title: Reynard the Fox

text: The specific character of Reynard is thought to have originated in Lorraine folklore, from where it spread to France, Germany, and the Low Countries. From the twelfth and thirteenth centuries there are around twenty-six different tales of Reynard the Fox. While there might have been more that were written these are the ones that survive to present day. Many of these are written by different authors and anonymous authors, so there was not just one person writing the tales. An extensive treatment of the character is the Old French "Le Roman de Renart" written by Pierre de Saint-Cloud around 1170, which sets the typical setting. Reynard has been summoned to the court of king Noble (or Leo), the lion, to answer charges brought against him by Isengrim the wolf. Other anthropomorphic animals, including Bruin the bear, Baldwin the ass, and Tibert (Tybalt) the cat, all attempt one stratagem or another. The stories typically involve satire whose usual butts are the aristocracy and the clergy, making Reynard a peasant-hero character. The Catholic Church used the story of the preaching fox (as found in the Reynard literature) in church art as propaganda against the Lollards. Reynard's principal castle, Maupertuis, is available to him whenever he needs to hide away from his enemies. Some of the tales feature Reynard's funeral, where his enemies gather to deliver maudlin elegies full of insincere piety, and which feature Reynard's posthumous revenge. Reynard's wife Hermeline appears in the stories, but plays little active role, although in some versions she remarries when Reynard is thought dead, thereby becoming one of the people he plans revenge upon. Isengrim (alternate French spelling: "Ysengrin") is Reynard's most frequent antagonist and foil, and generally ends up outwitted, though he occasionally gets revenge.


title: Reynard the Fox

text: An individual tale might span several genres which makes classification difficult. Tales often include themes from contemporary society with references to relics, pilgrimage, confession, and the crusades. There is debate over whether or how closely they related to identifiable societal events, but there is a growing camp that see direct societal connections and even implicit political statements in the tales. The stories are told in a way that make such associations easy to make but difficult to substantiate.


title: Reynard the Fox

text: Reynard stories translate difficult laws and legal concepts into common language, allowing people to both understand them and enjoy the legal predicaments and antics of the characters. The court operates just as those in medieval society; the king heard cases only on one specified date and all disputes were heard at once.


title: Reynard the Fox

text: Many versions follow Raynard's fights with Yesengrin, the fox's regular antagonist throughout the stories. Violence between them and other characters is a common thematic element. It is a matter of debate whether the violence shows animals simply acting as such or is meant to reflect the violence in society, especially the various wars that common folk endured at the time.


title: Reynard the Fox

text: Reynard appears first in the medieval Latin poem "Ysengrimus", a long Latin mock-epic written c. 1148–53 by the medieval poet Nivardus, that collects a great store of Reynard's adventures. He also puts in an early appearance in a number of Latin sequences by the early-13th-century preacher Odo of Cheriton. Both of these early sources seem to draw on a pre-existing store of popular culture featuring the character.


title: Reynard the Fox

text: The first "branch" (or chapter) of the "Roman de Renart" appears in 1174, written by Pierre de St. Cloud, although in all French editions it is designated as "Branch II". The same author wrote a sequel in 1179—called "Branch I"—but from that date onwards, many other French authors composed their own adventures for Renart "li goupil" ("the fox"). There is also the Middle High German text "Reinhard Fuchs" by Heinrich der Glïchezäre, dated to 1180. Roman de Renart which fits into the genre of romance. Roman de Renart gets it start using the history of fables that have been written since the time of Aesop. The romance genre of the middle ages is not what we think of the romance genre of today. The romance genre in the middle ages is a fiction telling of a character's life. The protagonist of the romance genre often have an adventure or a call to action this need is almost always there because of an outside force. During the 13th century, French was seen as a standard language, and many works during the Middle Ages were written in French, including Reynard the Fox. Romance was a very popular genre at the time, and many popular works from the Middle Ages fall into the romance genre.


title: Reynard the Fox

text: Pierre de St. Cloud opens his work on the fox by situating it within the larger tradition of epic poetry, the fabliaux and Arthurian romance:


title: Reynard the Fox

text: A mid-13th-century Middle Dutch version of the story by Willem die Madoc maecte ("Van den vos Reynaerde", Of Reynaert the Fox), is also made up of rhymed verses (the same AA BB scheme). Van den vos Reinaerde and Reinaert Historie (referred to as R I and R II, respectively) are two poems written by two different authors with R II being a continuation of R I. With different writers comes different variations. This can best be seen with Reynard himself. While describing the same character the Reynard from R I has many different character traits of that in R II. While a finished and completed poem by itself, Van den vos Reinaerde does not have a set ending.


title: Reynard the Fox

text: Like Pierre, very little is known of the author, other than the description by the copyist in the first sentences:


title: Reynard the Fox

text: "Madocke" or "Madoc" is thought to be another one of Willem's works that at one point existed but had been lost. The "Arnout" mentioned was an earlier Reynard poet whose work Willem (the writer) alleges to have finished. However, there are serious objections to this notion of joint authorship, and the only thing deemed likely is that Arnout was French-speaking ("Walschen" in Middle Dutch referred to northern French-speaking people, specifically the Walloons). Willem's work became one of the standard versions of the legend, and was the foundation for most later adaptations in Dutch, German, and English, including those of William Caxton, Goethe, and F. S. Ellis.


title: Reynard the Fox

text: Geoffrey Chaucer used Reynard material in the "Canterbury Tales"; in "The Nun's Priest's Tale", Reynard appears as "Rossel" and an ass as "Brunel".


title: Reynard the Fox

text: In 1481, the English William Caxton printed "The Historie of Reynart the Foxe", which was translated from "Van den vos Reynaerde". Also in the 1480s, the Scottish poet Robert Henryson devised a highly sophisticated development of Reynardian material as part of his "Morall Fabillis" in the sections known as "The Talking of the Tod". Hans van Ghetelen, a printer of Incunabula in Lübeck printed a Low German version called "Reinke de Vos" in 1498. It was translated to Latin and other languages, which made the tale popular across Europe. Reynard is also referenced in the Middle English poem "Sir Gawain and the Green Knight" during the third hunt.


title: Reynard the Fox

text: Tybalt in Shakespeare's "Romeo and Juliet" is named after the cat in Reynard the Fox (and is called 'Prince of Cats' by Mercutio in reference to this).


title: Reynard the Fox

text: With the invention of the printing press the tales of Reynard the fox became more popular and started to get translated and recreated in many different languages. The tales of Reynard don't follow the typical sense of reprinting as there is no clear chronological way in which the stories are told and they also have only slight changes. Many of the original pages to these stories have been lost to time so it is difficult to tell what the exact literary changes are. There aren't many literary changes to the works with the exception of the typical changes that are seen from the early days of the printing press. There are also slight changes to the wording that show modernization of the uses and differing orders of the words at times.While the changes might appear to be mistakes there they are not thought of as mistakes and are often kept in the modernization of the tales. There haven't been many attempts to better the works in during the fifteenth and sixteenth centuries but they are not seen as often.The reason that the changes to the tales during the fifteenth century are not seen as a mistake is because at that time there were people specified to work in printing and the beliefs of the printers would not have made that many mistakes. In the early modern editions of Reynard the Fox the characteristics of the animals were based on things that the middle class reader wanted to see.


title: Reynard the Fox

text: "Reinecke Fuchs" by Goethe is a poem in hexameters, in twelve parts, written 1793 and first published 1794.


title: Reynard the Fox

text: Goethe adapted the Reynard material from the edition by Johann Christoph Gottsched (1752), based on the 1498 "Reynke de vos".


title: Reynard the Fox

text: In Friedrich Nietzsche's 1889 "The Twilight of the Idols", Nietzsche uses Reynard the Fox as an example of a dialectician.


title: Reynard the Fox

text: German artist Johann Heinrich Ramberg made a series of thirty drawings, which he also etched and published in 1825.


title: Reynard the Fox

text: "Renert" [full original title: "Renert oder de Fuuß am Frack an a Ma'nsgrëßt"], was published in 1872 by Michel Rodange, a Luxembourgeois author. An epic satirical work—adapted from the 1858 Cotta Edition of Goethe's fox epic "Reineke Fuchs" to a setting in Luxembourg. It is known to be a satirical mirror image of Luxembourg's social sphere after the turmoils of the "Luxembourg Crisis", whereby the author transposed his criticism and social scepticism to the animal society in which his fox 'Renert' lives. Beyond that, it is insightful analysis of the different regional and sub-regional linguistic differences of the country, where distinct dialects are used to depict the fox and his companions.


title: Reynard the Fox

text: French artist Rémy Lejeune (Ladoré) illustrated "Les Aventures de Maître Renart et d'Ysengrin son compère", "Bibliolâtres de France" editions (1960).


title: Reynard the Fox

text: "Van den vos Reynaerde" (Of Reynaert the Fox) was an antisemitic children's story, written by the Belgian-born Dutch politician Robert van Genechten, and named after the Middle Dutch poem. It was first published in 1937 in "Nieuw-Nederland", a monthly publication of the Dutch Nazi Party's front, the NSB. In 1941, it was published as a book. The story features a rhinoceros called Jodocus, somewhat akin to the Dutch word "jood" (which means "Jew"); and a donkey, Boudewijn, who occupies the throne. "Boudewijn" was the Dutch name for the contemporary real-world Belgian crown prince. In the story, Jodocus is an outsider who comes to the Empire and subsequently introduces new ideas that drastically alter the natural order. The land is then declared a "Republic", where "liberty, equality and fraternity" are to be exercised, presenting a dystopian view of a socialist republic: "There was no one who kept to the rules of the race. Rabbits crept into foxholes, the chickens wanted to build an eyrie." Eventually, Reynard and the others trick and kill Jodocus and his colleagues.


title: Reynard the Fox

text: "Van den vos Reynaerde" was also produced as a cartoon film by Nederlandfilm in 1943, mostly financed with German money. While lavishly budgeted, it was never presented publicly, possibly because most Dutch Jews had already been transported to the concentration camps and the film came too late to be useful as a propaganda piece, possibly also because the Dutch collaborationist Department of People's Information, Service and Arts objected to the fact that the fox, an animal traditionally seen as "villainous", should be used as a hero. In 1991, parts of the film were discovered in the German "Bundesarchiv". In 2005, more pieces were found, and the film has been restored. The reconstructed film was shown during the 2006 Holland Animation Film Festival in Utrecht and during the KLIK! Amsterdam Animation Festival in 2008, in the Netherlands.


title: Reynard the Fox

text: Ladislas Starevich's 1930 puppet-animated feature film "Le Roman de Renard" (The Tale of the Fox) featured the Reynard character as the protagonist.


title: Reynard the Fox

text: Initially, Walt Disney Animation Studios considered a movie about Reynard. However, due to Walt Disney's concern that Reynard was an unsuitable choice for a hero, the studio decided to make Reynard the antagonist of a feature film based on Edmond Rostand's "Chanticleer") but the production was scrapped in the mid-1960s, in favor of "The Sword in the Stone" (1963). Ken Anderson used the character designs for "Robin Hood" (1973), such as the animal counterparts (e.g. Robin Hood, like Reynard, is a fox while the Sheriff of Nottingham, like Isengrim, is a wolf).


title: Reynard the Fox

text: In 1985, a French animated series, "" ("I Reynard"), was created that was loosely based on Reynard's tales. In it, the original animals are anthropomorphic humanoid animals (to the point that, primary, only their heads are that of animals) and the action occurs in modern Paris with other anthropomorphic animals in human roles. Reynard is a young mischievous fox with a little monkey pet called Marmouset (an original creation). He sets off into Paris in order to discover the city, get a job and visit his grumpy and stingy uncle, Isengrim, who is a deluxe car salesman, and his reasonable yet dreamy she-wolf aunt, Hersent. Reynard meets Hermeline, a young and charming motorbike-riding vixen journalist. He immediately falls in love with her and tries to win her heart during several of the episodes. As Reynard establishes himself in Paris, he creates a small company that shares his name which offers to do any job for anyone, from impersonating female maids to opera singers. To help with this, he is a master of disguise and is a bit of a kleptomaniac, which gets him into trouble from police chief Chantecler (a rooster) who often sends cat police inspector Tybalt after him to thwart his plans.


title: Reynard the Fox

text: The Goethe fox epic was adapted into a 1989 German television film produced by Manfred Durniok and ZDF called "Isegrim ind Reineke"; animation was outsourced to Shanghai Animation Film Studio in China. Unlike other versions, this portrays Renart (Reineke) as quite villainous while Isegrim (who is not related in this version) just tries to keep his job safe from the fox's tricks. While Reineke always tricks and beats the wolf, usually some twist of fate or accident still prevents him from winning and keeps Isegrim's job safe in the court. The movie, which is actually 6 episodes of unrelated stories strung together, is available on DVD.


title: Reynard the Fox

text: "Le roman de Renart" is a 2005 CGI feature animated film made in Luxembourg in French with an English dub called "Renart The Fox" or "The Adventures of Renny the Fox".


title: Reynard the Fox

text: The TV show "The Magicians" includes a character who takes the name of Reynard, but bears no resemblance to the historical literary figure. In this version, he is a pagan trickster god who is a son of Persephone.


title: Ink Master (season 5)

text: Ink Master: Rivals is the fifth season of the tattooing competition series "Ink Master" that premiered on Spike on September 2 and concluded on December 16, 2014 with a total of 16 episodes. The show is hosted and judged by Jane's Addiction guitarist Dave Navarro, with accomplished tattoo artists Chris Núñez and Oliver Peck serving as series regular judges. The winner will receive a $100,000 prize, a feature in "Inked" Magazine and the title of Ink Master.


title: Ink Master (season 5)

text: The premise of this season was featuring tattoo artist rivals as they compete against each other in an elimination-style competition.


title: Ink Master (season 5)

text: This season saw the returns of season three contestants Jason Clay Dunn and Joshua Hibbard, who originally finished the competition in 6th and 5th place respectively.


title: Ink Master (season 5)

text: The winner of the fifth season of "Ink Master" was Jason Clay Dunn, with James "Cleen Rock One" Steinke being the runner-up.


title: Ink Master (season 5)

text: The judging panel is responsible for passing judgement on each artist. They collaborate and use information from their own perception, the audience vote, human canvas vote, and the winner's worst vote to determine who should be sent home. Weight of decisions is set by the terms of the challenge skill.


title: Ink Master (season 5)

text: Audience voting is done through Facebook and Twitter, and was introduced in season 2. In season 5, the audience vote was used in the finale episode to guarantee one of the finalists a spot in the top two.


title: Ink Master (season 5)

text: After the tattoos are completed, the canvases for the challenge gather and vote on the best and worst of that day's tattoos. While the primary judges have the final say, the weight of the canvas vote does affect the judging panels final decision.


title: Bruno Silva (fighter)

text: Bruno Arruda da Silva (born July 13, 1989) is a Brazilian mixed martial artist who competes in the Middleweight division of the Ultimate Fighting Championship.


title: Bruno Silva (fighter)

text: Silva started training in 2009 and after three months, he had his first fight. At first, it was out of curiosity because in the interior of Paraíba there was not much of a fighting culture, but after three months of training, Silva lost his father and fighting was a therapy.


title: Bruno Silva (fighter)

text: Upon turning pro in 2010 up until 2012, Silva went just 6-5 in 11 contests. Silva racked up a record of 9–5 in Brazilian regional circuit before trying out for in 2013. “Blindado” then rattled off 14 wins in his last 16 outings. Silva lived in the northeast of Brazil, in a very small city that had no MMA structure, having to work in other professions. Silva credited his turn around to dedicating himself to his athletic career after 2012.


title: Bruno Silva (fighter)

text: He passed the tryouts, advancing to the preliminary round where he however was knockout out by Vitor Miranda, and was eliminated from the season.


title: Bruno Silva (fighter)

text: After TUF tryouts Silva amassed seven more wins with one loss, and signed with Russian Cagefighting Championship. He made his promotional debut against Gennadiy Kovalev at RCC 2 on February 24, 2018. He won the fight via first-round knockout.


title: Bruno Silva (fighter)

text: He then signed with M-1 Global and made his promotional debut against Alexander Shlemenko at M-1 Challenge 93 – Shlemenko vs. Silva on June 1, 2018. He won the fight via first round knockout.


title: Bruno Silva (fighter)

text: The win lined him up for a fight against Artem Frolov for the M-1 Global Middleweight Championship which took place at M-1 Challenge 98 - Frolov vs. Silva on November 2, 2018. He claimed the championship via fourth-round technical knockout.


title: Bruno Silva (fighter)

text: In May 2019 it was announced that Silva had signed with the UFC. He was scheduled to replace injured Markus Perez against Deron Winn on June 22, 2019 at UFC Fight Night 154. On June 16, it was reported that Silva was forced to pull out of the contest due to a potential anti-doping violation by USADA and was replaced by returning veteran Eric Spicely. In January 2020, news surfaced that Silva was suspended for two years for testing positive for boldenone, but at the time USADA did not confirm the news due to pending hearing. Ultimately in late June 2020, USADA announced the suspension, stating Silva would be eligible to return to competition after June 14, 2021.


title: Bruno Silva (fighter)

text: Ultimately, Silva made his promotional debut against Wellington Turman at UFC on ESPN 25 on June 19, 2021. Silva won the fight via first-round knockout.


title: Bruno Silva (fighter)

text: In the sophomore appearance Silva faced Andrew Sanchez at UFC Fight Night 195 on October 16, 2021. He won the fight via technical knockout in round three. This win earned him the "Performance of the Night" award.


title: Bruno Silva (fighter)

text: Silva next faced Jordan Wright at UFC 269 on December 11, 2021. He won the fight via TKO in the first round. The win also earned Silva his second consecutive Performance of the Night bonus award.


title: Bruno Silva (fighter)

text: Silva faced Alex Pereira on March 12, 2022 at UFC Fight Night 203. Silva got outstruck for all three rounds and lost the fight via unanimous decision.


title: Bruno Silva (fighter)

text: Silva faced Gerald Meerschaert on August 13, 2022, at UFC on ESPN 41 He lost the fight via a guillotine choke in round three.


title: Bruno Silva (fighter)

text: Silva was scheduled to face Albert Duraev on December 17, 2022, at UFC Fight Night 216. However, he was pulled from the event due to injury and he was replaced by Michał Oleksiejczuk.


title: Taiko no Tatsujin

text: While the series is mainly designed for use within Japan, there are also localized versions for other regions, including English, Chinese and Korean-language versions.


title: Taiko no Tatsujin

text: The main objective of "Taiko no Tatsujin" games is to hit a simulated Taiko drum following a chosen piece of music, corresponding to scrolling from the right.


title: Taiko no Tatsujin

text: Arcade releases are equipped with simulated Taiko, which can register hits when played with drum sticks (bachi).


title: Taiko no Tatsujin

text: Console versions mainly use buttons to play, while certain devices can support additional methods of input:


title: Taiko no Tatsujin

text: The variety of notes in the game consists mainly of red and blue markers. The red note requires a hit on the face of the drum, and the blue note requires a hit on the rim.


title: Taiko no Tatsujin

text: Other notes require quick consecutive hits on the drum. Types of such notes includes the yellow bar, the balloon note (called a burst note in "") and the Kusudama ball (or the yam on older releases since PS2 Godaime, or the Mallet note in "Drum Session!" and "Drum ‛n’ Fun!").


title: Taiko no Tatsujin

text: Unlike other rhythm games such as "Guitar Hero", the drum is an addition to the songs and does not limit an instrument being played whenever the notes are not hit, nor does it simulate an off-key sound when missed as the game allows the players to freely hit the drum wherever they want, so long as it isn't close to a note that could result in a penalty.


title: Taiko no Tatsujin

text: Most games in the franchise provide four difficulty levels for play: and (known in English versions of Drum 'n' Fun and Drum Session as "Extreme") the highest difficulty.


title: Taiko no Tatsujin

text: Certain songs also have extra in addition to the four standard levels. These are intended to be alternative takes on the regular set. Although not a main objective, most inner note charts are made more difficult than regular note charts. This later changed to being exclusive to the Oni/Extreme difficulty only.


title: Taiko no Tatsujin

text: Some inner note charts work by changing to an alternative version of the song, or, exclusively in arcades, switching to a completely different song. As of the third-generation in 2011, these became separate songs.


title: Taiko no Tatsujin

text: Some songs can feature in certain difficulty levels. According to the player's performance, the notechart changes between or On certain songs, like Hyakka Ryoran, a drumroll appears at the start to allow the player to pick any of three notecharts.


title: Taiko no Tatsujin

text: is the first official home console release in the franchise, it was released on the PlayStation 2 on October 24, 2002, in Japan. "Tatakon de Dodon ga Don" features 29 songs selected from first three arcade versions of Taiko no Tatsujin released (such as "" by Boøwy, "Traveling" by Hikaru Utada, "Pieces of a Dream" by Chemistry, and "Mr. Moonlight (Ai no Big Band)" by Morning Musume), "Tatakon de Dodon ga Don" also features new original songs exclusive for the PlayStation 2 version of the game ("Stepping Wind" from "").


title: Taiko no Tatsujin

text: Taiko: Drum Master is the first official North American release in the franchise, exclusively released for the PlayStation 2 on October 26, 2004, in North America and March 17, 2005, in Japan. Instead of Japanese pop and anime music, "Taiko: Drum Master" uses English-language pop music by artists including Queen and Madonna, and Western and Japanese animation theme songs from "Dragon Ball Z", a Japanese anime that has been dubbed in English, and "".


title: Taiko no Tatsujin

text: is the thirteenth arcade release of the series, with service commencing December 17, 2009. "Taiko no Tatsujin 13" was used to hold the Japan-wide tournament in early 2010.


title: Taiko no Tatsujin

text: is the fourteenth arcade release of the series. With more than 150 playable songs, "14" inherits many features from previous releases. For a limited time, "14" participated as part of a collaboration with McDonald's. As part of the franchise's 10th anniversary celebration, an upgrade patch was made available for "14", adding five extra songs to the track listing.


title: Taiko no Tatsujin

text: also stylized as Taiko no Tatsujin +, is a video game application exclusively for iOS devices, released on May 28, 2014, in Japan. "Plus" is free to download but charges for purchasing additional music packs. In June 2015, "Plus" introduces the service, allowing unlimited downloads of designated songs within a set time for a fee. "Plus" is chiefly controlled with a simulated drum surface on the device's touchscreen, but also supports Roland Corporation's V-Drums electronic drum sets with subsequent updates.


title: Taiko no Tatsujin

text: In addition to typical "Taiko no Tatsujin" gameplay, "Plus" also includes the feature, where in-game points can be exchanged for rolls of lucky draw for randomly drawn prizes.


title: Taiko no Tatsujin

text: is the fifteenth arcade release of the series. This release is significantly different from previous arcade releases, allowing players to store play data with Bandai Namco's Banapassport card, customizing player characters and by-player difficulty settings. The game can also receive online updates to add playable songs and features. Initially released exclusively in Japan, the cabinet has been released since January 2014 in Southeast Asian regions including Taiwan, Hong Kong, Malaysia and Thailand.


title: Taiko no Tatsujin

text: Since its initial release in 2011, the game has received one or two major upgrades each year. Each release usually adds many new songs at once, implements modes exclusive to that release, as well as introduce new costume options and challenges in Ranking Dojo Mode.


title: Taiko no Tatsujin

text: In May 2014, a number of "Taiko no Tatsujin" cabinets seemingly based on "Momoiro Ver." were found in arcades in Brazil under the name of "Wadaiko Master". These cabinets were translated into Portuguese and featured a significantly reduced song list, only containing 32 tracks including three Brazilian Music tracks exclusive to this edition. "Wadaiko Master" is offline-only, lacking network features such as Banapassport support and software updates present in other releases.


title: Taiko no Tatsujin

text: "Wadaiko Master" is the only instance of "Taiko no Tatsujin" being officially released in arcades outside of Asia.


title: Taiko no Tatsujin

text: known officially as the was released in Japanese arcades on 24 March 2020 and started the fourth generation of "Taiko no Tatsujin" arcade cabinets. Arcade operators upgraded this title from the 2011 game by purchasing a hardware renovation kit, which includes a brand new arcade board based on System BNA1, a 120 Hz monitor, and a QR code reader.


title: Taiko no Tatsujin

text: "Nijiiro Ver." features new elements such as the obtained by clearing a song with the highest possible level of accuracy. The song settings menu has been updated to allow for more options, including more control over the notes' playback speed. The default scoring system has been changed significantly, as it no longer awards bonuses for long combos and instead focused on accuracy. The "Classical" and "Variety" song genres have been removed, with their songs being assigned to other categories. There is also a vast amount of graphical updates, notably with the inclusion of horizontal text on the song select menu, similar to "". On a livestream at JAEPO 2020, Etou, the game's director, said that this is to prepare the game for "overseas players".


title: Taiko no Tatsujin

text: An international version of "Nijiiro Ver." was released for Asia and Oceania in Spring 2021. The game has seen a limited release in Australian arcades in October 2022. This version is multilingual and is playable in English, Traditional Chinese or Korean. Special, regional songs exclusive to the international version are also included upon release.


title: Taiko no Tatsujin

text: is the first "Taiko no Tatsujin" game exclusively for the Wii U, released on November 21, 2013, in Japan only. The game was said to carry 70 songs, and features appearances of Golden Bomber and Super Mario Bros., and a collaboration campaign with Japanese idol group Momoiro Clover Z.


title: Taiko no Tatsujin

text: "Wii U Version" features the new gameplay mode where multiple players alternately play a single song in a relay race-like fashion. The game also supports the Wii U GamePad with a touchscreen drum, and can be played with the GamePad alone without needing a television set.


title: Taiko no Tatsujin

text: Both free and paid downloadable content, including outfit items and additional playable songs, are available via the Nintendo eShop.


title: Taiko no Tatsujin

text: Taiko no Tatsijin: Rhythmic Adventure 1, also known as is the second "Taiko no Tatsujin" game exclusively for the Nintendo 3DS, released on June 26, 2014, in Japan only. The game includes a reported number of 60 songs, and guest appearance of Jibanyan from "Yo-kai Watch", Airou from "Monster Hunter 4", Funassyi and Kumamon.


title: Taiko no Tatsujin

text: "Rhythmic Adventure 1" features a main story plot in in which series protagonists Don and Katsu travel through time to different periods, encountering various friends and enemies. Players engage in random encounter drum-playing battles and gather befriended enemies as team members, similarly as in Pokémon games with added rhythm game elements.


title: Taiko no Tatsujin

text: Both free and paid downloadable content, including additional quests for Space-time Adventure Mode, outfit items and additional playable songs, are available via the Nintendo eShop. Additional content can also be unlocked via scanning QR codes hosted at various other media and using Spot Access functionality at specific locations.


title: Taiko no Tatsujin

text: "Rhythmic Adventure 1" was later localized into a Korean-language version and was released on August 27, 2015.


title: Taiko no Tatsujin

text: is the second "Taiko no Tatsujin" game exclusively for the Wii U, released on November 20, 2014, in Japan only. The game boasts a collection of 100 playable songs, and features appearances of guest characters such as Funassyi, Kumamon and Hatsune Miku.


title: Taiko no Tatsujin

text: "Tokumori" features two new modes: a capsule toy set-up for unlocking unlockable content, and a quiz mini-game that players would have to guess the intro of a song. Baton Touch Play Mode returns from "Wii U Version".


title: Taiko no Tatsujin

text: is a "Taiko no Tatsujin" game exclusively for the PlayStation Vita, released on July 9, 2015. The game includes more than 80 playable songs, with a focus on anime, Vocaloid and video game music.


title: Taiko no Tatsujin

text: "V Version" features a main story plot in in which protagonist Don adventures with a young female named Maple to defeat Noise and the ancient dragon Revolution. The game also features the practice mode that can fast forward, rewind and change speed.


title: Taiko no Tatsujin

text: A traditional Chinese version, with translated Chinese menu and dialogue text but retaining Japanese voice acting, will be released on the same release date in Taiwan and Hong Kong. This version is expected to feature Asia-exclusive playable songs, to be continually made available after release.


title: Taiko no Tatsujin

text: is the third "Taiko no Tatsujin" game exclusively for the Wii U, released on November 26, 2015, in Japan. Coinciding with the series' 15th Anniversary, the game includes an original 15th Anniversary short animation produced in collaboration with Studio Ghibli, and the first printing of the bundle version that includes additional 15th Anniversary branded goods.


title: Taiko no Tatsujin

text: The game features the brand new mode, with Katsu-chan befriending animals to become the most popular person in the neighborhood. Other modes from past Wii U titles also make a return.


title: Taiko no Tatsujin

text: Taiko no Tatsujin: Rhythmic Adventure 2, also known as is the third "Taiko no Tatsujin" game exclusively for the Nintendo 3DS, released on June 16, 2016, in Japan. The game features over 70 songs and introduces a new "Mystery Adventure" mode, which adds an RPG adventure to the game. In this mode, Don-chan and Katsu-chan explore Mystery Spots around the world. As the players advance through the story, the player fights in battles and allies with characters. A party can have up to eight characters.


title: Taiko no Tatsujin

text: Taiko no Tatsujin: Drum Session!, also known as was released exclusively for PlayStation 4 in Japan and most parts of Asia on October 26, 2017 and in North America, Europe and Australia on November 2, 2018. Together with "Drum 'n' Fun!", it is the first game of the series to be officially localized overseas in North America for over a decade, as well as the very first official European and Australian release from the series overall. The game is digital-exclusive for the NA, EU and AU markets, as opposed to both physical and digital for Japan and Asia markets. The game has the Friend Session Mode that lets players play against the online play data of other players, and the Guest Session Mode where players can challenge characters from other franchises.


title: Taiko no Tatsujin

text: Taiko no Tatsujin: Drum 'n' Fun!, also known as was released exclusively for the Nintendo Switch. The game was released in Japan, Hong Kong, Taiwan and South Korea on July 19, 2018, and in Southeast Asia on August 9. It was released in the US, Europe and Australia on November 2. Together with the first PS4 Taiko game, it is the first game of the series to be officially localized overseas in North America for over a decade, as well as the very first official European and Australian release from the series overall. The game is digital-exclusive for the North America region, but available in both physical and digital in Europe as well as the bundle that also packages the Tatacon drum controller with the game. It makes use of the motion controls of the console's Joy-Con controllers to simulate the use of drumsticks. The game also features exclusive songs from "Super Mario Odyssey", "Pac-Man Championship Edition 2", and "Splatoon 2".


title: Taiko no Tatsujin

text: Taiko no Tatsujin: Rhythmic Adventure Pack, also known as is a re-release of "Rhythmic Adventure 1" ("Don to Katsu no Jikū Daibōken") and "Rhythmic Adventure 2" ("Dokodon! Mystery Adventure"), bundled into one game and was released on the Nintendo Switch on 26 November 2020 in Japan and Asian countries and 3 December in Europe and North America. "Rhythmic Adventure Pack" is the first "Taiko no Tatsujin" game to feature a story mode translated into English. In addition to the two RPG modes, Taiko Mode was also included and featured 6 new songs not included in the original releases. The DLC songs from the original games are not included in the game. "Rhythmic Adventure Pack" is available physically in Japan and Asia; however, only a digital version will be available in Europe and North America.


title: Taiko no Tatsujin

text: Taiko no Tatsujin: The Drum Master! is the first title available exclusively for Xbox One, Xbox Series X/S, and Microsoft Windows, offered as part of Xbox Game Pass and released worldwide on January 27, 2022. It contains over 70 songs and features local and online multiplayer modes. Paid downloadable songs are planned to be added in the future.


title: Taiko no Tatsujin

text: Taiko no Tatsujin: Rhythm Festival is an entry for the Nintendo Switch that was released on September 23, 2022.


title: Taiko no Tatsujin

text: "Taiko no Tatsujin" frequently hosts collaboration campaigns with other video game franchises and companies. Collaboration efforts include porting signature songs into "Taiko no Tatsujin" games, sometimes with special dancers and background designs. In return "Taiko no Tatsujin" elements are shown as guest appearances in other media. Notable entities collaborated with the series include:


title: Taiko no Tatsujin

text: From 2005, Kids Station broadcast 26 3-minute shorts of the "Taiko no Tatsujin" characters in clay anime.


title: Taiko no Tatsujin

text: Mini versions of the game appear in the Namco game "" when the main characters is equipped with a costume resembling a drum, and in the Nintendo DS game "Nodame Cantabile".


title: Taiko no Tatsujin

text: "Taiko no Tatsujin" games generally received favourable reviews from critics. Most published console and handheld releases received Famitsu Review Scores of over 30, out of a total of 40. "Taiko: Drum Master" attained a 77-point Metacritic score from 35 reviews.


title: You Can't Always Get What You Want

text: "You Can't Always Get What You Want" is a song by the English rock band the Rolling Stones on their 1969 album "Let It Bleed". Written by Mick Jagger and Keith Richards, it was named as the 100th greatest song of all time by "Rolling Stone" magazine in its 2004 list of the "500 Greatest Songs of All Time" before dropping a place the following year.


title: You Can't Always Get What You Want

text: "You Can't Always Get What You Want" was composed in the key of C major and was the first song recorded for the album. It exists in two versions, a 4:51 single mix and a 7:28 album mix. "You Can't Always Get What You Want" was recorded on 16 and 17 November 1968 at Olympic Sound Studios in London. It features the London Bach Choir opening the song (the choir opening is only on the album version), highlighting throughout, and bringing it to its conclusion. Al Kooper plays piano and organ, as well as the French horn intro, while Rocky Dijon plays congas, maracas and tambourine.


title: You Can't Always Get What You Want

text: In his review of the song, Richie Unterberger of AllMusic said: "If you buy John Lennon's observation that the Rolling Stones were apt to copy the Beatles' innovations within a few months or so, 'You Can't Always Get What You Want' is the Rolling Stones' counterpart to 'Hey Jude'." Jagger said in 1969, "I liked the way the Beatles did that with 'Hey Jude'. The orchestra was not just to cover everything up—it was something extra. We may do something like that on the next album."


title: You Can't Always Get What You Want

text: The three verses (and the varied theme of the fourth verse) address major topics of the 1960s: love, politics, and drugs. Each verse captures the essence of the initial optimism and eventual disillusion, followed by the resigned pragmatism of the chorus.


title: You Can't Always Get What You Want

text: Jimmy Hutmaker of Excelsior, Minnesota claimed to be the "Mr. Jimmy" cited in the song and that he said the phrase "you can't always get what you want" to Jagger during a chance encounter at an Excelsior drug store in 1964. However, David Dalton, a writer for "Rolling Stone" who witnessed the filming of "The Rolling Stones Rock and Roll Circus", claims in his commentary for the DVD of the concert that "Mr. Jimmy" refers to Miller, the Stones producer from 1968 to 1973.


title: You Can't Always Get What You Want

text: Marianne Faithfull has also claimed a role: "Obviously I also contributed to 'You Can't Always Get What You Want' and 'Dear Doctor' – junk songs... I know they used me as a muse for those tough drug songs. I knew I was being used but it was for a worthy cause."


title: You Can't Always Get What You Want

text: The song was originally released on the B-side of "Honky Tonk Women" in July 1969. Although it did not chart at the time, London Records re-serviced the single in 1973 and "You Can't Always Get What You Want" reached number 42 on the "Billboard" Hot 100 and number 34 on the "Cashbox" Top 100 Singles chart. One of the Stones' most popular recordings, it has since appeared on the compilations "Hot Rocks", "" (single version), "Forty Licks", "", "Singles 1968-1971" (single version), "Slow Rollers" (single version) and "GRRR!" (single version).


title: You Can't Always Get What You Want

text: Live recordings appear on the albums "Love You Live", "Flashpoint", "Live Licks", "Brussels Affair", "Hyde Park Live", and "", as well as on "The Rolling Stones Rock and Roll Circus", filmed in 1968. Stones concert films that contain the song include: "", ""From the Vault – L.A Forum - Live in 1975", "Let's Spend the Night Together", "Stones at the Max", "Bridges to Babylon Tour '97–98", "Four Flicks", "The Biggest Bang", "Sweet Summer Sun: Hyde Park Live", and "Havana Moon".


title: You Can't Always Get What You Want

text: The song was performed live with members of Voce Chamber Choir and London Youth Choir for the Stones' 2012 shows in London, November 25 and November 29. The same choir also performed on the track at Glastonbury and two performances at Hyde Park in 2013.


title: You Can't Always Get What You Want

text: Donald Trump played the Rolling Stones' recording of the song at campaign appearances during the 2016 Republican primaries and the presidential election, including his nationally televised acceptance speech at the Republican National Convention in July. Although the campaign had attained a blanket licence from ASCAP, after the convention, the band said publicly that they do not endorse Trump and requested that he cease all use of their songs immediately. Despite the requests to stop, Trump continued using the song at campaign rallies before and after the 2016 election. According to Jagger, the band considers the use of the song as a play-out at rallies to be "odd," given that it is a "sort of doomy ballad about drugs in Chelsea." The Trump campaign continued to use the song during 2020, the most recent use being to close his political rally in Tulsa, Oklahoma on June 20, 2020. Trump was again warned by the Stones not to use their music. They said they were working with the performing rights organisation, BMI to prevent unauthorised use. The Trump campaign stopped using the song soon after and began playing "Y.M.C.A." by Village People to end his rallies instead.


title: Suzuki Ignis

text: The is an automobile nameplate that was first produced by Suzuki in 2000 as a subcompact car, replacing the Suzuki Cultus, and subsequently as a crossover-styled city car from 2016.


title: Suzuki Ignis

text: The Cultus retailed under various names globally, notably as the Suzuki Swift. While the Cultus-based Swift was replaced by the Ignis in Europe and Australasia, Japanese models were in fact badged Suzuki Swift—thus debuting the "Swift" name in that market. The word "ignis" is Latin for "fire".


title: Suzuki Ignis

text: As a result of a venture project between General Motors (GM) and Suzuki, the Ignis, from 2001 also formed the basis of the Chevrolet Cruze. The Cruze sold throughout Japan as a Chevrolet, with Australasian-market versions badged Holden Cruze. From 2003, Suzuki of Europe adopted a lengthened version of the Cruze as the Suzuki Ignis—representing a facelift of the original Ignis. In the same year, Subaru adopted the car as the Subaru G3X Justy, also exclusive to Europe.


title: Suzuki Ignis

text: The first series of the Ignis (codenamed HT51S and HT81S) was manufactured as a three- and five-door hatchback, powered by a new generation of Suzuki inline-four petrol engines, the M family. This family featured DOHC, four valves per cylinder and variable valve timing. Engines were offered in two displacements: 1.3 litres ("M13A") and 1.5 litres ("M15A"), with power outputs of (JIS) and (JIS), respectively. Suzuki assigned the "HT51S" model code to the 1.3-liter model, with the 1.5-liter versions allocated the "HT81S" code. With exception of the Ignis Sport, Suzuki did not offer the three-door model in Japan. Likewise, the 1.5-liter engine was unavailable outside of the Ignis Sport range in export markets, with the 1.3-litre version offered being detuned to . The standard transmission was a five-speed manual, with a four-speed automatic transmission optional. Both the front- and all-wheel drive layouts were tendered, although the combination of four-wheel drive and automatic transmission combination was limited to Japan as it was incompatible with European emission standards. A minor facelift came in 2003, featuring new wheel trims, a revised grille insert and clear headlamp-mounted turn signal lenses, as opposed to the amber versions fitted to the original. Production ended in 2006.


title: Suzuki Ignis

text: Following its use in the 2002 World Rally Championship season, Suzuki introduced the Ignis Sport in 2003, a performance-oriented version based on the three-door body style. Badged the "Swift Sport" in Japan, the performance model utilised the same 1.5-litre engine as the regular car, but with power increased to . The engine was slightly detuned for the European market, to . The car featured a number of modifications, including a body kit, lowered and firmer suspension, close ratio gear box and tuned exhaust. The Sport has the roof bars removed which were standard on the normal Ignis. Recaro sport seats are included in the cabin, white instrument dials with blue illumination and carbon effect panels to increase its sporty appeal. The Ignis Sport can accelerate from in 8.9 seconds and has a top speed of . The Sport ceased production in 2005. It was only available in a limited selection of colours: red, blue, silver, black and yellow. Various optional extras were available including metallic pedals, driving lights in the bumper and front mesh grille.


title: Suzuki Ignis

text: Revealed as the Chevrolet YGM1 concept car at the 33th Tokyo Motor Show in 1999, the Chevrolet Cruze (codenamed HR51S and HR81S) derived from the Suzuki Ignis. The development of the Cruze departed from the original five-door hatchback Suzuki as a sport utility vehicle (SUV). Despite the Chevrolet branding, the YGM1, like the production car, was the work of GM's Australian arm, Holden. The YGM1 design team were given just 12 weeks to conceive the concept, styled by Peter Hughes under the direction of Holden's then chief designer, Michael Simcoe. The revamped interior was done under the direction of Jenny Morgan-Douralis, Holden's chief colour and trim designer at the time. Along with the styling, Holden also executed most of the engineering work and were responsible for devising the "Cruze" nameplate.


title: Suzuki Ignis

text: GM revealed the production Cruze on 22 October 2001 with a 1 November sales commencement date in Japan. Significantly, the Cruze marked GM's return to Japanese manufacturing for the first time since 1939, with production located at Suzuki's plant in Kosai, Shizuoka. In terms of design, the production version differs slightly from the YGM1: the flared fenders were toned down, and in lieu of the concept's 17-inch alloy wheels, 15-inch wheels were fitted. High-mounted wrap-around tail lights are featured at the rear, with dual circular brake lights set into the bumper—as carried over from the concept.


title: Suzuki Ignis

text: Powertrains are identical to those fitted to the Suzuki, with 1.3- and 1.5-litre inline-four engines offered and coupled to either a five-speed manual or four-speed automatic transmission. The "M13A"-equipped models were given the model code "HR51S", with the "M15A" versions designated "HR81S". The 1.3-litre was rated at and , while the 1.5-litre delivered and . Both front- (FWD) and all-wheel drive (AWD) layouts were offered, the all-wheel system being an electronically-controlled setup. This system utilises an electromagnetic controlling device that receives signals from the anti-lock braking system. Both the 1.3 and 1.5 models could be specified with either FWD or AWD.


title: Suzuki Ignis

text: To maximise sales penetration, Japanese-market Cruzes were sold at both GM AutoWorld and Suzuki Arena sales channels. AutoWorld dealerships stocked the 1.5-litre car in LS and LT trims, with the 1.3 confined to Suzuki's Arena, available in E and X trims. The vehicle was also in compliance with Japanese government dimension regulations to capitalize on the associated tax benefits to further encourage sales.


title: Suzuki Ignis

text: After a delay triggered by unfavourable exchange rates from Japan, Holden introduced the Cruze to the Australian market on 1 July 2002. New door trims were fitted and the rear window wiper was made standard from January 2004 production. Holden discontinued the Cruze after January 2006. The Chevrolet version in Japan continued on until 2008.


title: Suzuki Ignis

text: Suzuki of Europe utilised the Cruze modifications as an update of the Ignis in 2003. Suzuki extended the Cruze's length by , to improve interior room and luggage space. This version was manufactured specifically for the European market in Esztergom, Hungary by Magyar Suzuki. Suzuki in Japan did not utilise the Cruze modifications for its own Suzuki-badged model due to the presence of the Chevrolet version in that market.


title: Suzuki Ignis

text: The 1.3-litre version came as manual FWD, with the 1.5-litre manufactured in FWD form with both manual and automatic transmission, or as a manual transmission AWD via viscous coupling. Also, a diesel version was available, powered by Fiat's 1.3-litre Multijet engine.


title: Suzuki Ignis

text: An arrangement with Subaru resulted in the Hungarian-manufactured Ignis being sold alongside the Suzuki-badged model in Europe as the Subaru G3X Justy. Apart from the slightly larger fog lights, different front bumper and grille, plus badging—the Subaru was identical to the Suzuki. Subaru debuted the Justy at the International Motor Show Germany in September 2003, going on sale immediately after. Two AWD drive models were available—1.3- and 1.5-litre petrols; there was also a FWD, 1.3-litre turbocharged diesel model. The G3X Justy was not sold in United Kingdom or Ireland in right-hand-drive. The G3X Justy was transferred in 2007 to the Daihatsu Boon/Sirion (M300).


title: Suzuki Ignis

text: On 3 March 2015, Suzuki released details of a small 4WD concept car, called the "Suzuki iM-4" at the 85th Geneva International Motor Show. On 30 October 2015, the production version, known as the Ignis was exhibited at the 44th Tokyo Motor Show.


title: Suzuki Ignis

text: On 21 January 2016, Suzuki officially announced the launch of the Ignis first in the Japanese market. The car is powered with two versions of the 1.25-litre "K12C" inline-four engine: a standard petrol and a mild hybrid with 3Ah lithium-ion battery placed under the front passenger seat to store energy and incorporates an idle stop function operated via the Integrated Starter Generator (ISG). The hybrid components add only to the overall weight of the car. The engine produces and of torque. The mild hybrid motor produces and of torque. The engine is mated to 5-speed manual and CVT, both available for FWD and AWD configuration.


title: Suzuki Ignis

text: The European-spec Ignis is almost similar as Japanese-spec. Powered with the same 1.25-litre petrol and mild hybrid engines. The European-spec produces less and more than Japanese-spec. The mild hybrid system produces the same output as Japanese-spec. The transmission available is a 5-speed manual or automated-manual dubbed as "Auto Gear Shift (AGS)" rather than CVT. The AWD option is only available with manual transmission. On 8 January 2018, a special edition with adventure-oriented accessories was launched in the UK.


title: Suzuki Ignis

text: The Indian-spec is known as Maruti Suzuki Ignis. It was launched as a replacement for the Maruti Suzuki Ritz, manufactured by Maruti Suzuki and sold through the company's "NEXA" chain of premium dealerships.


title: Suzuki Ignis

text: It was offered with a 1.25-litre "D13A DDiS 190" turbo-diesel engine that produces and of peak torque which also powered the Swift and the Baleno in India. The diesel option was discontinued in 2018. The other engine offered with the Indian-spec car is a 1.2-litre "K12M" unit that develops and of torque. Both these engines are available with either a 5-speed manual or a 5-speed automated manual transmission.


title: Suzuki Ignis

text: The Indonesian-spec Ignis was launched by Suzuki Indomobil Motor on 17 April 2017 as an import from India. It is available in two trim levels: GL and GX, with either 5-speed manual or automated manual transmission. On 27 January 2018, a special edition with sport-oriented accessories was launched for Indonesian market, based from GL trim known as Ignis Sport Edition.


title: Suzuki Ignis

text: The facelifted second generation Ignis was launched in Japan on 4 February 2020, in India on 7 February 2020 at the 15th Auto Expo, in Indonesia on 9 April 2020, in Australia in May 2020 and in the United Kingdom in August 2020. The car received new front and rear bumpers, gauge cluster colour and fabric seats design.


title: Suzuki Ignis

text: European-spec Ignis received a brand new 1.2-litre dual VVT mild hybrid engine called "K12D Dualjet" and become standard engine replacing the previous 1.25-litre engine, it is now produces and . The battery capacity for mild hybrid system is also enlarged to 10Ah. The automated manual "AGS" transmission is also replaced with CVT.


title: Bangladeshi passport

text: The passport of Bangladesh is an ICAO compliant, machine-readable and biometric e-passport issued for the purpose of travel to foreign countries by the passport holder. Bangladesh is the first country in South Asia to issue e-passports for all eligible citizens. The passport booklet is manufactured, printed and issued by the Department of Immigration & Passports of the Ministry of Home Affairs. This electronic microprocessor chip embedded e-passport has forty-one different security features, including holographic images embossed in thin-film laminate, which change colour under light and appear to move. Demographic and biometric information of the e-passport holder are stored on the chip inside the e-passport. This information includes the fingerprints of all ten fingers of the passport holder; the iris scan of both eyes; a color photograph of the face of the bearer; their digital signature; etc. Depending on the age of the applicant, the e-passport is valid for either five years or ten years and it is distributed by the Government of The People's Republic of Bangladesh, or by any of its overseas diplomatic missions, to eligible Bangladeshi nationals who are citizens by birth, by descent or through naturalization.


title: Bangladeshi passport

text: The Government of Bangladesh issues three different types of passports. These are Diplomatic passports with a red cover; Official passports with a blue cover; and regular or ordinary passports with a green cover. The cover of the passport is made of a tear-proof textile material that is chemical, sweat, damp and heat resistant. Diplomatic passports are only issued to diplomats of Bangladesh. Official passports are only issued to Bangladesh government employees, government officials and envoys. Regular or ordinary passports are issued to the rest of the citizens of Bangladesh. The entire passport is made of environment-friendly materials. It is aesthetically designed with all the blank visa pages of the passport covered in images of important historical landmarks and buildings of Bangladesh, as well as popular Bangladeshi tourist attractions, with their names written in both Bengali and English. Page numbers of the passport are also bilingual – written both in Bengali and in English.


title: Bangladeshi passport

text: After the Bangladesh Liberation War, Act Number 9 of 1973 (called The Bangladesh Passport Order, 1973) which was signed into law by the President of the People's Republic of Bangladesh, on 8 February 1973, lead to the creation and issuing of the first passport of newly independent Bangladesh. These passport booklets were traditional, handwritten or manual, passports and were compliant with the relevant international laws and regulations in force at the time. Subsequently, additional laws were enacted in Bangladesh in the years that followed to improve the passport application process; enforce the ineligibility to hold multiple valid Bangladeshi passports; citizenship requirement for a passport; etc. Since 1972 a special passport, also known as the India-Bangladesh Special passport, used to be issued to Bangladeshi citizens and Indian nationals resident in West Bengal State and the North-Eastern States of India only. This special passport had a maroon cover. It was valid for travelling between India and Bangladesh only. The issuance of this passport ended in 2013 due to changes in ICAO regulations.


title: Bangladeshi passport

text: The Department of Immigration and Passports of the Government of Bangladesh used to issue traditional handwritten or manual passports before the introduction of the machine-readable passports. In 2010 Prime Minister Sheikh Hasina, of the Government of Bangladesh, announced a plan to replace over 6.6 million handwritten passports with new biometric machine-readable passports. Following the guidelines of the International Civil Aviation Organization (ICAO), the Bangladesh government started issuing machine-readable passports (MRP) and machine-readable visas (MRV) in April 2010. However, all traditional handwritten passports were honored as bona fide Bangladesh government-issued travel documents until their expiration date. All traditional handwritten passports were successfully withdrawn from circulation before ICAO's international deadline of November 2015.


title: Bangladeshi passport

text: In 2016 the Government of Bangladesh, led by Prime Minister Sheikh Hasina, announced new plans to issue e-passports. The then Home Minister hoped this would ease immigration, travel and visa procedures for Bangladesh passport holders. The new Bangladeshi e-passport is provided in collaboration with a German company along with fifty e-gates at all major ports of entry. Machine-readable passports are being phased out gradually. E-passports will completely replace all machine-readable passports. However, all machine-readable passports are bona fide and valid travel documents until the expiry date written in them.


title: Bangladeshi passport

text: Bangladesh has taken another significant step in its digital transformation with the much anticipated launch of electronic passports or e-passports under the exceptional leadership of Prime Minister Sheikh Hasina, who inaugurated the distribution of e-passports at an event in the capital's Bangabandhu International Conference Centre on Wednesday, 22 January 2020. Bangladesh is the first country in South Asia and the 119th country in the world to issue an e-passport for all eligible citizens.


title: Bangladeshi passport

text: The Government of Bangladesh issues three different types of passports nowadays. These are Diplomatic, Official and regular or ordinary passports.


title: Bangladeshi passport

text: Bangladeshi passports issued since April 2010 are all biometric, machine-readable passports (MRP) and e-passports.


title: Bangladeshi passport

text: Emergency delivery is only available for passport reissue applicants who don't wish to make any changes to their passport biographical data. The applicable 15% VAT is included in all the fees shown above. E-passport fees can be paid through all government and private banks in Bangladesh using the A-Challan form. Unlike traditional handwritten or manual passports, e-passports and machine-readable passports are not renewed. Instead, the old passport booklet is cancelled and a new passport is issued in its place. This procedure is called "reissue" by the Department of Immigration and Passports.


title: Bangladeshi passport

text: 15% VAT is applicable on all fees. For the renewal (reissue) of an expired passport, an annual fine of Tk 345 (tax included) is applicable for each year after expiry. Passport fees can be paid in cash at any of the following banks in Bangladesh:


title: Bangladeshi passport

text: The fees can be paid online as well, using a credit card, debit card, or a mobile phone. Bangladeshi mobile financial services such as bKash or Nagad can also be used to make payments for passport fees, especially e-passport fees. Fees can also be paid through the EkPay website or app, where one gets to choose the payment method such as credit card, debit card or Bangladeshi mobile financial services like bKash or Nagad.


title: Bangladeshi passport

text: Bangladeshi passport covers are dark green, with the Seal of the Government of Bangladesh emblazoned in gold in the centre of the front cover. The word "পাসপোর্ট" (Bengali) and "Passport" (English) are inscribed above the Seal. Below the Seal "গণপ্রজাতন্ত্রী বাংলাদেশ" (Bengali); "People's Republic of Bangladesh" (English); and the international e-passport symbol () are inscribed. The standard Bangladesh passport contains 48 pages, however, frequent travellers can opt for a passport containing 64 pages.


title: Bangladeshi passport

text: The inside cover contains the date and place of issuance of the passport as well as the declaration of the President, addressing the authorities of all other states, identifying the bearer as a citizen of the People's Republic of Bangladesh and requesting that he or she be allowed to pass without hindrance and be treated as per international law. The note inside of the Bangladeshi passports states:


title: Bangladeshi passport

text: The text and page numbers of Bangladeshi passports are printed in both Bengali and English. However, before machine readable passports were introduced in April 2010, older passports were trilingual with all the information printed inside in Bengali, English, and French.


title: Bangladeshi passport

text: Information about the passport holder is stored on the embedded microprocessor chip in the passport. It is also shown on the biographical page and in page one of the Bangladesh e-passport. The field names, such as name, are written in Bengali (Bangla) and English, with the field values being written in English only. Information regarding faith or occupation is not printed.


title: Bangladeshi passport

text: The inside cover of a Bangladeshi e-passport has an embossed image of the National Martyrs Mausoleum, with Amar Shonar Bangla, the national anthem of Bangladesh, written in Bengali.


title: Bangladeshi passport

text: The pre-first page is a chip-enabled plastic card that contains the declaration of the President of the Republic. Underneath this declaration used to be a statement that said that the passport is valid for all countries of the world except Israel. However, from 22 May 2021 newly issued e-passports have a different statement with the Israel travel ban still in place because no diplomatic ties exist between Bangladesh and Israel. The new modified statement now reads "This passport is valid for all countries of the world" and this change was implemented to bring the e-passport in line with international standards as well as ICAO rules and regulations. The back of the pre-first page is the main data page, that contains all the important information. The information printed includes:


title: Bangladeshi passport

text: More information regarding the passport holder is encoded using optical character recognition and can only be read by a passport reader. The first page contains additional information in English such as parents' name, spouse's name, emergency contact name and number etc. It also contains the passport number printed on the page. This page contains the following information of the bearer:


title: Bangladeshi passport

text: All information is printed in English using a dot matrix printer and, in the case of the machine readable passport, it is then signed by the appropriate officer of the issuing authority. In the newly issued e-passport, it is laser printed and authenticated with a QR code. Inside the back cover of the e-passport an embossed image of the Jatiyo Sangshad Bhaban, National Parliament of Bangladesh, is displayed with a quotation in English by Louis I Kahn, who is the architect of the complex.


title: Bangladeshi passport

text: Bangladeshi citizens who hold regular or ordinary Bangladeshi passports have visa free or visa on arrival access to 41 countries and territories, ranking the Bangladeshi passport 94th in terms of travel freedom (tied with passports from Lebanon, Libya and South Sudan) according to the Henley Passport Index. Bangladeshi citizens who hold Diplomatic passports or Official passports of Bangladesh have visa free or visa on arrival access to many more countries. The passport is valid for travel to all parts of the world except Israel. Earlier, Bangladeshi passports were not valid for travel to Taiwan, Rhodesia and South Africa but that has long changed.


title: 6.5×55mm Swedish

text: 6.5 × 55 mm Swedish, also known simply as , or in its native military as ' ('), meaning "6.5 mm cartridge model 1894", is a first-generation smokeless powder rimless bottlenecked rifle cartridge. It was introduced in the 1890s, and is still one of the most common cartridges in modern rifles built for the Scandinavian market today. The cartridge was developed in a joint Norwegian and Swedish effort starting in 1891 for use in the new service rifles then under consideration by the United Kingdoms of Sweden and Norway. In 1893, the cartridge was standardized and adopted under the name " to facilitate logistical cooperation between Norway and Sweden. The two nations had independent armies and consequently the normal procedure at the time was for their respective governments to use the same ammunition and then purchase small arms of their choice. Norway adopted the Krag–Jørgensen M/1894 rifle, while Sweden adopted the Mauser m/1896 rifle design that was based on a Mauser service rifle designed around the 7×57mm Mauser cartridge.


title: 6.5×55mm Swedish

text: The 6.5×55mm cartridge has a smaller bullet diameter and lower free recoil than other full-power service rifle cartridges like the .303 British, 7.92×57mm Mauser, .30-06 Springfield, and 7.62×54mmR. Thanks in part to its relatively roomy case which was designed for loading long, heavy bullets, and a diameter bolt face, it has proven more successful than other first-generation smokeless-powder military cartridges of similar bullet calibers, such as the 6×60mm US Navy, 6.5×54mm Mannlicher–Schönauer, 6.5×53mmR Dutch Mannlicher, 6.5×52mm Carcano and 6.5×50mm Arisaka.


title: 6.5×55mm Swedish

text: While the original and colloquial cartridge name is 6.5×55mm, there are some variations in chamberings. In addition to the original 1890s specification, three modern chambering and ammunition pressure variations also exist.


title: 6.5×55mm Swedish

text: Other common but unofficial names for this cartridge include "6.5×55mm Swedish Mauser", and less commonly "6.5×55mm Mauser", "6.5×55mm Krag" or "6.5×55mm Norwegian Krag". The book "Cartridge Cases" refers to the cartridge as "6,5x55 Norway & Sweden".


title: 6.5×55mm Swedish

text: In 1886, France introduced a cartridge for use with the then-new smokeless propellant, introduced as Poudre B, in the 1886 pattern 8×50mmR Lebel, which started a military rifle ammunition revolution.


title: 6.5×55mm Swedish

text: In 1891, the Swedish-Norwegian Rifle Commission started its work. After extensive ballistic tests where different calibers were tested (8 mm, 7.5 mm, 7 mm, 6.5 mm etc.), the optimal caliber was determined to be 6.5 mm (0.256 in). Following this decision, a joint Norwegian-Swedish commission was established in December 1893. This commission worked through a series of meetings to decide on the different measurements for the cartridge case. The Norwegians early presented a 6.5 mm rimless cartridge design, but the Swedes wanted a rimmed cartridge. As a compromise, the Norwegians produced an experimental semi-rimmed cartridge which was very similar to what would become the final version. The book "Cartridge Cases" refers to this cartridge as "6,5mm Norwegian Experimantal". This cartridge had a 6.7 mm bullet, a 55 mm long case, but differed from what became the final version by having a slightly less tapered shoulder, a slightly smaller diameter base (11.75 mm) as well as being semi-rimmed (12.6 mm). However, after a firearm demonstration by Mauser, the Swedes changed their mind and wanted a rimless design. After further discussions, a rimless cartridge case of 55 mm length was approved, and each possible measurement (diameter at base, diameter at neck, angle of case, angle of shoulder etc.) was decided upon. The corresponding dimensions of the cartridge chamber to be used in a future service rifle was also determined. At the time of its development the 6.5×55mm was a high-performance smokeless-powder cartridge. The design of the joint Norwegian-Swedish commission was subsequently adopted by the Norwegian and Swedish governments, and entered service in the Norwegian and Swedish militaries. The cartridge was also adopted by the Danish, Norwegian and Swedish civilian shooting associations DDS, DFS and FSR.


title: 6.5×55mm Swedish

text: In 1984, the C.I.P. independently standardized the cartridge as ", and revised their standard in 2002 and 2007.


title: 6.5×55mm Swedish

text: In 1990, a specification was introduced along with the Scandinavian target rifle by the Scandinavian shooting associations DDS, DFS and FSR with the designation " which tightened up the original tolerances (minimum and maximum dimensions) of the 1893 design standard, added a slightly longer chamber space for the neck for increased safety with untrimmed reloads, and increased the pressure rating. The SKAN chambering is approved for firing any 6.5×55mm cartridges satisfying the aforementioned C.I.P. and SAAMI standards.


title: 6.5×55mm Swedish

text: In 1993, the SAAMI also independently standardized the cartridge as "6.5×55mm Swedish", with the official SAAMI abbreviation being "6.5×55".


title: 6.5×55mm Swedish

text: The closest European and American ballistic twins of the 6.5×55mm are probably the German 6.5×57mm Mauser and the American .260 Remington cartridges. While the 6.5×57mm and 6.5×55mm both require a long-action receiver, the shorter .260 Remington being (based on the .308 Winchester cartridge) can be fitted to a short bolt-action format. Other 21st century cartridges, like the 6.5×47mm Lapua and the 6.5mm Creedmoor that have entered the market also are able to provide similar performance to factory 6.5×55mm ammunition. However, the extra case volume of the 6.5×55mm promotes a longer lifespan of the cartridge case when reloading, and will provide higher velocities when handloaded to the same pressure as its more modern counterparts. However, the approved chamber pressure ratings for older rifles then may be exceeded.


title: 6.5×55mm Swedish

text: All Swedish Mauser bolt actions were proof tested with a single 6.5×55mm proof round developing approximately piezo pressure (55,000 CUP psi).


title: 6.5×55mm Swedish

text: The book "Norske Militærgeværer etter 1867" cites each Norwegian military Krag–Jørgensen rifles in the beginning was fired at the factory (either Kongsberg Våpenfabrikk or Steyr) with proofing rounds rated at , and copper units of pressure. After a while, use of the proofing rounds was dropped, as they were viewed as "unnecessarily powerful". Proofing with and rounds was continued, as they were viewed as necessary to get the action threads "set" and thereby "strengthening the barrel". During this process, the chamber tended to lengthen by and a maximum of was accepted.


title: 6.5×55mm Swedish

text: Some historians have assumed that there was a difference in cartridge blueprint measurements between Swedish and Norwegian 6.5×55mm ammunition, but this may be unintentional. Due to different interpretations of the blueprint standard, i.e. the standards of manufacturing using maximum chamber in the Krag vs. minimum chamber in the Swedish Mauser, a small percentage of the ammunition produced in Norway proved to be slightly oversize when chambered in the Swedish Mauser action, i.e. requiring a push on the bolt handle to chamber in the Swedish arm. A rumor arose not long after the 6.5×55mm cartridge was adopted that one could use Swedish ammunition in Norwegian rifles, but not Norwegian ammunition in Swedish rifles. Some even alleged that this incompatibility was deliberate, to give Norway the tactical advantage of using captured ammunition in a war, while denying the same advantage to Sweden. However, after the rumor first surfaced in 1900, the issue was examined by the Swedish military. They declared the difference to be insignificant, and that both the Swedish and Norwegian ammunition were within the specified parameters laid down. Despite this finding, the Swedish weapon-historian Josef Alm repeated the rumor in a book in the 1930s, leading many to believe that there was a significant difference between the ammunition manufactured in Norway and Sweden.


title: 6.5×55mm Swedish

text: The 6.5×55mm has 3.75 ml (57.9 gr HO) cartridge case capacity. The exterior shape of the case was designed to promote reliable case feeding and extraction in bolt-action rifles and machine guns alike, under extreme conditions.


title: 6.5×55mm Swedish

text: Americans would define the shoulder angle at alpha/2 ≈ 25.6 degrees. The common rifling twist rate for this cartridge is 220 mm (1 in 8.66 in), 4 grooves, Ø lands = , Ø grooves = , land width = , and the primer type is large rifle.


title: 6.5×55mm Swedish

text: According to the official C.I.P. rulings the 6.5×55mm can handle up to P piezo pressure. In C.I.P. regulated countries every rifle cartridge combo has to be proofed at 125% of this maximum C.I.P. pressure to certify for sale to consumers. This means that 6.5×55mm chambered arms in C.I.P. regulated countries are currently (2013) proof tested at PE piezo pressure.


title: 6.5×55mm Swedish

text: As Denmark, Norway and Sweden are no C.I.P. member states, their civilian users nor their shooting associations DDS, DFS and FSR have to oblige to the C.I.P. rulings in force.


title: 6.5×55mm Swedish

text: The SAAMI maximum average pressure (MAP) for this cartridge is piezo pressure measured with modern piezoelectric pressure gauges that more accurately measure chamber pressures or alternatively 46,000 CUP psi measured by the (outdated) deformation of a copper cylinder.


title: 6.5×55mm Swedish

text: The SKAN specification was introduced to tighten up the original tolerances of the 1893 design standard. Otherwise its measurements is almost identical to the original standard except for a slightly longer chamber space for the neck by less than a millimeter. Complying barrels have usually been marked with "6,5 × 55 SKAN".


title: 6.5×55mm Swedish

text: In 2018, the tighter C.I.P. chamber (6,5 × 55 SE) was banned from competitions in the Scandinavian shooting associations on the grounds of competitive equity and safety. Since 2020, regulations changes in Germany resulted in new SKAN barrels manufactured by SIG Sauer being be marked "6,5 × 55 SE, approved for SKAN".


title: 6.5×55mm Swedish

text: The SKAN chambering is sometimes erroneously referred to as SCAN, however SKAN is the correct designation.


title: 6.5×55mm Swedish

text: In the militaries of Sweden and Norway the 6.5×55mm cartridge is designated as "6,5 mm patron m/94" ("6,5 mm ptr m/94"), initially spelled with complete year ("m/1894"), meaning 6.5 mm cartridge model 1894. The core designation is usually expanded on depending on what type of design the cartridge has:


title: 6.5×55mm Swedish

text: Various military variants of the 6.5×55mm cartridge has been developed over the years; types like enhanced precision, armor piercing, tracer, blank, inert and training cartridges have been available. See the table at the bottom of the article for an overview of the most common 6.5×55mm military cartridges that have been used.


title: 6.5×55mm Swedish

text: The initial service projectile introduced for the 6.5 mm m/94 cartridge in 1894 was a long round-nosed ball projectile, in Swedish described either as an "ogive bullet" () or "blunt bullet" (). The projectile weighed and reached a muzzle velocity of with muzzle energy when fired from a long barrel.


title: 6.5×55mm Swedish

text: This cartridge was initially just designated as "6,5 mm skarp patron m/94" ("6,5 mm sk ptr m/94") – meaning 6.5 mm live cartridge m/94 – but in 1942 the designation changed to include the projectile in order to more easily distinguish it from other variants, becoming "6,5 mm skarp patron m/94 projektil m/94" ("6,5 mm sk ptr m/94 prj m/94") – meaning 6.5 mm live cartridge m/94 projectile m/94.


title: 6.5×55mm Swedish

text: 6,5 mm sk ptr m/94 prj m/94 was the standard service ball cartridge up to the early phase of World War II and Norwegian occupation by Germany in 1940. It was removed from Swedish ammunition manuals at the end of March 1976.


title: 6.5×55mm Swedish

text: Sweden, which remained neutral during World War II, decided during the early 1940s to develope a new ball projectile for the 6.5 mm m/94 cartridge intended for sniping and sharpshooting, specifically for weapons such as the m/41 sniper rifle. To improve accuracy and ballistics the new projectile was designed as a spitzer bullet, a design which had previously not been used in service for the 6.5 m/94 cartridge. The new cartridge was loaded with a boat tail spitzer bullet (D-projectile) fired at a muzzle velocity of with muzzle energy from a long barrel.


title: 6.5×55mm Swedish

text: The new spitzer cartridge was adopted from around 1941 onwards. As the original round-nosed m/94 projectile was obsolete in comparison, the new spitzer projectile came to replace the old m/94 projectile as the new service ball cartridge almost immediately upon being adopted.


title: 6.5×55mm Swedish

text: Swedish blanks or "lös patron" were loaded with bullet shaped wooden projectiles that were painted red. To fire these blanks the Swedish military used a blank firing attachment (BFA). These adapters were mounted on the muzzle and designed to shred the wooden projectile as it exited the muzzle to prevent injuries to nearby people and to allow functioning of automatic weapons.


title: 6.5×55mm Swedish

text: A wooden blank designed to fire rifle grenades was also designed. It was used in a dedicated rifle grenade launcher based on the Remington m/67-89 (originally chambered for 8x58RD) called Krevadkarbin m/16 (blast carbine m/16). The Krevadkarbin m/16 was outfitted with a "rifle grenade cup" at the end of a very short barrel for the wooden blank.


title: 6.5×55mm Swedish

text: The Swedish 6.5×55mm military ammunition had, according to their ammunition registry of 1960, a normal average pressure of with the exception of tracer rounds (slprj m/39 and m/41) at and armour piercing (pprj m/41) at . Note that the method of measurement is not stated.


title: 6.5×55mm Swedish

text: The book "Norske Militærgeværer etter 1867" cites the standard ammunition as having a standard working pressure of measured with a copper crusher.


title: 6.5×55mm Swedish

text: The 6.5×55mm cartridge was used by Norway in the Krag–Jørgensen bolt-action rifle and in the Madsen machine gun, as well as in several prototype self-loading rifles.


title: 6.5×55mm Swedish

text: In Swedish service, the 6.5×55mm cartridge was used in the Swedish Mauser family of bolt action arms comprising the "m/94" (Model 1894) carbine, "m/96" (Model 1896) long rifle, "m/38" (Model 1938) short rifle and "m/41" (Model 1941) sniper rifle and the Ag m/42 semi-automatic rifle. The Swedish Mauser arms had a relatively tight 200 mm (1 in 7.87 in) twist rate optimized for stabilizing the relatively long heavy bullets used in the Swedish 6.5×55mm military service ammunition. It was also used in several light, medium and heavy machine guns such as the Schwarzlose, Browning BAR, Kg/1940 Light machine gun, Bren Gun, Browning M1917, Browning M1919 and FN MAG. The FN MAG was eventually returned to its original 7.62×51mm NATO chambering when the Swedish armed forces switched to that cartridge as its standard rifle cartridge for communality reasons following the adoption of the Heckler & Koch G3 in the early 1960s.


title: 6.5×55mm Swedish

text: In 1946 Denmark made a standard cartridge with two different bullets. The "6.5 mm skarppatroner m/46-ru" had a "rundspids" (round tip) bullet (like the Swedish "projektil" m/94) for use with Danish Krag rifles by the Home Guard. The "6.5 mm skarppatroner m/46-sp" had a "spidsskarp" (pointed tip) bullet (like the "projektil" m/41) for use in more modern firearms like the Swedish Mauser.


title: 6.5×55mm Swedish

text: The 6.5×55mm cartridge is highly esteemed as a hunting round in Europe (particularly in Scandinavia), and North America. It is used for killing most kind of game including moose in Scandinavia, while in most other countries it is used for killing deer and other medium-sized game. Sportsmen who favor the round laud the combination of low recoil coupled with the cartridge's inherent accuracy and superb penetrative qualities due to the high obtainable sectional density.


title: 6.5×55mm Swedish

text: Despite its enduring popularity amongst a devoted niche of American sportsmen, U.S. rifle manufacturers have, for the most part, ignored the cartridge. As of 2014 there were at least four mainstream American arms manufacturers, Thompson Center, Barrett Firearms (Fieldcraft), Remington (Model 700), and Ruger producing a sporting rifle in chambered for the 6.5×55mm.


title: 6.5×55mm Swedish

text: European rifle makers including Blaser, CZ, Sauer & Sohn, Steyr, and Mauser Jagdwaffen GmbH offer sporting rifles chambered for this cartridge, as does the Finnish arms manufacturer SAKO/Tikka, and Japanese manufacturer Howa, while ammunition manufacturers such as Norma, Lapua, Prvi Partizan, RUAG Ammotec, Remington Arms, and Hornady offer loadings of the 6.5×55mm round that are designed for use only in modern hunting rifles that can tolerate higher chamber pressures. Finnish powder manufacturer Vihtavuori warns modern P piezo pressure loadings should never be used in the Krag–Jørgensen or Swedish Mauser or similar older rifles. This warning is relevant as the Danish, Norwegian and Swedish national shooting organizations strive to keep the costs of participating in their shooting events reasonable. Their rulings restrict the use of very expensive highly specialized target rifles by allowing only the use of their respective (historic) military service rifles and the SIG Sauer 200 STR rifle.


title: 6.5×55mm Swedish

text: Because 6.5 mm (.264 in) bullets have relatively high ballistic coefficients, the 6.5×55mm has seen success in long range target matches of . The 6.5×55mm cartridge was widely used in fullbore biathlon competitions until 1975 (when it was replaced by the .22 Long Rifle (.22 LR) rimfire cartridge), because of its inherent accuracy and historical popularity with the Scandinavian nations who have dominated this sport. The 6.5×55mm was and is used for target shooting disciplines like F-Class and benchrest. The cartridge is also used by Scandinavian target shooters that use the Sauer 200 STR (Scandinavian target rifle) as their competition rifle. Metallic silhouette shooters also use the 6.5×55mm. In North America the 6.5×55mm was the third most frequently mentioned caliber for hunter rifle at the 2003 Metallic Silhouette Nationals.


title: 6.5×55mm Swedish

text: The 6.5×55mm case is also used as the parent case for modified variants that are not officially registered with or sanctioned by C.I.P. or SAAMI. Such cartridges which use commercial factory cases are generally known as wildcats. By changing the shape of standard factory cases (decreasing case taper or changing the shoulder geometry) wildcatters generally increase the case capacities of the factory parent cartridge case, allowing more propellant to be used to generate higher velocities. Besides changing the shape and internal volume of the parent cartridge cases, wildcatters also change the original calibers. A reason to change the original caliber can be to comply with a minimal permitted caliber or bullet weight for the legal hunting of certain species of game. Because the 6.5×55mm offers a wide short cartridge case that can be easily reloaded, and hence be reused several times, it has been used by wildcatters. With the 6.5×55mm as the parent case wildcatters have created the 6.5×55mm Ackley Improved In the 6.5×55mm Ackley Improved the cartridge case capacity is raised to approximately 4.03 ml (62.2 g HO). The Ackley Improved family of wildcat cartridges is designed to be easily made by rechambering existing firearms, and fireforming the ammunition to decrease body taper and increase shoulder angle, resulting in a higher case capacity.


title: Japanese architecture

text: The earliest Japanese architecture was seen in prehistoric times in simple pit-houses and stores adapted to the needs of a hunter-gatherer population. Influence from Han dynasty China via Korea saw the introduction of more complex grain stores and ceremonial burial chambers.


title: Japanese architecture

text: The introduction of Buddhism in Japan during the sixth century was a catalyst for large-scale temple building using complicated techniques in wood. Influence from the Chinese Sui and Tang dynasties led to the foundation of the first permanent capital in Nara. Its checkerboard street layout used the Chinese capital of Chang'an as a template for its design.


title: Japanese architecture

text: In 894 during the Heian period (794–1185), Japan abolished "kentōshi" (Japanese missions to Tang China) and began to distance itself from Chinese culture, and a culture called "Kokufu bunka" (lit., Japanese culture) which was suited to the Japanese climate and aesthetic sense flourished. The "shinden-zukuri" style, which was the architectural style of the residences of nobles in this period, showed the distinct uniqueness of Japanese architecture and permanently determined the characteristics of later Japanese architecture. Its features are an open structure with few walls that can be opened and closed with doors, "shitomi" and "sudare", a structure in which shoes are taken off to enter the house on stilts, and sitting or sleeping directly on "tatami" mats without using chairs and beds.


title: Japanese architecture

text: As the samurai class gained power in the Kamakura period (1185–1333), the "shinden-zukuri" style changed, and in the Muromachi period (1333–1573), the "shoin-zukuri" style appeared. This style had a lasting influence on later Japanese architectural styles and became the basis of modern Japanese houses. Its characteristics were that sliding doors called "fusuma" and paper windows called "shōji" were fully adopted, and "tatami" mats were laid all over the room.


title: Japanese architecture

text: The introduction of the tea ceremony emphasised simplicity and modest design as a counterpoint to the excesses of the aristocracy. In the Azuchi–Momoyama period (1568–1600), sukiya-zukuri style villas appeared under the influence of a tea house called "chashitsu". At first it was an architectural style for the villas of "daimyo" (Japanese feudal lords) and court nobles, but in the Edo period (1683–1807) it was applied to "ryōtei" (Japanese-style restaurants) and "chashitsu", and later it was also applied to residences.


title: Japanese architecture

text: During the Meiji Restoration of 1868 the history of Japanese architecture was radically changed by two important events. The first was the Kami and Buddhas Separation Act of 1868, which formally separated Buddhism from Shinto and Buddhist temples from Shinto shrines, breaking an association between the two which had lasted well over a thousand years. Secondly, it was then that Japan underwent a period of intense Westernization in order to compete with other developed countries. Initially, architects and styles from abroad were imported to Japan, but gradually the country taught its own architects and began to express its own style. Architects returning from study with Western architects introduced the International Style of modernism into Japan. However, it was not until after the Second World War that Japanese architects made an impression on the international scene, firstly with the work of architects like Kenzo Tange and then with theoretical movements, like Metabolism.


title: Japanese architecture

text: In traditional Japanese architecture, there are various styles, features and techniques unique to Japan in each period and use, such as residence, castle, Buddhist temple and Shinto shrine. On the other hand, especially in ancient times, it was strongly influenced by Chinese culture like other Asian countries, so it has characteristics common to architecture in Asian countries.


title: Japanese architecture

text: Partly due, also, to the variety of climates in Japan, and the millennium encompassed between the first cultural import and the last, the result is extremely heterogeneous, but several practically universal features can nonetheless be found. First of all is the choice of materials, always wood in various forms (planks, straw, tree bark, paper, etc.) for almost all structures. Unlike both Western and some Chinese architecture, the use of stone is avoided except for certain specific uses, for example temple podia and pagoda foundations.


title: Japanese architecture

text: The general structure is almost always the same: posts and lintels support a large and gently curved roof, while the walls are paper-thin, often movable and never load-bearing. Arches and barrel roofs are completely absent. Gable and eave curves are gentler than in China and columnar entasis (convexity at the center) limited.


title: Japanese architecture

text: The roof is the most visually impressive component, often constituting half the size of the whole edifice. The slightly curved eaves extend far beyond the walls, covering verandas, and their weight must therefore be supported by complex bracket systems called "tokyō", in the case of temples and shrines. Simpler solutions are adopted in domestic structures. The oversize eaves give the interior a characteristic dimness, which contributes to the building's atmosphere. The interior of the building normally consists of a single room at the center called "moya", from which depart any other less important spaces.


title: Japanese architecture

text: Inner space divisions are fluid, and room size can be modified through the use of screens or movable paper walls. The large, single space offered by the main hall can therefore be divided according to the need. For example, some walls can be removed and different rooms joined temporarily to make space for some more guests. The separation between inside and outside is itself in some measure not absolute as entire walls can be removed, opening a residence or temple to visitors. Verandas appear to be part of the building to an outsider, but part of the external world to those in the building. Structures are therefore made to a certain extent part of their environment. Care is taken to blend the edifice into the surrounding natural environment.


title: Japanese architecture

text: The use of construction modules keeps proportions between different parts of the edifice constant, preserving its overall harmony. (On the subject of building proportions, see also the article "ken").


title: Japanese architecture

text: Even in cases as that of Nikkō Tōshō-gū, where every available space is heavily decorated, ornamentation tends to follow, and therefore emphasize, rather than hide, basic structures.


title: Japanese architecture

text: Being shared by both sacred and profane architecture, these features made it easy converting a lay building into a temple or vice versa. This happened for example at Hōryū-ji, where a noblewoman's mansion was transformed into a religious building.


title: Japanese architecture

text: The prehistoric period includes the Jōmon, Yayoi and Kofun periods stretching from approximately 5000 BCE to the beginning of the eighth century CE.


title: Japanese architecture

text: During the three phases of the Jōmon period the population was primarily hunter-gatherer with some primitive agriculture skills and their behaviour was predominantly determined by changes in climatic conditions and other natural stimulants. Early dwellings were pit houses consisting of shallow pits with tamped earth floors and grass roofs designed to collect rainwater with the aid of storage jars. Later in the period, a colder climate with greater rainfall led to a decline in population, which contributed to an interest in ritual. Concentric stone circles first appeared during this time.


title: Japanese architecture

text: During the Yayoi period, the Japanese people began to interact with the Chinese Han dynasty, whose knowledge and technical skills began to influence them. The Japanese began to build raised-floor storehouses as granaries, which were constructed using metal tools like saws and chisels that began to appear at this time. A reconstruction in Toro, Shizuoka is a wooden box made of thick boards joined in the corners in a log cabin style and supported on eight pillars. The roof is thatched but, unlike the typically hipped roof of the pit dwellings, it is a simple V-shaped gable. Some authors credit the raised structure designs of this period to contact with the rice-cultivating Austronesian peoples from coastal eastern China or Taiwan, rather than the Han.


title: Japanese architecture

text: The Kofun period marked the appearance of many-chambered burial mounds or tumuli ("kofun" literally means "old mounds"). Similar mounds in Korean Peninsula are thought to have been influenced by Japan. Early in the period, the tombs, known as "keyhole "kofun"" or , often made use of the existing topography, shaping it and adding man-made moats to form a distinctive keyhole shape, i.e. that of a circle interconnected with a triangle. Access was via a vertical shaft that was sealed off once the burial was completed. There was room inside the chamber for a coffin and grave goods. The mounds were often decorated with terracotta figures called "haniwa". Later in the period mounds began to be located on flat ground and their scale greatly increased. Among many examples in Nara and Osaka, the most notable is the "Daisen-kofun", designated as the tomb of Emperor Nintoku. The tomb covers and it is thought to have been decorated with 20,000 "haniwa" figures.


title: Japanese architecture

text: Towards the end of the Kofun period, tomb burials faded out as Buddhist cremation ceremonies gained popularity.


title: Japanese architecture

text: The most significant contributor to architectural changes during the Asuka period was the introduction of Buddhism. New temples became centers of worship with tomb burial practices quickly became outlawed. Also, Buddhism brought to the idea of permanent shrines and gave to Shinto architecture much of its present vocabulary.


title: Japanese architecture

text: Some of the earliest structures still extant in Japan are Buddhist temples established at this time. The oldest surviving wooden buildings in the world are found at Hōryū-ji, northeast of Nara. First built in the early 7th century as the private temple of Crown Prince Shōtoku, it consists of 41 independent buildings; the most important ones, the main worship hall, or "Kon-dō" (金堂, Golden Hall), and the five-story pagoda), stand in the centre of an open area surrounded by a roofed cloister ("kairō"). The Kon-dō, in the style of Chinese worship halls, is a two-story structure of post-and-beam construction, capped by an "irimoya", or hipped-gabled, roof of ceramic tiles.


title: Japanese architecture

text: Heijō-kyō, modern day Nara, was founded in 708 as the first permanent capital of the state of Japan. The layout of its checkerboard streets and buildings were modeled after the Chinese capital of Chang'an. The city soon became an important centre of Buddhist worship in Japan. The most grandiose of these temples was Tōdai-ji, built to rival temples of the Chinese T'ang and Sui dynasties. Appropriately, the 16.2-m (53-ft) Buddha or Daibutsu (completed in 752) enshrined in the main hall is a Rushana Buddha, the figure that represents the essence of Buddhahood, just as Tōdai-ji represented the centre for imperially sponsored Buddhism and its dissemination throughout Japan. Only a few fragments of the original statue survive, and the present hall and central Buddha are reconstructions from the Edo period. Clustered around the main hall (the Daibutsuden) on a gently sloping hillside are a number of secondary halls: the Hokke-dō (Lotus Sutra Hall), and the storehouse, called the Shōsō-in, and the adjoining Kōfuku-ji. This last structure is of great importance as an art-historical cache, because in it are stored the utensils that were used in the temple's dedication ceremony in 752, as well as government documents and many secular objects owned by the imperial family.


title: Japanese architecture

text: Although the network of Buddhist temples across the country acted as a catalyst for an exploration of architecture and culture, this also led to the clergy gaining increased power and influence. Emperor Kanmu decided to escape this influence by moving his capital first to Nagaoka-kyō and then to Heian-kyō, known today as Kyōto. Although the layout of the city was similar to Nara's and inspired by Chinese precedents, the palaces, temples and dwellings began to show examples of local Japanese taste.