title: Thessaloniki Airport

text: In the meantime, the airport is served on a 24-hour basis by bus 01X/01N of the Thessaloniki Urban Transport Organization (OASTH), which provides bus services between the Thessaloniki Bus Station (KTEL) and Makedonia airport arrivals/departures.


title: Forms of address in the United Kingdom

text: Several terms have been abbreviated in the tables below. The forms used in the table are given first, followed by alternative acceptable abbreviations in parentheses. The punctuation of each abbreviation depends on the source. For example, the punctuation of "The Rt Hon" is not consistent throughout sources. "The Gazette" favours "The Rt. Hon.", while the government usually prefers "The Rt Hon" or "The Rt Hon."


title: Forms of address in the United Kingdom

text: "The Most Noble", which is an abbreviation of "The Most High, Potent, and Noble", is rarely used by Dukes and Duchesses; when used, the forenames of the peer or peeress can be used after "His Grace" but before "The Duke of [...]". This style is also sometimes used without "His Grace".


title: Forms of address in the United Kingdom

text: The House of Lords and the College of Arms have discontinued the use of "The Right Honourable" unless the person is a Privy Counsellor. Instead, the post-nominal letters of "PC" are used.


title: Forms of address in the United Kingdom

text: In regards to the nobility, Mary Brown represents a woman who married John Brown, while Jane Smith represents an unmarried woman.


title: Forms of address in the United Kingdom

text: The preposition "of" may be omitted in the form of Marquessates and Earldoms and included in the form of Scottish Viscountcies. It is not often present in peerage Baronies and Lordships of Parliament, though always present in Dukedoms and Scottish feudal Baronies.


title: Forms of address in the United Kingdom

text: The definite article "the" in the middle of two or more titles is sometimes capitalized, as in these tables. However this is controversial: traditional British guides use the lower-case "the". As a single example, Debrett's gives "Major-General the Lord ...", and Pears' Cyclopaedia in the section on Modes of Address gives several examples where the definite article interior to a list of honours is lower case.


title: Forms of address in the United Kingdom

text: Eldest sons of dukes, marquesses and earls use their father's most senior subsidiary title as courtesy titles: note the absence of "The" before the title. If applicable, eldest sons of courtesy marquesses or courtesy earls also use a subsidiary title from their (great) grandfather, which is lower ranking than the one used by their father. Eldest daughters do not have courtesy titles; all courtesy peeresses are wives of courtesy peers.


title: Forms of address in the United Kingdom

text: Heirs-apparent and heirs-presumptive of Scottish peers use the titles "Master" and "Mistress"; these are substantive, not courtesy titles. If, however, the individual is the eldest son of a Duke, Marquess or Earl, then he uses the appropriate courtesy title, as noted above.


title: Forms of address in the United Kingdom

text: If a daughter of a peer or courtesy peer marries another peer or courtesy peer, she takes her husband's rank. If she marries anyone else, she keeps her rank and title, using her husband's surname instead of her maiden name.


title: Forms of address in the United Kingdom

text: Knights and Baronets are distinguished by the use of "Bt" (or, archaically, "Bart") after the latter's names (and by the use of the appropriate post-nominal letters if the former are members of an Order of Chivalry).


title: Forms of address in the United Kingdom

text: Similar styles are also applied to clergy of equivalent status in other religious organisations. The words "clergy" and "cleric/clerk" are derived from the proper term for bishops, priests and deacons still used in legal documents: (e.g. . Clergy in the Church of England are never addressed as "Revd (Surname)".


title: Forms of address in the United Kingdom

text: The Church of Scotland, as a Presbyterian church, recognizes state-awarded titles only as courtesy. In court (assembly, presbytery and session) a person may only be addressed as Mr, Mrs, Miss, Dr, Prof, etc. depending on academic achievement. Thus ministers are correctly addressed as, for example, Mr Smith or Mrs Smith unless they have a higher degree or academic appointment e.g. Dr Smith or Prof. Smith. It is 'infra dig' to use the style 'Rev' and even the use of 'the Rev Mr' requires sensitivity to official style.


title: Forms of address in the United Kingdom

text: A judge's first name only forms part of their judicial style if, at the time of their appointment, there is a senior judge with the same or a similar surname. Thus, if there is a "Mr Justice Smith", subsequent judges will be "Mr Justice John Smith", "Mrs Justice Mary Smith", etc. High Court Judges and above who are King's Counsel do not use the post-nominal letters following appointment or after retirement.


title: Forms of address in the United Kingdom

text: A member of the Bar (but not a solicitor) addresses a circuit judge or higher, out of court, as "Judge".


title: New Jersey (album)

text: New Jersey is the fourth studio album by American rock band Bon Jovi, released on September 19, 1988, by Mercury Records. The album was produced by Bruce Fairbairn and recorded at Little Mountain Sound Studios in Vancouver, British Columbia, Canada. The album was the follow-up to the band's third album, "Slippery When Wet", and reached number one on the "Billboard" 200 chart in its second week of release after debuting at number eight. It remained at the top for four consecutive weeks and was Bon Jovi's last album to do so until "Lost Highway" (2007).


title: New Jersey (album)

text: It produced five "Billboard" Hot 100 top ten hits, the most top ten hits to date for any glam metal album, including "Bad Medicine" and "I'll Be There for You", which both reached number one. The album was certified 7× platinum by the Recording Industry Association of America (RIAA). The album also debuted at number one in the UK and was the band's first UK No. 1 album. "New Jersey" was released by the Soviet state-owned record label Melodiya, being the first American album to be officially released in the USSR. To celebrate the band's 30th anniversary in 2014, the album was repackaged with bonus tracks.


title: New Jersey (album)

text: The album was recorded very shortly after the Slippery When Wet Tour, because the band wanted to prove that they were not just going to be a one hit wonder. The album was initially planned to be a double album; however, this idea was rejected by the record label because they were skeptical about the higher price point and decided they would only release a single album. One working title for the album was "Sons of Beaches", which alluded to the title of "Slippery When Wet".


title: New Jersey (album)

text: The album was produced by Bruce Fairbairn like its predecessor and recorded at Little Mountain Sound Studios in Vancouver, British Columbia, Canada. It marked the final collaboration between Bon Jovi and producer Bruce Fairbairn.


title: New Jersey (album)

text: When the Slippery When Wet Tour ended in October 1987, the band were inactive for about three to four weeks. Then Jon Bon Jovi and Richie Sambora began making demos for 17 songs which would make up the first batch of songs written for the album. However, they began to feel a high level of pressure because they did not feel as though they had "the amazing song". Jon Bon Jovi said that "I really wanted to do it again, not for monetary reasons—I have plenty of money—but it was such an amazing feeling to have done what we've done. There was a real fear of not being able to write You Give Love A Bad Name again." Jon Bon Jovi and Richie Sambora sat together and wrote the song "Love Is War" but Jon Bon Jovi wanted to write a song that would prove to be just as successful as "You Give Love a Bad Name" so desperately that it came out with exactly the same chord progression. They later started on the second batch of songs and they wrote "Bad Medicine" and "Born to Be My Baby" with Desmond Child. "Born to Be My Baby" was originally recorded acoustically, however the producer Bruce Fairbairn persuaded them to re-record it with electric instruments in a much more metal style. Jon Bon Jovi has since said that he believed the song would have made number one on the charts if it had been released in its original form. This song has a similar theme to "Livin' on a Prayer", as it is about a young working class couple struggling to make ends meet.


title: New Jersey (album)

text: Although the glossy production and anthems from "Slippery When Wet" remained, the band wished to show a level of diversity on the album. The album is much more experimental with a long, atmosphere-building intro on "Lay Your Hands on Me", harmonica and organ duels on "Homebound Train" and a flamenco guitar intro on "Wild Is the Wind". "Ride Cowboy Ride" is a short song functioning as an introduction to "Stick to Your Guns" and was recorded in mono. The song is credited to "Captain Kidd and King of Swing", the nicknames of Bon Jovi and Sambora.


title: New Jersey (album)

text: "Love for Sale" was recorded and engineered by John P. Allen and Chris Cavallaro at Chalet Sound in Allenwood, New Jersey. All pre-production songs were recorded and engineered at Chalet Sound by Allen additional engineering by Cavallaro and Nejat Bekan.


title: New Jersey (album)

text: "New Jersey" debuted at No. 8 on the "Billboard" 200 chart, but climbed to No. 1 the following week and spent four weeks at the top spot. It eventually sold 7 million copies in the United States. The album debuted at No. 1 in Canada, the United Kingdom, Switzerland, Sweden, New Zealand and Australia. "Bad Medicine" and the ballad "I'll Be There for You" both hit No. 1 on the "Billboard" Hot 100. "Born to Be My Baby", "Lay Your Hands on Me", and "Living in Sin" reached the Top 10.


title: New Jersey (album)

text: "New Jersey" was released on July 1, 2014, as a 2CD "Deluxe Edition", which included the original album remastered along with b-sides and previously unreleased demos from the "New Jersey/Sons of Beaches" sessions. The "Super Deluxe Edition" includes both discs plus a DVD containing the documentary "" and "". Both titles were previously available on VHS.


title: Jane Wymark

text: Jane Wymark (born 31 October 1952) is an English actress. The daughter of English actor Patrick Wymark (1926–1970) and the American writer and playwright Olwen Wymark, she is best known for playing Morwenna Chynoweth Whitworth (Morwenna Carne by the close of the series) in the 1970s BBC television period drama "Poldark" (1977), and more recently as Joyce Barnaby (1997–2011) in the ITV detective series "Midsomer Murders". She has appeared in television dramas such as "The Bass Player and the Blonde", "A Touch of Frost", "Dangerfield", "Lovejoy" and "Pie in the Sky". She also appeared as Jill Mason in the Birmingham Rep production of "Equus".


title: Tami Erin

text: Tamara Erin Klicman (born July 8, 1974), known professionally as Tami Erin, is an American actress, model, singer, and fashion designer. She is best known for her role as Pippi Longstocking in the 1988 movie "The New Adventures of Pippi Longstocking". It was released in movie theaters worldwide in 13 languages by Columbia Pictures.


title: Tami Erin

text: Erin began acting and modeling at eight years old after becoming an Elite Model with Elite Model Management. Erin took method acting, singing, dancing, and gymnastics. Erin grew up in Wheaton, Illinois, but when she was nine years old her family moved to Miami, Florida.


title: Tami Erin

text: Erin auditioned for the role of Pippi Longstocking when she was eleven years old and won the part out of over 8,000 girls.


title: Tami Erin

text: The film's director, Ken Annakin, described her personality as a good fit for the role: "Tami radiates sunshine. When she smiles everyone is happy. She is Pippi Longstocking.".


title: Tami Erin

text: In 2013 Erin became an International Ambassador for Hearts.com to raise funds for the IHeart Change program for six international charities including Generosity Water, Pencils of Promise, Eden Projects, International Lifeline Fund, Free The Slaves, and Kili To Chili.


title: Tami Erin

text: In October 2013, Erin sold a sex tape to a pornography company titled "Tami Erin The SEX Tape". In 2020 at the beginning of the Covid-19 pandemic Tami Erin married her good friend Tommy Parker. They live in Grand Lake (Oklahoma)


title: Pushyamitra Shunga

text: Pushyamitra Shunga (IAST: ) or Pushpamitra Shunga (IAST: ) (ruled ) was the co-founder and the first or second ruler of the Shunga Empire which he and Gopāla established against the Maurya Empire. His original name was Puṣpaka or Puṣpamitra and the confusion between Puṣyamitra and Puṣpamitra arose because of the erroneous readings of 'p' and 'y' in the manuscripts.


title: Pushyamitra Shunga

text: Pushyamitra is recorded to have performed numerous Ashvamedha campaigns to legitimize his right to rule. Inscriptions of the Shungas have been found as far as the Ayodhya (the Dhanadeva-Ayodhya inscription), and the "Divyavadana" mentions that his empire stretched as far as Sakala (Sialkot) in the Punjab region in the northwest.


title: Pushyamitra Shunga

text: The Buddhist texts claim that Pushyamitra persecuted the Buddhists; scholars have rejected these claims.


title: Pushyamitra Shunga

text: According to the Puranas, Pushyamitra became the king after killing his master Brihadratha, the last Mauryan king. However, the Buddhist text "Divyavadana" names Pushyamitra as the last Mauryan king. This text appears to have confused Brihadratha with Pushyamitra.


title: Pushyamitra Shunga

text: H. C. Raychaudhuri theorized that the name "Shunga" is derived from the Sanskrit word for the fig tree.


title: Pushyamitra Shunga

text: Buddhist texts state that Pushyamitra cruelly persecuted the Buddhists. The earliest source to mention this is the 2nd Century CE text "Ashokavadana" (a part of "Divyavadana"). According to this account, Pushyamitra (described as the last Mauryan king) wanted to be famous. His ministers advised him that as long as Buddhism remained the dominant faith, he would never be as famous as his ancestor Ashoka, who had commissioned 84,000 stupas. One advisor told him that he could become famous by destroying Buddhism. Pushyamitra then tried to destroy the Kukkutarama monastery, but it was saved by a miracle. He then proceeded to Shakala in the north-west, where he offered a prize of one hundred "Roman denarii" (coins) for every head of a Buddhist monk brought to him. Next, he proceeded to the Koshthaka kingdom, where a Buddhist yaksha named Damshtranivasin killed him and his army with help of another yaksha named Krimisha.


title: Pushyamitra Shunga

text: "Vibhasa", another 2nd century text, states that Pushyamitra burned Buddhist scriptures, killed Buddhist monks, and destroyed 500 monasteries in and around Kashmir. In this campaign, he was supported by yakshas, "kumbhanda"s, and other demons. However, when he reached the Bodhi tree, the deity of that tree took the form of a beautiful woman and killed him. "Shariputrapariprichha", translated into Chinese between 317 and 420 CE also mentions this legend, but this particular version is more detailed, and describes eastern India (not Kashmir) as the center of Pushyamitra's anti-Buddhist campaign.


title: Pushyamitra Shunga

text: The medieval-era "Arya-Manjushri-Mula-Kalpa" mentions a wicked and foolish king named Gomimukhya ("cattle-faced"), or Gomishanda ("Gomin, the bull"), who seized the territory from the east to Kashmir, destroying monasteries and killing monks. Ultimately, he and his officers were killed in the north by falling mountain rocks. This king is identified with Pushyamitra by some writers.


title: Pushyamitra Shunga

text: The 16th-century Tibetan Buddhist historian Taranatha also states that Pushyamitra and his allies killed Buddhist monks and destroyed monasteries from "madhyadesha" (midland) to Jalandhara. These activities wiped out the Buddhist doctrine from the north, within five years.


title: Pushyamitra Shunga

text: Based on Buddhist tradition, some scholars believe that Pushyamitra was indeed a persecutor of the Buddhist faith. However, others believe that Buddhist scholars were biased against Pushyamitra, because he did not patronize them.


title: Pushyamitra Shunga

text: V. A. Smith and H. P. Shastri believed that Pushyamitra's rebellion against the Maurya dynasty was a Brahminical reaction to the rise of Buddhism. According to archaeologist John Marshall, there is evidence of some damage to Buddhist establishments at Takshashila around the time of Shunga rule. He also theorized that the Sanchi stupa was vandalized in 2nd century BCE (that is, during Pushyamitra's reign), before being rebuilt on a larger scale. G. R. Sharma, who excavated the Buddhist ruins at Kaushambi, suggested that the destruction of the local monastery might have happened during the reign of Pushyamitra Shunga. P. K. Mishra believes that the damage to the Deur Kothar stupa is also datable to Pushyamitra's period. H. C. Raychaudhari pointed out that Buddhist monuments were constructed at Bharhut during the Shunga rule. However, according to N. N. Ghosh, these were constructed during the reign of later Shunga rulers, not Pushyamitra's period.


title: Pushyamitra Shunga

text: H. Bhattacharya theorized that Pushyamitra might have persecuted Buddhists for political, rather than religious, reasons: the politically active Buddhists probably supported the Indo-Greek rivals of Pushyamitra, which might have prompted him to persecute them. The "Ashokavadana" states that Pushyamitra declared a reward for killing Buddhist monks in Shakala (present-day Sialkot), which was located near the Indo-Greek frontiers. According to K. P. Jayaswal, this further highlights a political motivation behind his alleged persecution of Buddhists.


title: Pushyamitra Shunga

text: Others have expressed skepticism about the Buddhist claims of persecution by Pushyamitra. Étienne Lamotte points out that the Buddhist legends are not consistent about the location of Pushyamitra's anti-Buddhist campaign and his death. The "Ashokavadana" claims that Pushyamitra offered Roman "dinara"s as a reward for killing Buddhist monks, but the "dinara" did not come into general circulation in India before the 1st century BCE. "Ashokavadana" also claims that Ashoka persecuted "Nirgrantha"s (Ajivikas), which some assert is a fabrication, considering that Ashoka's edicts express tolerance towards all religious sects. The Sri Lankan Buddhist text "Mahavamsa" suggests that several monasteries existed in present-day Bihar, Awadh and Malwa at the time Pushyamitra's contemporary Dutthagamani ruled in Lanka. This suggests that these monasteries survived Pushyamitra Shunga's reign.


title: Pushyamitra Shunga

text: H. C. Raychaudhury argued that Pushyamitra's overthrow of the Mauryans cannot be considered as a Brahmin uprising against Buddhist rule, as Brahmins did not suffer during the Mauryan rule: Ashoka's edicts mention the Brahmins before Shramanas, and the appointment of a Brahmin general (Pushyamitra) shows that the Brahmins were honoured at the Mauryan court. The fact that the "Ashokavadana" mentions Pushyamitra as a Mauryan further erodes its historical credibility, and weakens the hypothesis that he persecuted Buddhists because he was a Brahmin. Raychaudhury also aruged that according to "Malavikagnimitra", a Buddhist nun named Bhagavati Kaushiki attended Pushyamitra's court, which indicates that they did not persecute Buddhists. However, Shankar Goyal states that there is no evidence of Kaushiki being a Buddhist nun.


title: Pushyamitra Shunga

text: Historian Eric Seldeslachts states that there is "no proof whatsoever that Pushyamitra actually persecuted the Buddhists" though he may not have actively supported the Buddhists, invoking the Buddhist wrath.


title: Pushyamitra Shunga

text: Romila Thapar writes that the lack of concrete archaeological evidence casts doubt on the claims of Buddhist persecution by Pushyamitra.


title: Pushyamitra Shunga

text: It is possible that the Buddhist influence at the Mauryan court declined during Pushyamitra's reign, and the Buddhist monasteries and other institutions stopped receiving royal patronage. This change might have led to discontent among the Buddhists, resulting in exaggerated accounts of persecution.


title: Pushyamitra Shunga

text: Michael Witzel states that "Manudharma", which emphasizes the role of orthodox faith in state-craft and society, was first compiled under Pushyamitra's rule. According to Kaushik Roy, it was a Brahmanical reaction to the rise of Buddhism and Jainism.


title: Gawr Gura

text: Cover Corporation announced auditions for English speakers from April 23 to May 24 of 2020, following the global success of its Japanese VTuber lineup. The design of Gawr Gura was illustrated by Amashiro Natsuki, and the original modeling was done by Shin Umiushi.


title: Gawr Gura

text: Gura's Twitter activities first began on September 9, 2020. Her first YouTube livestream was broadcast at 6 AM JST on September 13, to a viewership of approximately 45,000 people; the VOD gained over 800,000 views in the span of three days. On November 28, "Gawr Gura" was listed in the Niconico Japanese Internet Pop 100 as one of the top 100 most popular search terms of that year on Niconico and Pixiv, ranking 99th.


title: Gawr Gura

text: Her channel reached 1 million subscribers on October 22, 2020, which was the fastest growth of any VTuber channel. She is the third VTuber overall to reach 1 million, behind Kizuna AI and . On January 18, her channel subscribers surpassed 2 million, making her the second VTuber to reach this milestone, second only to Kizuna AI, and she celebrated with a karaoke stream on January 23. On May 7, her first outfit reveal stream reached a peak of 194,280 simultaneous viewers, breaking the VTuber record previously held by Sakura Miko (about 145,000). Her first original song, "REFLECT", was released on June 21, 2021. On June 30, 5:01 a.m. (UTC+0), she reached 2.97 million subscribers on July 1, surpassing Kizuna AI as the most subscribed VTuber on YouTube. On July 4, she became the first virtual YouTuber to reach 3 million subscribers, and subsequently 4 million subscribers on June 16, 2022.


title: Gawr Gura

text: On July 3, 2021, it was announced that a Gawr Gura Nendoroid figure would be produced, and on August 6, pre-orders for the figure were opened. On March 18, 2022, following her 3D debut live performance at Makuhari Messe, it was announced that the life-sized figure and 1/7-scale figure of Gura, which were both displayed at the expo, would be auctioned for charity.


title: Gawr Gura

text: On April 25, 2022, Cover Corporation announced the "Hololive Meet" project, featuring all the talent from across Hololive Production and aims to accelerate the expansion of Hololive Production into international markets and named Gawr Gura, Tokino Sora and Ayunda Risu as ambassadors for the project. The three appeared at Anime Expo the same year.


title: Gawr Gura

text: On December 2, 2022, Cover Corporation announced a collaboration with musician DECO*27, named "Holo*27" featuring Hololive talents to perform at the Holo*27 stage at the Hololive 4th Fest. Our Bright Parade on March 19, 2023 and named Gura as one of the participating members.


title: Gawr Gura

text: On September 9, 2020, Gura posted her first tweet with the word "a". On September 13, her first live broadcast was delayed and her first words were "a" (). Later, the broadcast was interrupted due to equipment problems, leaving tens of thousands of users typing "a" in the chat room, waiting for the broadcast to resume. "a" quickly became an internet meme. This, combined with the overall popular surge of VTubers (and virtual reality in general) as a result of the COVID-19 pandemic, likely contributed to Gura's fast success. Only forty days after her debut, she had reached one million subscribers, becoming the first Hololive VTuber to do so.


title: Rachitha Mahalakshmi

text: Rachitha Mahalakshmi is an Indian television actress who predominantly work in Tamil along with some Telugu, and Kannada television with few films. She is best known for her role as Jyoti in "Pirivom Sandhipom" But she critically acclaimed as Meenatchi in the popular Tamil series "Saravanan Meenatchi"


title: Rachitha Mahalakshmi

text: Rachitha was born in Bangalore. Rachitha is fluent in Tamil, Kannada, Telugu, Hindi, Malayalam and English. She is married to Dinesh Gopalsamy from Srivilliputhur who acted as her pair in the serial "Pirivom Santhipom". Rachitha made her debut in Mega Mandala, which was telecasted in Star Suvarna. Rachitha became popular and successful after playing the lead role, as Meenatchi, in "Saravanan Meenatchi", which aired in Star Vijay. Since then, she is also recognized as Meenatchi.


title: Being Mortal (film)

text: Being Mortal is a suspended American comedy-drama film written, directed, produced by, and starring Aziz Ansari in his feature directorial debut. It is based on the 2014 non-fiction book "Being Mortal" by Atul Gawande. Bill Murray, Seth Rogen, and Keke Palmer were set to co-star. In April 2022, production was suspended due to a complaint against Murray for inappropriate behavior.


title: Being Mortal (film)

text: On February 22, 2022, Searchlight Pictures announced the development of an untitled film written, directed, and produced by Aziz Ansari in his feature directorial debut, with Ansari and Bill Murray attached to star. Taylor Friedman and Cameron Chidsey oversaw the film for Searchlight. Youree Henley was also a producer. In March, the title was revealed to be "Being Mortal", the same as the material it is based on. In the following months, Seth Rogen and Keke Palmer joined the cast.


title: Being Mortal (film)

text: After Principal photography began on March 28, 2022, Searchlight halted production on April 18 and officially suspended production on April 20 after investigating a complaint filed against Murray for "inappropriate behavior" a week prior. In a letter to the cast and crew, Searchlight said they were working with Ansari and Henley to resolve the matter and resume production.


title: Being Mortal (film)

text: On April 30, Murray made a similar statement: "I did something I thought was funny, and it wasn't taken that way. The company, the movie studio, wanted to do the right thing, so they wanted to check it all out, investigate it, and so they stopped the production. But as of now, we're talking and we're trying to make peace with each other." In October of that year, reports emerged that Murray had allegedly straddled a "much younger" female production assistant and kissed her on the mouth, causing her to file an official complaint.


title: Being Mortal (film)

text: Shortly afterward, Palmer told "Variety" that the film would need "a major rewrite" to be completed without Murray, but that "if somebody could figure it out, it's Aziz". The film has yet to resume production.


title: A Midsummer Night's Dream (1999 film)

text: A Midsummer Night's Dream is a 1999 romantic comedy fantasy film based on the play of the same name by William Shakespeare. It was written, directed and co-produced by Michael Hoffman. The ensemble cast features Kevin Kline as Bottom, Michelle Pfeiffer and Rupert Everett as Titania and Oberon, Stanley Tucci as Puck, and Calista Flockhart, Anna Friel, Christian Bale, and Dominic West as the four lovers.


title: A Midsummer Night's Dream (1999 film)

text: In 1890s Monte Athena, in the Kingdom of Italy, young lovers Lysander and Hermia are forbidden to marry by her father Egeus, who has promised Hermia to Demetrius. Lysander and Hermia make plans to flee to the forest to escape the arrangement. Demetrius follows them, having been made aware of the plan by Helena, a young woman who is desperately in love with him. Once in the forest, they wander into the fairy world, ruled by Oberon and Titania, King and Queen of the fairies. Oberon and his servant sprite Puck cause mayhem among the lovers with a magic potion that causes both Lysander and Demetrius to fall in love with Helena, leading to a rift between all four that culminates (famously in this adaptation) in a mud-wrestling scene. Oberon then bewitches Titania with the same potion.


title: A Midsummer Night's Dream (1999 film)

text: Meanwhile, an acting troupe prepares a play for the entertainment of the Duke. The leader of the actors and the actors, including a weaver named Bottom, and Francis Flute take their rehearsal to the forest. The mischievous Puck magically enchants Bottom with the head of an ass and Bottom is then seen by the bewitched Titania. Titania woos Bottom in her bower, attended by fairies. Oberon tires of the sport and puts all to rights, pairing Lysander back with Hermia and Demetrius with Helena, and reconciling with his own queen, Titania.


title: A Midsummer Night's Dream (1999 film)

text: In the final part, Bottom and his troupe of "rude Mechanicals" perform their amateur play, based on the tragedy of Pyramus and Thisbe, before Duke Theseus, his wife Hippolyta, and the court, unintentionally producing a tragedy that turns to be a comedy.


title: A Midsummer Night's Dream (1999 film)

text: "A Midsummer Night's Dream" was filmed on location in Lazio and Tuscany, and at Cinecittà Studios, Rome, Italy. The action of the play was transported from Athens, Greece, to a fictional Monte Athena, located in the Tuscan region of Italy, although all textual mentions of Athens were retained.


title: A Midsummer Night's Dream (1999 film)

text: The film made use of Felix Mendelssohn's incidental music for an 1843 stage production (including the famous "Wedding March"), alongside operatic works from Giuseppe Verdi, Gaetano Donizetti, Vincenzo Bellini, Gioacchino Rossini and Pietro Mascagni.


title: A Midsummer Night's Dream (1999 film)

text: "A Midsummer Night's Dream" holds a rating of 67% on Rotten Tomatoes as of September 2019, and a score of 61 on Metacritic, indicating generally favorable reviews. Many critics singled out Kevin Kline and Stanley Tucci for particular praise.


title: A Midsummer Night's Dream (1999 film)

text: In "Variety", Emanuel Levy described the film as a "whimsical, intermittently enjoyable but decidedly unmagical version of the playwright's wild romantic comedy ... There is not much chemistry between Pfeiffer and Everett, nor between Pfeiffer and Kline, particularly in their big love scene. Kline overacts physically and emotionally, Flockhart is entertaining in a broad manner, and Pfeiffer renders a strenuously theatrical performance. Overall, the Brits give more coherent and resonant performances, especially Friel and West as the romantic couple, a restrained Everett as Oberon, and Rees as the theatrical manager."


title: A Midsummer Night's Dream (1999 film)

text: "Time Out" wrote that "this "Dream" is middlebrow and unashamed of it. Injecting the film with fun and pathos, Kline makes a superb Bottom; it's his play and he acts it to the hilt."


title: Burn (2019 film)

text: Burn is a 2019 American black comedy thriller film written and directed by Mike Gan. It stars Tilda Cobham-Hervey, Suki Waterhouse, Harry Shum Jr., Shiloh Fernandez and Josh Hutcherson.


title: Burn (2019 film)

text: Melinda begins the graveyard shift as an attendant at a gas station. Lonely and introverted, she doesn't object when her coworker Sheila, who has an attitude, mentions the toilets need cleaning. Later, while taking a break, she searches through her phone for photos of a police officer she has been discreetly photographing.


title: Burn (2019 film)

text: Sheila tries to get Melinda to do some dance moves, then films them, much to Melinda's disgust. An older repeat customer offers Sheila a pair of shoe insoles to ease her standing all night, but Sheila is creeped out, having seen the man many times before. They fit Melinda however, and she tries to make amends with the dejected man as he walks outside, to no avail.


title: Burn (2019 film)

text: A man named Billy parks his stolen vehicle outside and enters the store with a concealed handgun. A police officer named Liu pulls up and strikes up a conversation with Melinda. Later, as Liu purchases coffee, Melinda takes a photo of him and Sheila catches her in the act. Melinda drops her phone, breaking the screen, and Liu consoles her before being called away on an alert. Sheila bullies Melinda into showing her the multiple photos she's taken of Liu.


title: Burn (2019 film)

text: Upon returning from a smoke break, Melinda finds Billy engaging Sheila in a stick up. In a rather jovial manner, he demands cash and demonstrates that his gun is real by firing it when she doubts him. Billy is disappointed by the small amount of cash in the register and Melinda offers to empty the safe for him. Returning with a backpack of money, she tells Billy she wants to go with him and a struggle ensues when she refuses to hand over the backpack until he agrees. Billy wrestles the backpack from Melinda, but Sheila berates him with profanities as he leaves, angering him. He grabs her and forces her to the ground, ordering Melinda to lock the doors and go into the bathrooms.


title: Burn (2019 film)

text: Billy hauls Sheila to the break room and begins beating her, but Melinda sneaks up behind him and throws the pot of coffee in his face. Scalded, he accidentally fires his gun, killing Sheila before Melinda hits him over the head with a fire extinguisher, knocking him out. When he awakens, he finds himself strapped to a chair as Melinda quietly mops up the blood, having wrapped Sheila's body in a tarp.


title: Burn (2019 film)

text: Melinda and Billy converse and she gets him a cigarette, aspirin and water. She gives him some pills, but he realises that she has given him cheap erectile medication instead of aspirin. She proceeds to tape his eyes and mouth shut and attempts to rape him. He struggles and he is able to rip the tape holding one of his arms, knocking Melinda away. Still blind, he tries chasing after her, but ends up knocking himself out again. Melinda pockets his gun, takes the backpack and cleans up the room.


title: Burn (2019 film)

text: Melinda quietly unlocks the front door for a customer, who berates her for not having any coffee. Reaching her limit, Melinda puts the gun up to her chin briefly before breaking down and sobbing, telling the customer to leave her alone. Perry, Sheila's boyfriend, then shows up to give her a ride home and finds her phone on the floor. In desperation, Melinda tells him that Sheila left with another man, but doesn't know where they went.


title: Burn (2019 film)

text: Once Perry leaves, Melinda steps out back to find somewhere to bury the bodies when the bikers arrive looking for Billy. She claims not to have seen him and won't let them enter the store. After an armed standoff, the bikers leave.


title: Burn (2019 film)

text: Realising she cannot access the surveillance data to destroy it, Melinda begins filling containers with gasoline. Liu then returns, recognizing Billy's car as stolen. He questions Melinda, who says she hasn't seen anything suspicious, but Liu calls the manager for access to the surveillance data. Melinda fails to stop Liu from searching the store, but finding nothing, he leaves. Billy has escaped, leaving only zip ties behind.


title: Burn (2019 film)

text: Melinda begins dousing the store with gasoline when she hears Billy entering the store and hides. He disables the power, which locks the front doors just as Perry returns, suspicious about Sheila's disappearance. Billy escapes through the back door and barricades it with dumpsters before strangling Perry. Melinda calls Liu and admits she needs help as Billy rams Perry's car into the front doors, shattering the glass.


title: Burn (2019 film)

text: Backed into a corner, Melinda pleads with Billy to simply take the money and leave, but he wants revenge. He fires his gun, which ignites the gas and engulfs him in flames. Melinda grabs a fire extinguisher and escapes through the front door as Liu and other officers arrive. He helps Melinda into his car and comforts her, Melinda believing she has finally found somebody who cares.


title: Burn (2019 film)

text: In February 2018, it was announced Tilda Cobham-Hervey, Suki Waterhouse and Josh Hutcherson had joined the cast of the film, with Mike Gan directing from a screenplay he wrote. In March 2018, it was announced Shiloh Fernandez and Harry Shum Jr. joined the cast of the film. In May 2018, it was announced the film had been re-titled from "Plume" to "Burn".


title: Burn (2019 film)

text: On Rotten Tomatoes, the film has an approval rating of based on reviews, with an average rating of . On Metacritic, the film has a score of 50 out of 100, based on 4 critics, indicating "mixed or average reviews".


title: Burn (2019 film)

text: Dennis Harvey of "Variety" wrote: "The problem is that writer-director Mike Gan’s first feature, though competently handled in most departments, doesn’t commit enough to any approach to fulfill its potential."


title: Burn (2019 film)

text: John DeFore of "The Hollywood Reporter" wrote: "Neither Gan's screenplay nor his direction of the cast quite sells this scenario, but once he introduces some accidental violence, the picture can ride the familiar logic of crime-gone-wrong storytelling."


title: Space group

text: In mathematics, physics and chemistry, a space group is the symmetry group of an object in space, usually in three dimensions. The elements of a space group (its symmetry operations) are the rigid transformations of an object that leave it unchanged. In three dimensions, space groups are classified into 219 distinct types, or 230 types if chiral copies are considered distinct. Space groups are discrete cocompact groups of isometries of an oriented Euclidean space in any number of dimensions. In dimensions other than 3, they are sometimes called Bieberbach groups.


title: Space group

text: In crystallography, space groups are also called the crystallographic or Fedorov groups, and represent a description of the symmetry of the crystal. A definitive source regarding 3-dimensional space groups is the "International Tables for Crystallography" .


title: Space group

text: Space groups in 2 dimensions are the 17 wallpaper groups which have been known for several centuries, though the proof that the list was complete was only given in 1891, after the much more difficult classification of space groups had largely been completed.


title: Space group

text: In 1879 the German mathematician Leonhard Sohncke listed the 65 space groups (called Sohncke groups) whose elements preserve the chirality. More accurately, he listed 66 groups, but both the Russian mathematician and crystallographer Evgraf Fedorov and the German mathematician Arthur Moritz Schoenflies noticed that two of them were really the same. The space groups in three dimensions were first enumerated in 1891 by Fedorov (whose list had two omissions (I3d and Fdd2) and one duplication (Fmm2)), and shortly afterwards in 1891 were independently enumerated by Schönflies (whose list had four omissions (I3d, Pc, Cc, ?) and one duplication (P2m)). The correct list of 230 space groups was found by 1892 during correspondence between Fedorov and Schönflies. later enumerated the groups with a different method, but omitted four groups (Fdd2, I2d, P2d, and P2c) even though he already had the correct list of 230 groups from Fedorov and Schönflies; the common claim that Barlow was unaware of their work is incorrect. describes the history of the discovery of the space groups in detail.


title: Space group

text: The space groups in three dimensions are made from combinations of the 32 crystallographic point groups with the 14 Bravais lattices, each of the latter belonging to one of 7 lattice systems. What this means is that the action of any element of a given space group can be expressed as the action of an element of the appropriate point group followed optionally by a translation. A space group is thus some combination of the translational symmetry of a unit cell (including lattice centering), the point group symmetry operations of reflection, rotation and improper rotation (also called rotoinversion), and the screw axis and glide plane symmetry operations. The combination of all these symmetry operations results in a total of 230 different space groups describing all possible crystal symmetries.


title: Space group

text: The elements of the space group fixing a point of space are the identity element, reflections, rotations and improper rotations.


title: Space group

text: The translations form a normal abelian subgroup of rank 3, called the Bravais lattice (so named after French physicist Auguste Bravais). There are 14 possible types of Bravais lattice. The quotient of the space group by the Bravais lattice is a finite group which is one of the 32 possible point groups.


title: Space group

text: A glide plane is a reflection in a plane, followed by a translation parallel with that plane. This is noted by formula_1, formula_2, or formula_3, depending on which axis the glide is along. There is also the formula_4 glide, which is a glide along the half of a diagonal of a face, and the formula_5 glide, which is a fourth of the way along either a face or space diagonal of the unit cell. The latter is called the diamond glide plane as it features in the diamond structure. In 17 space groups, due to the centering of the cell, the glides occur in two perpendicular directions simultaneously, "i.e." the same glide plane can be called "b" or "c", "a" or "b", "a" or "c". For example, group Abm2 could be also called Acm2, group Ccca could be called Cccb. In 1992, it was suggested to use symbol "e" for such planes. The symbols for five space groups have been modified:


title: Space group

text: A screw axis is a rotation about an axis, followed by a translation along the direction of the axis. These are noted by a number, "n", to describe the degree of rotation, where the number is how many operations must be applied to complete a full rotation (e.g., 3 would mean a rotation one third of the way around the axis each time). The degree of translation is then added as a subscript showing how far along the axis the translation is, as a portion of the parallel lattice vector. So, 2 is a twofold rotation followed by a translation of 1/2 of the lattice vector.


title: Space group

text: where "M" is its matrix, "D" is its vector, and where the element transforms point "x" into point "y". In general, "D" = "D" (lattice) + , where is a unique function of "M" that is zero for "M" being the identity. The matrices "M" form a point group that is a basis of the space group; the lattice must be symmetric under that point group, but the crystal structure itself may not be symmetric under that point group as applied to any particular point (that is, without a translation). For example, the diamond cubic structure does not have any point where the cubic point group applies.


title: Space group

text: The lattice dimension can be less than the overall dimension, resulting in a "subperiodic" space group. For (overall dimension, lattice dimension):


title: Space group

text: There are at least ten methods of naming space groups. Some of these methods can assign several different names to the same space group, so altogether there are many thousands of different names.


title: Space group

text: There are (at least) 10 different ways to classify space groups into classes. The relations between some of these are described in the following table. Each classification system is a refinement of the ones below it. To understand an explanation given here it may be necessary to understand the next one down.


title: Space group

text: In "n" dimensions, an affine space group, or Bieberbach group, is a discrete subgroup of isometries of "n"-dimensional Euclidean space with a compact fundamental domain. proved that the subgroup of translations of any such group contains "n" linearly independent translations, and is a free abelian subgroup of finite index, and is also the unique maximal normal abelian subgroup. He also showed that in any dimension "n" there are only a finite number of possibilities for the isomorphism class of the underlying group of a space group, and moreover the action of the group on Euclidean space is unique up to conjugation by affine transformations. This answers part of Hilbert's eighteenth problem. showed that conversely any group that is the extension of Z by a finite group acting faithfully is an affine space group. Combining these results shows that classifying space groups in "n" dimensions up to conjugation by affine transformations is essentially the same as classifying isomorphism classes for groups that are extensions of Z by a finite group acting faithfully.


title: Space group

text: It is essential in Bieberbach's theorems to assume that the group acts as isometries; the theorems do not generalize to discrete cocompact groups of affine transformations of Euclidean space. A counter-example is given by the 3-dimensional Heisenberg group of the integers acting by translations on the Heisenberg group of the reals, identified with 3-dimensional Euclidean space. This is a discrete cocompact group of affine transformations of space, but does not contain a subgroup Z.


title: Space group

text: This table gives the number of space group types in small dimensions, including the numbers of various classes of space group. The numbers of enantiomorphic pairs are given in parentheses.


title: Space group

text: In addition to crystallographic space groups there are also magnetic space groups (also called two-color (black and white) crystallographic groups or Shubnikov groups). These symmetries contain an element known as time reversal. They treat time as an additional dimension, and the group elements can include time reversal as reflection in it. They are of importance in magnetic structures that contain ordered unpaired spins, i.e. ferro-, ferri- or antiferromagnetic structures as studied by neutron diffraction. The time reversal element flips a magnetic spin while leaving all other structure the same and it can be combined with a number of other symmetry elements. Including time reversal there are 1651 magnetic space groups in 3D . It has also been possible to construct magnetic versions for other overall and lattice dimensions (Daniel Litvin's papers, , ). Frieze groups are magnetic 1D line groups and layer groups are magnetic wallpaper groups, and the axial 3D point groups are magnetic 2D point groups. Number of original and magnetic groups by (overall, lattice) dimension:


title: Space group

text: Note: An "e" plane is a double glide plane, one having glides in two different directions. They are found in seven orthorhombic, five tetragonal and five cubic space groups, all with centered lattice. The use of the symbol "e" became official with .


title: Space group

text: The lattice system can be found as follows. If the crystal system is not trigonal then the lattice system is of the same type. If the crystal system is trigonal, then the lattice system is hexagonal unless the space group is one of the seven in the rhombohedral lattice system consisting of the 7 trigonal space groups in the table above whose name begins with R. (The term rhombohedral system is also sometimes used as an alternative name for the whole trigonal system.) The hexagonal lattice system is larger than the hexagonal crystal system, and consists of the hexagonal crystal system together with the 18 groups of the trigonal crystal system other than the seven whose names begin with R.


title: Space group

text: The Bravais lattice of the space group is determined by the lattice system together with the initial letter of its name, which for the non-rhombohedral groups is P, I, F, A or C, standing for the principal, body centered, face centered, A-face centered or C-face centered lattices. There are seven rhombohedral space groups, with initial letter R.


title: Landing craft

text: Landing craft are small and medium seagoing watercraft, such as boats and barges, used to convey a landing force (infantry and vehicles) from the sea to the shore during an amphibious assault. The term excludes landing ships, which are larger. Production of landing craft peaked during World War II, with a significant number of different designs produced in large quantities by the United Kingdom and United States.


title: Landing craft

text: Because of the need to run up onto a suitable beach, World War II landing craft were flat-bottomed, and many designs had a flat front, often with a lowerable ramp, rather than a normal bow. This made them difficult to control and very uncomfortable in rough seas. The control point (too rudimentary to call a bridge on LCA and similar craft) was normally at the extreme rear of the vessel, as were the engines. In all cases, they were known by an abbreviation derived from the official name rather than by the full title.


title: Landing craft

text: In the days of sail, the ship's boats were used as landing craft. These rowing boats were sufficient, if inefficient, in an era when marines were effectively light infantry, participating mostly in small-scale campaigns in far-flung colonies against less well-equipped indigenous opponents.


title: Landing craft

text: In order to support amphibious operations during the landing in Pisagua (1879) by carrying significant quantities of cargo, and landing troops directly onto an unimproved shore, the Government of Chile built flat-bottomed landing craft, called "Chalanas". They transported 1,200 men in the first landing and took on board 600 men in less than 2 hours for the second landing.


title: Landing craft

text: During World War I, the mass mobilization of troops equipped with rapid-fire weapons quickly rendered such boats obsolete. Initial landings during the Gallipoli campaign took place in unmodified rowing boats that were extremely vulnerable to attack from the Turkish shore defenses.


title: Landing craft

text: In February 1915, orders were placed for the design of purpose built landing craft. A design was created in four days resulting in an order for 200 'X' "Lighters" with a spoon-shaped bow to take shelving beaches and a drop down frontal ramp.


title: Landing craft

text: The first use took place after they had been towed to the Aegean and performed successfully in the 6 August landing at Suvla Bay of IX Corps, commanded by Commander Edward Unwin.


title: Landing craft

text: 'X' "Lighters", known to the soldiers as 'Beetles', carried about 500 men, displaced 135 tons and were based on London barges being 105 feet 6 inches long, 21 feet wide, and 7 ft 6 inches deep ( deep). The engines mainly ran on heavy oil and ran at a speed of approximately . The boats had bulletproof sides and a ramp at the bow for disembarkation. A plan was devised to land British heavy tanks from pontoons in support of the Third Battle of Ypres, but this was abandoned.


title: Landing craft

text: The Imperial Russian Navy soon followed suit, building a series of similar landing motor barges of the so-called "Bolinder"-class, named after the supplier of the diesels installed in them. These, however, proved too small and unseaworthy for their intended Black sea theater — they were intended for the planned Marmara Sea landings. Instead, a new class was designed, based on the widespread pattern of the Black sea merchant steamers. These were typically very light at the bow, having all their machinery concentrated at the stern, which allowed easy beaching on any gently sloping coast, and often were equipped with a bow ramp for fast unloading. This resulted in a 1300-ton, 1500 hp "Elpidifor"-class, named after the Rostov-on-Don merchant Elpidifor Paramonov, whose eponymous grain carrier served as a pattern on which they were based. With a 1.8 m loaded draft, and equipped with the ballast tanks and reinforced hull for safe beaching, they were able to land 1000 troops with their train at virtually any available beach. While the landings for which they were created never happened, the ships themselves turned out quite useful and had a long career, supporting the Caucasus Campaign and later as minesweepers, gunboats and utility transports.


title: Landing craft

text: During the inter-war period, the combination of the negative experience at Gallipoli and economic stringency contributed to the delay in procuring equipment and adopting a universal doctrine for amphibious operations in the Royal Navy.


title: Landing craft

text: Despite this outlook, the British produced the Motor Landing Craft in 1920, based on their experience with the early 'Beetle' armoured transport. The craft could put a medium tank directly onto a beach. From 1924, it was used with landing boats in annual exercises in amphibious landings. A prototype motor landing craft, designed by J. Samuel White of Cowes, was built and first sailed in 1926.


title: Landing craft

text: It weighed 16 tons and had a box-like appearance, having a square bow and stern. To prevent fouling of the propellers in a craft destined to spend time in surf and possibly be beached, a crude waterjet propulsion system was devised by White's designers. A Hotchkiss petrol engine drove a centrifugal pump which produced a jet of water, pushing the craft ahead or astern, and steering it, according to how the jet was directed. Speed was 5-6 knots and its beaching capacity was good. By 1930, three MLC were operated by the Royal Navy.


title: Landing craft

text: The United States revived and experimented in their approach to amphibious warfare between 1913 and mid-1930s, when the United States Navy and United States Marine Corps became interested in setting up advanced bases in opposing countries during wartime; the prototype advanced base force officially evolved into the Fleet Marine Force (FMF) in 1933.


title: Landing craft

text: In 1939, during the annual Fleet Landing Exercises, the FMF became interested in the military potential of Andrew Higgins's design of a powered, shallow-draught boat. These LCPL, dubbed the 'Higgins Boats', were reviewed and passed by the U.S. Naval Bureau of Construction and Repair. Soon, the Higgins boats were developed to a final design with a ramp - the LCVP, and were produced in large numbers. The boat was a more flexible variant of the LCPR with a wider ramp. It could carry 36 troops, a small vehicle such as a jeep, or a corresponding amount of cargo.


title: Landing craft

text: In the run-up to WWII, many specialized landing craft, both for infantry and vehicles, were developed. At the start of World War II, the Japanese led the world in landing craft design.


title: Landing craft

text: The Daihatsu-class landing craft was lowered to disembark cargo upon riding up onto a beach. After reviewing photos of a Daihatsu landing craft, this was adopted by American landing craft designer Andrew Higgins in developing the Landing Craft, Personnel (Large) (LCP(L)) into the Landing Craft, Personnel (Ramped) (LCP(R)) and later the Landing Craft, Vehicle and Personnel (LCVP). However, the Daihatsu landing craft was more seaworthy than an LCVP due to its hull design. It was constructed of a metal hull and powered by a diesel engine. Victor Harold Krulak, a native of Denver, who joined the Marines after graduating from Annapolis in 1934, witnessed the Japanese use small vessels like the "Daihatsu-class". In 1937, a lieutenant in an intelligence outfit during the 1937 Battle of Shanghai, when the Japanese were trying to conquer China, he used a telephoto lens to take pictures of Japanese landing craft with a square bow that became a retractable ramp, Krulak noted that the boats’ droppable ramps enabled troops to quickly disembark from the bow, rather than having to clamber over the sides and splash into the surf. Envisioning those ramps as answering the Marines’ needs in a looming world war, Lieutenant Krulak showed the photographs to his superiors, who passed on his report to Washington. But two years later, he found that the Navy had simply filed it away with a notation saying it was the work of “some nut out in China.” He persevered, building a balsa wood model of the Japanese boat design and discussing the retractable ramp concept with the New Orleans boat builder Andrew Higgins. That bow design became the basis for the thousands of Higgins landing craft of World War II. As according to Victor H. Krulak "the Japanese were light years ahead of us in landing craft design".


title: Landing craft

text: In November 1938, the British Inter-Service Training and Development Centre proposed a new type of landing craft. Its specifications were to weigh less than ten long tons, to be able to carry the thirty-one men of a British Army platoon and five assault engineers or signallers, and to be so shallow drafted as to be able to land them, wet only up to their knees, in eighteen inches of water. All of these specifications made the Landing Craft Assault; a separate set of requirements were laid down for a vehicle and supplies carrier, although previously the two roles had been combined in the Motor Landing Craft.


title: Landing craft

text: J. S. White of Cowes built a prototype to the Fleming design. Eight weeks later the craft was doing trials on the River Clyde. All landing craft designs must find a compromise between two divergent priorities; the qualities that make a good sea boat are opposite to those that make a craft suitable for beaching. The craft had a hull built of double-diagonal mahogany planking. The sides were plated with "10lb. DHT" armour, a heat treated steel based on D1 steel, in this case Hadfield’s Resista ¼”.


title: Landing craft

text: The Landing Craft Assault remained the most common British and Commonwealth landing craft of World War II, and the humblest vessel admitted to the books of the Royal Navy on D-Day. Prior to July 1942, these craft were referred to as "Assault Landing Craft" (ALC), but "Landing Craft; Assault" (LCA) was used thereafter to conform with the joint US-UK nomenclature system.


title: Landing craft

text: The Landing Craft Infantry was a stepped up amphibious assault ship, developed in response to a British request for a vessel capable of carrying and landing substantially more troops than the smaller Landing Craft Assault (LCA). The result was a small steel ship that could land 200 troops, traveling from rear bases on its own bottom at a speed of up to . The original British design was envisioned as being a "one time use" vessel which would simply ferry the troops across the English Channel, and were considered an expendable vessel. As such, no troop sleeping accommodations were placed in the original design. This was changed shortly after initial use of these ships, when it was discovered that many missions would require overnight accommodations.


title: Landing craft

text: The first LCI(L)s entered service in 1943 chiefly with the Royal Navy (RN) and United States Navy. Some 923 LCI were built in ten American shipyards and 211 provided under lend-lease to the Royal Navy.


title: Landing craft

text: Following the Inter-Service Training and Development Centre ’s (ISTDC) successful development of the infantry carrying LCA, attention turned to the means of efficiently delivering a tank to a beach in 1938. Enquiries were made of the army as to the heaviest tank that might be employed in a landing operation. The army wanted to be able to land a 12-ton tank, but the ISTDC, anticipating weight increases in future tank models specified 16 tons burthen for Mechanised Landing Craft designs. Another limit on any design was the need to land tanks and other vehicles in less than approximately .


title: Landing craft

text: Design work began at John I. Thornycroft Ltd. in May 1938 with trials completing in February 1940. Constructed of steel and selectively clad with armour plate, this shallow-draft, barge-like boat with a crew of 6, could ferry a tank of 16 long tons to shore at 7 knots (13 km/h). Depending on the weight of the tank to be transported the craft might be lowered into the water by its davits already loaded or could have the tank placed in it after being lowered into the water.


title: Landing craft

text: Although the Royal Navy had the Landing Craft Mechanised at its disposal, in 1940 Prime Minister Winston Churchill demanded an amphibious vessel capable of landing at least three 36-ton heavy tanks directly onto a beach, able to sustain itself at sea for at least a week, and inexpensive and easy to build. Admiral Maund, Director of the Inter-Service Training and Development Centre (which had developed the Landing Craft Assault), gave the job to naval architect Sir Roland Baker, who within three days completed initial drawings for a landing craft with a beam and a shallow draft. Ship builders Fairfields and John Brown agreed to work out details for the design under the guidance of the Admiralty Experimental Works at Haslar. Tank tests with models soon determined the characteristics of the craft, indicating that it would make on engines delivering about . Designated the LCT Mark 1, 20 were ordered in July 1940 and a further 10 in October 1940.


title: Landing craft

text: The first LCT Mark 1 was launched by Hawthorn Leslie in November 1940. It was an all-welded 372-ton steel-hulled vessel that drew only of water at the bow. Sea trials soon proved the Mark 1 to be difficult to handle and almost unmanageable in some sea conditions. The designers set about correcting the faults of the Mark 1 in the LCT Mark 2. Longer and wider, with armoured shielding added to the wheelhouse and gun tubs.


title: Landing craft

text: The Mark 3 had an additional midsection that gave it a length of and a displacement of 640 tons. Even with this extra weight, the vessel was slightly faster than the Mark 1. The Mk.3 was accepted on 8 April 1941. The Mark 4 was slightly shorter and lighter than the Mk.3, but had a much wider beam () and was intended for cross channel operations as opposed to seagoing use. When tested in early assault operations, like the ill-fated Allied raid on Dieppe in 1942, the lack of manoeuvring ability led to the preference for a shorter overall length in future variants, most of which were built in the United States.


title: Landing craft

text: When the United States entered the war in December 1941, the U.S. Navy had no amphibious vessels at all, and found itself obliged to consider British designs already in existence. One of these, advanced by K.C. Barnaby of Thornycroft, was for a double-ended LCT to work with landing ships. The Bureau of Ships quickly set about drawing up plans for landing craft based on Barnaby's suggestions, although with only one ramp. The result, in early 1942, was the LCT Mark 5, a craft that could accommodate five 30-ton or four 40-ton tanks or 150 tons of cargo. This 286-ton landing craft could be shipped to combat areas in three separate water-tight sections aboard a cargo ship or carried pre-assembled on the flat deck of a Landing Ship, Tank (LST). The Mk.5 would be launched by heeling the LST on its beam to let the craft slide off its chocks into the sea, or cargo ships could lower each of the three sections into the sea where they were joined together.


title: Landing craft

text: A further development was the Landing Ship, Tank designation, built to support amphibious operations by carrying significant quantities of vehicles, cargo, and landing troops directly onto an unimproved shore. The British evacuation from Dunkirk in 1940 demonstrated to the Admiralty that the Allies needed relatively large, ocean-going ships capable of shore-to-shore delivery of tanks and other vehicles in amphibious assaults upon the continent of Europe. The first purpose-built LST design was . To carry 13 Churchill infantry tanks, 27 vehicles and nearly 200 men (in addition to the crew) at a speed of 18 knots, it could not have the shallow draught that would have made for easy unloading. As a result, each of the three ("Boxer", "Bruiser", and "Thruster") ordered in March 1941 had a very long ramp stowed behind the bow doors.


title: Landing craft

text: In November 1941, a small delegation from the British Admiralty arrived in the United States to pool ideas with the United States Navy's Bureau of Ships with regard to development of ships and also including the possibility of building further "Boxer"s in the US. During this meeting, it was decided that the Bureau of Ships would design these vessels. The LST(2) design incorporated elements of the first British LCTs from their designer, Sir Rowland Baker, who was part of the British delegation. This included sufficient buoyancy in the ships' sidewalls that they would float even with the tank deck flooded. The LST(2) gave up the speed of HMS "Boxer" at only 10 knots but had a similar load while drawing only 3 feet forward when beaching.


title: Landing craft

text: Congress provided the authority for the construction of LSTs along with a host of other auxiliaries, destroyer escorts, and assorted landing craft. The enormous building program quickly gathered momentum. Such a high priority was assigned to the construction of LSTs that the previously laid keel of an aircraft carrier was hastily removed to make room for several LSTs to be built in her place. The keel of the first LST was laid down on 10 June 1942 at Newport News, Va., and the first standardized LSTs were floated out of their building dock in October. Twenty-three were in commission by the end of 1942. Lightly armored, they could steam cross the ocean with a full load on their own power, carrying infantry, tanks and supplies directly onto the beaches. Together with 2,000 other landing craft, the LSTs gave the troops a protected, quick way to make combat landings, beginning in summer 1943.


title: Landing craft

text: Nine-ton "Landing Craft Navigation (LCN)" were used by British "Combined Operations Assault Pilotage Parties" (Royal Marine and Special Boat Service crew) for surveying landing sites.


title: Landing craft

text: The "Landing Craft Control (LCC)" were U.S. Navy vessels, carrying only the crew (Scouts and Raiders) and newly developed radar. Their main job was to find and follow the safe routes in to the beach, which were lanes that had been cleared of obstacles and mines. There were eight in the entire Normandy invasion (two per beach). After leading in the first wave, they were to head back out and bring in the second wave. After that, they were used as all-purpose command and control assets during the invasion.


title: Landing craft

text: Very small landing craft, or amphibians, were designed. The U.S.-designed "Landing Vehicle Tracked", was an amphibious (and sometimes armored) personnel carrier. These were operated by Army personnel, not naval crews and had a capacity of about three tons. The British introduced their own amphibian, the "Terrapin".


title: Landing craft

text: A "Landing Craft Utility" (LCU) was used to transport equipment and troops to the shore. It was capable of transporting tracked or wheeled vehicles and troops from amphibious assault ships to beachheads or piers.


title: Landing craft

text: The ""Landing Ship Dock"", came as a result of a British requirement for a vessel that could carry large landing craft across the seas at speed. The first LSD came from a design by Sir Roland Baker and was an answer to the problem of launching small craft rapidly. The "Landing Ship Stern Chute", which was a converted train ferry, was an early attempt. Thirteen Landing Craft Mechanized (LCM) could be launched from these ships down the chute. The Landing Ship Gantry was a converted tanker with a crane to transfer its cargo of landing craft from deck to sea - 15 LCM in a little over half an hour.


title: Landing craft

text: The design was developed and built in the US for the USN and the Royal Navy. The LSD could carry 36 LCM at 16 knots. It had a large open compartment at the back. Opening a stern door and flooding special compartments opened this area to the sea so that LCI-sized vessels could enter or leave. It took one and a half hours for the dock to be flooded down and two and half to pump it out. When flooded they could also be used as docks for repairs to small craft.


title: Landing craft

text: Due to their small size, most amphibious ships were not given names and were just given serial numbers, e.g., "LCT 304". The LSTs were an exception to this, since they were similar in size to a small cruiser. In addition, three British-built LSTs were named: , and ; these were all larger than the U.S. design and had proper funnels.


title: Landing craft

text: It was soon realized that battleships, cruisers and destroyers could not necessarily provide all the fire support (including suppressive fire) that an amphibious assault might need. Therefore, specialized vessels were developed that incorporated various direct and indirect fire weapons. These included guns and rockets which could be mounted on landing craft and landing ships. As part of the final barrage before an assault, the landing area would be plastered by these types.


title: Landing craft

text: Amphibious landing craft of WWII were generally fitted out with minimal weaponry. LCA crews were issued with .303 inch Lewis Guns, which were mounted in a light machine gun shelter on the forward-port side of the craft; these could be used both as anti-aircraft protection and against shore targets. Later models were fitted with two 2-inch mortars, and two Lewis or .303 Bren light machine guns. LCM 1 crews were issued with Lewis guns, and many LCM 3s had .50 in (12.7 mm) Browning machine guns mounted for anti-aircraft protection. Opportunities for troops on board to use their own weapons presented themselves.


title: Landing craft

text: LCIs and LCTs carried heavier weapons, such as the Oerlikon 20 mm cannon, on each side of the bridge structure. LSTs had a somewhat heavier armament.


title: Landing craft

text: Some landing craft were converted for special purposes either to provide defence for the other landing craft in the attack or as support weapons during the landing.


title: Landing craft

text: The LCA(HR) was a converted British LCA. It carried a battery of 24 spigot mortars, the Royal Navy's Hedgehog anti-submarine weapon, instead of personnel. The mortars were fired as a barrage onto the beach to clear mines and other obstructions. Having discharged its mortars and its duty, the LCA(HR) would leave the beach area. They were towed to the beach by larger craft, such as the LCTs that carried the Royal Engineer assault teams with their specialist vehicles and equipment, who would complete the beach clearance.


title: Landing craft

text: The Landing Craft Flak (LCF) was a conversion of the LCT that was intended to give anti-aircraft support to the landing. They were first used in the Dieppe Raid early in 1942. The ramp was welded shut, and a deck built on top of the Tank deck. They were equipped with several light anti-aircraft guns—a typical fitting was eight 20 mm Oerlikons and four QF 2 pdr "pom-poms" and had a crew of 60. On British examples, the operation of the craft was the responsibility of RN crew and the guns were manned by Royal Marines. They carried two naval officers and two marine officers.


title: Landing craft

text: The Landing Craft Gun (LCG) was another LCT conversion intended to give supporting fire to the landing. Apart from the Oerlikon armament of a normal LCT, each LCG(Medium) had two British Army 25 pounder gun-howitzers in armoured mountings, while LCG(L)3 and LCG(L)4 both had two 4.7-inch naval guns (). Crewing was similar to the LCF. LCGs played a very important part in the Walcheren operations in October 1944.


title: Landing craft

text: The Landing Craft Tank (Rocket), LCT(R), was an LCT modified to carry a large set of launchers for the British RP-3 "60 lb" rockets mounted on the covered-over tank deck. The full set of launchers was "in excess of" 1,000 and 5,000 reloads were kept below. The firepower was claimed to be equivalent to 80 light cruisers or 200 destroyers.


title: Landing craft

text: The method of operation was to anchor off the target beach, pointing towards the shore. The distance to the shore was then measured by radar and the elevation of the launchers set accordingly. The crew then vanished below (apart from the commanding officer who retreated to a special cubby hole to control things) and the launch was then set off electrically. The launch could comprise the entire set or individual ranks of rockets.


title: Landing craft

text: A full reload was a very labor-intensive operation and at least one LCT(R) went alongside a cruiser and got a working party from the larger ship to assist in the process.


title: Landing craft

text: The Landing Craft Support (Medium) (LCS(M)), Mark 2 and Mark 3 were used by the British forces at Normandy. The crew was Royal Navy, with Royal Marines to operate the weapons: two 0.5 inch Vickers machine guns and a 4-inch mortar to fire smoke shells.


title: Landing craft

text: The Fairmile H Landing Craft Support (Large) had armour added to its wooden hull and a turret with an anti-tank gun fitted. The LCS(L) Mark 1 had a Daimler armoured car turret with its QF 2–pdr (40 mm) gun. The Mark 2 had a QF 6–pdr (57 mm) anti–tank gun.


title: Landing craft

text: The American Landing Craft Support was larger, each was armed with a 3-inch gun (), various smaller guns, and ten MK7 rocket launchers.


title: Landing craft

text: Inflatable boats were often used to transport amphibious troops from high speed transports and submarines. The United States used a 7-man Landing Craft, Rubber (Small) (LCR-S) and a 10-man Landing Craft, Rubber (Large) (LCR-L).


title: Landing craft

text: The first and last instances of the large use of rubber boats in amphibious operations in World War II were the Makin Island raid in 1942 and the landing of the 1st Battalion 6th Marines Battle of Tarawa in 1943 where the Battalion commander Major William K. Jones was nicknamed "Admiral of the Condom Fleet".


title: Landing craft

text: After Pearl Harbor, the U.S. Army and Navy began intense planning for the transport of millions of men into combat and the training for amphibious operations. By June 1942, Amphibious Force, Atlantic Fleet (AFAF) established headquarters at Norfolk (Virginia) under the command of Admiral Henry Kent Hewitt. Temporary headquarters for a transport command were set up in an old American Export Line transport ship that had been built for the Army in World War I. Within the transport command, a Landing Craft Group was created to prepare the crews of landing ships.


title: Landing craft

text: "The training of landing craft crews under the direction of Captain W.P.O. Clarke began at the end of June 1942," according to Naval historian Samuel Eliot Morison. Clarke was given orders to "secure, organize, and train crews for approximately 1,800 landing craft" including LSTs and LCIs, which at that time were still in the design phase.


title: Landing craft

text: To man and support such landing craft, the Navy ordered that 30,000 men and 3,000 officers be trained in a matter of months, but initially the Landing Craft Group consisted only of Capt. Clarke, two officers and a yeoman. In creating training programs, Clarke studied blueprints for the new craft and "from these paper drawings he prepared ship's organizations for each type. This was the first textbook for crews assigned to the large landing craft. From this, they were to be trained in what their duties were to be, what the ship would be like, and how it would be expected to operate."


title: Landing craft

text: In August 1942, Capt. Clarke was told about Operation Torch and secret plans to invade North Africa the following November. He had only a few months to train thousands of men, most of whom were just out of indoctrination school. "They were the butchers, the bakers, and the light bulb makers of American youth. War was new to them, and organized Navy life was strange," observed Lt. Eric Burton, a Naval officer who wrote "By Sea and By Land", a semi-official account published during the War about amphibious combat.


title: Landing craft

text: Capt. Clarke created hydrographic, maintenance, medical, and communications training programs, and a section to train Army shore parties how to unload landing craft. He set up a training facility at Solomons Island, and held exercises on the shores of the Chesapeake Bay around the clock, day and night.


title: Landing craft

text: On 1 September 1942, the Amphibious Force and its Landing Craft Group rented the Nansemond Hotel, a popular resort hotel on Virginia Beach near Norfolk, to use as a headquarters building. Eventually, 40 major amphibious operations would be planned at the old hotel. For several weeks, Gen. George S. Patton worked on plans for the invasion of North Africa out of the Nansemond.


title: Landing craft

text: "Captain Clarke had less than two months, about one-third of what had been considered the minimum, to train these men to conduct night ship-to-shore landings," wrote Samuel Eliot Morison about the preparations for Operation Torch. "Considering the time limitations, his performance was remarkable." Clarke was awarded the Legion of Merit for the accomplishment. According to the Presidential citation, he and the Landing Craft Group "brought these ships and craft to a high state of readiness for combat operations in all subsequent major amphibious operations in the Atlantic, Pacific, and Mediterranean theatres.


title: Landing craft

text: Despite all the progress that was seen during World War II, there were still fundamental limitations in the types of coastline that were suitable for assault. Beaches had to be relatively free of obstacles, and have the right tidal conditions and the correct slope. However, the development of the helicopter fundamentally changed the equation.


title: Landing craft

text: The first use of helicopters in an amphibious assault came during the Anglo-French-Israeli invasion of Egypt in 1956 (the Suez War). Two British light fleet carriers were pressed into service to carry helicopters, and a battalion-sized airborne assault was made. Two of the other carriers involved, and , were converted in the late 1950s into dedicated "commando carriers."


title: Landing craft

text: The US Navy built five landing platform helicopter vessels in the 1950s and 1960s, and various converted fleet and escort carriers for the purpose of providing a helicopter amphibious assault capability. The first of the type envisaged was the escort carrier , which never actually saw service as an amphibious assault ship. Delays in the construction of the "Iwo Jima" class saw other conversions made as a stopgap measure; three s (, , and ) and one () were converted into "Boxer" and "Thetis Bay" class amphibious assault vessels. Helicopter amphibious assault techniques were developed further by American forces in the Vietnam War and refined during training exercises.


title: Landing craft

text: Mechanized utility and landing craft were the kind used during the second world war and, while the mechanized landing craft of today are similar in construction, many improvements have been made. For example, landing craft (such as the LCM-8 of the US Navy) are capable of a military lift of at a speed of , carrying even heavy equipment, such as M1 Abrams tanks. Landing craft can mount several machine guns or similar weapons for the defense of troops and/or vehicle crews inside.


title: Landing craft

text: The air-cushioned landing craft (Landing Craft Air Cushion, or LCAC in the US Navy) is based on small to mid-sized multi-purpose hovercraft, Also known as "over the beach" ("OTB") craft, they allow troops and material to access more than 70 percent of the world's coastline, while only approximately 15 percent of that coastline is available to conventional landing craft. Like the mechanized landing craft, they are usually equipped with mounted machine guns, although they also support grenade launchers and heavy weapons. These vehicles are commonly used in the United States Navy, the Royal Navy, the Russian Navy, and the Hellenic Navy.


title: Landing craft

text: Landing barges were adaptations of British Thames barges and lighters as landing craft. In size, they came between the landing craft and landing ships. They were used at all beaches during the landings at Normandy and were manned by British crews.


title: Landing craft

text: Some were fitted with engines, while others were towed to the beach. They were used for defence, transportation, supply (food, water and oil) and repair (fitted out with workshops).


title: Landing craft

text: Those fitted for vehicle carrying had a ramp fitted in place at the rear and they had to back onto beaches. They would work from ships and coasters to the shore and back.


title: Landing craft

text: Two flotillas were made up of "flak barges" to provide defence of the beaches. Like landing craft, flak barges carried A/A guns: two 40 mm Bofors and two 20 mm Oerlikon, with army gunners and naval crew.


title: Landing craft

text: The Landing Barge, Kitchen (LBK) was fitted with a large superstructure containing the galley. With a crew of 20 plus, they could carry food for 800 for a week and provide 1,600 hot and 800 cold meals a day, including freshly baked bread.


title: Jane Attenborough

text: Jane Mary Attenborough (30 September 1955 – 26 December 2004) was an English arts administrator and arts manager. The eldest daughter of the actor and filmmaker Richard Attenborough and the actress Sheila Sim, she was first employed as overseas membership secretary at the Royal Academy of Dance. Attenborough later joined the Arts Council of Great Britain to its national touring programme in 1979 before moving to the Rambert Dance Company as dance liaison officer, expanding its education programme from schools activities to local community events.


title: Jane Attenborough

text: She died together with her daughter Lucy and mother in law in the Indian Ocean earthquake and tsunami while holidaying in Thailand on 26 December 2004.


title: Jane Attenborough

text: Jane Mary Attenborough was born on 30 September 1955 in London. She was the eldest daughter of the actor and filmmaker Richard Attenborough and the actress Sheila Sim. Attenborough had two siblings: Michael and Charlotte. From her childhood, Attenborough was raised amongst people from the artistic world and she was focused on addressing a concern that many individuals lacked an opportunity to participate in the arts. Attenborough was educated at the Lady Eleanor Holles School in Hampton, before going on to enroll on a sociology course at the University of Sussex from 1973 to 1976.


title: Jane Attenborough

text: Attenborough's first role of employment was as overseas membership secretary at the Royal Academy of Dance for a short period of time in 1977. Attenborough subsequently joined the Arts Council of Great Britain and was assigned to its national touring programme, where she assisted the consultant Jodi Myers. In 1979, she joined the Rambert Dance Company as dance liaison officer, where she expanded its education programme from traditional schools activities to encompass local community events, before she was promoted to press and public relations officer, a position which she held from 1980 to 1984. After leaving the world of employment to raise a family, Attenborough was persuaded to join the National Organisation for Dance and Mime (later Dance UK) as administrator in 1985, leading its transformation from a minor lobbying group to an organisation with significant authority and impact.


title: Jane Attenborough

text: She later became Dance UK's executive director, using managerial experience and fundraising events to contribute to the promotion of the dance world and improve the conditions in which dancers had. An initiative in which Attenborough was instrumental in the development of was the Healthier Dancer Programme to help dancers maintain their fitness and reduce the risk of injury. She also helped to establish the Digital Dance Awards in 1987, which allowed companies and choreographers to produce works that they could not have created beyond their normal financial means. In early 2000, the Paul Hamlyn Foundation had a vacancy for a job as arts manager and Attenborough was its successful applicant. There she was involved in multiple projects that introduced "at risk" individuals to the arts and had an increasing involvement in the Paul Hamlyn Foundation's support for employment in prisons.


title: Jane Attenborough

text: In 1985, Attenborough became administrator for the National Organisation for Dance and Mime (later Dance UK). Attenborough was later promoted its executive director, expanding the organisation's activities to help companies and choreographers to produce works by ignoring financial means and developed a programme to maintain the fitness of dancers. She worked as arts manager for the Paul Hamlyn Foundation from early 2000, promoting music education in schools in North East England and established links with four London theatres. In her final years Attenborough was manager of the experimental Musical Futures project.


title: Jane Attenborough

text: Furthermore, Attenborough was involved in the promotion of music education in schools in North East England and she led the Paul Hamlyn Performances at the Royal Opera House, introducing thousands of young people to opera. She additionally helped the foundation establish links with the Royal National Theatre, the Royal Court Theatre and the Sage Gateshead. She undertook other projects to provide audiences with opportunities to get involved in the arts. In her final years Attenborough was manager of the experimental Musical Futures project, working with the civil servant Claus Moser and project leader David Price. On the morning of 26 December 2004, she and her family were holidaying on the Khao Lak Beach in Thailand when the Indian Ocean earthquake and tsunami struck their villa, killing Attenborough, her daughter Lucy and her mother-in-law. Her husband Michael Holland (whom she married in 1982) and two other children survived her. In March 2005, she was given a memorial service at Southwark Cathedral, attended by her family, friends and colleagues.


title: Jane Attenborough

text: After Attenborough's death, Dance UK established the Jane Attenborough One Dance UK Industry Award in her name and the Paul Hamlyn Foundation awarded the Jane Attenborough Dance in Education Fellowship to assist a retiring dancer transition to community and education work from 2005 to 2009. A drama and music facility at Waterford Kamhlaba in Eswatini and a small studio at the University of Sussex were named after her.


title: Jane Attenborough

text: Attenbrough's brother Michael described her as "intense", Moser called her an individual who had a "generous spirit, integrity, wisdom and involvement", and Myers noted her "infectious sense of humour" and "great charm". She was able to get individuals from many backgrounds to relax, and combined "great enthusiasm and passion with impressive administrative skills and acute sensitivity to the needs of artists and audiences."


title: Jane Attenborough

text: On 26 December 2004, Attenborough died in a tsunami in Thailand, at age 49. Her daughter, Lucy, and her mother-in-law, also died. Her husband, son, and another daughter survived.


title: Jane Attenborough

text: The Musical Features project of which she was manager expanded operations outside of the United Kingdom and one million young people took up the initiative. Dance UK established the Jane Attenborough One Dance UK Industry Award in recognition of "an individual working in dance who has made an outstanding contribution to the art form." From 2005 to 2009, the Paul Hamlyn Foundation honoured Attenborough with the two-year £50,000 Jane Attenborough Dance in Education Fellowship, which aimed "to enable a dance company to provide practical assistance, mentoring and training to help a dancer coming to the end of his or her career to make a successful transition to education and community work."


title: Jane Attenborough

text: The Paul Hamlyn Foundation also funded the construction of a drama and music facility, the Jane Holland Creative Centre for Learning at Waterford Kamhlaba in Eswatini, which was opened by Lord & Lady Attenborough in November 2006 in honour of their eldest daughter. Her alma mater, the University of Sussex, named a small studio in the Attenborough Centre for the Creative Arts after her in 2015.


title: Tofacitinib

text: Tofacitinib, sold under the brand Xeljanz among others, is a medication used to treat rheumatoid arthritis, psoriatic arthritis, and ulcerative colitis.


title: Tofacitinib

text: Common side effects include diarrhea, headache, and high blood pressure. Serious side effects may include infections, cancer, and pulmonary embolism. In 2019, the safety committee of the European Medicines Agency began a review of tofacitinib and recommended that doctors temporarily not prescribe the 10 mg twice-daily dose to people at high risk for pulmonary embolism. The U.S. Food and Drug Administration (FDA) also released warnings about the risk of blood clots. An important side effect of Jakinibs is serious bacterial, mycobacterial, fungal and viral infections. In the phase 3 trials of tofacitinib among opportunistic infections, pulmonary tuberculosis (TB) was reported in 3 cases all of which were initially negative upon screening for TB.


title: Tofacitinib

text: It is a janus kinase (JAK) inhibitor, discovered and developed by the National Institutes of Health and Pfizer, FDA approved in 2012. As of June 2021, tofacitinib is available as a generic medicine in the US. Tofacitinib is a small molecule, not a biologic.


title: Tofacitinib

text: Tofacitinib citrate is approved for medical use in the United States with an indication "to treat adults with moderately to severely active rheumatoid arthritis who have had an inadequate response to, or who are intolerant of, methotrexate."


title: Tofacitinib

text: In the European Union, in combination with methotrexate, tofacitinib citrate is indicated for the treatment of moderate to severe active rheumatoid arthritis (RA) in adults who have responded inadequately to, or who are intolerant to one or more disease-modifying antirheumatic drugs. It can be given as monotherapy in case of intolerance to methotrexate or when treatment with MTX is inappropriate.


title: Tofacitinib

text: In May 2018, the FDA approved tofacitinib citrate "for the treatment of adult patients in the U.S. with moderately to severely active ulcerative colitis." Tofacitinib citrate is the first oral JAK inhibitor approved for use in chronic ulcerative colitis.


title: Tofacitinib

text: Tofacitinib was initially not approved by European regulatory agencies because of concerns over efficacy and safety, although by 2018, the European Commission had approved it. Animal studies with tofacitinib conducted prior to human trials showed some carcinogenesis, mutagenesis, and impairment of fertility.


title: Tofacitinib

text: The most commonly reported adverse reactions during the first three months in controlled clinical trials (occurring in 2% or more of patients treated with tofacitinib citrate monotherapy or in combination with DMARDs) were upper respiratory tract infections, headache, diarrhea, and nasopharyngitis (the "common cold").


title: Tofacitinib

text: Tofacitinib is required by the FDA to have a boxed warning on its label about possible injury and death due to problems such as infections, lymphoma, and other malignancies, which can arise from use of this drug. Serious infections leading to hospitalization or death, including tuberculosis and bacterial, invasive fungal, viral, and other opportunistic infections, have occurred in patients receiving tofacitinib. Epstein Barr virus-associated post-transplant lymphoproliferative disorder has been observed at an increased rate in renal transplant patients treated with tofacitinib while on immunosuppressive medications. Patients are warned to avoid use of tofacitinib citrate during an "active serious infection, including localized infections." Doctors are advised to use it with caution in patients who may be at increased risk of gastrointestinal perforations. Laboratory monitoring is recommended due to potential changes in lymphocytes, neutrophils, hemoglobin, liver enzymes, and lipids. Tofacitinib claims to have no contraindications, but doctors are advised to reduce the patient's dosage when combined with "potent inhibitors of cytochrome P450 3A4 (CYP3A4)," such as ketoconazole, or one or more combined medications that result in both moderate inhibition of CYP3A4 and potent inhibition of CYP2C19 such as fluconazole. Furthermore, immunizations with live vaccines should be avoided by tofacitinib users.


title: Tofacitinib

text: According to postmarketing research, tofacitinib may also increase the risk for pulmonary embolism. Prescribers should consider risk factors for pulmonary embolism, including age, obesity, smoking, and immobilization before prescribing this medication. Patients taking this medication, irrespective of indication or risk factors, should be monitored for signs and symptoms of pulmonary embolism.


title: Tofacitinib

text: It is an inhibitor of the enzyme janus kinase 1 (JAK1) and janus kinase 3 (JAK 3), which means that it interferes with the JAK-STAT signaling pathway, which transmits extracellular information into the cell nucleus, influencing DNA transcription.


title: Tofacitinib

text: In a mouse model of established arthritis, tofacitinib rapidly improved disease by inhibiting the production of inflammatory mediators and suppressing STAT1-dependent genes in joint tissue. This efficacy in this disease model correlated with the inhibition of both JAK1 and JAK3 signaling pathways, suggesting that tofacitinib may exert therapeutic benefit via pathways that are not exclusive to inhibition of JAK3.


title: Tofacitinib

text: The potential significance of JAK3 inhibition was first discovered in the laboratory of John O'Shea, an immunologist at the National Institute of Arthritis and Musculoskeletal and Skin Diseases of the National Institutes of Health (NIH). In 1994, Pfizer was approached by the NIH to form a public-private partnership to evaluate and bring to market experimental compounds based on this research. Pfizer initially declined the partnership, but agreed in 1996, after the elimination of an NIH policy dictating that the market price of a product resulting from such a partnership would need to be commensurate with the investment of public taxpayer revenue and the "health and safety needs of the public." Pfizer worked with O'Shea's laboratory to define the structure and function of JAK3 and its receptors, and then handled the drug discovery, preclinical development, and clinical development of tofacitinib in-house.


title: Tofacitinib

text: The drug was coded as CP-690,550 during development. Its original recommended [[International nonproprietary name] (rINN) was tasocitinib, but that was overruled during the INN approval process as being not optimally differentiable from other existing INNs, so the name "tofacitinib" was proposed and became the INN.


title: Tofacitinib

text: In November 2012, the FDA approved tofacitinib for treatment of rheumatoid arthritis. Two [[rheumatologists]] interviewed by the magazine "Nature Biotechnology" complained that they were "shocked" and "disappointed" at the $2,055 a month wholesale price.


title: Tofacitinib

text: A 2014 study showed that tofacitinib treatment was able to convert [[white fat]] tissues into more metabolically active [[brown fat]], suggesting it may have potential applications in the treatment of [[obesity]].


title: Tofacitinib

text: In November 2012, the FDA approved tofacitinib to treat adults with moderately to severely active rheumatoid arthritis who have had an inadequate response to, or who are intolerant of, [[methotrexate]]. The FDA approved only the five-mg, twice-daily dose on the grounds that a higher dose was not considered to have an adequate risk-to-benefit ratio.


title: Tofacitinib

text: It has demonstrated effectiveness in the treatment of [[psoriasis]] in phase III studies. As of November 2013 it was studied in immunological diseases, as well as for the prevention of [[organ transplant]] rejection.


title: Tofacitinib

text: Tofacitinib is an investigational drug in psoriasis. As of October 2015 it demonstrated its effectiveness for plaque psoriasis in phase III, randomized, controlled trials in comparison to placebo and to [[etanercept]]. In particular, a ten-mg, twice-daily dose of tofacitinib was shown to be not inferior to etanercept 50 mg, subcutaneously, twice weekly.


title: Tofacitinib

text: In October 2015, the FDA rejected approval of tofacitinib for the treatment of psoriasis due to safety concerns.


title: Tofacitinib

text: Based on preclinical studies in a mouse model of the disease, tofacitinib has been investigated for the treatment of alopecia areata. Early case reports suggested potential efficacy, as did a phase II open-label clinical trial, published in tandem with a phase II clinical trial showing the same for ruxolitinib.


title: Tofacitinib

text: In a June 2015 case report, a 53-year-old woman with [[vitiligo]] showed noticeable improvement after taking tofacitinib for five months.


title: Tofacitinib

text: The results of using tofacitinib in six patients with recalcitrant [[atopic dermatitis]] was published in September 2015. All saw improvement in their atopic dermatitis without any adverse events.


title: Tofacitinib

text: In 2021 and 2022, results of a Phase III randomised, double-blind, placebo-controlled trial were reported, that showed significant improvements for patients with active [[ankylosing spondylitis]] compared to placebo.


title: Tofacitinib

text: As of November 2013 it was studied for treatment of [[inflammatory bowel disease]].The FDA approved tofacitinib in May 2018 for treatment of [[ulcerative colitis]].


title: Tofacitinib

text: As of 14 January 2022, WHO recommended against using tofacitinib in patients with severe or critical COVID-19.