic notation, using letter names similar to modern note names in conjunction with the neumes, made a brief appearance in a few manuscripts, but a number of manuscripts used one or more horizontal lines to indicate particular pitches.


title: Staff (music)

text: The treatise "Musica enchiriadis" () uses Daseian notation for indicating specific pitches, but the modern use of staff lines is attributed to Guido d'Arezzo (990–1050), whose four-line staff is still used (though without the red and yellow coloring he recommended) in Gregorian chant publications today. Five-line staves appeared in Italy in the 13th century and it was promoted by Ugolino da Forlì; staves with four, five, and six lines were used as late as 1600.


title: Mark Rogowski

text: Mark Anthony "Gator" Rogowski (born August 10, 1966) is an American former professional skateboarder who was convicted of murder. He was mainly prominent in the 1980s and early 1990s. Rogowski's career ended when he pled guilty for assaulting, raping and murdering Jessica Bergsten in 1991. His life was chronicled in a critically acclaimed 2003 documentary titled "Stoked: The Rise and Fall of Gator" by American filmmaker Helen Stickler.


title: Mark Rogowski

text: Rogowski was born in Brooklyn, New York, but he moved to Escondido, California, at the age of three after his parents divorced. Rogowski was a gifted athlete, playing little league baseball in his youth. Rogowski started to skateboard at age seven and, while most of his friends were into surfing, he eventually started to hang out at skate parks several years later. In 1978 after 2 years of skating local parks, 12 year old Rogowski was picked up by a local skate team.


title: Mark Rogowski

text: Rogowski started his professional skateboarding career in 1980 at age 14. In 1982, he won his first major contest, the Canadian Amateur Skateboarding Championships in Vancouver, British Columbia, Canada. In 1984, he won a national championship. Rogowski received endorsement deals from Gullwing Trucks early in his career, Rogowski was being paid "between $4,000 and $8,000 a month" for clothing and skateboarding equipment endorsements. By 1987, Rogowski was earning two dollars per skate deck from Vision, which was selling 7000 decks on a monthly basis, resulting in royalties totaling US$14,000 for Rogowski (US$ in 2022). Additionally, Vision was also selling T-shirts, berets, hip packs, and stickers using the "Gator" name.


title: Mark Rogowski

text: Rogowski was one of a group of elite skaters who enjoyed significant fame in the 1980s, alongside Christian Hosoi, Tony Hawk, Lance Mountain and Steve Caballero. He was a charismatic, flamboyant personality who received fame and fortune during skateboarding's return to popularity following the success of vert skateboarding.


title: Mark Rogowski

text: At a 1987 skate show in Scottsdale, Arizona, U.S., Rogowski was introduced to Brandi McClain and her good friend Jessica Bergsten, an aspiring model. Soon afterward, he began a tumultuous long-term relationship with McClain—they appeared together in numerous advertisements and promotional videos for Vision, which had become one of the top-selling skateboarding brands of the 1980s.


title: Mark Rogowski

text: Rogowski worked as a stunt double on the 1989 film "Gleaming the Cube", which starred Christian Slater, and appeared, along with McClain, in the music video for "Free Fallin'" by Tom Petty.


title: Mark Rogowski

text: Rogowski's popularity declined as the 'vert skating' popular in the 1980s was supplanted by street skateboarding in the 1990s. Vision, the company he was with for the majority of his career, filed for chapter 11 bankruptcy. For re-invention, Rogowski changed his name to "Gator" Mark Anthony, explaining "Rogowski" was the name of the father he never knew.


title: Mark Rogowski

text: After a severe accident in West Germany, where Rogowski either fell or was pushed from a hotel window and landed on a fence, Rogowski returned home to Carlsbad to recover. After befriending Augie Constantino, an ex-surfer turned born-again Christian who also became his "spiritual advisor", Rogowski converted to a strict Evangelical form of Christianity influencing Rogowski's attitude and skateboard deck designs. After four years of dating McClain, Rogowski suggested the couple marry, proclaiming they "can't have sex anymore unless we get married." The sudden lifestyle change contributed to the end of McClain's relationship with Rogowski, along with his occasional bouts of violence (which included his locking her in a closet) and unprovoked jealousy, and she returned to her parents' home in San Diego, California. Rogowski began a period of severe alcoholism following McClain's departure.


title: Mark Rogowski

text: Following the end of his relationship with McClain, Rogowski was jealous: he entered her home to steal gifts he gave her; he made threatening telephone calls to McClain's new boyfriend; and he also threatened McClain directly. McClain informed police about Rogowski's behavior. They filed a report, but the situation was not monitored continuously.


title: Mark Rogowski

text: On March 20, 1991, Rogowski talked with 22-year-old Bergsten for the first time in years. Bergsten asked Rogowski to show her around San Diego. They spent a day together on March 21, 1991; shortly after, Bergsten was reported missing. According to Rogowski, he and Bergsten went back to his condo to watch movies, smoke weed and drink wine. He admitted to coming up behind her and hitting her in the head with a Club (a metal auto anti-theft device). After knocking her semi-unconscious by way of several strikes, he handcuffed her and dragged her to his bedroom on the second floor, and raped her while she was shackled to his bed. Afterward, he placed her in a surfboard bag because he was concerned about the neighbors hearing the noise. Rogowski placed his hand over Bergsten's mouth until she stopped breathing, then drove the body to the Shell Canyon desert, then disposed of the corpse in a shallow grave.


title: Mark Rogowski

text: Bergsten's body was found by campers on April 10, 1991, but it was so decomposed, it could not be identified. Plagued by guilt, Rogowski informed Constantino: "Remember that girl from the poster? She was the one I killed." Constantino encouraged Rogowski to confess his crime to the police, which he subsequently did.


title: Mark Rogowski

text: Rogowski turned himself in on April 11, 1991, and led police to the grave of Bergsten's body. Police searched his home, and found evidence of blood soaked through the carpet padding and into the floorboards in two small spots, adjacent to where Bergsten's head allegedly rested. In his confession, Rogowski conveyed he killed Bergsten in a misplaced act of revenge toward McClain, calling Bergsten the "mold Brandi was made out of." Entering prison, Rogowski was diagnosed with bipolar disorder.


title: Mark Rogowski

text: Rogowski was charged with "special circumstances," committing a murder during rape. Under California law, this warrants the death penalty or life imprisonment without the possibility of parole. His lawyer, John Jimenez, challenged the validity and content of the confession. Jimenez appealed the rape charge, insisting the decomposed body showed no signs of forcible rape, but the appeal was eventually dismissed.


title: Mark Rogowski

text: Following the advice of his attorney, Rogowski pled guilty to first-degree murder and rape, thus avoiding the death penalty or life without the chance of parole. In January 1992, at the plea hearing, Gator submitted a four-page written statement. He accepted responsibility for his acts, accepted responsibility for sexual activities outside of marriage, for his promiscuity, and for not following the word of the Bible.


title: Mark Rogowski

text: Rogowski was sentenced on March 6, 1992. Five uniformed bailiffs with metal detectors were at the hearing due to a rumor Stephen Bergsten (the father of the victim) would attempt to harm Rogowski. Bergsten lost two properties due to his involvement with a nationwide drug ring, and he allegedly had nothing to lose by harming Rogowski. With the bailiffs standing between Rogowski and Bergsten, Rogowski offered an apology while Bergsten shouted back he "was a coward" who would "die a thousand deaths".


title: Mark Rogowski

text: Rogowski received a 31-year to life prison sentence: six years for forcible rape and 25 years to life for the first-degree murder charges to be served consecutively.


title: Mark Rogowski

text: Rogowski was denied parole on February 7, 2011. Deputy District Attorney Richard Sachs argued Rogowski remains an "unreasonable risk to society" and should remain imprisoned, while a family member of Bergsten also attended the hearing and requested Rogowski remain incarcerated. On February 6, 2015, another parole hearing was scheduled, but Rogowski waived his right to a hearing for one year. On March 9, 2016, he was again denied parole for seven years.


title: Mark Rogowski

text: On December 10, 2019, multiple media reports indicated that Rogowski's parole board recommended parole. The California Board of Parole Hearings finalized the decision, and the case went before the California governor's staff for review. On April 27, 2020, Rogowski's parole grant was reversed by Governor Gavin Newsom, stating Rogowski needed to gain a "deeper understanding" of his crimes.


title: Mark Rogowski

text: In June 2022, a San Diego County Parole Board granted Rogowski parole with his attorney citing "the parole board's 'trained psychologist found him to be a low risk of danger to the public.'" This was to be followed by a 120 day review period by the board, and then up to 30 days for the Governor to make a final decision.


title: Mark Rogowski

text: A documentary examining Mark Rogowski's trajectory, "", was released in 2002 by Palm Pictures. The film was written, directed, and produced by Helen Stickler, and features interviews with other professional skateboarders such as Tony Hawk, Kevin Staab, Lance Mountain, Ken Park, Steve Caballero, Jason Jessee, Craig Johnson, Stacy Peralta, and Rogowski. Since California law prohibits video interviews with prison inmates, Rogowski was interviewed over the recorded prison phone for the documentary, and gave details on his background, his downfall, and remorse for murdering Jessica Bergsten.


title: Mark Rogowski

text: This story was featured on an episode of "Shattered" on the Investigation Discovery channel. It features interviews with the lead investigator, Brandy McClain, and the minister Auggie Costantino.


title: Close front unrounded vowel

text: The close front unrounded vowel, or high front unrounded vowel, is a type of vowel sound that occurs in most spoken languages, represented in the International Phonetic Alphabet by the symbol i. It is similar to the vowel sound in the English word "meet"—and often called long-e in American English. Although in English this sound has additional length (usually being represented as ) and is not normally pronounced as a pure vowel (it is a slight diphthong), some dialects have been reported to pronounce the phoneme as a pure sound. A pure sound is also heard in many other languages, such as French, in words like "chic".


title: Close front unrounded vowel

text: The close front unrounded vowel is the vocalic equivalent of the palatal approximant . They alternate with each other in certain languages, such as French, and in the diphthongs of some languages, with the non-syllabic diacritic and are used in different transcription systems to represent the same sound.


title: Close front unrounded vowel

text: Languages that use the Latin script commonly use the letter to represent this sound, though there are some exceptions: in English orthography that letter is usually associated with (as in "bite") or (as in "bit"), and is more commonly represented by , , , or , as in the words "scene", "bean", "meet", "niece", "conceive"; (see Great Vowel Shift). Irish orthography reflects both etymology and whether preceding consonants are broad or slender, so such combinations as , , and all represent .


title: Designated Survivor (season 2)

text: The second season of the American political drama series "Designated Survivor" was ordered on May 11, 2017. It premiered on September 27, 2017, and consisted of 22 episodes. The series is produced by ABC Studios and The Mark Gordon Company, and is filmed in Toronto and Cambridge, Ontario, Canada.


title: Designated Survivor (season 2)

text: Beginning one year into office, President Thomas Kirkman juggles searching for the mastermind behind the attack on the Capitol Building, dealing with the day-to-day situations that take place at home and abroad, and surviving attacks against his administration.


title: Designated Survivor (season 2)

text: "Designated Survivor" was renewed for a second season on May 11, 2017. Former "The Good Wife" executive producer Keith Eisner will take over as showrunner for the second season. Eisner will be the fourth showrunner for the show, replacing Jeff Melvoin, who was hired as showrunner in December 2016, taking over for Jon Harmon Feldman. The show's original showrunner Amy B. Harris stepped down due to creative differences after the series' official pickup in February 2016.


title: Designated Survivor (season 2)

text: On June 22, 2017, cast member Virginia Madsen announced that she would not be returning for the second season as Kimble Hookstraten as she commented "I guess they had other stories to tell. It's a big show so I wish them well." After the first-season finale, Sutherland announced that the show would add three new characters for the second season. Two of the character descriptions was "a "fiery" female White House Counsel and a "ruggedly handsome" MI6 operative who crosses paths with Hannah." TVLine announced on June 29, 2017, that Paulo Costanzo had been cast as a series regular role as Lyor Boone, the new White House Political Director. "Deadline" reported on July 17, 2017, that Ben Lawson had been cast as the series regular character Damian Rennett, an MI6 operative. In the same month, it was announced that Zoe McLellan was cast in a series regular role as attorney and White House counsel, Kendra Daynes. In November 2017, Kim Raver was cast in the recurring role of engineer and space entrepreneur, Andrea Frost. In January 2018, Michael J. Fox was cast in the recurring role of Washington attorney and special prosecutor, Ethan West. In March 2018, Nora Zehetner was cast in the recurring role of Russian cultural attaché, Valeria Poriskova.


title: Larry Manetti

text: Lawrence Francis Manetti (born July 23, 1947) is an American actor best known for his role as Orville Wilbur Richard "Rick" Wright on the CBS television series "Magnum, P.I." which starred Tom Selleck as the title character. He also starred in "Baa Baa Black Sheep" as First Lieutenant Robert A. "Bobby" Boyle, a pilot in the VMF-214 squadron headed by Greg "Pappy" Boyington (played by Robert Conrad).


title: Larry Manetti

text: Manetti studied acting in Chicago with the Ted Liss Players. His first television role was as a young detective in Jack Webb's "Chase" (1973–74). He would go on to play pilot "Bobby Boyle" in "Baa Baa Black Sheep" (1976–78) with Robert Conrad. He followed this up with a role as a bookie on the short-lived NBC series, "The Duke" (1979), which also featured Conrad in the title role.


title: Larry Manetti

text: Manetti's signature role on "Magnum, P.I." lasted for the entire eight-year run of the series (1980–88). He also had co-starring roles in 25 feature films and guest starred on many other television shows, including "Rockford Files", "Emergency!", "Starsky & Hutch", "Tenspeed and Brownshoe", "Fantasy Island ", "Battlestar Galactica", "Renegade", "Quantum Leap", "JAG" and "Walker, Texas Ranger". He also had a minor role in the 1993 film "".


title: Larry Manetti

text: Since July 2011, Larry and Nancy Manetti have hosted a weekly radio program on CRN Digital Talk Radio Networks.


title: Larry Manetti

text: It was announced on January 24, 2013, that Manetti had joined CBS's revived version of "Hawaii Five-0" in the recurring role of "Nicky 'The Kid' Demarco". The character is described as "a local lounge legend ... [who], back in the day, was mentored by the one and only Frank Sinatra." In October 2019, he appeared in the revival of "Magnum P.I.", playing the same character.


title: Larry Manetti

text: Manetti is the author of the semi-autobiographical "Aloha Magnum", based on his time on "Magnum P.I." and anecdotes about fellow cast members and celebrities such as Frank Sinatra, Elvis Presley, and Michelle Pfeiffer. He used to host a "Celebrity Brunch" and once owned a restaurant in the Plaza Hotel & Casino, which was owned by his friend D. W. Barrick of Barrick Gaming Corporation.


title: The Battle of Los Angeles (album)

text: The Battle of Los Angeles is the third studio album by American rock band Rage Against the Machine, released by Epic Records on November 2, 1999. At the 43rd Annual Grammy Awards, it was nominated for Best Rock Album, and the song "Guerrilla Radio" won the award for Best Hard Rock Performance. In their year-end lists, "Time" and "Rolling Stone" magazines both named the album the best of 1999.


title: The Battle of Los Angeles (album)

text: The album has been certified double platinum by the Recording Industry Association of America, indicating sales of at least two million units. It would be the last full-length studio album of original material released by the band before their first breakup in 2000 (their next album consisted of entirely of covers and was released after the breakup).


title: The Battle of Los Angeles (album)

text: "Voice of the Voiceless", a song referring to American political activist and journalist Mumia Abu-Jamal, references a letter written by Mao Zedong, called "A Single Spark Can Start a Prairie Fire". Another Rage–Mumia–Mao connection can be seen in Mumia's paraphrased words from Mao's "power grows out of the barrel of a gun" when Mumia gave testimony in his trial for the murder of a Philadelphia police officer in an altercation after a traffic stop: "It is America who has seized political power from the Indian [Native American<nowiki>]</nowiki> race, not by God, not by Christianity, not by goodness, but by the barrel of a gun."


title: The Battle of Los Angeles (album)

text: The album's cover art was an original piece by Joey Krebs (also known as Joel Jaramillo or "The Street Phantom"), a well-known Los Angeles graffiti artist who has exhibited at numerous galleries in Los Angeles, New York City, and throughout the United States.


title: The Battle of Los Angeles (album)

text: "The Battle of Los Angeles" debuted at number 1 on the "Billboard" 200, selling 420,000 copies its first week and keeping Mariah Carey's highly-anticipated new album "Rainbow" from reaching the top of the chart. It was nominated for Best Rock Album at the 43rd Annual Grammy Awards.


title: The Battle of Los Angeles (album)

text: The music videos made for "Sleep Now in the Fire" and "Testify" were directed by documentarian Michael Moore, who appears in both videos.


title: The Battle of Los Angeles (album)

text: In their year-end lists, "Time" and "Rolling Stone" magazines both named "The Battle of Los Angeles" the best album of 1999. Retrospectively, it was ranked number 426 on "Rolling Stone"'s 2003 list of the 500 greatest albums of all time. In 2005, the album was listed at number 53 in "Spin" magazine's list of the 100 greatest albums from 1985–2005, as well as number 369 in "Rock Hard" magazine's book "The 500 Greatest Rock & Metal Albums of All Time". In 2021, "Metal Hammer" magazine named it one of the 20 best metal albums of 1999.


title: The Battle of Los Angeles (album)

text: In the US, some retail stores gave a free promo CD to those who pre-ordered the album that contained the songs "Clear the Lane" (from the "Killing in the Name" single) and "Hadda Be Playing on the Jukebox" (Live) (from the "Bulls on Parade" single). In Australia, certain chains gave a promo tape titled "New... Live... Rare" to those who pre-ordered the album that featured "Calm Like a Bomb" and the aforementioned two songs repeated on both sides. The versions of all three songs were the same as those that had been previously released.


title: The Battle of Los Angeles (album)

text: "Guerrilla Radio" is featured in "Tony Hawk's Pro Skater 2" (2000). The song as it appears in the Nintendo 64 version of the game is heavily-edited, as it is in "Madden NFL 10" (2009). Both "Testify" and "Guerrilla Radio" are featured in the 2008 video game "Rock Band 2", being on-disc and downloadable, respectively.


title: The Battle of Los Angeles (album)

text: Saul Williams sampled "Born of a Broken Man" for the song "Om Nia Merican" on his 2001 album "Amethyst Rock Star".


title: Video Graphics Array

text: Video Graphics Array (VGA) is a video display controller and accompanying de facto graphics standard, first introduced with the IBM PS/2 line of computers in 1987, which became ubiquitous in the PC industry within three years. The term can now refer to the computer display standard, the 15-pin D-subminiature VGA connector, or the 640×480 resolution characteristic of the VGA hardware.


title: Video Graphics Array

text: VGA was the last IBM graphics standard to which the majority of PC clone manufacturers conformed, making it the lowest common denominator that virtually all post-1990 PC graphics hardware can be expected to implement.


title: Video Graphics Array

text: IBM intended to supersede VGA with the Extended Graphics Array (XGA) standard, but failed. Instead, VGA was adapted into many extended forms by third parties, collectively known as Super VGA, then gave way to custom graphics processing units which, in addition to their proprietary interfaces and capabilities, continue to implement common VGA graphics modes and interfaces to the present day.


title: Video Graphics Array

text: The VGA analog interface standard has been extended to support resolutions of up to 2048×1536 and even higher in special applications.


title: Video Graphics Array

text: Unlike the graphics adapters that preceded it (MDA, CGA, EGA and many third-party options) there was initially no discrete VGA card released by IBM. The first commercial implementation of VGA was a built-in component of the IBM PS/2, in which it was accompanied by 256KB of video RAM, and a new DE-15 connector replacing the DE-9 used by previous graphics adapters.


title: Video Graphics Array

text: IBM later released the standalone "IBM PS/2 Display Adapter", which utilized the VGA but could be added to machines that did not have it built in.


title: Video Graphics Array

text: The VGA was a single chip implementing the entirety of a video display controller, rather than the many discrete components and ICs of the graphics adapters that had preceded it. The term "array" rather than "adapter" in the name denoted that it was not a complete independent expansion device, but a single component that could be integrated into a system.


title: Video Graphics Array

text: The VGA required only video memory, timing crystals and an external RAMDAC, and its small part count allowed IBM to include it directly on the PS/2 motherboard, in contrast to prior IBM PC modelsPC, PC/XT, and PC ATwhich required a separate display adapter installed in a slot in order to connect a monitor.


title: Video Graphics Array

text: The VGA supports all graphics modes supported by the MDA, CGA and EGA cards, as well as multiple new modes.


title: Video Graphics Array

text: The 640×480 16-color and 320×200 256-color modes had fully redefinable palettes, with each entry selected from an 18-bit (262,144-color) gamut.


title: Video Graphics Array

text: The other modes defaulted to standard EGA or CGA compatible palettes and instructions, but still permitted remapping of the palette with VGA-specific commands.


title: Video Graphics Array

text: As the VGA began to be cloned in great quantities by manufacturers who added ever-increasing capabilities, its 640×480, 16-color mode became the de facto lowest common denominator of graphics cards. By the mid 1990s, a 640×480×16 graphics mode using the VGA memory and register specifications was expected by operating systems such as Windows 95 and OS/2 Warp 3.0, which provided no support for lower resolutions or bit depths, or support for other memory or register layouts without additional drivers. Well into the 2000s, even after the VESA standard for graphics cards became commonplace, the "VGA" graphics mode remained a compatibility option for PC operating systems.


title: Video Graphics Array

text: For example, high resolution modes with square pixels are available at 768×576 or 704×528 in 16 colors, or medium-low resolution at 320×240 with 256 colors. Alternatively, extended resolution is available with "fat" pixels and 256 colors using, e.g. 400×600 (50 Hz) or 360×480 (60 Hz), and "thin" pixels, 16 colors and the 70 Hz refresh rate with e.g. 736×410 mode.


title: Video Graphics Array

text: "Narrow" modes such as 256×224 tend to preserve the same pixel ratio as in e.g. 320×240 mode unless the monitor is adjusted to stretch the image out to fill the screen, as they are derived simply by masking down the wider mode instead of altering pixel or line timings, but can be useful for reducing memory requirements and pixel addressing calculations for arcade game conversions or console emulators.


title: Video Graphics Array

text: The PC version of Pinball Fantasies has the option to use non-standard modes "high res" modes, such as 640x350, allowing it to display a larger portion of the pinball table on screen.


title: Video Graphics Array

text: As with the pixel-based graphics modes, additional text modes are possible by programming the VGA correctly, with an overall maximum of about 100×80 cells and an active area spanning about 88×64 cells.


title: Video Graphics Array

text: One variant that is sometimes seen is 80×30 or 80×60, using an 8×16 or 8×8 font and an effective 640×480 pixel display, which trades use of the more flickery 60 Hz mode for an additional 5 or 10 lines of text and square character blocks (or, at 80×30, square half-blocks).


title: Video Graphics Array

text: Unlike the cards that preceded it, which used binary TTL signals to interface with a monitor (or composite, in the case of the CGA), the VGA introduced a video interface using pure analog RGB signals, 0.7 volts peak-to-peak max. In conjunction with an 18-bit RAMDAC this produced a color gamut of 262,144 colors. This gamut has come to be well known as the sRGB color space (but it is most commonly divided into 16,777,216 colors using a 24-bit RAMDAC or 8-bits per primary color).


title: Video Graphics Array

text: The intended standard value for the horizontal frequency of VGA's 640×480 mode is exactly double the value used in the NTSC-M video system, as this made it much easier to offer optional TV-out solutions or external VGA-to-TV converter boxes at the time of VGA's development. It is also at least nominally twice that of CGA, which also supported composite monitors.


title: Video Graphics Array

text: All "derived" VGA timings (i.e. those which use the master 25.175 and 28.322 MHz crystals and, to a lesser extent, the nominal 31.469 kHz line rate) can be varied by software that bypasses the VGA firmware interface and communicates directly with the VGA hardware, as many MS-DOS based games did. However, only the standard modes, or modes that at least use almost exactly the same H-sync and V-sync timings as one of the standard modes, can be expected to work with the original late-1980s and early-1990s VGA monitors. The use of other timings may in fact damage such monitors and thus was usually avoided by software publishers.


title: Video Graphics Array

text: Third-party "multisync" CRT monitors were more flexible, and in combination with "super EGA", VGA, and later SVGA graphics cards using extended modes, could display a much wider range of resolutions and refresh rates at arbitrary sync frequencies and pixel clock rates.


title: Video Graphics Array

text: For the most common VGA mode (640×480, 60 Hz, non-interlaced), the horizontal timings can be found in the HP Super VGA Display Installation Guide and in other places.


title: Video Graphics Array

text: 640×400 @ 70 Hz is traditionally the video mode used for booting VGA-compatible x86 personal computers that show a graphical boot screen, while text-mode boot uses 720×400 @ 70 Hz.


title: Video Graphics Array

text: This convention has been eroded in recent years, however, with POST and BIOS screens moving to higher resolutions, taking advantage of EDID data to match the resolution to a connected monitor.


title: Video Graphics Array

text: 640×480 @ 60 Hz is the default Windows graphics mode (usually with 16 colors), up to Windows 2000. It remains an option in XP and later versions via the boot menu "low resolution video" option and per-application compatibility mode settings, despite Windows now defaulting to 1024×768 and generally not allowing any resolution below 800×600 to be set.


title: Video Graphics Array

text: The need for such a low-quality, universally compatible fallback has diminished since the turn of the millennium, as VGA-signalling-standard screens or adaptors unable to show anything beyond the original resolutions have become increasingly rare.


title: Video Graphics Array

text: 320×200 at 70 Hz was the most common mode for VGA-era PC games, with pixel-doubling and line-doubling performed in hardware to present a 640x400 at 70 Hz signal to the monitor.


title: Video Graphics Array

text: The Windows 95/98/Me LOGO.SYS boot-up image was 320x400 resolution, displayed with pixel-doubling to present a 640x400 at 70 Hz signal to the monitor. The 400-line signal was the same as the standard 80x25 text mode, which meant that pressing to return to text mode didn't change the frequency of the video signal, and thus the monitor did not have to resynchronize (which could otherwise have taken several seconds).


title: Video Graphics Array

text: The standard VGA monitor interface is a 15-pin D-subminiature connector in the "E" shell, variously referred to as "HD-15", "DE-15" and "DB-15".


title: Video Graphics Array

text: Because VGA uses low-voltage analog signals, signal degradation becomes a factor with low-quality or overly long cables. Solutions include shielded cables, cables that include a separate internal coaxial cable for each color signal, and "broken out" cables utilizing a separate coaxial cable with a BNC connector for each color signal.


title: Video Graphics Array

text: BNC breakout cables typically use five connectors, one each for Red, Green, Blue, Horizontal Sync, and Vertical Sync, and do not include the other signal lines of the VGA interface. With BNC, the coaxial wires are fully shielded end-to-end and through the interconnect so that virtually no crosstalk and very little external interference can occur.


title: Video Graphics Array

text: The VGA color system uses register-based palettes to map colors in various bit depths to its 18-bit output gamut. It is backward compatible with the EGA and CGA adapters, but supports extra bit depth for the palette when in these modes.


title: Video Graphics Array

text: For instance, when in EGA 16-color modes, VGA offers 16 palette registers, and in 256-color modes, it offers 256 registers. Each palette register contain a 3×6 bit RGB value, selecting a color from the 18-bit gamut of the DAC.


title: Video Graphics Array

text: These color registers are initialized to default values IBM expected to be most useful for each mode. For instance, EGA 16-color modes initialize to the default CGA 16-color palette, and the 256-color mode initializes to a palette consisting of 16 CGA colors, 16 grey shades, and then 216 colors chosen by IBM to fit expected use cases. After initialization they can be redefined at any time without altering the contents of video RAM, permitting palette cycling.


title: Video Graphics Array

text: In the 256-color modes, the DAC is set to combine four 2-bit color values, one from each plane, into an 8-bit-value representing an index into the 256-color palette. The CPU interface combines the 4 planes in the same way, a feature called "chain-4", so that each the pixel appears to the CPU as a packed 8-bit value representing the palette index.


title: Video Graphics Array

text: The video memory of the VGA is mapped to the PC's memory via a window in the range between segments 0xA0000 and 0xBFFFF in the PC's real mode address space (A000:0000 and B000:FFFF in segment:offset notation). Typically, these starting segments are:


title: Video Graphics Array

text: Due to the use of different address mappings for different modes, it is possible to have a monochrome adapter (i.e. MDA or Hercules) and a color adapter such as the VGA, EGA, or CGA installed in the same machine.


title: Video Graphics Array

text: At the beginning of the 1980s, this was typically used to display Lotus 1-2-3 spreadsheets in high-resolution text on a monochrome display and associated graphics on a low-resolution CGA display simultaneously. Many programmers also used such a setup with the monochrome card displaying debugging information while a program ran in graphics mode on the other card. Several debuggers, like Borland's Turbo Debugger, D86 and Microsoft's CodeView could work in a dual monitor setup. Either Turbo Debugger or CodeView could be used to debug Windows.


title: Video Graphics Array

text: There were also DOS device drivers such as codice_1, which implemented a serial interface simulation on the monochrome display and, for example, allowed the user to receive crash messages from debugging versions of Windows without using an actual serial terminal.


title: Video Graphics Array

text: It is also possible to use the "MODE MONO" command at the DOS prompt to redirect the output to the monochrome display. When a monochrome adapter was not present, it was possible to use the 0xB000–0xB7FF address space as additional memory for other programs.


title: Video Graphics Array

text: "Unchaining" the 256 KB VGA memory into four separate "planes" makes VGA's 256 KB of RAM available in 256-color modes. There is a trade-off for extra complexity and performance loss in some types of graphics operations, but this is mitigated by other operations becoming faster in certain situations:


title: Video Graphics Array

text: Software such as Fractint, Xlib and ColoRIX also supported tweaked 256-color modes on standard adaptors using freely-combinable widths of 256, 320, and 360 pixels and heights of 200, 240 and 256 (or 400, 480 and 512) lines, extending still further to 384 or 400 pixel columns and 576 or 600 (or 288, 300). However, 320×240 was the best known and most frequently used, as it offered a standard 40-column resolution and 4:3 aspect ratio with square pixels. "320×240×8" resolution was commonly called Mode X, the name used by Michael Abrash when he presented the resolution in Dr. Dobb's Journal.


title: Video Graphics Array

text: The highest resolution modes were only used in special, opt-in cases rather than as standard, especially where high line counts were involved. Standard VGA monitors had a fixed line scan (H-scan) rate"multisync" monitors being, at the time, expensive raritiesand so the vertical/frame (V-scan) refresh rate had to be reduced in order to accommodate them, which increased visible flicker and thus eye strain. For example, the highest 800×600 mode, being otherwise based on the matching SVGA resolution (with 628 total lines), reduced the refresh rate from 60 Hz to about 50 Hz (and 832×624, the theoretical maximum resolution achievable with 256kb at 16 colors, would have reduced it to about 48 Hz, barely higher than the rate at which XGA monitors employed a double-frequency interlacing technique to mitigate full-frame flicker).


title: Video Graphics Array

text: These modes were also outright incompatible with some monitors, producing display problems such as picture detail disappearing into overscan (especially in the horizontal dimension), vertical roll, poor horizontal sync or even a complete lack of picture depending on the exact mode attempted. Due to these potential issues, most VGA tweaks used in commercial products were limited to more standards-compliant, "monitor-safe" combinations, such as 320×240 (square pixels, three video pages, 60 Hz), 320×400 (double resolution, two video pages, 70 Hz), and 360×480 (highest resolution compatible with both standard VGA monitors and cards, one video page, 60 Hz) in 256 colors, or double the horizontal resolution in 16-color mode.


title: Video Graphics Array

text: Super VGA (SVGA) is a display standard developed in 1988, when NEC Home Electronics announced its creation of the Video Electronics Standards Association (VESA). The development of SVGA was led by NEC, along with other VESA members including ATI Technologies and Western Digital. SVGA enabled graphics display resolutions up to 800×600 pixels, 36% more than VGA's maximum resolution of 640×480 pixels.


title: Video Graphics Array

text: Extended Graphics Array (XGA) is an IBM display standard introduced in 1990. Later it became the most common appellation of the 1024768 pixels display resolution.


title: Haleem

text: Haleem is a type of stew that is widely consumed in the Indian subcontinent, the Middle East and Central Asia. Although the dish varies from region to region, it optionally includes wheat or barley, meat and lentils. It is made by blending or mashing the meat in the curry and serving hot with flat breads or on its own. The original Haleem, which is different from this variety, is an ancient Iranian dish served with wheat, meat, cinnamon, and sugar that remains popular in Iran to this day. Popular variations of haleem include keşkek in Turkey, Afghanistan, Tajikistan, Uzbekistan, Azerbaijan and northern Iraq; harisa in the Arab world and Armenia; halim in Iran, West Bengal and Bangladesh; and khichra in Pakistan and India.


title: Haleem

text: This dish is slow cooked for seven to eight hours and then vigorously stirred or beaten with a pestle-like stirring stick. This results in a paste-like consistency, blending the flavors of spices, meat, barley and wheat.


title: Haleem

text: A traditional haleem is made by firstly soaking wheat, barley and gram lentil overnight. A spicy meat gravy called korma is prepared until the meat becomes tender. The wheat, barley and gram are boiled in salt water until they are tender. The cooked wheat, barley and lentils are then mixed with the meat (beef, mutton, or chicken) gravy and blended with a heavy hand mixer to obtain a paste-like consistency. The cooking procedure takes about 6 hours to complete. In the end the cooked haleem is garnished with fried onions, julienne cut ginger, sliced green chillies, coriander leaves, lemon wedges and chaat masala. However, haleem preparation varies in different regions.


title: Haleem

text: The origin of Haleem lies in the popular Arabian dish known as Harees (also written as Jareesh). According to Shoaib Daniyal, writing in "The Sunday Guardian", the first written recipe of Harees dates back to the 10th century, when Arab scribe Abu Muhammad al-Muzaffar ibn Sayyar compiled a cookbook of dishes popular with the "kings and caliphs and lords and leaders" of Baghdad. "The version described in his Kitab Al-Tabikh (Book of Recipes), the world’s oldest surviving Arabic cookbook, is strikingly similar to the one people in the Middle East eat to this day" it reported. The Harees was cooked as the Arab empire was extended to different parts of the world.


title: Haleem

text: Harees was introduced in the Indian subcontinent by the Arab soldiers of the Hyderabad Nizam's army to the city. Today, Harees is still available in the Arab quarter of Hyderabad, an area called Barkas, where the dish is called Jareesh. Later on, the people of Hyderabad modified it to suit their palate thus creating modern haleem.


title: Haleem

text: Haleem is sold as a snack food in bazaars throughout the year. It is also a special dish prepared throughout the world during the Ramadan and Muharram months of the Muslim Hijri calendar, particularly among Pakistanis and Indian Muslims. Since the name of this dish is the same of one of the names of Allah, specifically "Al Haleem", some neo-Orthodox fundamentalist South Asian Muslims have started to refer to this dish as "Daleem", reasoning that it is more correct since the South Asian version of this dish contains large amounts of "dal", or lentils. It is mostly still referred to as Haleem.


title: Haleem

text: In India, haleem prepared in Hyderabad during the Ramadan month, is transported all over the world through a special courier service. Haleem is traditionally cooked in large, wood-fired cauldrons.


title: Haleem

text: Haleem is also very popular in Bangladesh, especially during the holy month of Ramadan, when it is a staple dish. However, the Bangladeshi version of halim differs from other areas slightly as the meat and bones are stewed and kept as small pieces instead of mashing them with the lentil soup. In addition, the variety of spices used is also different. One common Bangladeshi version of Halim is called “Shahi Halim”; it is mostly popular in the central part of the country.


title: Haleem

text: In Pakistan, Haleem is available all year round, as well as in most Pakistani restaurants around the world. Haleem is sold as a snack food and street food in Pakistani bazaars throughout the year.


title: Haleem

text: It is a tradition among Persian Jews to eat haleem on Shabbat, since like other Shabbat stews such as cholent and hamin it's a slow-cooked dish that can be prepared before the beginning of Shabbat and then cooked overnight at a low temperature.


title: Haleem

text: Haleem has become a popular dish in the cities of Hyderabad, Telangana and Aurangabad, Maharashtra (Aurangabad, the first capital of Hyderabad State) in India. Originating from an Arabic dish called Harees, Haleem was introduced to the region during the Mughal period by foreign migrants.


title: Haleem

text: In 2010 Hyderabadi haleem was awarded Geographical Indication status by the Indian GI registry office. It became the first meat product of India to receive a GI certification. This means that a dish cannot be sold as Hyderabadi haleem unless it meets the necessary standards laid down for it.


title: Haleem

text: In the Indian subcontinent, both haleem and khichra are made with similar ingredients. In khichra, the chunks of meat remain as cubes, while in haleem the meat cubes are taken out of the pot, bones are removed, the meat is crushed and put back in the pot. It is further cooked until the meat completely blends with the lentils, wheat and barley mixture.


title: Haleem

text: A high-calorie dish, haleem provides protein from the meat and fibre and carbohydrates from the various combinations of grains and pulses.


title: Haleem

text: Haleem can be served with chopped mint leaves, lemon juice, coriander leaves, fried onions, chopped ginger root or green chilies. In some regions of Pakistan, Haleem is eaten with Naan or with any type of bread or rice.


title: Joo Jin-mo

text: Joo Jin-mo (born Park Jin-tae on 26 September 1974), is a South Korean actor. He is best known for his leading roles in the films "Happy End" (1999) in which he won Grand Bell Awards for Best Supporting Actor, "200 Pounds Beauty" (2006), and "A Frozen Flower" (2008) in which he won Baeksang Arts Awards for Best Actor, as well as the television series "Empress Ki" (2013).


title: Joo Jin-mo

text: Born in Seoul, South Korea as Park Jin-tae, he borrowed his manager's name "Joo Jin-mo" for his stage name when he began his acting career.


title: Joo Jin-mo

text: After appearing in TV dramas and some minor roles in film, Joo was first cast as a lead in "Dance Dance" in 1999, for which he underwent extensive dance training. Although the film itself did not perform well, it gave Joo some publicity before he broke through with the box-office and critical hit "Happy End". His role as a spurned lover in this psycho-drama attracted considerable notice in Korea, and the film itself also traveled to Hong Kong.


title: Joo Jin-mo

text: After taking the lead in Kim Ki-duk's mildly experimental "Real Fiction" (which was shot in 3.5 hours without any retakes), Joo took a major role in the much-hyped "Musa", set in 14th-century China and starring Zhang Ziyi from "Crouching Tiger, Hidden Dragon". He also acted in "Wanee & Junah", a melodrama about a screenwriter and an animator opposite Kim Hee-sun.


title: Joo Jin-mo

text: After some films he had been cast in were cancelled due to lack of financing, Joo did the 2003 boxing drama "Punch" with Shin Min-ah, then returned to the big screen in 2004, in the comedy "Liar" based on the play "Run for Your Wife" by Ray Cooney.


title: Joo Jin-mo

text: From 2004 to early 2005, Joo filmed the epic wuxia historical drama "Bichunmoo" ("Dance in the Sky"), but due to copyright issues with Korean broadcasters, it aired first in China and Taiwan in 2006. It was finally shown on Korean television in 2008, though SBS edited down the original 33 episodes into 14.


title: Joo Jin-mo

text: Meanwhile, Joo and Lee Yo-won's 2005 TV series "Fashion 70's" received good ratings of 30%. In 2006 he starred in "Puzzle" about a bank robbery gone wrong, and opposite Kim Ah-joong in the hugely popular romantic comedy "200 Pounds Beauty". The Kwak Kyung-taek gangster romance "A Love" co-starring Park Si-yeon followed in 2007.


title: Joo Jin-mo

text: "A Frozen Flower", Yoo Ha's controversial 2008 film which revolved around the love triangle between a homosexual Goryeo king (Joo), his queen (Song Ji-hyo), and the royal guard (Jo In-sung) they're both in love with, won Joo his first Best Actor trophy at the 45th Baeksang Arts Awards.


title: Joo Jin-mo

text: He played a sports agent to a K-1 fighter in the 2009 TV series "Dream", but it received low ratings for sharing the same timeslot as "Queen Seondeok". The year after, Joo and Hallyu star Song Seung-heon appeared in "A Better Tomorrow", the 2010 Korean remake of John Woo's classic Hong Kong noir film. Joo was ranked fourth in CNNGo's "South Korea's Top 20 Hottest Male Celebs."


title: Joo Jin-mo

text: Joo first sang "Like Rain, Like Music" by late singer Kim Hyun-sik during his first fan meeting in Japan at the Nakano Sun Plaza in Tokyo. He later released his cover of "Like Rain, Like Music" as a digital single in September 2011. Joo also starred in the accompanying music video with Go Joon-hee.


title: Joo Jin-mo

text: In 2012's "Gabi" (the antiquated local term for "coffee"), Joo played a late 19th-century international con man who becomes embroiled in the espionage and political conspiracy surrounding King Gojong. In making the role his own, Joo said he enjoyed the depth of his participation in the creative process with director Chang Yoon-hyun. He said he is still waiting for a new role, a complete departure from the brooding masculinity he has come to be equated with. "All male actors dream of playing macho men at one point or another, but they also dream of playing emotionally complex roles. I'm the same," Joo said at a press conference.


title: Joo Jin-mo

text: Joo and Ruby Lin starred in the 42-episode Chinese TV drama "Flowers in Fog" based on the novel by Qiong Yao (the title 花非花雾非雾 literally translates to "Flower is Not Flower, Fog is Not Fog"). It was shot in France, and aired on Hunan TV in 2013. He then returned to the Goryeo era to play a fictional character based on King Chunghye in "Empress Ki", a historical drama with Ha Ji-won in the title role.


title: Joo Jin-mo

text: On the big screen, Joo reunited with director Kwak Kyung-taek for "", the sequel to the 2001 hit film. Joo plays a gangster in 1963, the father of Yoo Oh-sung's character in the original movie.


title: Joo Jin-mo

text: Jo made his theater debut in a 2015 staging of the musical "Gone with the Wind", adapted from Margaret Mitchell's novel. Joo said, "Rhett Butler is a character every actor would dream to play." This was followed by melodrama series "This is My Love" with Kim Sa-rang (actress) on cable channel jTBC.


title: Joo Jin-mo

text: In November 2016, Joo signed with new management agency Huayi Brothers. He next played in the series "Woman with a Suitcase", followed by "Bad Guys 2" in 2017, and "Big Issue" in 2019.


title: Joo Jin-mo

text: On January 3, 2022, it was reported that Joo had terminated his contract with Studio Santa Claus Entertainment.


title: Joo Jin-mo

text: Joo Jin-mo married doctor Min Hye-yeon on June 1, 2019, in Jeju Island. Min is a Seoul National University graduate who specializes in family medicine. She has appeared on various health-related TV programs, in which she gained popularity and often dubbed as "Kim Tae-hee of the medical world."


title: Joo Jin-mo

text: In January 2020, Joo Jin-mo revealed that he was a victim of phone hacking and was being blackmailed after several personal messages shared between Joo and his close actor friend appeared on an online community board on January 10, 2020. The messages allegedly included pictures of women and vulgar comments made by the two men about the women in the pictures. Joo's agency has reported the case to authorities. Investigation is ongoing. He also apologized to the women mentioned in the messages.


title: First seven ecumenical councils

text: In the history of Christianity, the first seven ecumenical councils include the following: the First Council of Nicaea in 325, the First Council of Constantinople in 381, the Council of Ephesus in 431, the Council of Chalcedon in 451, the Second Council of Constantinople in 553, the Third Council of Constantinople from 680–681 and finally, the Second Council of Nicaea in 787. All of the seven councils were convened in modern-day Turkey.


title: First seven ecumenical councils

text: These seven events represented an attempt by Church leaders to reach an orthodox consensus, restore peace and develop a unified Christendom. Among Eastern Christians the Eastern Orthodox, Oriental Orthodox, and Church of the East (Assyrian) churches and among Western Christians the Roman Catholic, Anglican, Utrecht and Polish National Old Catholic, and some Scandinavian Lutheran churches all trace the legitimacy of their clergy by apostolic succession back to this period and beyond, to the earlier period referred to as the Early Church.


title: First seven ecumenical councils

text: This era begins with the First Council of Nicaea in AD 325, convened by the emperor Constantine I following his victory over Licinius and consolidation of his reign over the Roman Empire. Nicaea I enunciated the Nicene Creed that in its original form and as modified by the First Council of Constantinople of 381 was seen by all later councils as the touchstone of orthodoxy on the doctrine of the Trinity.


title: First seven ecumenical councils

text: The Eastern Orthodox and Roman Catholic Churches accept all seven of these councils as legitimate ecumenical councils. The Non-Chalcedonian Oriental Orthodox Churches accept only the first three, while the Non-Ephesian Church of the East accepts only the first two. There is also one additional council, the so-called Quinisext Council of Trullo held in AD 692 between the sixth and seventh ecumenical councils, which issued organizational, liturgical and canonical rules but did not discuss theology. Only within Eastern Orthodoxy is its authority commonly considered ecumenical, however the Orthodox do not number it among the seven general councils, but rather count it as a continuation of the fifth and sixth. The Roman Catholic Church does not accept the Quinisext Council, but both the Roman magisterium as well as a minority of Eastern Orthodox hierarchs and theological writers consider there to have been further ecumenical councils after the first seven. (see the Fourth Council of Constantinople, Fifth Council of Constantinople, and fourteen additional post-schism ecumenical councils canonical for Catholics).


title: First seven ecumenical councils

text: Emperor Constantine convened this council to settle a controversial issue, the relation between Jesus Christ and God the Father. The Emperor wanted to establish universal agreement on it. Representatives came from across the Empire, subsidized by the Emperor. Previous to this council, the bishops would hold local councils, such as the Council of Jerusalem, but there had been no universal, or ecumenical, council.


title: First seven ecumenical councils

text: The council drew up a creed, the original Nicene Creed, which received nearly unanimous support. The council's description of "God's only-begotten Son", Jesus Christ, as of the same substance with God the Father became a touchstone of Christian Trinitarianism. The council also addressed the issue of dating Easter (see Quartodecimanism and Easter controversy), recognised the right of the See of Alexandria to jurisdiction outside of its own province (by analogy with the jurisdiction exercised by Rome) and the prerogatives of the churches in Antioch and the other provinces and approved the custom by which Jerusalem was honoured, but without the metropolitan dignity.


title: First seven ecumenical councils

text: The Council was opposed by the Arians, and Constantine tried to reconcile Arius, after whom Arianism is named, with the Church. Even when Arius died in 336, one year before the death of Constantine, the controversy continued, with various separate groups espousing Arian sympathies in one way or another. In 359, a double council of Eastern and Western bishops affirmed a formula stating that the Father and the Son were similar in accord with the scriptures, the crowning victory for Arianism. The opponents of Arianism rallied, and the First Council of Constantinople in 381 marked the final victory of Nicene orthodoxy within the Empire, though Arianism had by then spread to the Germanic tribes, among whom it gradually disappeared after the conversion of the Franks to Christianity in 496.


title: First seven ecumenical councils

text: In 331, Constantine I commissioned Eusebius to deliver fifty Bibles for the Church of Constantinople. Athanasius ("Apol. Const. 4") recorded Alexandrian scribes around 340 preparing Bibles for Constans. Little else is known, though there is plenty of speculation. For example, it is speculated that this may have provided motivation for canon lists, and that Codex Vaticanus and Codex Sinaiticus are examples of these Bibles. Together with the Peshitta and Codex Alexandrinus, these are the earliest extant Christian Bibles.


title: First seven ecumenical councils

text: The council approved the current form of the Nicene Creed used in most Oriental Orthodox churches. The Eastern Orthodox Church uses the council's text but with the verbs expressing belief in the singular: Πιστεύω (I believe) instead of Πιστεύομεν (We believe). The Latin Rite of the Roman Catholic Church also uses the singular and, except in Greek, adds two phrases, "Deum de Deo" (God from God) and "Filioque" (and the Son). The form used by the Armenian Apostolic Church, which is part of Oriental Orthodoxy, has many more additions. This fuller creed may have existed before the Council and probably originated from the baptismal creed of Constantinople.


title: First seven ecumenical councils

text: The council also condemned Apollinarism, the teaching that there was no human mind or soul in Christ. It also granted Constantinople honorary precedence over all churches save Rome.


title: First seven ecumenical councils

text: The council did not include Western bishops or Roman legates, but it was later accepted as ecumenical in the West.


title: First seven ecumenical councils

text: Theodosius II called the council to settle the christological controversy surrounding Nestorianism. Nestorius, Patriarch of Constantinople, opposed use of the term Theotokos (Greek: Ἡ Θεοτόκος, "God-Bearer"). This term had long been used by orthodox writers, and it was gaining popularity along with devotion to Mary as Mother of God. He reportedly taught that there were two separate persons in the incarnate Christ, though whether he actually taught this is disputed.


title: First seven ecumenical councils

text: The council deposed Nestorius, repudiated Nestorianism, and proclaimed the Virgin Mary as the Theotokos.


title: First seven ecumenical councils

text: After quoting the Nicene Creed in its original form, as at the First Council of Nicaea, without the alterations and additions made at the First Council of Constantinople, it declared it "unlawful for any man to bring forward, or to write, or to compose a different (ἑτέραν) Faith as a rival to that established by the holy Fathers assembled with the Holy Ghost in Nicæa."


title: First seven ecumenical councils

text: The council repudiated the Eutychian doctrine of monophysitism, described and delineated the "Hypostatic Union" and two natures of Christ, human and divine; adopted the Chalcedonian Definition. For those who accept it (Eastern Orthodox, Roman Catholics, and most Protestants), it is the Fourth Ecumenical Council (calling the Second Council of Ephesus, which was rejected by this council, the "Robber Synod" or "Robber Council").


title: First seven ecumenical councils

text: In November 448, a synod at Constantinople condemned Eutyches for unorthodoxy. Eutyches, archimandrite (abbot) of a large Constantinopolitan monastery, taught that Christ was not consubstantial with humanity.


title: First seven ecumenical councils

text: In 449, Theodosius II summoned a council at Ephesus, where Eutyches was exonerated and returned to his monastery. This council was later overturned by the Council of Chalcedon and labeled "Latrocinium" (i.e., "Robber Council").


title: First seven ecumenical councils

text: This council condemned certain writings and authors which defended the christology of Nestorius. This move was instigated by Emperor Justinian in an effort to conciliate the monophysite Christians, it was opposed in the West, and the Popes' acceptance of the council caused a major schism.


title: First seven ecumenical councils

text: Prior to the Second Council of Constantinople was a prolonged controversy over the treatment of three subjects, all considered sympathetic to Nestorianism, the heresy that there are two separate persons in the Incarnation of Christ. Emperor Justinian condemned the Three Chapters, hoping to appeal to miaphysite Christians with his anti-Nestorian zeal. Monophysites believe that in the Incarnate Christ there is only one nature (i.e. the divine) not two while miaphysites believe that the two natures of Christ are united as one and are distinct in thought only.


title: First seven ecumenical councils

text: Eastern Patriarchs supported the Emperor, but in the West his interference was resented, and Pope Vigilius resisted his edict on the grounds that it opposed the Chalcedonian decrees.


title: First seven ecumenical councils

text: The council, attended mostly by Eastern bishops, condemned the Three Chapters and, indirectly, the Pope Vigilius. It also affirmed Constantinople's intention to remain in communion with Rome.


title: First seven ecumenical councils

text: Vigilius declared his submission to the council, as did his successor, Pope Pelagius I. The council was not immediately recognized as ecumenical in the West, and Milan and Aquileia even broke off communion with Rome over this issue. The schism was not repaired until the late 6th century for Milan and the late 7th century for Aquileia.


title: First seven ecumenical councils

text: Third Council of Constantinople (680–681): repudiated monothelitism, a doctrine that won widespread support when formulated in 638; the Council affirmed that Christ had both human and divine wills.


title: First seven ecumenical councils

text: Quinisext Council (= Fifth-Sixth Council) or Council in Trullo (692) has not been accepted by the Roman Catholic Church. Since it was mostly an administrative council for raising some local canons to ecumenical status, establishing principles of clerical discipline, addressing the Biblical canon, without determining matters of doctrine, the Eastern Orthodox Church does not consider it to be a full-fledged council in its own right, viewing it instead as an extension of the fifth and sixth councils. It gave ecclesiastical sanction to the Pentarchy as the government of the state church of the Roman Empire.


title: First seven ecumenical councils

text: Second Council of Nicaea (787). In 753, Emperor Constantine V convened the Synod of Hieria, which declared that images of Jesus misrepresented him and that images of Mary and the saints were idols. The Second Council of Nicaea restored the veneration of icons and ended the first iconoclasm.


title: First seven ecumenical councils

text: In the 9th century, Emperor Michael III deposed Patriarch Ignatius of Constantinople and Photius was appointed in his place. Pope Nicholas I declared the deposition of Ignatius invalid. After Michael was murdered, Ignatius was reinstated as patriarch without challenge and in 869–870 a council in Constantinople, considered ecumenical in the West, anathematized Photius. With Ignatius' death in 877, Photius became patriarch, and in 879–880 another council in Constantinople, which many Easterners consider ecumenical, annulled the decision of the previous council.


title: Beatlemania

text: Beatlemania was the fanaticism surrounding the English rock band the Beatles in the 1960s. The group's popularity grew in the United Kingdom throughout 1963, propelled by the singles "Please Please Me", "From Me to You" and "She Loves You". By October, the press adopted the term "Beatlemania" to describe the scenes of adulation that attended the band's concert performances. From the start of 1964, their world tours were characterised by the same levels of hysteria and high-pitched screaming by female fans, both at concerts and during the group's travels. Commentators likened the intensity of this adulation to a religious fervour and to a female masturbation fantasy. Among the displays of deity-like worship, fans would approach the band in the belief that they possessed supernatural healing powers.


title: Beatlemania

text: In February 1964, the Beatles arrived in the United States and their televised performances on "The Ed Sullivan Show" were viewed by approximately 73 million people. There, the band's instant popularity established their international stature, and their unprecedented domination of the national sales charts was mirrored in numerous other countries. Their August 1965 concert at New York's Shea Stadium marked the first time that a large outdoor stadium was used for such a purpose, and with an audience of 55,000, set records for attendance and revenue generation. To protect them from their fans, the Beatles typically travelled to these concerts by armoured car. From the end of that year, the band embraced promo clips for their singles to avoid the difficulties of making personal appearances on television programmes. Their December 1965 album "Rubber Soul" marked a profound change in the dynamic between fans and artists, as many Beatles fans sought to appreciate the progressive quality in the band's look, lyrics and sound.


title: Beatlemania

text: In 1966, John Lennon controversially remarked that the group had become "more popular than Jesus". Soon afterwards, when the Beatles toured Japan, the Philippines and the US, they were entangled in mob revolt, violence, political backlash and threats of assassination. Frustrated by the restrictions of Beatlemania and unable to hear themselves play above their fans' screams, the group stopped touring and became a studio-only band. Their popularity and influence expanded in various social and political arenas, while Beatlemania continued on a reduced scale from then and into the members' solo careers.


title: Beatlemania

text: Beatlemania surpassed any previous examples of fan worship in its intensity and scope. Initially, the fans were predominantly young adolescent females, sometimes called "teenyboppers", and their behaviour was scorned by many commentators. By 1965, their fanbase included listeners who traditionally shunned youth-driven pop culture, which helped bridge divisions between folk and rock enthusiasts. During the 1960s, Beatlemania was the subject of analysis by psychologists and sociologists; a 1997 study recognised the phenomenon as an early demonstration of proto-feminist girl power. The receptions of subsequent pop acts – particularly boy bands – have drawn comparisons to Beatlemania, although none have replicated the breadth and depth of the Beatles' fandom nor its cultural impact.


title: Beatlemania

text: From 1963, the Beatles provided one of the first opportunities for female teenagers in Britain to exhibit spending power and publicly express sexual desire, while the group's image suggested a disregard for adults' opinions and parents' ideas of morality. In the description of author and musician Bob Stanley, the band's domestic breakthrough represented a "final liberation" for the nation's teenagers and, by coinciding with the end of National Service, the group "effectively signaled the end of World War II in Britain".


title: Beatlemania

text: During the 1840s, fans of Hungarian pianist and composer Franz Liszt showed a level of fanaticism similar to that of the Beatles. Poet Heinrich Heine coined "Lisztomania" to describe this. Once it became an international phenomenon in 1964, Beatlemania surpassed in intensity and reach any previous examples of fan worship, including those afforded to Elvis Presley and Frank Sinatra. One factor in this development may have been the post–World War II baby boom, which gave the Beatles a larger audience of young fans than Sinatra and Presley had a decade earlier.<ref name="Lynskey/Observer"></ref>


title: Beatlemania

text: Psychologists during the 1960s were especially drawn to the significance of the long hair preferred by the Beatles and the bands that emerged soon after their breakthrough. Academics proposed that the long hair signalled androgyny and thus presented a less threatening version of male sexuality to teenage girls, as well as allowing male fans to view the group in a sexual regard that they normally reserved for young females. Other concerns related to the Beatles' own sexuality; whether the haircuts were a projection of latent homosexuality or confident heterosexuality. In their 1986 book "Re-making Love: The Feminization of Sex", authors Barbara Ehrenreich, Elizabeth Hess and Gloria Jacobs argued that the band's presentable suits meant that they seemed less "sleazy" than Presley to middle-class whites.<ref name="Ehrenreich/Hess/Jacobs"></ref>


title: Beatlemania

text: In February 1964, Paul Johnson wrote an article in the "New Statesman" which stated that the mania was a modern incarnation of female hysteria and that the wild fans at the Beatles' concerts were "the least fortunate of their generation, the dull, the idle, the failures". The article became the "most complained-about piece" in the magazine's history. A 1966 study published in the "British Journal of Clinical Psychology" rejected Johnson's assertion; the researchers found that Beatles fans were not likelier to score higher on Minnesota Multiphasic Personality Inventory's hysteria scale, nor were they unusually neurotic. Instead, they described Beatlemania as "the passing reaction of predominantly young adolescent females to group pressures of such a kind that meet their special emotional needs".


title: Beatlemania

text: The Beatles attracted a fan frenzy in the north of England since the start of the 1960s. Beatles historian Mark Lewisohn says that some who attended the band's 27 December 1960 show in Litherland claim that Beatlemania was "born" there, while Bob Wooler, who regularly presented the Beatles at Liverpool's Cavern Club, wrote in August 1961 that they were "the stuff that screams are made of" and were already playing to "fever-pitch audiences" at the Cavern. However, national recognition of "Beatlemania" eluded the band until late 1963.


title: Beatlemania

text: With the success of their second single "Please Please Me", the Beatles found themselves in demand for the whole of 1963. In the UK, the song reached number two on the "Record Retailer" chart (subsequently adopted as the UK Singles Chart), and topped both the "NME" and "Melody Maker" charts. The band released their first album in March 1963, also titled "Please Please Me". They completed four nationwide tours and performed at a great many single shows around the UK throughout the year, often finishing one show only to travel straight to the next show in another location – sometimes even to perform again the same day. The music papers were full of stories about the Beatles, and magazines for teenage girls regularly contained interviews with the band members, colour posters, and other Beatle-related articles. Lennon's August 1962 marriage to Cynthia Powell was kept from public view as a closely guarded secret.


title: Beatlemania

text: On 2 February 1963, the Beatles opened their first nationwide tour at a show in Bradford featuring Helen Shapiro, Danny Williams, Kenny Lynch, Kestrels, and the Red Price Orchestra. Heading the tour bill was 16-year-old Shapiro followed by the other five acts – the last of which was the Beatles. The band proved immensely popular during the tour, however, as journalist Gordon Sampson observed. His report did not use the word "Beatlemania", but the phenomenon was evident. Sampson wrote that "a great reception went to the colourfully dressed Beatles, who almost stole the show, for the audience repeatedly called for them while other artists were performing!" The Beatles' second nationwide tour began on 9 March at the Granada Cinema in London, where the group appeared on a bill headed by American stars Tommy Roe and Chris Montez, both of whom had firmly established themselves in the UK singles charts. Throughout the tour, the crowds repeatedly screamed for the Beatles, and the American stars were less popular than a homegrown act for the first time. The Beatles enjoyed the overwhelming enthusiasm, but they also felt embarrassment for the American performers at this unexpected turn of events, which persisted at every show on the tour.


title: Beatlemania

text: In May, the Beatles achieved their first number 1 single on the "Record Retailer" chart with "From Me to You". McCartney later cited the song title, along with that of its B-side, "Thank You Girl", as an example of him and Lennon directly addressing the group's fans and appreciating that such a seemingly personal message resonated with their audience. According to Stanley, the band provided a sense of liberation for fans of both sexes, in that "The boys could make as much noise as possible; the girls had something with dirt under its fingernails they could scream at."


title: Beatlemania

text: The Beatles began their third nationwide tour on 18 May, the bill this time headed by Roy Orbison. Orbison had established even greater UK chart success than either Montez or Roe, with four hits in the top 10, but he proved less popular than the Beatles at the tour's opening show staged at the Adelphi Cinema, Slough. It soon became obvious that this was not going to change, and a week into the tour the covers of the souvenir programs were reprinted to place the Beatles above Orbison. Starr was nonetheless impressed with the response that Orbison still commanded, saying: "We would be backstage, listening to the tremendous applause he was getting. He was just doing it by his voice. Just standing there singing, not moving or anything." The tour lasted three weeks and ended on 9 June.


title: Beatlemania

text: There was tremendous anticipation ahead of the release of the Beatles' fourth single, "She Loves You". Thousands of fans ordered the single as early as June 1963, well before its title had been known. In July, the band convened at EMI Studios for the song's recording session, an occasion that was publicised in advance by the weekly pop papers. More than a hundred fans congregated outside the studios, and dozens broke through a police blockade, swarming the building in search of the band. By the day before the single went on sale in August, some 500,000 advanced orders had been placed for it. "She Loves You" topped the charts and set several UK sales records. The song included a "Yeah, yeah, yeah" refrain that became a signature hook for their European audiences; in addition, the song's falsetto "Ooh!"s elicited further fan delirium when accompanied by the vocalists' exaggerated shaking of their moptop hair.


title: Beatlemania

text: On 13 October, the Beatles starred on Val Parnell's "Sunday Night at the London Palladium", the UK's top variety show. Their performance was televised live and watched by 15 million viewers. One national paper's headlines in the following days coined the term "Beatlemania" to describe the phenomenal and increasingly hysterical interest in the Beatles – and it stuck. Publicist Tony Barrow saw Beatlemania as beginning with the band's appearance on that program, at which point he no longer had to contact the press but had the press contacting him. Scottish music promoter Andi Lothian said that he coined "Beatlemania" while speaking to a reporter at the band's Caird Hall concert, which took place as part of the Beatles' mini-tour of Scotland on 7 October. The word appeared in the "Daily Mail" on 21 October for a feature story by Vincent Mulchrone headlined "This Beatlemania".


title: Beatlemania

text: The band returned from a five-day Swedish tour on 31 October 1963 and were greeted at Heathrow Airport in heavy rain by thousands of screaming fans, 50 journalists and photographers, and a BBC TV camera crew. The wild scenes at the airport delayed the British Prime Minister Alec Douglas-Home, being chauffeured in the vicinity, as his car was obstructed by the crowds. The Miss World of the time was passing through the airport, as well, but she was completely ignored by journalists and the public.


title: Beatlemania

text: On 1 November, the Beatles began their 1963 Autumn Tour, their first tour as undisputed headliners. It produced much the same reaction from those attending, with a fervent, riotous response from fans everywhere they went. Police attempting to control the crowds employed high-pressure water hoses, and the safety of the police became a matter of national concern, provoking controversial discussions in Parliament over the thousands of police officers putting themselves at risk to protect the Beatles.


title: Beatlemania

text: On the first tour date, at the Odeon in Cheltenham, the volume of sound from the screaming crowds was so great that the Beatles' amplification equipment proved unequal to it – the band members could not hear themselves speaking, singing or playing. The next day, the "Daily Mirror" carried the headline "BEATLEMANIA! It's happening everywhere ... even in sedate Cheltenham". "The Daily Telegraph" published a disapproving article in which Beatlemania and the scenes of adulation were likened to Hitler's Nuremberg Rallies. Adults, who had been accustomed to wartime deprivation in their youth, expressed concerns at the frenzied reaction given to pop groups such as the Beatles. Alternatively, a Church of England clergyman remarked that a Beatles version of the Christmas carol "O Come, All Ye Faithful", sung as "O Come, All Ye Faithful Yeah Yeah Yeah", might restore the popularity and relevance of the church in Britain.


title: Beatlemania

text: The tour continued until 13 December, with stops in Dublin and Belfast, and marked the "pinnacle of British Beatlemania", according to Lewisohn. Maureen Lipman attended a concert in Hull as a sceptic, but 50 years later she recalled her "road to Damascus moment" when Lennon sang "Money (That's What I Want)": "Someone very close to me screamed the most piercing of screams, a primal mating call … I realised with an electric shock that the screaming someone was me." Lipman heard that the theatre "cleared away 40 pairs of abandoned knickers" from other young female fans, and she concluded, "life, as I knew it, was never the same again."


title: Beatlemania

text: On 21 and 22 December, the band gave preview performances of "The Beatles' Christmas Show" in Bradford and Liverpool, respectively. Designed for children and performed with several other acts, the presentation combined comedy with musical sets and was subsequently performed twice daily (apart from on New Year's Eve) at the Finsbury Park Astoria in north London from 24 December to 11 January 1964. The Beatles also recorded the first of their annual fan club Christmas records, an initiative suggested by Barrow, which again included comedy skits and musical segments. With the November 1963 release of their second album, "With the Beatles", the group inaugurated a tradition of issuing a new Beatles LP in time for the Christmas sell-in period, leading fans to congregate and hold listening parties over the holiday season. Author Nicholas Schaffner, a teenager during the 1960s, said that these albums came to "evoke an intangible sense of Christmas" for many listeners as a result.


title: Beatlemania

text: EMI owned Capitol Records, but Capitol had declined to issue any of the band's singles in the US for most of the year. The American press regarded the phenomenon of Beatlemania in the UK with amusement. Newspaper and magazine articles about the Beatles began to appear in the US towards the end of 1963, and they cited the English stereotype of eccentricity, reporting that the UK had finally developed an interest in rock and roll, which had come and gone a long time previously in the US. Headlines included "The New Madness" and "Beatle Bug Bites Britain", and writers employed word-play linking "beetle" with the "infestation" afflicting the UK. "The Baltimore Sun" reflected the dismissive view of most adults: "America had better take thought as to how it will deal with the invasion. Indeed a restrained 'Beatles go home' might be just the thing." Rather than dissuading American teenagers, such disapproval from adults strengthened their connection with the band.


title: Beatlemania

text: The Beatles' American television debut was on 18 November 1963 on "The Huntley–Brinkley Report", with a four-minute report by Edwin Newman. On 22 November, the "CBS Morning News" ran a five-minute feature on Beatlemania in the UK which heavily featured their UK hit "She Loves You". The evening's scheduled repeat was cancelled following the assassination of President John F. Kennedy the same day. On 10 December, Walter Cronkite decided to run the piece on the "CBS Evening News".


title: Beatlemania

text: American chart success began after disc jockey Carroll James obtained a copy of the British single "I Want to Hold Your Hand" in mid-December and began playing it on AM radio station WWDC in Washington, DC. Listeners repeatedly phoned in to request a replay of the song, while local record shops were flooded with requests for a record that they did not have in stock. James sent the record to other disc jockeys around the country, sparking similar reaction. On 26 December, Capitol released the record three weeks ahead of schedule. It sold a million copies and became a number-one hit in the US by mid-January. Epstein arranged for a $40,000 American marketing campaign, a deal Capitol accepted due to Ed Sullivan's agreement to headline the Beatles on "The Ed Sullivan Show".


title: Beatlemania

text: In advance of the Beatles' arrival in the US, "Time" magazine reported that the "raucous sound" of the band's screaming fans made their concerts "slightly orgiastic". The seating at venues would be soaked in urine after each show and, in Doggett's description, "Sociologists noted that witnessing a pop group provoked orgasms amongst girls too young to understand what they were feeling." David Holbrook wrote in the "New Statesman" that it was "painfully clear that the Beatles are a masturbation fantasy, such as a girl presumably has during the onanistic act – the genial smiling young male images, the music like a buzzing of the blood in the head, the rhythm, the cries, the shouted names, the climaxes."


title: Beatlemania

text: On 3 January 1964, "The Jack Paar Program" ran Beatles concert footage licensed from the BBC "as a joke" to an audience of 30 million viewers. On 7 February, an estimated 4,000 Beatles fans were present as Pan Am Flight 101 left Heathrow Airport. Among the passengers were the Beatles on their first trip to the US as a band, along with Phil Spector and an entourage of photographers and journalists. On arrival at New York's newly renamed John F. Kennedy International Airport, they were greeted by a crowd of 4,000 Beatles fans and 200 journalists. A few people in the crowd were injured, and the airport had not previously experienced such a large crowd. The band held a press conference where they met disc jockey Murray the K, then they were driven to New York City, each in a separate limousine. On the way, McCartney turned on a radio and listened to a running commentary: "They have just left the airport and are coming to New York City." When they reached the Plaza Hotel, they were besieged by fans and reporters. Author André Millard, writing in his book "Beatlemania: Technology, Business, and Teen Culture in Cold War America", says that it was this constant fan presence – outside the band's hotels, UK residences, and recording studios – that gave Beatlemania an "extra dimension that lifted it above all other incidents of fan worship".


title: Beatlemania

text: The Beatles made their first live US television appearance on 9 February, when 73 million viewers watched them perform on "The Ed Sullivan Show" at 8 pm – about two-fifths of the American population. According to the Nielsen ratings audience measurement system, the show had the largest number of viewers that had been recorded for an American television program. The Beatles performed their first American concert on 11 February at Washington Coliseum, a sports arena in Washington, DC, attended by 8,000. They performed a second concert the next day at New York's Carnegie Hall, which was attended by 2,000, and both concerts were well received. The Beatles then flew to Miami Beach and made their second television appearance on "The Ed Sullivan Show" on 16 February, which was broadcast live from the Napoleon Ballroom of the Deauville Hotel in Miami Beach with another 70 million viewers. On 22 February, the Beatles returned to the UK and arrived at Heathrow airport at 7 am, where they were met by an estimated 10,000 fans.


title: Beatlemania

text: An article in "The New York Times Magazine" described Beatlemania as a "religion of teenage culture" that was indicative of how American youth now looked to their own age group for social values and role models. The US had been in mourning, fear and disbelief over the assassination of President John F. Kennedy on 22 November 1963, and contemporary pundits identified a link between the public shock and the adulation afforded the Beatles eleven weeks later. According to these writers, the Beatles reignited the sense of excitement and possibility that had faded in the wake of the assassination. Other factors cited included the threat of nuclear war, racial tensions in the US, and reports of the country's increased involvement in the Vietnam War.