title: Near-close near-front unrounded vowel

text: "Handbook of the International Phonetic Association" defines as a mid-centralized (lowered and centralized) close front unrounded vowel (transcribed or ), and the current official IPA name of the vowel transcribed with the symbol is a "near-close near-front unrounded vowel". However, some languages have the "close-mid near-front unrounded vowel", a vowel that is somewhat lower than the canonical value of , though it still fits the definition of a mid-centralized . It occurs in some dialects of English (such as Californian, General American and modern Received Pronunciation) as well as some other languages (such as Icelandic), and it can be transcribed with the symbol (a lowered ) in narrow transcription. Certain sources may even use for the close-mid "front" unrounded vowel, but that is rare. For the close-mid (near-)front unrounded vowel that is not usually transcribed with the symbol (or ), see close-mid front unrounded vowel.


title: Near-close near-front unrounded vowel

text: In some other languages (such as Danish, Luxembourgish and Sotho) there is a fully front near-close unrounded vowel (a sound between cardinal and ), which can be transcribed in IPA with , or . There may be phonological reasons not to transcribe the fully front variant with the symbol , which may incorrectly imply a relation to the close .


title: Near-close near-front unrounded vowel

text: Sometimes, especially in broad transcription, this vowel is transcribed with a simpler symbol , which technically represents the close front unrounded vowel.


title: Coloratura soprano

text: A coloratura soprano is a type of operatic soprano voice that specializes in music that is distinguished by agile runs, leaps and trills.


title: Coloratura soprano

text: The term "coloratura" refers to the elaborate ornamentation of a melody, which is a typical component of the music written for this voice. Within the coloratura category, there are roles written specifically for lighter voices known as lyric coloraturas and others for larger voices known as dramatic coloraturas. Categories within a certain vocal range are determined by the size, weight and color of the voice. Coloratura is particularly found in vocal music and especially in operatic singing of the 18th and 19th centuries. The word "coloratura" ( , , ) means "coloring" in Italian, and derives from the Latin word "colorare" ("to color").


title: Coloratura soprano

text: A very agile light voice with a high upper extension, capable of fast vocal coloratura. Lyric coloraturas have a range of approximately middle C (C) to "high F" (F). Such a soprano is sometimes referred to as a soprano leggero if her vocal timbre has a slightly warmer quality. The soprano leggero also typically does not go as high as other coloraturas, peaking at a "high E" (E). Bel canto roles were typically written for this voice, and a wide variety of other composers have also written coloratura parts. Baroque music, early music and baroque opera also have many roles for this voice.


title: Coloratura soprano

text: A coloratura soprano with great flexibility in high-lying velocity passages, yet with great sustaining power comparable to that of a full spinto or dramatic soprano. Dramatic coloraturas have a range of approximately "low B" (B) to "high F" (F). Various dramatic coloratura roles have different vocal demands for the singer – for instance, the voice that can sing Abigail ("Nabucco", Verdi) is unlikely to also sing Lucia ("Lucia di Lammermoor", Donizetti), but a factor in common is that the voice must be able to convey dramatic intensity as well as flexibility. Roles written specifically for this kind of voice include the more dramatic Mozart and bel canto female roles and early Verdi. This is a rare vocal fach, as thick vocal cords are needed to produce the large, dramatic notes, which usually lessens the flexibility and acrobatic abilities of the voice.


title: Coloratura soprano

text: In rare instances, some coloratura sopranos are able to sing "in altissimo" above high F (F). This type of singer is sometimes referred to as a "soprano acuto sfogato".


title: Coloratura soprano

text: Although both lyric and dramatic coloraturas can be acuto sfogato sopranos, the primary attribute of the acuto sfogato soprano is an upper extension above F. Some pedagogues refer to these extreme high notes as the whistle register.


title: Coloratura soprano

text: Very few composers have ever written operatic roles for this voice type with actual notes scored above high F, so these singers typically display these extreme high notes through the use of interpolation in some of the operatic roles already cited above or in concert works. Examples of works that include G are the concert aria "Popoli di Tessaglia!"" by Mozart, "Esclarmonde" by Massenet, and "Postcard from Morocco" by Dominick Argento. Thomas Adès composed a high A (A) for the character of Leticia Meynar in "The Exterminating Angel".


title: Coloratura soprano

text: The soprano acuto sfogato is sometimes confused with the soprano sfogato, a singer (often mezzo-soprano) capable, by sheer industry or natural talent, of extending her upper range to encompass some of the coloratura soprano tessitura, though not the highest range above high F.


title: Soft serve

text: Soft serve, also known as soft ice, is a frozen dessert, similar to ice cream but softer and less dense due to air being introduced during freezing. Soft serve has been sold commercially since the late 1930s in the US.


title: Soft serve

text: In the US, soft serve is not sold prepackaged in supermarkets but is common at fairs, carnivals, amusement parks, restaurants (especially fast food and buffet), and specialty shops. All ice cream must be frozen quickly to avoid crystal growth. With soft serve, this is accomplished by a special machine that holds pre-mixed product at a very low, but not frozen, temperature at the point of sale.


title: Soft serve

text: Charles Taylor of Buffalo, New York, patented an automatic ice cream maker in 1926 that is reported to be the first soft-serve ice cream machine. His Taylor Company continues to manufacture the McDonald's ice cream machine. Over Memorial Day weekend of 1934, Tom Carvel, the founder of the Carvel brand and franchise, suffered a flat tire in his ice cream truck in Hartsdale, New York. He pulled into a parking lot and began selling his melting ice cream to vacationers driving by. Within two days, he had sold his entire supply of ice cream and concluded that both a fixed location and soft (as opposed to hard) frozen desserts were potentially good business ideas. In 1936, Carvel opened his first store on the original broken down truck site and developed a secret soft serve ice cream formula as well as patented super low temperature ice cream machines.


title: Soft serve

text: Dairy Queen also claims to have invented soft serve. In 1938, near Moline, Illinois, J. F. McCullough and his son, Alex, developed their soft serve formula. Their first sales experiment was on August 4, 1938, in Kankakee, Illinois, at the store of their friend, Sherb Noble. Within two hours of the "all you can eat" trial sale, they had dished out more than 1,600 servings—more than once every 4.5 seconds.


title: Soft serve

text: It is a common myth that during the late 1940s, future UK prime minister Margaret Thatcher worked briefly as a chemist for a food manufacturer J. Lyons and Co., at a time when the company had partnered with the United States distributor Mister Softee and was developing a soft-serve recipe that was compatible with the American machines. Thatcher's precise role at Lyons is unclear, but she is reported to have worked on the quality of cake and pie fillings as well as ice-cream and researched saponification.


title: Soft serve

text: In the 1960s, ice cream machine manufacturers introduced mechanized air pumps into vending machines, providing better aeration. First to do so being the Danish ice cream shop owner, Johannes Laursen, who in his travel to Italy, discovered that using an aquarium pump into the soft ice was more successful at making it lighter and thereby enhancing the taste. Unfortunately he wasn't very quiet by his recent discovery, and his ideas were stolen by an Italian ice cream maker, who got most of the credit, but Johannes Laursen was still recognized and was awarded a gold pen for his discovery. His softice, Gudhjem Special, got very famous in Denmark and is still run to this day by his granddaughter in the small coastal city of Gudhjem on Bornholm, Denmark.


title: Soft serve

text: Soft serve is generally lower in milk-fat (3 to 6 percent) than ice cream (10 to 18 percent) and is produced at a temperature of about compared to ice cream, which is stored at . Soft serve contains air, introduced at the time of freezing. The air content, called "overrun", can vary from 0 to 60 percent of the total volume of the finished product. The amount of air alters the taste of the finished product. Product with low quantities of air has a heavy, icy taste and appears more yellow. Ice cream with higher air content tastes creamier, smoother, and lighter and appears whiter. The optimum quantity of air is determined by other ingredients, if any, and individual taste. Generally, the ideal air content should be between 33 and 45 percent of volume. If more than this, the product loses taste, tends to shrink as it loses air, and melts more quickly than that with less air. With less than 33 to 45 percent, the product will not melt as quickly but will not taste good.


title: Soft serve

text: Ice cream and similar products must be frozen quickly to avoid crystal growth. Moreover, when the soft serve is stored below freezing temperature after dispensing for a substantial time, it will soon freeze solid. Thus, to sell and consume soft serve in its most palatable state, it must be prepared by a special machine at the point of sale. Pre-mixed product (see definitions below) is introduced to the storage chamber of the machine where it is kept at . When the product is drawn from the draw valve, a fresh mix combined with the targeted quantity of air is introduced to the freezing chamber by gravity or pump. It is then churned, quickly frozen, and stored until required.


title: Soft serve

text: While the most basic machines only dispense one flavor of the mix at a time, specific models of soft-serve machines have an additional nozzle that dispenses a mixture of two different flavors simultaneously. This mixture emerges in a distinct swirl pattern. Its distinctive flavor on menus is classified as "swirl" or "twist".


title: My World 2.0

text: My World 2.0 is the debut studio album by Canadian singer Justin Bieber. It was released on March 19, 2010, by Island Records. It is considered the second half of a two-piece project, being supplemented by Bieber's debut extended play "My World" (2009). After signing a recording contract in light of his growing popularity on YouTube, Bieber worked with collaborators including his mentor Usher, and producers Tricky Stewart, The-Dream, and MIDI Mafia. The record follows in the same vein as "My World", incorporating teen pop and R&B elements. Lyrically, it discusses teen romance and coming of age situations.


title: My World 2.0

text: Upon its release, "My World 2.0" received generally favorable reviews from music critics, who complimented its production. It debuted at number one on the US "Billboard" 200 albums chart with first-week sales of 283,000 copies. In doing so, Bieber became the youngest solo male artist to top the chart since Stevie Wonder in 1963. With "My World" peaking at number five on the chart that week, Bieber became the first artist to occupy two top-five positions on the ranking since Nelly in 2004. The album's sales were larger in its second week of release in the US, becoming the first album since The Beatles' "1" (2000) to debut at number one there, and have a stronger-selling second week. Bieber also had his second consecutive number-one album in Canada, and in its second week of release the album peaked at number one in Ireland, Australia, and New Zealand. It also charted in the top ten of fifteen other countries. Bieber supported the album with his first headlining worldwide concert tour, the My World Tour (2010–2011). He was the ninth solo artist to chart on the Billboard 200 under the age of 18, as well as the third solo male artist to do so since Stevie Wonder's for 47 years.


title: My World 2.0

text: The album was preceded by the lead single, "Baby", featuring American rapper Ludacris, which was released on January 18, 2010, and two promotional digital singles, "Never Let You Go" on March 2, 2010, and "U Smile" on March 16, 2010. "Somebody to Love" aired on the radio as the album's third official single on April 20, 2010, and "U Smile" was eventually released to radio as the album's fourth official single on August 24, 2010. The album received a Grammy Award nomination for Best Pop Vocal Album at the 53rd Grammy Awards.


title: My World 2.0

text: In 2009, in an interview with "Billboard" at the Z100 Jingle Ball, Bieber explained the reasoning behind splitting his debut release into two parts, "My World" and "My World 2.0". Bieber said that people do not want to wait "over a year and a half" for new music, and it was decided best to give it in parts. In an interview with the "Houston Chronicle", Bieber stated, "I wanted to do something that was a little bit more R&B and that could reach out to everyone. I just wanted to be able to show my vocal abilities." In a piece with "The New York Times" Bieber stated that most of the production took place in Atlanta, and confirmed collaborating again with Tricky Stewart and The-Dream. Bieber said, that he was hoping that the album would be much better, considering that "My World" was his first time in a studio, calling himself "a rookie last album because it was during my first year."


title: My World 2.0

text: Sara Anderson of "AOL Music" commented that "his sophomore release also showcases pop-y and hip-hop fused tracks". The record has also been said to mine "vintage teen-pop themes" but play as "2010-model bubblegum". It has also been called "catchy, upbeat and dreamy", bringing to mind "smash dance hits". The lyrical content consists of "necessary us-against-the-world teen-love dramatics." Jody Rosen of Rolling Stone commented that, "As long as there has been rock & roll, there have been pretty-boy singers like Bieber, offering a gentle introduction to the mysteries and heartaches of adolescence: songs flushed with romance but notably free of sex itself."


title: My World 2.0

text: The album's lead single, "Baby", coined by "Rolling Stone" as a "consciously crafted throwback" draws from fifties music and doo-wop while incorporating a hip-hop influence. The lyrical contents refer to the departure of a first love in lines such as, "And I wanna play it cool/But I'm losin' you.../I'm in pieces/Baby fix me..." Monica Herrera of Billboard said that "Somebody to Love" and "Eenie Meenie" were "hardwired for Top 40". "Somebody to Love" contains influences of European music, notably dance and disco, and is a "straightforward plea for a soul mate". "Eenie Meenie" has been described as "sultry reggaton", and references childhood rhymes. Two of the album's tracks, "Runaway Love" and "U Smile" echo Motown, and critics claimed the tracks go beyond Bieber's demographic. The first has been compared to the work of Michael Jackson and the Jackson 5, influenced by funk and disco. The song has been described as "lush" and "sauntering", giving off a summer vibe. Jon Caramanica of "The New York Times" said "Runaway Love" was a "winning amalgam" of New Edition and Depeche Mode's "Policy of Truth." However, the song's "breezy groove" has been said to reminisce Janet Jackson's "Runaway" and Justin Timberlake's "Rock Your Body." The latter, "U Smile", compared to Hall & Oates, has a "bluesy" feel, and makes use of metaphors such as, "You are my ends and my means/With you there's no in between."


title: My World 2.0

text: Andy Kellman of Allmusic commented that the album's ballads could be considered adult contemporary "if the singer happened to be of age". The album's ballads, such as "Never Let You Go" and "Stuck in the Moment" mix "love-struck lyrics with big, lovable, choruses". The previous has been noted to have distinct similarities to Chris Brown's "Forever", while the latter makes references to doomed couples such as Romeo & Juliet, Bonnie & Clyde and Sonny & Cher. In "That Should Be Me", a "sobbing ballad", Bieber "plays the scorned ex", with lyrics like, "Did you forget all the plans that you made with me?". "Up"'s lyrics have Bieber realize love makes him invulnerable as he sings about how a relationship can only get better, with exaggerated lines such as, "We'll take it to the sky/Past the moon/Through the galaxies." A Wal-Mart bonus track, "Where Are You Now", an extension of sorts of "My World"s "Down To Earth", focuses on Bieber's feelings after his parents' splitting up.


title: My World 2.0

text: As he did with "My World", Bieber went on a radio promotion spree in addition to other appearances. Bieber performed in Berlin for the Dome 53 on March 5, 2010. In the United Kingdom he appeared on British talk show , on breakfast television show "GMTV", and on "Live from Studio Five". Bieber performed several songs from "My World" and "My World 2.0" on QVC's "Q Sessions" on March 9, when his album was up for pre-sale on the network. He and Selena Gomez performed at a concert at the Houston Rodeo on March 21. Bieber also appeared on ABC's "Nightline" and in a CBS News segment interview with Katie Couric. on He also performed on "The View" on March 23, and returned on the show for the March 24, episode, during which he also performed on BET's "106 & Park" and the "Late Show with David Letterman". Bieber followed up the album with performances at the "2010 Kids' Choice Awards" on March 27, 2010, and as the musical guest on "Saturday Night Live" in April. Bieber also promoted the album on "The Oprah Winfrey Show" on May 11, 2010, and performed on that season's "American Idol". Bieber continued the album's promotion by performing on "Today" on June 4, 2010, and on June 19 at the "MuchMusic Awards".


title: My World 2.0

text: "Baby" featuring Ludacris, was released as the album's lead single on January 18, 2010, and it went on to impact the mainstream and rhythmic radio formats. The song held Bieber's highest peaks at the time, reaching number three and five, respectively in Canada and the United States, and charted in the top ten of five other countries.


title: My World 2.0

text: "Somebody to Love" was sent to mainstream and rhythmic radio as the album's second single on April 20, 2010. It reached the top twenty in most countries.


title: My World 2.0

text: "U Smile", which was originally released as the second digital single, was played on the mainstream radio as the album's third single on August 24, 2010, and in on September 6, 2010. It has already peaked at numbers 17 and 21 in Canada and the United States, respectively. It also peaked at number 98 in the United Kingdom due to strong digital downloads.


title: My World 2.0

text: "Never Let You Go" was released as the first digital-only single from the album on March 2, 2010. It debuted at numbers 14 and 21 in Canada and the United States, respectively. The song has an accompanying video, which was shot at the Atlantis resort in the Bahamas. It was thought to be the album's second single, but is unknown since "Somebody to Love" was sent to radio as the second single.


title: My World 2.0

text: "My World 2.0" received an average score of 68 of 100 at music review aggregator Metacritic. Andy Kellman of Allmusic has the album at a rating of four out of five stars, praising the album for its "upbeat R&B-flavored pop songs" along with Bieber's ballads that "might be termed adult contemporary if the singer happened to be of age". He also complimented the dance-pop songs, calling them, "light on the ears yet memorable; and that "the unrequited material sounds deeply felt; the ballads have all the necessary us-against-the-world teen-love dramatics." Leah Greenblatt of "Entertainment Weekly" gave the album a B rating, stating that it "won't likely affect any adults, not in the direct blast radius of Bieber's target range", however, she praised how many tracks reminded her "the sanitized R&B swagger of early-days Usher and Justin Timberlake", along with commending the song "U Smile" as a "shimmery slice of Hall & Oates-style blue-eyed souland", and finally stating "there's a real talent, it seems, under all that hair."


title: My World 2.0

text: However, Sputnikmusic's Rudy Klapper found that his producers "do him little favors" and commented on its substance, "Nearly every song requires some sort of suspension of belief thanks to the lyrics, but if one ignores just what bull*** Bieber is spewing at any given time, "My World 2.0" reveals itself as a largely unobjectionable slice of harmless pop music." Luke O'Neil of "The Boston Globe" criticized the music's "recycling" of different styles and wrote in conclusion, "will anyone care about this record of au courant R&B, soul, and junior high pop five minutes into the future? Give it some time." Jon Caramanica of "The New York Times" called the album "an amiable collection of age-appropriate panting with intermittent bursts of misplaced precociousness", but added that "Bieber's fumbles are easily muffled by his production — more technology — which, while less ambitious here than on his debut EP, is still brutally effective." "Rolling Stone" gave it three out of five stars and called it "a seriously good pop record, one that mines vintage teen-pop themes but plays like a primer on 2010-model bubblegum."


title: My World 2.0

text: "My World 2.0" debuted at number one on the US "Billboard" 200 chart, selling 283,000 copies in its first week. This became Bieber's first US number one debut and his second top-ten album. In its second week, the album fell to number two behind Usher's Raymond v. Raymond, selling an additional 291,000 copies, which was a 3% increase. In its third week, the album returned to number one on the chart, selling 102,000 more copies, which was a 65% decrease from its previous week.


title: My World 2.0

text: In its fourth week, the album remained at number one on the chart, selling 92,000 copies, bringing its four-week total to 768,000 copies. As of December 2015, the album has sold 3,330,000 copies in the US. On June 24, 2020, the album was certified quadruple platinum by the Recording Industry Association of America (RIAA) for combined sales and album-equivalent units of over four million units in the United States.


title: My World 2.0

text: "My Worlds" is the reissue of Bieber's first extended play "My World". Project includes both "My World" EP and "My World 2.0" on its tracklisting. The album was released on March 19, 2010, at the same day with release of "My World 2.0".


title: Dorian invasion

text: The Dorian invasion is a concept devised by historians of Ancient Greece to explain the replacement of pre-classical dialects and traditions in southern Greece by the ones that prevailed in Classical Greece. The latter were named "Dorian" by the ancient Greek writers, after the Dorians, the historical population that spoke them.


title: Dorian invasion

text: Greek legend asserts that the Dorians took possession of the Peloponnesus in an event called the Return of the Heracleidae (). Nineteenth-century Classical scholars saw in the legend a possibly real event they termed the "Dorian invasion". The meaning of the concept has changed several times, as historians, philologists and archaeologists used it in attempts to explain the cultural discontinuities expressed in the data of their fields. The pattern of arrival of Dorian culture on certain islands in the Mediterranean, such as Crete, is also not well understood. The Dorians colonised a number of sites on Crete such as Lato.


title: Dorian invasion

text: Despite nearly 200 years of investigation, the historicity of a mass migration of Dorians into Greece has never been established, and the origin of the Dorians remains unknown. Firm archeological evidence of such an invasion has not been established. Nonetheless, the pervasiveness of the Dorians in literature means that most historians do not reject the theory. Some have linked them or their victims with the emergence of the equally mysterious Sea Peoples during the Late Bronze Age collapse. The meaning of the phrase "Dorian invasion" as an explanation for the cultural and economic breakdown after the Mycenaean period and into the Greek Dark Ages has become to some degree amorphous.


title: Dorian invasion

text: Classical tradition, as recorded for example in Herodotus, describes the "Return of the Heracleidae" (Ἐπιστροφὴ τῶν Ἡρακλειδῶν), the descendants of Heracles, who were exiled at his death and returned in later generations to reclaim the dominion that Heracles had held in the Peloponnesus. The Heraclid leaders were the brothers Kresphontes and Temenos, as well as the twins Eurysthenes and Prokles, all descendants of Heracles. They divided most of the Peloponnese into three parts: Kresphontes took Messenia, Temenos the north-east, and the twins Laconia, thus becoming the first dual kings of Sparta.


title: Dorian invasion

text: The Greece to which the tradition refers is the mythic one, now considered to be Mycenaean Greece. The details differ from one ancient author to another, the commonality being that a traditional ruling clan traced its legitimacy to Heracles.


title: Dorian invasion

text: The Greek words referring to the influx of the Dorians are "katienai" and "katerchesthai", literally "to descend", "come down" or "go down" or, less commonly, "be brought down." It means a descent from uplands to lowlands, or from earth to grave, or rushing down as a flood, or sweeping down as a wind, or those who have returned from exile by ship. This sweeping down upon the Peloponnesus invited the English translation "invasion".


title: Dorian invasion

text: There is, however, a distinction between Heracleidae and Dorians. George Grote summarizes the relationship as follows:Herakles himself had rendered inestimable aid to the Dorian king Aegimius, when the latter was hard pressed in a contest with the Lapithae ... Herakles defeated the Lapithae and slew their king Koronus; in return for which Aegimius assigned to his deliverers one third part of his whole territory and adopted Hyllus as his son.


title: Dorian invasion

text: After the death of Heracles, Hyllus (a Perseid) was driven from the state of Mycenae into exile by a dynastic rival, Eurystheus (another Perseid):


title: Dorian invasion

text: After the death ... of Herakles, his son Hyllos and his other children were expelled and persecuted by Eurystheus ... Eurystheus invaded Attica, but perished in the attempt ... All the sons of Eurystheus lost their lives ... with him, so that the Perseid family was now represented only by the Herakleids ...The Pelopid family now assumed power. The Heraclids "endeavored to recover the possessions from which they had been expelled" but were defeated by the Ionians at the Isthmus of Corinth. Hyllus staked peace for three generations against immediate reoccupation on a single combat and was killed by Echemus of Arcadia.


title: Dorian invasion

text: The Heracleidae now found it prudent to claim the Dorian land granted to Heracles: "and from this moment the Herakleids and Dorians became intimately united together into one social communion." Three generations later the Heracleidae with Dorian collusion occupied the Peloponnesus, an event Grote terms a "victorious invasion."


title: Dorian invasion

text: The first widespread use of the term "Dorian invasion" appears to date to the 1830s. A popular alternative was "Dorian migration". For example, in 1831 Thomas Keightly was using "Dorian migration" in "Outline of History"; by 1838 in "The Mythology of Ancient Greece and Italy" he was using "Dorian invasion".


title: Dorian invasion

text: Neither of those two words exactly fits the events, as they imply an incursion from outside a society to within; but the Dorians were not outside of either Greece or Greek society. William Mitford's "History of Greece" (1784–1810) described a "Dorian conquest" followed by "a revolution in Peloponnesus so complete that, except in the rugged province of Arcadia, nothing remained unaltered."


title: Dorian invasion

text: In 1824 Karl Otfried Müller's "Die Dorier" was published in German and was translated into English by Tufnel and Lewis for publication in 1830. They use such terms as "the Doric invasion" and "the invasion of the Dorians" to translate Müller's "Die Einwanderung von den Doriern" (literally: "the migration of the Dorians"), which was quite a different concept.


title: Dorian invasion

text: On one level the "Einwanderung" meant no more than the "Heraklidenzug", the return of the Heracleidae. However, Müller was also applying the sense of Völkerwanderung to it, which was being used of the Germanic migrations. Müller's approach was philological. In trying to explain the distribution of tribes and dialects he hypothesized that the aboriginal or Pelasgian population was Hellenic. His first paragraph of the "Introduction" asserts:


title: Dorian invasion

text: Müller goes on to propose that the original Pelasgian language was the common ancestor of Greek and Latin, that it evolved into Proto-Greek and was corrupted in Macedon and Thessaly by invasions of Illyrians. This same pressure of Illyrians drove forth Greeks speaking Achaean (including Aeolian), Ionian, and finally Dorian in three diachronic waves, explaining the dialect distribution of Greek in classical times.


title: Dorian invasion

text: Following this traditional view, the linguist Albert Thumb noticed that in the Peloponnesus and in the islands, where the Dorians established themselves, their dialect showed elements of the Arcadian dialect. This can be explained if the Dorians conquered a Pre-Doric population, which was pushed into the Arcadian mountains. Where the Dorians were a minority, there is a mixed dialect, as in Boeotia, or the Dorians adopted the existing dialect, as in Thessaly. To the Achaeans described by Homer belongs the Aeolic-Arcadian dialect in the whole of eastern Greece, with the exception of Attica, where the Ionians were confined. The Ionians must be considered the oldest first wave of the Greek migration.


title: Dorian invasion

text: In 1902, K. Paparigopoulos, calling the event the "Descent of the Heraclidae", stated that the Heraclidae came from Thessaly after being expelled by the Thessalians living in Epirus.


title: Dorian invasion

text: Toward the end of the 19th century the philologist Paul Kretschmer made a strong case that Pelasgian was a pre-Greek substrate, perhaps Anatolian, taking up a classical theme of remnant populations existing in pockets among the Greek speakers, in mountainous and rural Arcadia and in inaccessible coasts of the far south. This view left Müller's proto-Greeks without a homeland, but Kretschmer did not substitute the Heracleidae or their Dorian allies from Macedon and Thessaly. Instead he removed the earliest Greeks to the trail leading from the plains of Asia, where he viewed the Proto-Indo-European language as having broken up about 2500 BC. Kretschmer suggested that somewhere between that Asian homeland and Greece a new cradle of the Greek tribes developed, from which Proto-Ionians at about 2000 BC, Proto-Achaeans at about 1600 BC and Dorians at about 1200 BC came to swoop down on an increasingly less aboriginal Greece as three waves of external Greeks.


title: Dorian invasion

text: Kretschmer was confident that if the unknown homeland of the Greeks was not then known, archaeology would find it. The handbooks of Greek history from then on spoke of Greeks entering Greece. As late as 1956 J.B. Bury's "History of Greece" (3rd edition) wrote of an "invasion which brought the Greek language into Greece". Over that half-century Greek and Balkan archaeology united in an effort to locate the Dorians further north than Greece. The idea was combined with a view that the Sea Peoples were part of the same north-south migration about 1200 BC.


title: Dorian invasion

text: The weakness in this theory is that it requires both an invaded Greece and an external area where Greek evolved and continued to evolve into dialects contemporaneously with the invaded Greece. However, although the invaded Greece was amply represented by evidence of all sorts, there was no evidence at all of the external homeland. Similarly, a clear Greek homeland for the Sea Peoples failed to materialize. Retaining Müller's three waves and Kretschmer's Pelasgian pockets the scholars continued to search for the Dorians in other quarters. Müller's common ancestor of Greek and Latin had vanished by 1950; and by 1960, although still given lip service, the concept of Greek developing outside of Greece was in decline.


title: Dorian invasion

text: Additional progress in the search for the Dorian invasion resulted from the decipherment of Linear B inscriptions. The language of the Linear B texts is an early form of Greek now known as Mycenaean Greek. Comparing it with the later Greek dialects scholars could trace the development of the dialects from the earlier Mycenaean. For example, classical Greek "anak-s" (), "king", was postulated to be derived from a reconstructed form "*wanak-" (). In the Linear B texts appears the form , "wa-na-ka", sometimes accompanied by the , "wa-na-sa" (, "queen").


title: Dorian invasion

text: Ernst Risch lost no time in proposing that there was never more than one migration, which brought Proto-Greek into Greece. Proto-Greek is the assumed last common ancestor of all known varieties of Greek and then dissimilated into dialects within Greece. Meanwhile, the linguists closest to the decipherment were having doubts about the classification of Proto-Greek. John Chadwick summarizing in 1976 wrote:Let us therefore explore the alternative view. This hypothesis is that the Greek language did not exist before the twentieth century B.C., but was formed in Greece by the mixture of an indigenous population with invaders who spoke another language ... What this language was is a difficult question ... the exact stage reached in development at the time of the arrival is difficult to predict.


title: Dorian invasion

text: The Proto-Greek region included Epirus, approximately up to Αυλών in the north including Paravaia, Tymphaia, Athamania, Dolopia, Amphilochia, and Acarnania, west and north Thessaly (Hestiaiotis, Perrhaibia, Tripolis, and Pieria), i.e. more or less the territory of contemporary northwestern Greece


title: Dorian invasion

text: In another ten years the "alternative view" was becoming the standard one. JP Mallory wrote in 1989 concerning the various hypotheses of Proto-Greek that had been put forward since the decipherment:Reconciliation of all these different theories seems out of the question ... the current state of our knowledge of the Greek dialects can accommodate Indo-Europeans entering Greece at any time between 2200 and 1600 BC to emerge later as Greek speakers.


title: Dorian invasion

text: By the end of the 20th century the concept of an invasion by external Greek speakers had ceased to be the mainstream view (although still asserted by a minority); thus Geoffrey Horrocks writes:Greek is now widely believed to be the product of contact between Indo-European immigrants and the speakers of the indigenous languages of the Balkan peninsula beginning c. 2,000 B.C.


title: Dorian invasion

text: If the different dialects had developed within Greece no subsequent invasions were required to explain their presence.


title: Dorian invasion

text: Meanwhile, the archaeologists were encountering what appeared to be a wave of destruction of Mycenaean palaces. Indeed, the Pylos tablets recorded the dispatch of "coast-watchers", to be followed not long after by the burning of the palace, presumably by invaders from the sea. Carl Blegen wrote:The telltale track of the Dorians must be recognized in the fire-scarred ruins of all the great palaces and the more important towns which ... were blotted out at the end of Mycenaean IIIB.


title: Dorian invasion

text: Blegen follows Furumark in dating Mycenaean IIIB to 1300–1230 BC. Blegen himself dated the Dorian invasion to 1200 BC.


title: Dorian invasion

text: A destruction by Dorians has its own problems (as discussed in the next section) and is not the only possible explanation. At approximately this time Hittite power in Anatolia collapsed with the destruction of their capital Hattusa, and the late 19th and the 20th dynasties of Egypt suffered invasions of the Sea Peoples. A theory, reported for instance by Thomas and Conant, attributes the ruin of the Peloponnesus to the Sea Peoples:Evidence on the Linear B tablets from the Mycenaean kingdom of Pylos describing the dispatch of rowers and watchers to the coast, for instance, may well date to the time that the Egyptian pharaoh was expecting the arrival of foes.


title: Dorian invasion

text: The identity of the foes remained a question. The evidence suggests that some of the Sea Peoples may have been Greek. However, most of the destroyed Mycenaean sites are far from the sea, and the expedition against Troy at the end of this period shows that the sea was safe. Desborough believes that the sea was safe in central and south Aegean in this period.


title: Dorian invasion

text: Michael Wood suggests relying on tradition, especially that of Thucydides:[L]et us not forget the legends, at least as models for what might have happened. They tell us of constant rivalries with the royal clans of the Heroic Age – Atreus and Thyestes, Agamemnon and Aigisthes, and so on ...


title: Dorian invasion

text: In summary, it is possible that the Mycenaean world disintegrated through "feuding clans of the great royal families". The possibility of some sort of internal struggle had long been under consideration. Chadwick, after following and critiquing the development of different views, in 1976 settled on a theory of his own: There was no Dorian invasion. The palaces were destroyed by Dorians who had been in the Peloponnesus all along as a subservient lower class (Linear B: , "do-e-ro", "male slave"; latter Greek form: ), and now were staging a revolution. Chadwick espoused the view that northern Greek was the more conservative language, and proposed that southern Greek had developed under Minoan influence as a palace language.


title: Dorian invasion

text: Mylonas joins two of the previous possibilities. He believes that some developments in Argolis and attempts for recovery after 1200 BC, can be explained by an internal fighting, and by an enemy pressure, by the Dorians. Even if the Dorians were one of the causes of the Bronze age collapse, there is evidence that they brought with them some new elements of culture. It seems that the Doric clans moved southward gradually over a number of years, and they devastated the territory, until they managed to establish themselves in the Mycenaean centres.


title: Dorian invasion

text: After the Greek Dark Ages, much of the population of the Peloponnesus spoke Dorian, while the evidence of Linear B and literary traditions, such as the works of Homer, suggests that the population had spoken Achaean – Mycenaean Greek – before. In addition, society in the Peloponnesus had undergone a total change from states ruled by kings presiding over a Palace economy to a caste system ruled by a Dorian master "ethnos" at Sparta.


title: Dorian invasion

text: According to the scholar H. Michell: "If we assume that the Dorian invasion took place some time in the twelfth century, we certainly know nothing of them for the next hundred years." Blegen admitted that in the sub-Mycenaean period following 1200, "the whole area seems to have been sparsely populated or almost deserted."


title: Dorian invasion

text: The problem is that there are no traces of any Dorians anywhere until the start of the Geometric period about 950 BC. This simple pottery decoration appears to be correlated with other changes in material culture, such as the introduction of iron weapons and alterations in burial practices, from Mycenaean group burials in tholos tombs to individual burials and cremation. These can certainly be associated with the historical Dorian settlers, such as those of Sparta in the 10th century BC. However, they appear to have been general over all of Greece; moreover, the new weapons would not have been used in 1200.


title: Dorian invasion

text: The scholars were now faced with the conundrum of an invasion at 1200 but a resettlement at 950. One explanation is that the destruction of 1200 was not caused by them, and that the quasi-mythical return of the Heracleidae is to be associated with settlement at Sparta c. 950. On the one hand, it is possible that the destruction of the Mycenaean centres was caused by the wandering of northern people (Dorian migration): destroying the palace of Iolcos (LH III C-1), the palace of Thebes ( late LH III B), then crossing Isthmus of Corinth (end of LH III B) and destroying Mycenae, Tiryns and Pylos, and finally returning northward. However, Pylos was destroyed by a sea-attack, the invaders didn't leave behind traces of weapons or graves, and it cannot be proved that all the sites were destroyed about the same time. It is also possible that the Doric clans moved southward gradually over a number of years, devastating the territory, until they managed to establish themselves in the Mycenaean centres.


title: Dorian invasion

text: The quest for the Dorian invasion had begun as an attempt to explain the differences between Peloponnesian society depicted by Homer and the historical Dorians of classical Greece. The first scholars to work on the problem were historians researching the only resources available to them: the Greek legends. The philologists (later linguists) subsequently took up the challenge but in the end only brought the problem into sharper definition. Finally the archaeologists have inherited the issue. Perhaps some distinctively Dorian archaeological evidence will turn up or has turned up giving precise insight as to how and when Peloponnesian society changed so radically.


title: Dorian invasion

text: The historians had defined the Greek Dark Ages, a period of general decline, in this case the disappearance of the palace economy and with it law and order, loss of writing, diminishment of trade, decrease in population and abandonment of settlements (destroyed or undestroyed), metals starvation and loss of the fine arts or at least the diminution of their quality, evidenced especially in pottery. By its broadest definition the dark age lasted between 1200 and 750, the start of the archaic or orientalizing period, when influence from the Middle East via the overseas colonies stimulated a recovery.


title: Dorian invasion

text: A dark age of poverty, low population and metals starvation is not compatible with the idea of great population movements of successful warriors wielding the latest military equipment sweeping into the Peloponnesus and taking it over to rebuild civilization their way. This dark age consists of three periods of art and archaeology: sub-Mycenaean, Proto-geometric and Geometric. The most successful, the Geometric, seems to fit the Dorians better, but there is a gap, and this period is not localized to and did not begin in Dorian territory. It is more to be associated with Athens, an Ionian state.


title: Dorian invasion

text: Still, the Dorians did share in the Geometric period and therefore to find its origin might be perhaps to find the origin of the Dorians. The Geometric originated by clear transition from the Proto-geometric. The logical break in material culture is the start of the Proto-geometric at about 1050 BC, which leaves a gap of 150 years. The year 1050 offers nothing distinctively Dorian either, but if the Dorians were present in the Geometric, and they were not always in place as an unrecorded lower class, 1050 is most likely time of entry. Cartledge says humorously:It has of late become an acknowledged scandal that the Dorians, archaeologically speaking, do not exist. That is, there is no cultural trait surviving in the material record for the two centuries or so after 1200 which can be regarded as a peculiarly Dorian hallmark. Robbed of their patents for Geometric pottery, cremation burial, iron-working and, the unkindest prick of all, the humble straight pin, the hapless Dorians stand naked before their creator – or, some would say, inventor.


title: Lee Brice

text: Kenneth Mobley Brice Jr. (born June 10, 1979), known professionally as Lee Brice, is an American country music singer and songwriter, signed to Curb Records. Brice has released five albums with the label: "Love Like Crazy", "Hard to Love", "I Don't Dance", "Lee Brice". and "Hey World". He has also released eighteen singles, of which eight have reached number one on "Billboard" Country Airplay: "A Woman Like You", "Hard to Love", "I Drive Your Truck", "I Don't Dance", "Rumor", "I Hope You're Happy Now", "One of Them Girls" and "Memory I Don't Mess With". He has also charted within the top 10 with "Love Like Crazy", "Parking Lot Party", "Drinking Class", and "That Don't Sound Like You". "Love Like Crazy" was the top country song of 2010 according to "Billboard" Year-End, and broke a 62-year-old record for the longest run on the country chart.


title: Lee Brice

text: Besides his own material, he has also co-written singles for artists like Garth Brooks, Adam Gregory, the Eli Young Band, and Tim McGraw. One of his compositions, Brooks's "More Than a Memory", was the first song ever to debut at number one on the country chart, while the Eli Young Band's "Crazy Girl" was the "Billboard" Year-End top country song of 2011.


title: Lee Brice

text: Kenneth Mobley Brice, Jr. was born on June 10, 1979, in Sumter, South Carolina, to Kenneth, Sr. and Carleen Brice His younger brother, Lewis, was a contestant on Season 1 of Country Music Television's "Can You Duet". As a child, he played piano and guitar, sang in church, and wrote his own songs. He entered and won three different talent contests in high school.


title: Lee Brice

text: He attended Clemson University on a football scholarship . He played special teams there as the long snapper, but after an arm injury, he decided to focus on a country music career.


title: Lee Brice

text: By 2007, Brice began working as a songwriter, with cuts by Jason Aldean, Keith Gattis, and Cowboy Crush among others. Along with Billy Montana and Kyle Jacobs, he co-wrote Garth Brooks's 2007 single "More Than a Memory", the first single in the history of the "Billboard" Hot Country Songs chart to debut at number one.


title: Lee Brice

text: Also in 2007, he signed to Curb Records, releasing his debut single "She Ain't Right", which peaked at number 29 on the country chart. It was followed by "Happy Endings" and "Upper Middle Class White Trash" at numbers 32 and 44. All three songs were to have been included on an album entitled "Picture of Me", which was never released. He continued to write songs for others, including Canadian singer Adam Gregory's singles "Crazy Days" and "What It Takes". He appeared on Cledus T. Judd's 2007 album "Boogity, Boogity – A Tribute to the Comedic Genius of Ray Stevens", singing duet vocals on a rendition of the Albert E. Brumley gospel song "Turn Your Radio On".


title: Lee Brice

text: In August 2009, he charted with his fourth single, "Love Like Crazy", a song written by Tim James and Doug Johnson. It was the first release from his debut album of the same name, on which he co-produced all but one track with Johnson. "Love Like Crazy" reached top 10 on the Hot Country Songs chart in July 2010 during its forty-sixth week on the chart, setting a record for the slowest climb into the top 10. In September 2010, the song charted for a fifty-sixth week, making it the longest-charting song in the chart's history; it broke a record set by Eddy Arnold, whose 1948 single "Bouquet of Roses" spent fifty-four weeks on the chart. "Love Like Crazy" ultimately peaked at number 3. The album's second single was "Beautiful Every Time" at number 30. Also in 2010, Brice co-wrote labelmate Tim McGraw's single "Still".


title: Lee Brice

text: Brice released his sixth single, "A Woman Like You", in late 2011. It was the first release from a second album for Curb, "Hard 2 Love", which was released on April 24, 2012. In April 2012, it became his first number one on the Country Airplay chart. "Hard to Love" became his second number one in late 2012. The album's third single, "I Drive Your Truck", was released on December 3, 2012, and reached number one on the Country Airplay chart in 2013. The album's fourth single, "Parking Lot Party", was released to country radio on May 13, 2013, and peaked at number 6 on the Country Airplay chart in November 2013. Brice also co-produced the single "Love Is War" for the duo American Young, a duo whose membership includes "A Woman Like You" co-writer Jon Stone.


title: Lee Brice

text: In early 2014, Brice released the single "I Don't Dance". It was the lead single to his third studio album of the same name, which was released on September 9, 2014. Brice produced the album by himself. "I Don't Dance" became Brice's fourth number one hit in August 2014. "Drinking Class" is the album's second single. it peaked at number two on the Country Airplay chart in May 2015. The album's third single, "That Don't Sound Like You" released to country radio on May 11, 2015.


title: Lee Brice

text: On November 3, 2017, Brice released the self-titled album, Lee Brice. It is his fourth album and it was released via Curb Records. The album's lead single is "Boy" and features 14 other songs.


title: Lee Brice

text: In April 2020, Brice released the single, "One of Them Girls", as the lead-off single to his fifth studio album, "Hey World", due for release November 20, 2020. "One of Them Girls" spent three weeks at number one on the "Billboard" Country Airplay chart in October 2020, becoming Brice's longest-lasting number one to date.


title: Lee Brice

text: In April 2013, Brice married his longtime girlfriend Sara Nanette Reeveley. The couple have three children: sons Takoda Brice (born in 2008) and Ryker Mobley Brice (born in 2013), and daughter Trulee Nanette Brice (born in 2017). Brice's cousin and often music inspiration, Michael Cericola, serves as the children's godfather. Reeveley is featured on the track "See About a Girl" on "Hard 2 Love".


title: Lee Brice

text: On November 8, 2020, Brice announced that he tested positive for COVID-19 during the ongoing pandemic, but was asymptomatic. As a result, he was unable to perform with Carly Pearce on their single, "I Hope You're Happy Now", at the 54th CMA Awards, and Charles Kelley of Lady A performed with Pearce instead.


title: Brass Eye

text: Brass Eye is a British satirical television series parodying current affairs news programming. A series of six episodes aired on Channel 4 in 1997, and a further episode in 2001. The series was created and presented by Chris Morris, written by Morris, David Quantick, Peter Baynham, Jane Bussmann, Arthur Mathews, Graham Linehan and Charlie Brooker and directed by Michael Cumming.


title: Brass Eye

text: Originally planned as a spin-off from "The Day Today" (1994), the pilot (then called "Torque tv™") was passed on by the BBC. Channel 4 commissioned a new pilot, which would be called "Brass Eye". The name mixes together the titles of two popular current affairs shows, ("Brass Tacks" and "Public Eye").


title: Brass Eye

text: The series satirised media portrayal of social ills, in particular sensationalism, unsubstantiated establishmentarian theory masquerading as fact, and creation of moral panics, and is a sequel to Morris's earlier spoof news programmes "On the Hour" (1991–92) and "The Day Today" (1994). The series stars Morris's "The Day Today" colleague Doon Mackichan, along with Gina McKee, Mark Heap, Amelia Bullmore, Simon Pegg, Julia Davis, Claire Skinner, John Guerrasio, Hugh Dennis, and Kevin Eldon.


title: Brass Eye

text: The second episode, "Drugs", has been described by Professor Michael Gossop as illustrative of the ease in which anti-drug hysteria can be evoked in the United Kingdom. In the opening scene of this episode, a voiceover tells viewers that there are so many drugs on the streets of Britain that "not even the dealers know them all". An undercover reporter (Morris) asks a purportedly real-life drug dealer in London for various fictitious drugs, including "Triple Sod", "Yellow Bentines" and "Clarky Cat", leaving the dealer puzzled and increasingly irritated until he asks the reporter to leave him alone. He also explains that possession of drugs without physical contact and the exchange of drugs through a mandrill are perfectly legal in English law.


title: Brass Eye

text: Morris posed as a talk show host who took a starkly discriminatory attitude in favour of those with "Good AIDS" (e.g. from a contaminated blood transfusion) over those with "Bad AIDS" (caught through sexual activity or drug abuse).


title: Brass Eye

text: A special one-off edition of the show aired four years after the series had ended. Originally scheduled to broadcast on 5 July 2001, it was delayed as Channel 4 were unhappy with the timing in connection to the disappearances of 15-year-old Danielle Jones in June and 11-year-old Bunmi Shagaya in early July. It eventually aired on Thursday 26 July 2001, and was repeated on Friday 27 July 2001.


title: Brass Eye

text: It tackled paedophilia and the moral panic in parts of the British media following the murder of Sarah Payne, focusing on the name-and-shame campaign conducted by the "News of the World" in its wake. This included an incident in 2000 in which a paediatrician in Newport had the word "PAEDO" daubed in yellow paint on her home. "News of the World"'s then Editor Rebekah Brooks would years later discuss this campaign at the Leveson Inquiry.


title: Brass Eye

text: To illustrate the media's knee-jerk reaction to the subject, various celebrities were duped into presenting fatuous and often ridiculous pieces to camera in the name of a campaign against paedophiles. Gary Lineker and Phil Collins endorsed a spoof charity, Nonce Sense, (pronounced "nonsense"—"nonce" being British slang for people convicted or suspected of molestation or sexual crimes), with Collins saying, "I'm talking Nonce Sense!" "Tomorrow's World" presenter Philippa Forrester and ITN reporter Nicholas Owen were shown explaining the details of fictional "Hidden Online Entrapment Control System", or HOECS (pronounced "hoax") computer games, which online paedophiles were using to abuse children via the internet. Capital Radio DJ Neil "Doctor" Fox told viewers that "paedophiles have more genes in common with crabs than they do with you and me", adding "Now that is scientific fact—there's no real evidence for it—but it "is" scientific fact". At one point, bogus CCTV footage was shown of a paedophile attempting to seduce children by stalking the streets while disguised as a school.


title: Brass Eye

text: Lineker described paedophile text slang, stating that "P2PBSH" translates to "pipe-to-pipe bushman; code for two paedophiles having sex with each other while watching children from a shrub" and "BALTIMORA" translates to "I'm running at them now with my trousers down". Labour MP Syd Rapson related that paedophiles were using "an area of internet the size of Ireland". Richard Blackwood stated that internet paedophiles could make computer keyboards emit noxious fumes to subdue children, subsequently sniffing a keyboard and claiming that he could smell the fumes, which made him feel "suggestible". Blackwood also warned watching parents that exposure to the fumes would make their children "smell like hammers". Other notable figures appearing as themselves were Sebastian Coe, Michael Hames, Andy McNab, Kate Thornton, Barbara Follett MP and Gerald Howarth MP.


title: Brass Eye

text: Morris reported that convicted child murderer Sidney Cooke had been sent into space to keep him away from children. Prior to the launch, an eight-year-old boy had been placed on board the spaceship with Cooke by mistake. During the programme, the studio was "invaded" by a fictional militant pro-paedophile activism organisation called "Milit-pede", and the programme appeared to suffer a short technical disturbance. When it returned, presenter Chris Morris confronted a spokesman, Gerard Chote (played by Simon Pegg), who had been placed in a pillory, asking if he wanted sex with Morris's six-year-old son (actually a child actor). Hesitantly, the spokesman refused, apologetically explaining "I don't fancy him".


title: Brass Eye

text: In 2017, series director Michael Cumming released a 60-minute film of unbroadcast material from the making of Brass Eye between 1995 and 1997. The film is intended to mark the 20th anniversary of the series's original broadcast and includes scenes previously edited from the series due to time constraints or legal difficulties. It also includes extended or alternative versions of scenes that made the final cut, together with humorous outtakes of several scenes. Cumming also narrates the film and details his first meeting with Chris Morris and the difficulties involved in making the series. Comedy website Chortle described the film as "a thoughtful, curiously touching time capsule which pays fulsome tribute to, and certainly never cheapens, the spirit of the original show".


title: Brass Eye

text: The film premiered at the Pilot Light TV festival in May 2017 and toured to perform at selected UK cinemas throughout 2017. Each performance was followed by a Q&A with the director. It toured again in 2022. Cumming has said that the film will only be shown at such public events and can't ever be released commercially, for rights and legal reasons.


title: Brass Eye

text: The screening of the 1997 series was postponed for nearly six months as it made comic reference to convicted child murderer Myra Hindley, who was back in the news at the time after her portrait was vandalised in the Royal Academy exhibition "Sensation". In a particularly infamous portrayal, Hindley was the topic of a farcical song by a fictitious indie band called Blouse (whose appearance and style closely resembled that of Pulp). The lyrics to part of the song read: "Every time I see your picture, Myra/I have to phone my latest girlfriend up and fire her/And find a prostitute who looks like you and hire her/Oh, me oh Myra." The "leader singer" of Blouse, Purves Grundy (who resembles Pulp's Jarvis Cocker), is then shown commenting on the song; "Myra is a very complex woman, you know, and this song is about her hair. I don't think there's a single reference in the song to her brain, which I think maybe, had a slight problem. I do think [if] someone's gone and bought this record just because of the fuss that's been made about it, I think they should throw it away. And then they should go and buy another copy, because they liked the song."


title: Brass Eye

text: Michael Grade, then chief executive of Channel 4, repeatedly intervened to demand edits to episodes of "Brass Eye". The final episode included a single-frame subliminal message reading "Grade is a cunt".


title: Brass Eye

text: Around 3,000 complaints were received concerning "Paedogeddon!", making it reportedly the most objected-to episode in British television history at the time, and politicians spoke out against Morris. Minister for Child Protection Beverley Hughes described the show as "unspeakably sick" based on clips of the episode, and Home Secretary David Blunkett was described by a spokesman as "dismayed", although he may have been relying on a description of the episode. Tessa Jowell, after watching, asked the Independent Television Commission to change its procedures so it could rule more swiftly on similar programmes.


title: Brass Eye

text: There was also a tabloid campaign against Morris, who refused to discuss the issue. The "Daily Star" decried Morris and the show, and the "Daily Mail" ran a headline describing "Brass Eye" as "Unspeakably Sick" (quoting Beverley Hughes). "The Observer" accused both papers of hypocrisy; it noted that the "Star" article was positioned adjacent to an article about the developing bust of 15-year-old singer Charlotte Church, and that the "Mail"s coverage was preceded by "close-ups" of the "bikini princesses" Beatrice and Eugenie, who were 12 and 11 at the time.


title: Brass Eye

text: Columnist for "The Guardian" Ros Coward wrote at the end of July 2001: "What's so dishonest about Channel 4's defence of "Brass Eye" as a satire of media forms is the implication that they (and the liberal left in general) have a better truth than the tabloids. They don't. ... [I]t suggests concern about sex abuse is exaggerated and that victims' shame and humiliation doesn't matter. That's why there were so many complaints."


title: Brass Eye

text: A DVD released in 2001 reinstated most of the material cut from the original, although a few items were removed, most notably the subliminal messages directed at Michael Grade and an interview with Graham Bright MP in the "Drugs" episode. A disclaimer was also added to the "Drugs" episode at the request of David Amess.


title: Architectural engineering

text: Architectural engineering, also known as building engineering or architecture engineering, is an engineering discipline that deals with the technological aspects and multi-disciplinary.


title: Architectural engineering

text: From reduction of greenhouse gas emissions to the construction of resilient buildings, architectural engineers are at the forefront of addressing several major challenges of the 21st century. They apply the latest scientific knowledge and technologies to the design of buildings. Architectural engineering as a relatively new licensed profession emerged in the 20th century as a result of the rapid technological developments. Architectural engineers are at the forefront of two major historical opportunities that today's world is immersed in: (1) that of rapidly advancing computer-technology, and (2) the parallel revolution arising from the need to create a sustainable planet.


title: Architectural engineering

text: Distinguished from architecture as an art of design, architectural engineering is the art and science of engineering and construction as practiced in respect of buildings.


title: Architectural engineering

text: Structural engineering involves the analysis and design of the built environment (buildings, bridges, equipment supports, towers and walls). Those concentrating on buildings are sometimes informally referred to as "building engineers". Structural engineers require expertise in strength of materials, structural analysis, and in predicting structural load such as from weight of the building, occupants and contents, and extreme events such as wind, rain, ice, and seismic design of structures which is referred to as earthquake engineering. Architectural Engineers sometimes incorporate structural as one aspect of their designs; the structural discipline when practiced as a specialty works closely with architects and other engineering specialists.


title: Architectural engineering

text: Mechanical engineering and electrical engineering engineers are specialists when engaged in the building design fields. This is known as mechanical, electrical, and plumbing (MEP) throughout the United States, or building services engineering in the United Kingdom, Canada, and Australia. Mechanical engineers often design and oversee the heating, ventilation and air conditioning (HVAC), plumbing, and rainwater systems. Plumbing designers often include design specifications for simple active fire protection systems, but for more complicated projects, fire protection engineers are often separately retained. Electrical engineers are responsible for the building's power distribution, telecommunication, fire alarm, signalization, lightning protection and control systems, as well as lighting systems.


title: Architectural engineering

text: In many jurisdictions of the United States, the architectural engineer is a licensed engineering professional. Usually a graduate of an EAC/ABET-accredited architectural engineering university program preparing students to perform whole-building design in competition with architect-engineer teams; or for practice in one of structural, mechanical or electrical fields of building design, but with an appreciation of integrated architectural requirements. Although some states require a BS degree from an EAC/ABET-accredited engineering program, with no exceptions, about two thirds of the states accept BS degrees from ETAC/ABET-accredited architectural engineering technology programs to become licensed engineering professionals. Architectural engineering technology graduates, with applied engineering skills, often gain further learning with an MS degree in engineering and/or NAAB-accredited Masters of Architecture to become licensed as both an engineer and architect. This path requires the individual to pass state licensing exams in both disciplines. States handle this situation differently on experienced gained working under a licensed engineer and/or registered architect prior to taking the examinations. This education model is more in line with the educational system in the United Kingdom where an accredited MEng or MS degree in engineering for further learning is required by the Engineering Council to be registered as a Chartered Engineer. The National Council of Architectural Registration Boards (NCARB) facilitate the licensure and credentialing of architects but requirements for registration often vary between states. In the state of New Jersey, a registered architect is allowed to sit for the PE exam and a professional engineer is allowed to take the design portions of the Architectural Registration Exam (ARE), to become a registered architect. It is becoming more common for highly educated architectural engineers in the United States to become licensed as both engineer and architect.


title: Architectural engineering

text: Formal architectural engineering education, following the engineering model of earlier disciplines, developed in the late 19th century, and became widespread in the United States by the mid-20th century. With the establishment of a specific "architectural engineering" NCEES Professional Engineering registration examination in the 1990s, and first offering in April 2003, architectural engineering became recognized as a distinct engineering discipline in the United States. Up to date NCEES account allows engineers to apply to other states PE license "by comity".


title: Architectural engineering

text: In most license-regulated jurisdictions, architectural engineers are not entitled to practice architecture unless they are also licensed as architects. Practice of structural engineering in high-risk locations, e.g., due to strong earthquakes, or on specific types of higher importance buildings such as hospitals, may require separate licensing as well. Regulations and customary practice vary widely by state or city.


title: Architectural engineering

text: In some countries, the practice of architecture includes planning, designing and overseeing the building's construction, and architecture, as a profession providing architectural services, is referred to as "architectural engineering". In Japan, a "first-class architect" plays the dual role of architect and building engineer, although the services of a licensed "structural design first-class architect"(構造設計一級建築士) are required for buildings over a certain scale.


title: Architectural engineering

text: In some languages, such as Korean and Arabic, "architect" is literally translated as "architectural engineer". In some countries, an "architectural engineer" (such as the "ingegnere edile" in Italy) is entitled to practice architecture and is often referred to as an architect. These individuals are often also structural engineers. In other countries, such as Germany, Austria, Iran, and most of the Arab countries, architecture graduates receive an engineering degree ("Dipl.-Ing. – Diplom-Ingenieur").


title: Architectural engineering

text: In Spain, an "architect" has a technical university education and legal powers to carry out building structure and facility projects.


title: Architectural engineering

text: In Brazil, architects and engineers used to share the same accreditation process (Conselho Federal de Engenheiros, Arquitetos e Agrônomos (CONFEA) – Federal Council of Engineering, Architecture and Agronomy). Now the Brazilian architects and urbanists have their own accreditation process (CAU – Architecture and Urbanism Council). Besides traditional architecture design training, Brazilian architecture courses also offer complementary training in engineering disciplines such as structural, electrical, hydraulic and mechanical engineering. After graduation, architects focus in architectural planning, yet they can be responsible to the whole building, when it concerns to small buildings (except in electric wiring, where the architect autonomy is limited to systems up to 30kVA, and it has to be done by an Electrical Engineer), applied to buildings, urban environment, built cultural heritage, landscape planning, interiorscape planning and regional planning.


title: Architectural engineering

text: In Greece licensed architectural engineers are graduates from architecture faculties that belong to the Polytechnic University, obtaining an "Engineering Diploma". They graduate after 5 years of studies and are fully entitled architects once they become members of the Technical Chamber of Greece (TEE – Τεχνικό Επιμελητήριο Ελλάδος). The Technical Chamber of Greece has more than 100,000 members encompassing all the engineering disciplines as well as architecture. A prerequisite for being a member is to be licensed as a qualified engineer or architect and to be a graduate of an engineering and architecture schools of a Greek university, or of an equivalent school from abroad. The Technical Chamber of Greece is the authorized body to provide work licenses to engineers of all disciplines as well as architects, graduated in Greece or abroad. The license is awarded after examinations. The examinations take place three to four times a year. The Engineering Diploma equals a master's degree in ECTS units (300) according to the Bologna Accords.


title: Architectural engineering

text: The architectural, structural, mechanical and electrical engineering branches each have well established educational requirements that are usually fulfilled by completion of a university program.


title: Architectural engineering

text: Its multi-disciplinary engineering approach is what differentiates architectural engineering from architecture (the field of the architect): which is an integrated, separate and single, field of study when compared to other engineering disciplines.


title: Architectural engineering

text: Through training in and appreciation of architecture, the field seeks integration of building systems within its overall building design. Architectural engineering includes the design of building systems including heating, ventilation and air conditioning (HVAC), plumbing, fire protection, electrical, lighting, architectural acoustics, and structural systems. In some university programs, students are required to concentrate on one of the systems; in others, they can receive a generalist architectural or building engineering degree.


title: Tai Verdes

text: Tyler Colon, known professionally as Tai Verdes, is an American singer-songwriter. He grew up in California and played guitar, piano, and ukulele. Playing on the basketball team during his attendance at Babson College, he maintained his love for music and eventually dropped out. He was also featured on season 6 of “Are You the One”. He worked at a phone store during the coronavirus outbreak, but this still helped further his musical passion and during the same time, he released his breakout single "Stuck in the Middle" in August 2020. The song went viral on TikTok. He responded to his newfound success by saying the song "doesn't just turn into a million dollars and a nice car. It turns into waiting - which I think I've gotten pretty good at."


title: Tai Verdes

text: In May 2021, he released his debut full-length studio album, "TV". The album featured the single "A-O-K", which peaked at No. 34 on the "Billboard" Hot 100 and has achieved 24.7 million radio plays.


title: Tai Verdes

text: Tai released his first single "Stuck In the Middle" in mid-2020, which picked up millions of views on multiple streaming services. During this time, he was sleeping on a friend's couch and working at a Verizon phone service store. Before this, he auditioned for shows like "The Voice" and "American Idol", but to no avail. However, he did end up winning an MTV dating series when he starred on Season 6 of "Are You the One?".


title: Tai Verdes

text: "Stuck in the Middle" went viral on TikTok. This success carried to other singles such as "Sheesh!" and "Drugs".


title: Tai Verdes

text: In January 2022, Tai signed a global publishing deal with Kobalt Music Group, citing "artist-friendly" contract terms. He was previously signed with Artista, a record label owned by Sony Music.


title: Camp Bondsteel

text: Camp Bondsteel is the operation headquarters of the Kosovo Force (KFOR) in Kosovo. It is located near Ferizaj in eastern Kosovo. It is the Regional Command-East headed by the United States Army (U.S. Army) and it is supported by troops from Greece, Italy, Finland, Hungary, Poland, Slovenia, Switzerland and Turkey. The base is named after U.S. Army Staff Sergeant James L. Bondsteel, who is a Medal of Honor recipient.


title: Camp Bondsteel

text: The camp occupies of land. During the construction of the base, two hills were flattened and the valley between them was filled. In August 1999, 52 helipads were constructed on the facility's west perimeter to handle helicopter aviation. The camp is built mainly of wooden, semi permanent SEA (South East Asia) huts and is surrounded by a high earthen wall.


title: Camp Bondsteel

text: Camp Bondsteel was constructed by the 94th Engineer Construction Battalion, augmented by A Company, 864th Engineer Battalion and the 568 Combat Support Engineer Company, together with the Kellogg, Brown and Root Corporation (KBR). The planning, design, and construction management of the project was completed by the Construction Management Section of the 130th Engineer Brigade and a team from the Baltimore District of the U.S. Army Corps of Engineers. KBR was also the prime contractor for the operation of the camp.


title: Camp Bondsteel

text: Camp Bondsteel has several facilities on base, all of which were built with aid from the US military who are used by the soldiers and civilian employees who live and work there. The Base can house up to 7,000 soldiers which makes it the largest US base in the Balkans. The post exchange (PX) is the largest military exchange in Southeastern Europe and contains various necessities and luxuries including TVs, phones, books, DVDs, CDs, small furniture, video games, computers, clothes, shoes, food, and more. All of this is housed in the PX's two-story building.


title: Camp Bondsteel

text: The base also has a hospital, two gyms, and two recreation buildings with phones, computers, pool tables, video games and more. Camp Bondsteel also has one chapel with various religious services and activities, one large dining facility, a fire station, a military police station, two cappuccino bars, a Burger King, Taco Bell, and an Anthony's Pizza pizzeria. There is also one barber shop, one laundry facility employing local nationals, one dry cleaner, a tailor, various local vendors who sell Kosovo souvenirs and products, softball and football fields, and more.


title: Camp Bondsteel

text: Camp Bondsteel is not open to inspections by the Committee for the Prevention of Torture (CPT), which has the right to visit all "places of detention" of the member states of the Council of Europe. Negotiations with KFOR were underway but were suspended since Kosovo's unilateral declaration of independence was not recognised by the Council of Europe. The United States Army had been criticised for using the base as a detention facility housing detainees who were suspected of terrorism.


title: Camp Bondsteel

text: In November 2005, Álvaro Gil-Robles, the human rights envoy of the Council of Europe, described the camp as a "smaller version of Guantanamo" following a visit. The US Army denied the accusation and stated that there were no secret detention facilities in the Camp.


title: Women in Love (film)

text: Women in Love is a 1969 British romantic drama film directed by Ken Russell and starring Alan Bates, Oliver Reed, Glenda Jackson, and Jennie Linden. The film was adapted by Larry Kramer from D. H. Lawrence's 1920 novel "Women in Love". It was the first film to be released by Brandywine Productions.


title: Women in Love (film)

text: The plot follows the relationships between two sisters and two men in a mining town in post-World War I England. The two couples take markedly different directions. The film explores the nature of commitment and love.


title: Women in Love (film)

text: The film was nominated for four Academy Awards, with Jackson winning the Academy Award for Best Actress for her role, and the film receiving other honours.


title: Women in Love (film)

text: The film takes place in 1920, in the Midlands mining town of Beldover. Two sisters, Ursula and Gudrun Brangwen, discuss marriage on their way to the wedding of Laura Crich, daughter of the town's wealthy mine owner, Thomas Crich, to Tibby Lupton, a naval officer. At the village's church, each sister is fascinated by a particular member of the wedding party – Gudrun by Laura's brother, Gerald, and Ursula by Gerald's best friend, Rupert Birkin. Ursula is a school teacher and Rupert is a school inspector; she remembers his visit to her classroom, interrupting her botany lesson to discourse on the sexual nature of the catkin.


title: Women in Love (film)

text: The four are later brought together at a house party at the estate of Hermione Roddice, a rich woman whose relationship with Rupert is falling apart. When Hermione devises, as entertainment for her guests, a dance in the "style of the Russian ballet", Rupert becomes impatient with her pretensions and tells the pianist to play some ragtime. This sets off spontaneous dancing among the whole group and angers Hermione. She leaves. When Rupert follows her into the next room, she smashes a glass paperweight against his head, and he staggers outside. He discards his clothes and wanders through the woods. Later, at the Criches' annual picnic, to which most of the town is invited, Ursula and Gudrun find a secluded spot, and Gudrun dances before some Highland cattle while Ursula sings "I'm Forever Blowing Bubbles". When Gerald and Rupert appear, Gerald calls Gudrun's behaviour "impossible and ridiculous", and then says he loves her. "That's one way of putting it", she replies. Ursula and Rupert wander away discussing death and love. They make love in the woods. The day ends in tragedy when Laura and Tibby drown while swimming in the lake.


title: Women in Love (film)

text: During one of Gerald and Rupert's discussions, Rupert suggests Japanese-style wrestling. They strip and wrestle in the firelight. Rupert enjoys their closeness and says they should swear to love each other, but Gerald cannot understand Rupert's idea of wanting to have an emotional union with a man as well as an emotional and physical union with a woman. Ursula and Rupert decide to marry while Gudrun and Gerald continue to see each other. One evening, emotionally exhausted after his father's illness and death, Gerald sneaks into the Brangwen house to spend the night with Gudrun in her bed, then leaves at dawn.


title: Women in Love (film)

text: Later, after Ursula and Rupert's marriage, Gerald suggests that the four of them go to the Alps for Christmas. At their inn in the Alps, Gudrun irritates Gerald with her interest in Loerke, a gay German sculptor. An artist herself, Gudrun is fascinated with Loerke's idea that brutality is necessary to create art. While Gerald grows increasingly jealous and angry, Gudrun only derides and ridicules him. Finally, he can endure it no longer. After attempting to strangle her, he trudges off into the cold, to commit suicide and die alone. Rupert and Ursula return to their cottage in England. Rupert grieves for his dead friend. As Ursula and Rupert discuss love, Ursula says there can't be two kinds of love. He explains that she is enough for love of a woman but there is another eternal love and bond for a man.


title: Women in Love (film)

text: Larry Kramer was an American who moved to London in 1961 to work as an assistant story editor at Columbia and had become an assistant to David Picker at United Artists. United Artists wanted Kramer to move to New York but he wanted to live in London and produce, so he quit his job. He went to work on 1967's "Here We Go Round the Mulberry Bush" as producer and ended up rewriting the script.


title: Women in Love (film)

text: He was looking for another project when Silvio Narizzano, who had directed the successful "Georgy Girl" (1966), suggested Kramer make a film of "Women in Love". Kramer read the novel, loved it, and optioned the screen rights for $4,200. He wrote a screen treatment based on the chapters and succeeded in selling the project to David Chasman and David Picker at United Artists.


title: Women in Love (film)

text: Kramer originally commissioned a screenplay from David Mercer. Mercer's adaptation differed too much from the original book and he was bought out of the project. "It was a horrible Marxist tract," Kramer said. "Just horrible. I had no script and no more money for another writer.


title: Women in Love (film)

text: Ultimately, Kramer wrote the script, although he had not written one before. "I became a writer not by choice but out of necessity," he said.


title: Women in Love (film)

text: Kramer said "slightly more than half the film" was directly from the novel. He took the rest from various sources including Lawrence's letters, essays, poems and plays.


title: Women in Love (film)

text: "I wanted to show you can convey emotion along with action and that ideas and talk and beautiful scenery are not incompatible in films," said Kramer. "My first draft was all dialog, the second was mostly visual. The end result was a combination of both."


title: Women in Love (film)

text: Narizzano, intended as director, left the project after suffering a series of personal setbacks. He divorced his wife for a man who died soon after. After Narizzano's departure, Kramer considered a number of directors to take on the project, including Jack Clayton, Stanley Kubrick and Peter Brook, all of whom declined.


title: Women in Love (film)

text: Ken Russell had previously directed only two films, and was better known for his biographical projects about artists for the BBC. His second film, "Billion Dollar Brain" was admired by Chasman and Picker at UA, who told him "they thought it got a raw deal from right wing critics and that I could do better with a more sympathetic subject." Chasman and Picker sent a copy of Kramer's script to Russell, who liked it. The director read the novel, which he loved; he called "Women in Love" "probably the best English novel ever written." He and Kramer collaborated on further drafts of the script, using information from Lawrence's own life and adding extra bits from the novel. This included adding the nude wrestling scene. "It wasn't in the original script," wrote Russell. "I didn't think it would pass the censor and I knew it would be difficult to shoot. I was wrong on my first guess and right on my second. Oily [Oliver Reed] talked me into it. He wrestled with me, jujitsu style, in my kitchen, and wouldn't let me up until I said, 'OK, OK, you win, I'll do it.'"


title: Women in Love (film)

text: Russell says casting was "difficult" in part because most of his television work was done with non-actors so he was "totally out of touch to the real talent at hand."


title: Women in Love (film)

text: Kramer had been talking to Alan Bates about playing Birkin for a number of years and he was cast relatively easily. Bates sported a beard, giving him a physical resemblance to D.H. Lawrence.


title: Women in Love (film)

text: Michael Caine, who had just made "Billion Dollar Brain" with Russell, says he was offered a lead role but turned it down because he felt unable to do the nude scene.


title: Women in Love (film)

text: Kramer wanted Edward Fox for the role of Gerald. Fox fitted Lawrence's description of the character ("blond, glacial and Nordic"), but United Artists, the studio financing the production, imposed Oliver Reed, a more bankable star, as Gerald even though he was not physically like Lawrence's description of the character. Russell had worked with Reed before and said even though the actor "wasn't ideal physically for the part he couldn't have played it better."


title: Women in Love (film)

text: Kramer was adamant to give the role of Gudrun to Glenda Jackson. She was, then, well recognised in theatrical circles. As a member of the Royal Shakespeare Company she had gained a great deal of attention as Charlotte Corday in "Marat/Sade". United Artists was unconvinced, considering her not conventionally beautiful enough for the role of Gudrun, who drives Gerald to suicide. Russell was unimpressed when he met Jackson and says only in seeing "Marat/Sade" "did I realise what a magnificent screen personality she is."


title: Women in Love (film)

text: The last of the four main roles to be cast was that of Ursula. Both Vanessa Redgrave and Faye Dunaway declined to take the role, finding it the less interesting of the two sisters and that they would be easily eclipsed by Glenda Jackson's acting skills. It was by accident that Russell and Kramer came upon a screen test that Jennie Linden had made opposite Peter O'Toole for "The Lion in Winter", for a part she did not get. Linden had recently given birth to her only son and was not eager to take the role but was persuaded by Kramer and Russell.


title: Women in Love (film)

text: Bates and Reed received a percentage of the profits while Linden and Jackson were paid a straight salary.


title: Women in Love (film)

text: The composer Michael Garrett who also contributed to the score can be seen playing the piano in one scene.


title: Women in Love (film)

text: Filming started 25 September 1968 and took place in northern England and Switzerland. The opening scene with credits was shot at what is now Crich Tramway Museum in Derbyshire. It took sixteen weeks and was budgeted at $1.65 million but came in at $1.5 million "because everyone was helpful," says Kramer, including key participants taking a percentage. Jackson was pregnant during filming.


title: Women in Love (film)

text: The film features a famous nude wrestling scene between Bates and Reed. Kramer says Reed turned up to the shoot drunk and got Bates drunk. "I had to get drunk before I exposed myself on camera," said Reed.


title: Women in Love (film)

text: Russell said he regretted omitting a scene where the sisters went to London "where they sample la vie boheme. It helped form their characters and explains their subsequent behaviour. And at least two of the actors were miscast. Another had to be replaced after his second appearance. But none of that matters when a movie turns you on. You can have brilliant camerawork, great editing, a fine script and good acting, but it don't mean a thing if it ain't got that swing."


title: Women in Love (film)

text: The film was one of the eight most popular films at the British box office in 1970. As it cost $1.6 million it recouped its costs in England alone.


title: Women in Love (film)

text: Russell later wrote "I've made better films than "Women in Love" but obviously it had something that tickled the public's fancy, and it wasn't just the male members of Messrs Bates and Reed. It might have probed intimacy between the sexes as few movies had before, but I can take scant credit for that. I was only putting on the screen what D.H. Lawrence had written half a century before. But the film did have some excellent performances...and both Alan and Olly really came to grips with the subject, especially in the nude wrestling scene."


title: Women in Love (film)

text: Released in Britain in 1969 and the US in 1970, the film was applauded as a good rendering of D.H. Lawrence's once controversial novel about love, sex and the upper class in England. During the making of the film, Russell had to work on conveying sex and the sensual nature of Lawrence's book. Many of the stars came to understand this was to be a complex piece. Oliver Reed would do a nude wrestling scene with Alan Bates. He went as far as to persuade (and physically twist the arm of) director Russell to film the scene. Russell conceded and shot the controversial scene, which suggested the homoerotic undertones of Gerald and Rupert's friendship. The wrestling scene caused the film to be banned altogether in Turkey. Considered the best of Russell's films, it led him to adapt Lawrence's preceding novel "The Rainbow" into a 1989 film of the same name, followed by the 1993 BBC TV miniseries "Lady Chatterley".


title: Women in Love (film)

text: "Women in Love" received positive reviews from critics and currently holds an 83% rating on review aggregator website Rotten Tomatoes, based on 23 reviews with an average rating of 7.5/10. Film critic Emanuel Levy has said of the film: "Though deviating from D. H. Lawrence's novel considerably, this is Ken Russell's most fully realised narrative film, lavishly mounted and well-acted, especially by Glenda Jackson in an Oscar-winning performance."


title: Women in Love (film)

text: "Women in Love" was released on VHS by MGM Home Entertainment in 1994, and on DVD in Regions 1 and 2 in 2003. The film was released on Blu-ray and DVD by the Criterion Collection on 27 March 2018, with the Blu-ray featuring a restored 4K digital transfer. The supplementary materials on the Criterion release include audio commentaries and various interviews, along with the 1972 short film "Second Best", produced by and starring Alan Bates, based on a story by D.H. Lawrence.


title: Socialism in one country

text: Socialism in one country was a Soviet state policy to strengthen socialism within the country rather than socialism globally. Given the defeats of the 1917–1923 European communist revolutions, Joseph Stalin and Nikolai Bukharin encouraged the theory of the possibility of constructing socialism in the Soviet Union. The theory was eventually adopted as Soviet state policy.


title: Socialism in one country

text: As a political theory, its proponents argue that it contradicts neither world revolution nor world communism. The theory opposes Leon Trotsky's theory of permanent revolution and the communist left's theory of world revolution.


title: Socialism in one country

text: The defeat of several proletarian revolutions in countries like Germany and Hungary ended Bolsheviks' hopes for an imminent world revolution and began promotion of socialism in one country by Joseph Stalin. In the first edition of "The Foundations of Leninism" (1924), Stalin was still a follower of the orthodox Marxist idea that revolution in one country is insufficient. Vladimir Lenin died in January 1924 and by the end of that year in the second edition of the book Stalin's position started to turn around as he claimed that "the proletariat can and must build the socialist society in one country".


title: Socialism in one country

text: In April 1925, Nikolai Bukharin elaborated the issue in his brochure "Can We Build Socialism in One Country in the Absence of the Victory of the West-European Proletariat?" and the Soviet Union adopted socialism in one country as state policy after Stalin's January 1926 article "On the Issues of Leninism". 1925–1926 signaled a shift in the immediate activity of the Communist International from world revolution towards a defense of the Soviet state. This period was known up to 1928 as the Second Period, mirroring the shift in the Soviet Union from war communism to the New Economic Policy.


title: Socialism in one country

text: In his 1915 article "On the Slogan for a United States of Europe", Lenin had written: Uneven economic and political development is an absolute law of capitalism. Hence, the victory of socialism is possible first in several or even in one capitalist country alone. After expropriating the capitalists and organising their own socialist production, the victorious proletariat of that country will arise against the rest of the world.


title: Socialism in one country

text: In January 1918, Lenin wrote: I know that there are, of course, sages who think they are very clever and even call themselves Socialists, who assert that power should not have been seized until the revolution had broken out in all countries. They do not suspect that by speaking in this way they are deserting the revolution and going over to the side of the bourgeoisie. To wait until the toiling classes bring about a revolution on an international scale means that everybody should stand stock-still in expectation. That is nonsense.


title: Socialism in one country

text: After Lenin's death, Stalin used this quote, and others, to argue that Lenin shared his view of socialism in one country. Grigory Zinoviev and Leon Trotsky vigorously criticized the theory of socialism in one country. In particular, Trotskyists often claimed and still claim that socialism in one country opposes both the basic tenets of Marxism and Lenin's particular beliefs that the final success of socialism in one country depends upon the revolution's degree of success in proletarian revolutions in the more advanced countries of Western Europe. At the Seventh Congress in March 1918, Lenin explained: Regarded from the world-historical point of view, there would doubtlessly be no hope of the ultimate victory of our revolution if it were to remain alone, if there were no revolutionary movements in other countries. [...] I repeat, our salvation from all these difficulties is an all Europe revolution. [...] At all events, under all conceivable circumstances, if the German revolution does not come, we are doomed.


title: Socialism in one country

text: The exponents of socialism in one country contend that Stalin's theory was firmly in line with the basic tenets of Leninism in that the victory of socialism is possible in one or separate countries while other countries may continue to remain bourgeois for some time. To support this assertion, they quote Lenin, who said: [S]ocialism cannot achieve victory simultaneously "in all" countries. It will achieve victory first in one or several countries, while the others will for some time remain bourgeois or pre-bourgeois.


title: Socialism in one country

text: The defeat of all the 1917–1923 revolutions in Europe, except Russia, ended the Bolsheviks and especially Lenin's hopes for an imminent world revolution. In his 1918 "Letter to American Workers", Lenin wrote: We are banking on the inevitability of the world revolution, but this does not mean that we are such fools as to bank on the revolution inevitably coming on a definite and early date.


title: Socialism in one country

text: In his report to the Extraordinary Seventh Congress of the R.C.P.(B.) which met on 6 March 1918, Lenin said: Yes, we shall see the world revolution, but for the time being it is a very good fairy-tale, a very beautiful fairy-tale—I quite understand children liking beautiful fairy-tales. But I ask, is it proper for a serious revolutionary to believe in fairy-tales? There is an element of reality in every fairy-tale. If you told children fairy-tales in which the cock and the cat did not converse in human language they would not be interested. In the same way, if you tell the people that civil war will break out in Germany and also guarantee that instead of a clash with imperialism we shall have a field revolution on a world-wide scale, the people will say you are deceiving them. In doing this you will be overcoming the difficulties with which history has confronted us only in your own minds, by your own wishes. It will be a good thing if the German proletariat is able to take action. But have you measured it, have you discovered an instrument that will show that the German revolution will break out on such-and-such a day? [...] If the revolution breaks out, everything is saved. Of course! But if it does not turn out as we desire, if it does not achieve victory tomorrow—what then? Then the masses will say to you, you acted like gamblers—you staked everything on a fortunate turn of events that did not take place, you proved to be unequal to the situation that actually arose instead of the world revolution, which will inevitably come, but which has not yet reached maturity.


title: Socialism in one country

text: With the world revolution having altogether failed to materialize, the nascent Soviet Union found itself encircled by capitalist or pre-capitalist states. According to the interpretation of Lenin's writings by the proponents of socialism in one country, Lenin laid down a long-term future course of action for the nascent Soviet state and its vanguard the R.C.P.(B.), enabling the young Soviet state needs to first start strengthening itself internally to survive. The plan was firstly based on building a close class alliance between the proletariat and the vast masses of the small peasantry (with assured proletarian leadership of the peasantry) and secondly constructing a complete socialist society in Russia whilst patiently awaiting and aiding the worldwide class struggle to first mature around the world before a mass based proletarian revolution on a worldwide scale is made possible. In his 1923 article titled "Our Revolution", Lenin wrote: You say that civilization is necessary for the building of socialism. Very good. But why could we not first create such prerequisites of civilization in our country by the expulsion of the landowners and the Russian capitalists, and then start moving toward socialism? Where, in what books, have you read that such [...] sequence of events are impermissible or impossible?