title: Super Meat Boy

text: Meat Boy lives with his girlfriend Bandage Girl. One day, Bandage Girl is kidnapped by Dr. Fetus, an intelligent fetus in a life support suit. Meat Boy then goes after Fetus, until Fetus burns down the forest and tries to kill Meat Boy in his "Lil Slugger", which is destroyed after Meat Boy tricks him into running into a bunch of saws. Fetus escapes to an abandoned hospital, where Fetus unleashes C.H.A.D., a giant monster made of blood. Meat Boy shows the sun to the monster and redeems him, but then goes after Fetus, who goes to his salt factory. There, a clone of Meat Boy made of faeces called Brownie is created, leading to a race between the two, presumably killing Brownie. Fetus goes to Hell, where Meat Boy discovers that every time he dies, his corpse goes to Hell. Little Horn, a Meat Boy-esque monster made up of these corpses attacks Meat Boy. Fetus escapes and triggers a nuke, which opens a path to the top world. Meat Boy is lured to fight Larries Lament, three worms who inspire the Larry Jr. boss from The Binding of Isaac.


title: Super Meat Boy

text: In the final level, Dr. Fetus runs after Meat Boy, who destroys the bridge he is on, destroying Fetus's life support system. Fetus tries to kill Meat Boy and Bandage Girl by blowing up his facility, but Brownie appears and saves the two while sacrificing himself. As Bandage Girl hugs Meat Boy after escaping, Fetus suddenly lands on Bandage Girl and tries to pummel her as the game cuts to credits. If Dr. Fetus is beaten in the Dark World, it is shown that Fetus's attacks were ineffective and Bandage Girl proceeds to stomp on him.


title: Super Meat Boy

text: The original "Meat Boy" is an Adobe Flash game created by Edmund McMillen and programmed by Jonathan McEntee. The game was developed over a three-week period, and was released on Newgrounds on October 5, 2008. By April 2009, it had garnered over 840,000 views at Newgrounds, and 8 million overall. A map pack for the Flash version was released on December 8, 2008. McMillen began development of "Super Meat Boy" after Nintendo and Microsoft requested that he make a game for their download services, WiiWare and Xbox Live Arcade, as they were impressed by the success of his Flash games "Aether" and "Meat Boy". At the time, he was working with Tommy Refenes on a Flash game titled "Grey Matter". Although McMillen initially pitched the companies a sequel to "Gish" or "Aether", the pair decided to form Team Meat and work on an expanded version of "Meat Boy" instead. Team Meat also includes soundtrack composer Danny Baranowsky and sound effects designer Jordan Fehr. According to the developers, "Super Meat Boy" is "a big throwback to a lot of super hardcore NES classics like "Ghosts 'n Goblins", "Mega Man", and the Japanese version of """, with the plot written as "a mash-up of every videogame story from the early 90s". The game was explicitly designed by the team to be reminiscent of "Super Mario Bros.", and McMillen considered it a tribute to Shigeru Miyamoto, the developer of "Super Mario Bros."


title: Super Meat Boy

text: McMillen worked on level design and artwork, while Refenes coded the game; it was tested primarily by the pair and their families. McMillen and Refenes lived on opposite sides of the United States, and met only a few times in person while working on the game. They developed the control scheme by iterating through several designs, trying to find one that felt fluid and logical. Rather than use a pre-built game engine, Refenes programmed an original one. The game was initially set to include around 100 levels, and to have co-operative and competitive multiplayer modes. During development, however, the multiplayer option was dropped and the number of levels was greatly increased. The pair designed the game to be deliberately "retro", imitating the aesthetics of traditional platform games, but with a modern sensibility regarding difficulty. They wanted the game to be rewarding and challenging, rather than frustrating; to this end they included infinite lives, quick restarts of levels, obvious goals, and short levels. They felt the replay feature transformed death into a form of reward.


title: Super Meat Boy

text: Development of "Super Meat Boy" began in January 2009. Initially announced for WiiWare and PC, the game was set to be released in the first quarter of 2010. The release date was pushed back to the fourth quarter because the developers wanted more time to create extra levels, such as the dark worlds. A picture released on Team Meat's Twitter page on February 22, 2010, revealed that the game would also be released for XBLA. The next day, they announced that, while all versions would be released in the same month, the game would be released for XBLA first due to "contractual obligations". In August 2010, the developers were contacted by Microsoft with the prospect of inclusion in Microsoft's 2010 Fall GameFeast XBLA promotion two months later. As they were almost out of money, they did not believe that they could financially support themselves until the Spring event, but felt they had four months' worth of work left to complete on the game. For the final two months of development they worked daily, slept five hours a night, and frequently forgot to eat—a process that McMillen said he "would never voluntarily go through" again. According to McMillen, due to Microsoft's low expectations for the game, "Super Meat Boy" was lightly promoted. The level of promotion was not increased during the GameFeast, though the game greatly outsold the rest of the games in the event. The team described the effort required to finish the game for the promotion as "by far the biggest mistake [they] made during SMB's development". Their development struggle is depicted in the documentary "". The game was released on XBLA in October 2010 and on PCs via Steam and Direct2Drive a month later. McMillen noted that the PC release was more heavily promoted than the XBLA version. A version for Mac OS X was released in November 2011, while another version for Linux operating systems was released in December 2011 as part of the Humble Indie Bundle #4 game pack.


title: Super Meat Boy

text: Due to Sony's initial lack of interest in the game, Team Meat entered into contractual obligations that prohibited "Super Meat Boy" from ever being released on the PlayStation 3. Despite this, a version for the PlayStation 4 and PlayStation Vita was eventually announced. The WiiWare version was canceled because the game's file size had been expanded beyond the limits imposed by Nintendo. Team Meat looked into releasing it as a retail Wii game, but were told by all third-party publishers they approached that a budget title would not be profitable so late into the Wii's lifecycle. Versions of the game were eventually released for Nintendo's follow up systems Wii U and the Switch. The Switch version includes a platform-exclusive "Race Mode", allowing two players on the Switch's split-screen and using separate Joy-Con to race through sets of levels. This mode was added to the Windows version in October 2018.


title: Super Meat Boy

text: A limited edition retail version of the PC game was released in April 2011. It included bonuses such as behind-the-scenes videos, a sample disc of the game's music, and a "Super Meat Boy" comic. In 2012 Team Meat began prototyping an iOS and Android version of the game. The game was intended to be a different take on the "Super Meat Boy" concept that is more adapted to touch-screen controls than a direct port would be. This project would develop into the new endless runner game "Super Meat Boy Forever", revealed in 2014 at the video game convention PAX.


title: Super Meat Boy

text: Team Meat released several pieces of merchandise related to "Super Meat Boy". These include "Super Meat Boy Handheld", an iOS app released on April 3, 2010 and styled on a Tiger Electronics handheld. It was released as a joke after Refenes' game "Zits & Giggles" was removed from the iTunes Store following a statement by Refenes that likened the iPhone to a Tiger handheld. McMillen has released a "Super Meat Boy" microgame for "WarioWare D.I.Y." Team Meat sells charms, plush toys, and posters related to the game, as well as T-shirts, stickers, stress balls, and a limited edition "Super Meat Boy" comic. In 2011, Voxelous released a set of four "Super Meat Boy" figures of Meat Boy, Bandage Girl, Brownie, and Tofu Boy, later making figures of Commander Video, Jill, Ogmo, and Dr. Fetus.


title: Super Meat Boy

text: "Super Meat Boy"s soundtrack was composed by Danny Baranowsky, who previously composed the soundtracks for the indie video games "Canabalt", "Cortex Command", and "Gravity Hook". He also composed the music for the original "Meat Boy". McMillen knew of Baranowsky's other work, and approached him late in "Meat Boy"s development, asking him to supply whatever tracks he had on hand. For the soundtrack of "Super Meat Boy", Baranowsky incorporated the music he had provided for "Meat Boy" into an expanded soundtrack. He tried to ensure that the music would accompany the action on the screen without overpowering the sound effects. Baranowsky was given complete freedom for the game's music, and retained all of the rights to it; McMillen believed that being more invested in the game would let Baranowsky express the part of him that was "manic, obsessive, complex, and full of life". McMillen feels that the soundtrack "gets your heart rate up, complements every aspect of its gameplay, and stays with you for days".


title: Super Meat Boy

text: On October 26, 2010, the game's soundtrack was released as a download-only album via the online Bandcamp store titled "Super Meat Boy! Soundtrack". This release features 34 tracks and a 100-minute runtime, and includes several remixes of tracks from the game. On January 11, 2011, Baranowsky and Team Meat released a special edition soundtrack on Bandcamp as both a downloadable and physical album. This edition includes a second disc of songs not included in the original release, as well as additional remixes. The album, titled "Nice to Meat You", has a total of 73 tracks, is 2 hours 25 minutes long, and features album artwork by McMillen. Three music tracks from the game were released as downloadable content for "Rock Band 3" in June 2011.


title: Super Meat Boy

text: Baranowsky's music was not used for the PlayStation 4, Nintendo Wii U, Nintendo Switch and PlayStation Vita versions, as he "no longer [had] a working relationship with Team Meat" and they could not agree on licensing terms. Instead, those versions of the game feature a soundtrack composed by Ridiculon (Matthias Bossi and Jon Evans), David "Scattle" Scatliffe, and Laura Shigihara, who have previously worked on games such as "", "Hotline Miami", and "Plants vs. Zombies" respectively. A soundtrack album for the new music, titled "Songs in the Key of Meat: Music from SMB 5th Anniversary", was released on Bandcamp on October 6, 2015. On April 13, 2017, Tommy Refenes introduced the alternative soundtrack on the PC port.


title: Super Meat Boy

text: "Super Meat Boy" received critical acclaim. After being showcased at the Penny Arcade Expo 2010, "Super Meat Boy" was declared Game of the Show by Destructoid and nominated for the same award by Machinima.com. The game received nominations for the Grand Prize and Excellence in Audio awards at the 2010 Independent Games Festival. It won the award for Most Challenging Game in IGN's Best of 2010 awards, and received nominations for Best Soundtrack and Best Retro Design. It was voted GameSpot's Best Downloadable Console Game of 2010, and won the Best Downloadable Game award from GameTrailers. Sales were strong, with nearly 140,000 units of the Xbox 360 version sold by the end of 2010. The Steam and Xbox 360 versions had sold over 600,000 copies combined by April 2011; 400,000 of these sales were through Steam. On January 3, 2012, Team Meat announced on Twitter that the game had surpassed 1,000,000 sales.


title: Super Meat Boy

text: Critics praised "Super Meat Boy"s platforming elements, and often commented on the game's difficulty. "X-Play" reviewer Alexandra Hall said the game had "riveting platforming action", and added that ""Super Meat Boy"s designers are masters of their craft." Henry Gilbert of GamesRadar felt the platforming was "perfect". He wrote that "while it's always tough and demanding, it never feels cheap, or like the game is cheating you." A reviewer from GameTrailers stated that "the difficulty rides the perfect line between driving you utterly bonkers when you fail and making you feel like a platform pro when you succeed". Joystiq's Richard Mitchell echoed other reviewers' comments: ""Super Meat Boy" is tough, as tough as the toughest nails in the toughest universe." Gilbert cited the level of difficulty, which he believed made the game inaccessible to some players, as his reason for not awarding the game a perfect score. Tom McShea of GameSpot praised the game's "precise control", "excellent level design", and "smooth difficulty curve". Reviewer Tom Bramwell of Eurogamer warned that "Super Meat Boy" is "a hard game. It should make you want to throw the pad across the room".


title: Super Meat Boy

text: Critics gave high marks to the game's retro art direction and presentation. "Official Xbox Magazine" (UK)s Mike Channel appreciated the variety found in each set of levels. He stated that "while the graphics may look crude, the presentation is exceptional. Each level has a distinct visual style." Daemon Hatfield, a reviewer for IGN, noted the uniqueness of the game's visual presentation. He commented that the warp zone levels pay tribute to classic 8-bit games, and lauded the game's soundtrack: "The rocking chiptune soundtrack is the best I've heard since "Scott Pilgrim vs. The World: The Game"". Joe Leonard of 1UP.com noted that the game's humor and over-the-top gameplay help to calm frustrations regarding the difficulty: ""Super Meat Boy"s greatest strength has to be how it never takes itself too seriously—as maddening as some of the levels got, I could never stay angry at the game for too long", said Leonard. MTV Multiplayer reviewer Russ Frushtick praised the game's visual design. He appreciated the game's cutscenes, which he noted are "hand-drawn animated [shorts] which [bear] more than a passing resemblance to a classic video game intro".


title: Super Meat Boy

text: While the game received high praise overall, certain publications voiced complaints. Hatfield noted that the cutscenes had low production values, stating that "they don't have the polish of the rest of the game". The reviewer for "PC Gamer" mentioned "a few minor, yet-to-be-patched bugs". Eduardo Reboucas of Game Revolution said that "a lot of the levels in "Super Meat Boy" depend a little too much on twitch reflexes and trial-and-error memorization". He also stated that "there are some bits of toilet humor here and there that are duds", and that the game's high level of difficulty "will make most casual players shy away". Mitchell Dyer of "GamePro" agreed, saying that certain "absurdly difficult" levels broke the flow of the game, especially in the boss levels and the later chapters.


title: Super Meat Boy

text: Meat Boy has made cameo appearances in the video games "Bit.Trip Runner", "Bit.Trip Fate", and "", as well as in "Spelunky", "", "Ori and the Blind Forest", "Retro City Rampage", "ilomilo", and "Indie Pogo". A parody Flash game, "Super Tofu Boy", was released by People for the Ethical Treatment of Animals (PETA) on December 1, 2010, to protest the game and promote veganism. In response, Team Meat added its own interpretation of Tofu Boy to the PC version of the actual "Super Meat Boy" on December 2, 2010. The game's success spurred the development of the 1930s-style animated indie video game "Cuphead", which is also noted for its difficulty.


title: Super Meat Boy

text: On August 29, 2014, Team Meat announced that a sequel, "Super Meat Boy Forever", was in development for smartphones, tablets, and Steam. The game would remain in development limbo until the project was restarted in 2017, without the assistance of McMillen. In August 2017, the game was confirmed for release for Microsoft Windows, Nintendo Switch, PlayStation 4, Xbox One, iOS and Android systems. The Switch and Windows versions were released in December 2020, with other platforms following in 2021.


title: Quinnen Williams

text: Quinnen Williams (born December 20, 1997) is an American football defensive tackle for the New York Jets of the National Football League (NFL). He played college football at Alabama and was drafted by the Jets with the 3rd overall pick in the 2019 NFL Draft. He is the younger brother of New York Jets linebacker Quincy Williams.


title: Quinnen Williams

text: Williams attended Wenonah High School in Birmingham, Alabama. His mother died of breast cancer in 2010. He was rated as a four-star prospect and the 17th best defensive tackle in the country for the class of 2016 by the 247Sports Composite. Williams originally committed to Auburn University to play college football but changed to the University of Alabama on June 30, 2015.


title: Quinnen Williams

text: After redshirting his first year at Alabama in 2016, Williams played in all 14 games as a redshirt freshman in 2017, recording 20 tackles and two sacks. He had two tackles in the 2018 College Football Playoff National Championship victory over Georgia.


title: Quinnen Williams

text: Williams was named the starting nose guard prior to Alabama's 2018 season opener against Louisville. He accounted for six total tackles and 3.5 tackles for loss in the game and was named SEC Co-Defensive Line player of the week. In a shutout win against LSU on November 3, Williams had 10 total tackles, 3.5 for loss, and 2.5 sacks, and was named Walter Camp National Defensive Player of the Week and SEC Defensive Player of the Week.


title: Quinnen Williams

text: After his redshirt sophomore season, Williams was named a unanimous first-team All-American and first-team All-SEC. He was awarded the Outland Trophy as the nation's best interior lineman. His 20 tackles for loss were tied for second in the SEC, and his eight sacks were tied for fifth in the conference.


title: Quinnen Williams

text: On January 11, 2019, Williams announced that he would forgo his remaining two years of eligibility and enter the 2019 NFL Draft.


title: Quinnen Williams

text: Williams was drafted by the New York Jets with the third overall pick in the 2019 NFL Draft. On July 25, 2019, Williams agreed to a four-year deal with the Jets worth $32.5 million featuring a $21.6 million signing bonus and a fifth year option.


title: Quinnen Williams

text: On August 26, 2019, Williams was fined $21,056 for a late hit on Matt Schaub in the second preseason game against the Atlanta Falcons.


title: Quinnen Williams

text: Williams played his first regular season game on September 8, 2019 against the Buffalo Bills, but did not record a stat, and left the game in the third quarter due to an ankle injury.


title: Quinnen Williams

text: In Week 9 against the Miami Dolphins, Williams recorded his first career sack on Ryan Fitzpatrick in the 26–18 loss. In Week 10 against the New York Giants, Williams recorded his first career fumble recovery, securing a football lost by Golden Tate on the final play of the game in the Jets' 34–27 victory. In Week 16 against the Pittsburgh Steelers, Williams recorded his second sack of the season in the Jets' 16–10 win, though this would be his final tackle of the season. Overall, Williams would finish his rookie season with 28 tackles, 2.5 sacks and 1 fumble recovery in his 13 games played.


title: Quinnen Williams

text: In Week 2 against the San Francisco 49ers, Williams recorded his first two sacks of the season during the 31–13 loss. On October 10, Williams was fined $25,000 for two personal fouls that he committed in Week 4 against the Denver Broncos.


title: Quinnen Williams

text: In Week 12 against the Miami Dolphins, Williams recorded 1.5 sacks on Ryan Fitzpatrick and forced a fumble on running back Matt Breida that was recovered by the Jets during the 20–3 loss. On December 23, 2020, Williams was placed on injured reserve, causing him to miss the final two games of the season. He received one All-Pro vote for the 2020 season.


title: Quinnen Williams

text: On May 4, 2021, it was revealed that Williams was diagnosed with a small fracture in his foot. He underwent surgery three days later.


title: Quinnen Williams

text: On October 4 in a game against the Tennessee Titans, Quinnen and his brother Quincy, who joined the Jets earlier that season, made NFL history by each recording a sack in the win.


title: Quinnen Williams

text: The Jets picked up the fifth-year option on Williams' contract on April 26, 2022. In Week 6, Williams had five tackles, two sacks, a forced fumble and a blocked field goal in a 27-10 win over the Green Bay Packers, earning AFC Defensive Player of the Week.


title: Quinnen Williams

text: Amidst the COVID-19 pandemic in April 2020, Williams donated healthy meals to medical professionals on the front lines in New Jersey. Williams also helped give away over 10,000 boxes of fruits and vegetables for those in need at Historic Legion Field in Birmingham, Alabama. This event was held by Former University of Alabama football player Chris Rogers, who created the nonprofit organization Together Assisting People (TAP).


title: Eighth Amendment of the Constitution of Ireland

text: The Eighth Amendment of the Constitution Act 1983 was an amendment to the Constitution of Ireland which inserted a subsection recognising the equal right to life of the pregnant woman and the unborn. Abortion had been subject to criminal penalty in Ireland since at least 1861; the amendment ensured that legislation or judicial interpretation would be restricted to allowing abortion in circumstances where the life of a pregnant woman was at risk. It was approved by referendum on 7 September 1983 and signed into law on 7 October 1983. In 2018, it was repealed by referendum.


text: The amendment was adopted during the Fine Gael–Labour Party coalition government led by Garret FitzGerald, but was drafted and first suggested by the previous Fianna Fáil government of Charles Haughey. The amendment was supported by Fianna Fáil and some of Fine Gael, and was opposed by the political left. Most of those opposed to the amendment insisted that they were not in favour of legalising abortion. The Catholic hierarchy and many lay Catholics supported the amendment, but it was opposed by the authorities of other mainstream churches. After a bitter referendum campaign, the amendment was passed by 67% voting in favour to 33% voting against.


text: In 2018, a referendum was passed, known as the Thirty-sixth Amendment of the Constitution of Ireland, which repealed the Eighth Amendment.


text: The Amendment inserted a new sub-section after section 3 of Article 40. The resulting Article 40.3.3º read:


text: As per sections 58 and 59 of the Offences against the Person Act 1861, abortion was already illegal in Ireland. However, anti-abortion campaigners feared the possibility of a judicial ruling in favour of allowing abortion. In "McGee v. Attorney General" (1973), the Supreme Court of Ireland had ruled against provisions of the Criminal Law Amendment Act 1935 prohibiting the sale and importation of contraception on the grounds that the reference in Article 41 to the "imprescriptable rights, antecedent and superior to all positive law" of the family conferred upon spouses a broad right to privacy in marital affairs.


text: The Pro-Life Amendment Campaign (PLAC) was founded in 1981 to campaign against a ruling in Ireland similar to Roe v. Wade. Prior to the 1981 general election, PLAC lobbied the major Irish political parties – Fianna Fáil, Fine Gael and the Labour Party – to urge the introduction of a Bill to allow the amendment to the constitution to prevent the Irish Supreme Court so interpreting the constitution as giving a right to abortion. The leaders of the three parties – respectively Charles Haughey, Garret FitzGerald and Frank Cluskey – agreed although there was little consultation with any of their parties' ordinary members. All three parties were in government over the following eighteen months, but it was only in late 1982, just before the collapse of a Fianna Fáil minority government, that a proposed wording for the amendment was produced.


text: The Eighth Amendment of the Constitution Bill 1982 was introduced on 2 November 1982 by Minister for Health Michael Woods. The bill introduced by the Fianna Fáil minority government proposed to add Article 40.3.3º to the Constitution, with the wording shown above.


text: On 4 November, the Fianna Fáil government led by Charles Haughey as Taoiseach lost a motion of confidence in the Dáil, leading to the November 1982 general election. After the election, a coalition government of Fine Gael and the Labour Party was formed, with Garret FitzGerald as Taoiseach. Minister for Health Barry Desmond declined to reintroduce the amendment; instead, it was Minister for Justice Michael Noonan who on 2 February moved to restore the Eighth Amendment to the Order Paper.


text: Attorney General Peter Sutherland advised that the wording as proposed was dangerously flawed. Speaking against the original wording during the Dáil debate Alan Shatter argued:


text: To remedy the perceived weaknesses in the original wording of the amendment bill, the government proposed an amendment to the bill during the committee stage with the following alternative wording:


text: This alternative wording was criticised by the opposition for not being "pro-life". Speaking against the alternative wording Michael Woods said:


text: A number of backbench Fine Gael TDs supported the Fianna Fáil wording, and voted against the government amendment, which was defeated by 87 to 65. The majority of Fine Gael TDs then abstained in subsequent votes. The original wording proposed by Fianna Fáil was then approved by 85 votes to 11 votes in the Dáil, and by 14 votes to 6 in the Seanad, and put to a referendum.


text: The referendum was supported by PLAC, Fianna Fáil, some members of Fine Gael, the Catholic hierarchy, and opposed by various groups under the umbrella name of the Anti-Amendment Campaign (AAC), including Labour senator (and future President of Ireland) Mary Robinson, feminist campaigners, and trade unions. Few in Fine Gael or Labour campaigned against the referendum, and before the vote, Garret FitzGerald declared that he would vote against it. Sinn Féin and the Workers' Party opposed the amendment, and the Irish Council of Churches (representing the main Protestant churches) campaigned against it.


text: Anti-Amendment campaigners warned the vague nature of the amendment, the sectarian nature of it, the possible risk to the health treatment to pregnant women, and to the possible legal consequences for contraception, which the Pro-Life Amendment Campaign denied.


text: In a number of cases, the Supreme Court had held that this provision of the Constitution prohibited information within the state on the availability of abortion services outside of the state. In "AG (SPUC) v Open Door Counselling Ltd." (1988), the courts injunction restraining two counseling agencies from assisting women to travel abroad to obtain abortions or informing them of the methods of communications with such clinics, and in "SPUC v Grogan" (1989), the courts granted an injunction restraining three students' unions from distributing information in relation to abortion available outside the state. These rulings were overturned by the Thirteenth Amendment and Fourteenth Amendment in 1992, which explicitly gave people the right to travel abroad for an abortion, and to receive information in Ireland about abortion available abroad.


text: In "Attorney General v. X" (the X Case) in early 1992, the High Court granted an injunction to the Attorney General restraining a fourteen-year-old girl who had been raped from obtaining an abortion in England. On appeal, Supreme Court found that as the girl had shown a risk of suicide, to safeguard "the equal right to life of the mother" in Article 40.3.3º, abortion was permissible in this instance.


text: The Pro Life Campaign, a successor to PLAC, accused the Supreme Court of misinterpreting both the law and the will of the people. The Government and former Attorney-General Peter Sutherland dismissed such claims, arguing that, as they had claimed in 1983, the 'Pro-Life Amendment' was so poorly worded and ambiguous that it could facilitate either pro-abortion rights or anti-abortion interpretations in different circumstances. The Amendment was not reinterpreted by the Supreme Court on the grounds originally voiced by Peter Sutherland that it would lead to abortion prior to viability or kill women by refusing standard treatments for ectopic pregnancies, cancerous wombs, etc. There was no medical evidence called during the X case hearings.


text: In "PP v. HSE" (2014), the High Court held that the constitution did not require a woman who was medically brain dead to be kept on life support to keep the foetus within her alive, because the chance of the foetus being born alive were "virtually non-existent". It is unclear how the case would have been decided if the pregnancy was further along.


text: In "HSE v. B." (2016), the High Court declined to grant an order sought by the Health Service Executive permitting it to carry out a caesarean section against the will of a pregnant mother.


text: In an application for leave seeking judicial review of an order for deportation of a Nigerian man, Humphreys J held for the High Court in August 2016 that leave should be granted, in part on the family rights of the unborn child at the time of the deportation. The state appealed this decision. On 7 March 2018, the Supreme Court upheld the High Court and dismissed the state's appeal in a unanimous decision that the Minister is obliged to take into account the fact of pregnancy; however, it reversed other sections of the High Court and ruled the Minister is accordingly not obliged to treat the unborn as having constitutional rights other than the rights contained in Article 40.3.3º.


text: Three referendums were held in November 1992. The Twelfth Amendment of the Constitution Bill, 1992 sought to exclude "a risk of self-destruction" as grounds for abortion, to overturn the central element of the decision in the X Case. This was rejected by 65% to 35%. The Thirteenth Amendment, permitting travel to obtain abortion in another jurisdiction, was approved by 62% to 38%. The Fourteenth Amendment, permitting information about services in other countries, was approved by 60% to 40%.


text: A further referendum which proposed to insert legislation into the Constitution which would permit abortion where there was a threat to life but not where there was a risk of suicide, the Twenty-fifth Amendment of the Constitution Bill 2001, was narrowly defeated by 50.4% to 49.6%.


text: The Treaty on European Union, or the Maastricht Treaty, was signed on 7 February 1992. To assuage fears that free movement of services would lead to access in Ireland to abortion services, the government secured a protocol to the Treaty protecting the constitutional provision. The Maastricht Treaty was approved in a referendum in June 1992 by 69% to 31%. Following amendments to the Treaty on European Union affected by the Lisbon Treaty in 2009, this provision now reads:


text: The Protection of Life During Pregnancy Act 2013 replaced the abortion offences in the Offences against the Person Act 1861 and made statutory provision for the limited right to abortion established by the X Case. It replaced the offence of "unlawfully procuring a miscarriage" punishable to life imprisonment with the offence of "destruction of unborn human life", punishable by up to 14 years' imprisonment.


text: The Campaign to Repeal the Eighth Amendment has its roots in the unsuccessful Anti-Amendment Campaign in 1983. There was a campaign to Repeal the Eight Amendment after the X Case in 1992, and the three abortion referendums which followed it (the 12th, 13th and 14th). The campaign lay dormant for more than 20 years until the death of Savita Halappanavar in 2012. The Abortion Rights Campaign was founded in 2012. The #RepealThe8th hashtag was started on Twitter in 2012. The use of a social media to campaign to #RepealThe8th was an effective way to gain momentum leading up to the 2018 referendum. Twitter is recognised as 'one of the primary tools' for social justice, and in Ireland's case, allowed women to connect for collaborative social change despite the physical distance between them.


text: This campaign is led by a coalition of pro-abortion rights groups, including the Association for Improvements in Maternity Services (AIMS) Ireland, the Coalition to Repeal the Eighth, the Abortion Rights Campaign, Doctors for Choice, the Termination for Medical Reasons group, etc., and has support from a number of legal academics and members of the medical profession, including the Institute of Obstetricians and Gynaecologists. In the run up to the 2016 general election, a number of parties committed to a referendum to repeal the Eighth Amendment (Labour, Green Party, Social Democrats, Sinn Féin and Workers' Party) as well as a group of feminist law academics published model legislation to show what a post-Eighth Amendment abortion law could look like. In June 2016, Minister for Health Simon Harris stated his support for a referendum on repealing the 8th.


text: On 27 July 2016, the government appointed Supreme Court judge Mary Laffoy as chair of a Citizens' Assembly to consider a number of topics, including the Eighth Amendment. The Assembly recommended a referendum to remove and replace the 8th Amendment. In September 2017, the Oireachtas Committee on the 8th Amendment began its work considering how to give effect to this recommendation.


text: The 5th Annual March for Choice, organised by the Abortion Rights Campaign, took place in Dublin on Saturday 24 September 2016 marking the Global Day of Action for Access to Safe and Legal Abortion. The theme of the rally was Rise and Repeal. The attendance was estimated to be around 20,000. The 2017 March for Choice attracted 40,000 marchers, according to organisers.


text: On Saturday 21 July 2017, the Rally for Life was organised by prominent anti-abortion groups including the Life Institute, Youth Defence, and the Northern Ireland group Precious Life, in opposition to the campaign. A march held on 10 March 2018 at Merrion Square was estimated to have had a turnout of 15,000, although organisers claim up to 100,000 attended.


text: On 14 June 2017, the Taoiseach Leo Varadkar announced his government's intention to bring forward legislation to facilitate the holding of a referendum on abortion in 2018. On 9 March 2018, debate began in the Dáil on the Thirty-sixth Amendment of the Constitution Bill 2018, which would replace the current provisions on Article 40.3.3º with the following clause:


text: On 25 May 2018, the Irish people voted by 66.4% to remove the Eighth Amendment, choosing to replace it with the above text as a part of the Thirty-sixth Amendment to the Constitution, permitting the Oireachtas (parliament) to legislate for the regulation of termination of pregnancy. When it was signed in to law by the President of Ireland, it superseded the 8th, 13th and 14th amendments. 39 of the 40 Constituencies voted in favour, the constituency of Donegal being the only one to vote against.


title: The Scholar Who Walks the Night

text: The Scholar Who Walks the Night () is a 2015 South Korean television series based on the manhwa of the same name written by Jo Joo-hee and illustrated by Han Seung-hee. Starring Lee Joon-gi, Lee Yu-bi, Shim Chang-min, Lee Soo-hyuk, and Kim So-eun, it aired on MBC from July 8 to September 10, 2015 on Wednesdays and Thursdays at 21:55 for 20 episodes.


title: The Scholar Who Walks the Night

text: Set in an alternate Joseon dynasty, Jo Yang-sun (Lee Yu-bi) is the daughter of a nobleman whose family loses everything when her father is framed for treason. To make ends meet, Yang-sun begins cross-dressing as a male bookseller and meets the handsome and mysterious scholar Kim Sung-yeol (Lee Joon-gi), who works at the Hongmungwan. Kim Sung-yeol has spent 120 years as a guardian vampire who is responsible for getting rid of any vampire who disobeys the rules. As a guardian vampire, he is able to go out in sunlight as long as he wears his special black robe. Sung-yeol continues to be haunted by the long-ago death of his first love, Lee Myung-hee (Kim So-eun), who sacrificed herself for him 120 years ago. Sung-yeol decides to pay Yang-sun a high price if she is able to find the memorandum of his best friend, the late Crown Prince Jonghyun, which contains the secret to killing Gwi (Lee Soo-hyuk) and avenge the death of his family and lover. After the second meeting with Yang-sun, Sung-yeol finds out that Yang-sun is a girl. However, he decides to keep it as a secret to avoid awkwardness with Yang-sun. Yang-sun tries very hard to find the memorandum as she promised since she also needs money to cure her sister's leg.


title: The Scholar Who Walks the Night

text: On a trip to find the old book seller from Yuan with Yang-sun, Sung-yeol meets Choi Hye-ryung, Myung-hee's present-day doppelgänger who is an aloof nobleman's daughter. Hye-ryung's father is a Right Minister of the king. He has the highest authority in the king's court compared to other ministers. He has also been loyally serving Gwi for a long time. In order to prove his loyalty, he even sacrificed Hye-ryung when she was 10 years old to become Gwi's food toy. However, due to her loyalty and gentle treatment towards Gwi, he has unconsciously fallen in love with Hye-ryung and secretly plans to change her into a vampire, even though he already has 100% control of the royal court. Gwi resides in the underground royal palace and uses his powers and political machinations to prevent Crown Prince Lee Yoon (Shim Chang-min) from ascending to the throne, as he knows that Crown Prince Lee Yoon is secretly planning to get rid of him like his late ancestor, Crown Prince Jonghyun.


title: The Scholar Who Walks the Night

text: Gwi is also aware of Sung-yeol's plan to kill him. He becomes furious when he learns that Sung-yeol has gotten close to finding the secret to killing him. Gwi tries to harm Yang-sun several times, but Sung-yeol was able to save Yang-sun since Sung-yeol also has the ability to sense Gwi's presence. Gwi becomes anxious after he smells Yang-sun's blood and decides to get rid of Yang-sun as a precaution. After a while, Sung-yeol secretly falls in love with Yang-sun after he discovers that Hye-ryung is one of Gwi's followers.


title: The Scholar Who Walks the Night

text: Jo Seung, Yang-sun's adopted father, is the secret keeper of the Crown Prince Jonghyun's memorandum. Jo Seung is a former servant of Yang-sun's biological father, Lord Seo Jung Do, who served the Crown Prince Lee Yoon's late father, Crown Prince Sadong, as his Right Minister. Jo Seung was changed into vampire by Gwi as a punishment and tries to harm Yang-sun. Unbeknownst to Sung-yeol, Yang-sun was saved by him 10 years ago and Sung-yeol killed Yang-sun's father in order to save her. Although she has been bitten by her father, Yang-sun/Seo-jin did not change into a vampire because she has the blood of Gwi. Yang-sun's biological mother is the direct descendant of Gwi from her mother's side. Her biological mother had raised her as a boy in order to protect her because she knows that her daughter needs to be sacrificed as a weapon to kill Gwi.


title: The Scholar Who Walks the Night

text: What is the secret plan in the Crown Prince Jonghyun's memorandum? How can Sung-yeol save Yang-sun from being sacrificed? Will Lee Yoon become a puppet king controlled by Gwi like his ancestor? Will Sang-yeol and Yang-sun be able to live happily ever after?


title: The Scholar Who Walks the Night

text: An accident while filming on set (simply described by producers as "a fall") on June 10, 2015 caused both Lee Joon-gi and Lee Yu-bi to be hospitalized, for a nasal fracture and a herniated lumbar disc, respectively.


title: Burgess Owens

text: Clarence Burgess Owens (born August 2, 1951) is an American politician, nonprofit executive and former professional football player serving as the U.S. representative for Utah's 4th congressional district since 2021. He played safety for 10 seasons for the New York Jets and the Oakland Raiders, winning a championship with the Raiders in Super Bowl XV in 1980. Since leaving the NFL, Owens has founded several businesses and is the CEO of a nonprofit dedicated to helping troubled and incarcerated youth. A Republican, Owens defeated incumbent Democrat Ben McAdams in the 2020 election. Owens, along with Byron Donalds, is one of two black Republicans in the House of Representatives.


title: Burgess Owens

text: Owens was born in Columbus, Ohio, where his Texas-born father had come to do graduate studies he could not complete in Texas due to Jim Crow laws. The family later moved to Tallahassee, Florida, where Owens's father taught as a college professor. Owens was raised in a Baptist home.


title: Burgess Owens

text: Owens graduated from Rickards High School in Tallahassee, Florida, in 1969. He was one of four African-American players who were integrated onto a football team at a historically white high school. Owens was the third of four black athletes recruited to play at the University of Miami and the third black student to earn a scholarship. He was named a First-team All-American defensive back, Most Valuable Defensive Player of the North–South All Star Game, and MVP of the Coaches All-American Game. He was inducted into the University of Miami Sports Hall Of Fame in 1980, and its Orange Bowl "Ring of Honor" in 1999.


title: Burgess Owens

text: The New York Jets selected Owens with the 13th pick in the first round of the 1973 NFL Draft. During his rookie season, he returned a kickoff 82 yards for a touchdown against the Denver Broncos. This was the Jets' only touchdown scored on a kickoff return during the 1970s. He was a regular starter for the Jets for most of the 1970s, and was a part of the Raiders' 1980 Super Bowl XV championship team.


title: Burgess Owens

text: In 1983, Owens moved to New York City. Shortly after leaving professional football, he and his brother ran a business that sold electronics to other businesses to track business expenses. The venture failed and Owens eventually declared bankruptcy.


title: Burgess Owens

text: Owens later relocated to a small apartment in Brooklyn, where he worked as a chimney sweep and security guard. He later moved to Philadelphia, where he took a sales job with WordPerfect. In later years he was an account executive with Sprint and Motorola, and from 2009 to 2013 he owned a business called Pure and Simple Solutions.


title: Burgess Owens

text: He is a founder, board member, and CEO of Second Chance 4 Youth, founded in 2019, a nonprofit dedicated to helping troubled and incarcerated youth.


title: Burgess Owens

text: In November 2019, Owens announced that he would run for the U.S. House of Representatives in Utah's 4th congressional district. He was one of four candidates in the Republican primary.


title: Burgess Owens

text: On June 30, Owens won the primary with 43% of the vote, defeating Utah State Representative Kim Coleman by 20 points. He also defeated challengers KSL radio personality Jay McFarland and businessman Trent Christensen.


title: Burgess Owens

text: Owens faced Democratic incumbent Ben McAdams in the general election. On November 14, eleven days after the election and with 99% of precincts reporting, President Donald Trump and Utah U.S. Senator Mike Lee congratulated Owens on winning the election, based upon Breitbart News calling it for Owens. McAdams conceded to Owens on November 16 and the Associated Press called the race for Owens.


title: Burgess Owens

text: In late 2020, Owens was identified as a participant in the "Freedom Force", a group of incoming Republican members of the House of Representatives who oppose far-left ideology in the House, specifically the progressive group called "the Squad".


title: Burgess Owens

text: On January 6, 2021, during the certification of electoral votes for the 2020 United States presidential election, Owens opposed the objection to the electors from Arizona, but supported the objection to the electors from Pennsylvania.


title: Burgess Owens

text: In 2021, Owens co-sponsored the Fairness for All Act, the Republican alternative to the Equality Act. The bill would prohibit discrimination on the basis of sex, sexual orientation, and gender identity, and protect the free exercise of religion.


title: Burgess Owens

text: Owens has said his views were liberal upon leaving the NFL in 1982. During his 2020 Republican primary campaign, he described his current views as "very conservative." In June 2019, Owens provided testimony to a United States House Committee on the Judiciary subcommittee opposing a bill that advocated reparations for slavery. He has also criticized U.S. national anthem protests and Colin Kaepernick. In November 2019, Owens called Donald Trump "an advocate for black Americans". On January 6, 2021, he voted to reject Pennsylvania's electoral votes for President-elect Biden but did not vote to reject Arizona's. At a June 1, 2020, Republican primary debate, Owens said Democrats in Washington are held in thrall by Marxists and socialists. He said, "The days of Ronald Reagan and Tip O'Neill are over. We're dealing with people who hate our country".


title: Burgess Owens

text: He said the Affordable Care Act should be repealed and that he supported President Trump. Later on in the campaign, Owens changed his stance, saying that coverage for preexisting conditions should be protected, and that he did not support repeal of Obamacare.


title: Burgess Owens

text: In a candidate forum in October 2020, Owens said the country's top economic need was to reduce business regulations and make tax cuts. He also stated his opposition to a minimum wage increase. When asked about the need for bipartisanship, he responded: The first thing we have to do is make sure that the Republican Party gets control again... We're at a point now we just cannot afford to go off the cliff and allow a socialist to actually take the lead now... We have to be honest about this. There are truly people who don't love our culture and do anything to destroy it and transform us into something else.


title: Burgess Owens

text: On July 19, 2022, Owens was among 47 Republican representatives who voted in favor of the Respect for Marriage Act, which would codify the right to same-sex marriage in federal law. However, Owens voted "present" on final passage on December 8, 2022.


title: Burgess Owens

text: In August 2022, Owens co-sponsored a bill put forth by Marjorie Taylor Greene that would criminalize gender-affirming health care for trans youth.


title: Burgess Owens

text: In 2022, Owens was one of 39 Republicans to vote for the Merger Filing Fee Modernization Act of 2022, an antitrust package that would crack down on corporations for anti-competitive behavior.


title: Burgess Owens

text: According to his website, Owens was married for 34 years and had six children before he and his wife divorced. He is a prostate cancer survivor.


title: Burgess Owens

text: Owens is a member of the Church of Jesus Christ of Latter-day Saints and has spoken publicly about his faith. He joined the Church during his final season with the Oakland Raiders. Crediting the influence of teammate Todd Christensen, Owens (raised Baptist), and his wife Josie (raised Catholic), were baptized on December 31, 1982. In 1988, he spoke at a meeting sponsored by the Charles Redd Center for Western Studies held on the 10th anniversary of the 1978 Revelation on Priesthood.


title: Kay Flock

text: Kevin Perez (born April 20, 2003), known professionally as Kay Flock, is an American rapper. Beginning his musical career in 2020, he rose to fame through a variety of singles, most notably "Not in the Mood" by Lil Tjay, which peaked at number 61 on the "Billboard" Hot 100. He released his debut mixtape, "The D.O.A. Tape", in 2021.


title: Kay Flock

text: Kevin Perez was born on April 20, 2003 in The Bronx, New York. He described his home as "dangerous" while growing up.


title: Kay Flock

text: Kay Flock began his music career in May 2020; other songs that he released following this included "Opp Spotter" (featuring B-Lovee), "Brotherly Love" (featuring B-Lovee and Dougie B) and "PSA".


title: Kay Flock

text: Kay Flock released his debut mixtape, "The D.O.A. Tape", on November 5, 2021, which peaked at number one on the Heatseekers Albums chart. In August, he released "Is Ya Ready"; the song was named within journalist Jon Caramanica's top 28 songs of 2021. He later released "Being Honest", which samples "Changes" by XXXTentacion. The song was said to be "reminiscent of G Herbo" and was named within "Pitchfork"s top 38 rap songs of 2021 and top 100 songs of 2021. A remix of the song, featuring G Herbo, was released in November.


title: Kay Flock

text: In October, he was featured on "Not in the Mood" by Lil Tjay, which also featured Fivio Foreign. The song peaked at number 61 on the "Billboard" Hot 100. In November, Kay Flock was named "Billboard"s Hip Hop Rookie of the Month. During an interview with "XXL", he stated that his style of rapping was compared to King Von and Pop Smoke, with Asian Doll saying that Von would have been a fan of Kay Flock.


title: Kay Flock

text: In April 2022, Kay Flock released "Shake It" with Dougie B and Cardi B, featuring Bory300; it peaked at number 51 on the "Billboard" Hot 100. The track was leaked months prior, although the leaked version of the song featured Yonkers rapper Mula Gzz, whose verse was replaced with Cardi’s.


title: Kay Flock

text: On December 23, 2021, it was reported Perez was arrested after allegedly shooting and killing 24 year-old Oscar Hernandez in Harlem, New York. According to the New York Police Department, on December 16, 2021, as Perez walked past a barbershop near the scene of the crime, Hernandez ran out of the shop before allegedly being shot in the neck and back by Perez. Hernandez later died of his injuries at Mount Sinai Hospital. After Perez was named as the main suspect in the investigation, he turned himself into the NYPD on December 23. He is currently facing first-degree murder charges, and is being held on Rikers Island.


title: Kay Flock

text: As of March 16, 2022, Perez is represented by Jeffrey Lichtman, who represented Joaquín "El Chapo" Guzmán at his US federal trial in 2019.


title: Ajay (actor)

text: Ajay was born and brought up in Vijayawada. His family later moved to Hyderabad. Ajay married Swetha Ravuri in 2005 who entered the Mrs India Worldwide finals in 2017. The couple has two children.


title: Jerome Kern

text: Jerome David Kern (January 27, 1885 – November 11, 1945) was an American composer of musical theatre and popular music. One of the most important American theatre composers of the early 20th century, he wrote more than 700 songs, used in over 100 stage works, including such classics as "Ol' Man River", "Can't Help Lovin' Dat Man", "A Fine Romance", "Smoke Gets in Your Eyes", "The Song Is You", "All the Things You Are", "The Way You Look Tonight" and "Long Ago (and Far Away)". He collaborated with many of the leading librettists and lyricists of his era, including George Grossmith Jr., Guy Bolton, P. G. Wodehouse, Otto Harbach, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer, Ira Gershwin and Yip Harburg.


title: Jerome Kern

text: A native New Yorker, Kern created dozens of Broadway musicals and Hollywood films in a career that lasted for more than four decades. His musical innovations, such as 4/4 dance rhythms and the employment of syncopation and jazz progressions, built on, rather than rejected, earlier musical theatre tradition. He and his collaborators also employed his melodies to further the action or develop characterization to a greater extent than in the other musicals of his day, creating the model for later musicals. Although dozens of Kern's musicals and musical films were hits, only "Show Boat" is now regularly revived. Songs from his other shows, however, are still frequently performed and adapted. Many of Kern's songs have been adapted by jazz musicians to become standard tunes.


title: Jerome Kern

text: Kern was born in New York City, on Sutton Place, in what was then the city's brewery district. His parents were Henry Kern (1842–1908), a Jewish German immigrant, and Fannie Kern "née" Kakeles (1852–1907), who was an American Jew of Bohemian parentage. At the time of Kern's birth, his father ran a livery stable; later he became a successful merchant. Kern grew up on East 56th Street in Manhattan, where he attended public schools. He showed an early aptitude for music and was taught to play the piano and organ by his mother, a professional player and teacher.


title: Jerome Kern

text: In 1897, the family moved to Newark, New Jersey, where Kern attended Newark High School (which became Barringer High School in 1907). He wrote songs for the school's first musical, a minstrel show, in 1901, and for an amateur musical adaptation of "Uncle Tom's Cabin" put on at the Newark Yacht Club in January 1902. Kern left high school before graduation in the spring of his senior year in 1902. In response, Kern's father insisted that his son work with him in business, instead of composing. Kern, however, failed miserably in one of his earliest tasks: he was supposed to purchase two pianos for the store, but instead he ordered 200. His father relented, and later in 1902, Kern became a student at the New York College of Music, studying the piano under Alexander Lambert and Paolo Gallico, and harmony under Dr. Austin Pierce. His first published composition, a piano piece, "At the Casino", appeared in the same year. Between 1903 and 1905, he continued his musical training under private tutors in Heidelberg, Germany, returning to New York via London.


title: Jerome Kern

text: For a time, Kern worked as a rehearsal pianist in Broadway theatres and as a song-plugger for Tin Pan Alley music publishers. While in London, he secured a contract from the American impresario Charles Frohman to provide songs for interpolation in Broadway versions of London shows. He began to provide these additions in 1904 to British scores for "An English Daisy", by Seymour Hicks and Walter Slaughter, and "Mr. Wix of Wickham", for which he wrote most of the songs.


title: Jerome Kern

text: In 1905, Kern contributed the song "How'd you like to spoon with me?" to Ivan Caryll's hit musical "The Earl and the Girl" when the show transferred to Chicago and New York in 1905. He also contributed to the New York production of "The Catch of the Season" (1905), "The Little Cherub" (1906) and "The Orchid" (1907), among other shows. From 1905 on, he spent long periods of time in London, contributing songs to West End shows like "The Beauty of Bath" (1906; with lyricist P. G. Wodehouse) and making valuable contacts, including George Grossmith Jr. and Seymour Hicks, who were the first to introduce Kern's songs to the London stage. In 1909 during one of his stays in England, Kern took a boat trip on the River Thames with some friends, and when the boat stopped at Walton-on-Thames, they went to an inn called the Swan for a drink. Kern was much taken with the proprietor's daughter, Eva Leale (1891–1959), who was working behind the bar. He wooed her, and they were married at the Anglican church of St. Mary's in Walton on October 25, 1910. The couple then lived at the Swan when Kern was in England.


title: Jerome Kern

text: Kern is believed to have composed music for silent films as early as 1912, but the earliest documented film music which he is known to have written was for a twenty-part serial, "Gloria's Romance" in 1916. This was one of the first starring vehicles for Billie Burke, for whom Kern had earlier written the song "Mind the Paint", with lyrics by A. W. Pinero. The film is now considered lost, but Kern's music survives. Another score for the silent movies, "Jubilo", followed in 1919. Kern was one of the founding members of ASCAP.


title: Jerome Kern

text: Kern's first complete score was Broadway's "The Red Petticoat" (1912), one of the first musical-comedy Westerns. The libretto was by Rida Johnson Young. By World War I, more than a hundred of Kern's songs had been used in about thirty productions, mostly Broadway adaptations of West End and European shows. Kern contributed two songs to "To-Night's the Night" (1914), another Rubens musical. It opened in New York and went on to become a hit in London. The best known of Kern's songs from this period is probably "They Didn't Believe Me", which was a hit in the New York version of the Paul Rubens and Sidney Jones musical, "The Girl from Utah" (1914), for which Kern wrote five songs. Kern's song, with four beats to a bar, departed from the customary waltz-rhythms of European influence and fitted the new American passion for modern dances such as the fox-trot. He was also able to use elements of American styles, such as ragtime, as well as syncopation, in his lively dance tunes. Theatre historian John Kenrick writes that the song put Kern in great demand on Broadway and established a pattern for musical comedy love songs that lasted through the 1960s.


title: Jerome Kern

text: In May 1915, Kern was due to sail with Charles Frohman from New York to London on board the RMS "Lusitania", but Kern missed the boat, having overslept after staying up late playing poker. Frohman died in the sinking of the ship.


title: Jerome Kern

text: Kern composed 16 Broadway scores between 1915 and 1920 and also contributed songs to the London hit "Theodore & Co" (1916; most of the songs are by the young Ivor Novello) and to revues like the Ziegfeld Follies. The most notable of his scores were those for a series of shows written for the Princess Theatre, a small (299-seat) house built by Ray Comstock. Theatrical agent Elisabeth Marbury asked Kern and librettist Guy Bolton to create a series of intimate and low-budget, yet smart, musicals.


title: Jerome Kern

text: The "Princess Theatre shows" were unique on Broadway not only for their small size, but their clever, coherent plots, integrated scores and naturalistic acting, which presented "a sharp contrast to the large-scale Ruritanian operettas then in vogue" or the star-studded revues and extravaganzas of producers like Florenz Ziegfeld. Earlier musical comedy had often been thinly plotted, gaudy pieces, marked by the insertion of songs into their scores with little regard to the plot. But Kern and Bolton followed the examples of Gilbert and Sullivan and French "opéra bouffe" in integrating song and story. "These shows built and polished the mold from which almost all later major musical comedies evolved. ... The characters and situations were, within the limitations of musical comedy license, believable and the humor came from the situations or the nature of the characters. Kern's exquisitely flowing melodies were employed to further the action or develop characterization." The shows featured modern American settings and simple scene changes to suit the small theatre.


title: Jerome Kern

text: The team's first Princess Theatre show was an adaptation of Paul Rubens' 1905 London show, "Mr. Popple (of Ippleton)", called "Nobody Home" (1915). The piece ran for 135 performances and was a modest financial success. However, it did little to fulfill the new team's mission to innovate, except that Kern's song, "The Magic Melody", was the first Broadway showtune with a basic jazz progression. Kern and Bolton next created an original piece, "Very Good Eddie", which was a surprise hit, running for 341 performances, with additional touring productions that went on into the 1918-19 season. The British humorist, lyricist and librettist P. G. Wodehouse joined the Princess team in 1917, adding his skill as a lyricist to the succeeding shows. "Oh, Boy!" (1917) ran for an extraordinary 463 performances. Other shows written for the theatre were "Have a Heart" (1917), "Leave It to Jane" (1917) and "Oh, Lady! Lady!!" (1918). The first opened at another theatre before "Very Good Eddie" closed. The second played elsewhere during the long run of "Oh Boy!" An anonymous admirer wrote a verse in their praise that begins:


title: Jerome Kern

text: "Oh, Lady! Lady!!" was the last successful "Princess Theatre show". Kern and Wodehouse disagreed over money, and the composer decided to move on to other projects. Kern's importance to the partnership was illustrated by the fate of the last musical of the series, "Oh, My Dear!" (1918), to which he contributed only one song: "Go, Little Boat". The rest of the show was composed by Louis Hirsch and ran for 189 performances: "Despite a respectable run, everyone realized there was little point in continuing the series without Kern."


title: Jerome Kern

text: The 1920s were an extremely productive period in American musical theatre, and Kern created at least one show every year for the entire decade. His first show of 1920 was "The Night Boat", with book and lyrics by Anne Caldwell, which ran for more than 300 performances in New York and for three seasons on tour. Later in the same year, Kern wrote the score for "Sally", with a book by Bolton and lyrics by Otto Harbach. This show, staged by Florenz Ziegfeld, ran for 570 performances, one of the longest runs of any Broadway show in the decade, and popularized the song "Look for the Silver Lining" (which had been written for an earlier show), performed by the rising star Marilyn Miller. It also had a long run in London in 1921, produced by George Grossmith Jr. Kern's next shows were "Good Morning, Dearie" (1921, with Caldwell) which ran for 347 performances; followed in 1922 by a West End success, "The Cabaret Girl" in collaboration with Grossmith and Wodehouse; another modest success by the same team, "The Beauty Prize" (1923); and a Broadway flop, "The Bunch and Judy", remembered, if at all, as the first time Kern and Fred Astaire worked together.


title: Jerome Kern

text: "Stepping Stones" (1923, with Caldwell) was a success, and in 1924 the Princess Theatre team of Bolton, Wodehouse and Kern reunited to write "Sitting Pretty", but it did not recapture the popularity of the earlier collaborations. Its relative failure may have been partly due to Kern's growing aversion to having individual songs from his shows performed out of context on radio, in cabaret, or on record, although his chief objection was to jazz interpretations of his songs. He called himself a "musical clothier – nothing more or less," and said, "I write music to both the situations and the lyrics in plays." When "Sitting Pretty" was produced, he forbade any broadcasting or recording of individual numbers from the show, which limited their chance to gain popularity.


title: Jerome Kern

text: 1925 was a major turning point in Kern's career when he met Oscar Hammerstein II, with whom he would entertain a lifelong friendship and collaboration. As a young man, Kern had been an easy companion with great charm and humor, but he became less outgoing in his middle years, sometimes difficult to work with: he once introduced himself to a producer by saying, "I hear you're a son of a bitch. So am I." He rarely collaborated with any one lyricist for long. With Hammerstein, however, he remained on close terms for the rest of his life. Their first show, written together with Harbach, was "Sunny", which featured the song "Who (Stole My Heart Away)?" Marilyn Miller played the title role, as she had in "Sally". The show ran for 517 performances on Broadway, and the following year ran for 363 performances in the West End, starring Binnie Hale and Jack Buchanan.


title: Jerome Kern

text: Because of the strong success of "Sally" and "Sunny" and consistent good results with his other shows, Ziegfeld was willing to gamble on Kern's next project in 1927. Kern had been impressed by Edna Ferber's novel "Show Boat" and wished to present a musical stage version. He persuaded Hammerstein to adapt it and Ziegfeld to produce it. The story, dealing with racism, marital strife and alcoholism, was unheard of in the escapist world of musical comedy. Despite his doubts, Ziegfeld spared no expense in staging the piece to give it its full epic grandeur. According to the theatre historian John Kenrick: "After the opening night audience filed out of the Ziegfeld Theatre in near silence, Ziegfeld thought his worst fears had been confirmed. He was pleasantly surprised when the next morning brought ecstatic reviews and long lines at the box office. In fact, "Show Boat" proved to be the most lasting accomplishment of Ziegfeld's career – the only one of his shows that is regularly performed today." The score is, arguably, Kern's greatest and includes the well-known songs "Ol' Man River" and "Can't Help Lovin' Dat Man" as well as "Make Believe", "You Are Love", "Life Upon the Wicked Stage", "Why Do I Love You", all with lyrics by Hammerstein, and "Bill", originally written for "Oh, Lady! Lady!", with lyrics by P. G. Wodehouse. The show ran for 572 performances on Broadway and was also a success in London. Although Ferber's novel was filmed unsuccessfully as a part-talkie in 1929 (using some songs from the Kern score), the musical itself was filmed twice, in 1936, and, with Technicolor, in 1951. In 1989, a stage version of the musical was presented on television for the first time, in a production from the Paper Mill Playhouse telecast by PBS on "Great Performances".


title: Jerome Kern

text: While most Kern musicals have largely been forgotten, except for their songs, "Show Boat" remains well-remembered and frequently seen. It is a staple of stock productions and has been revived numerous times on Broadway and in London. A 1946 revival integrated choreography into the show, in the manner of a Rodgers and Hammerstein production, as did the 1994 Harold Prince–Susan Stroman revival, which was nominated for ten Tony Awards, winning five, including best revival. It was the first musical to enter a major opera company's repertory (New York City Opera, 1954), and the rediscovery of the 1927 score with Robert Russell Bennett's original orchestrations led to a large-scale EMI recording in 1987 and several opera-house productions. In 1941, the conductor Artur Rodziński wished to commission a symphonic suite from the score, but Kern considered himself a songwriter and not a symphonist. He never orchestrated his own scores, leaving that to musical assistants, principally Frank Saddler (until 1921) and Robert Russell Bennett (from 1923). In response to the commission, Kern oversaw an arrangement by Charles Miller and Emil Gerstenberger of numbers from the show into the orchestral work "Scenario for Orchestra: Themes from Show Boat", premiered in 1941 by the Cleveland Orchestra conducted by Rodziński.


title: Jerome Kern

text: Kern's last Broadway show in the 1920s was "Sweet Adeline" (1929), with a libretto by Hammerstein. It was a period piece, set in the Gay 90s, about a girl from Hoboken, New Jersey (near Kern's childhood home), who becomes a Broadway star. Opening just before the stock market crash, it received rave reviews, but the elaborate, old-fashioned piece was a step back from the innovations in "Show Boat", or even the Princess Theatre shows. In January 1929, at the height of the Jazz Age, and with "Show Boat" still playing on Broadway, Kern made news on both sides of the Atlantic for reasons wholly unconnected with music. He sold at auction, at New York's Anderson Galleries, the collection of English and American literature that he had been building up for more than a decade. The collection, rich in inscribed first editions and manuscript material of eighteenth and nineteenth century authors, sold for a total of $1,729,462.50 () – a record for a single-owner sale that stood for over fifty years. Among the books he sold were first or early editions of poems by Robert Burns and Percy Bysshe Shelley, and works by Jonathan Swift, Henry Fielding and Charles Dickens, as well as manuscripts by Alexander Pope, John Keats, Shelley, Lord Byron, Thomas Hardy and others.


title: Jerome Kern

text: In 1929 Kern made his first trip to Hollywood to supervise the 1929 film version of "Sally", one of the first "all-talking" Technicolor films. The following year, he was there a second time to work on "Men of the Sky", released in 1931 without his songs, and a 1930 film version of "Sunny". There was a public reaction against the early glut of film musicals after the advent of film sound; Hollywood released more than 100 musical films in 1930, but only 14 in 1931. Warner Bros. bought out Kern's contract, and he returned to the stage. He collaborated with Harbach on the Broadway musical "The Cat and the Fiddle" (1931), about a composer and an opera singer, featuring the songs "She Didn't Say Yes" and "The Night Was Made for Love". It ran for 395 performances, a remarkable success for the Depression years, and transferred to London the following year. It was filmed in 1934 with Jeanette MacDonald.


title: Jerome Kern

text: "Music in the Air" (1932) was another Kern-Hammerstein collaboration and another show-biz plot, best remembered today for "The Song Is You" and "I've Told Ev'ry Little Star". It was "undoubtedly an operetta", set in the German countryside, but without the Ruritanian trimmings of the operettas of Kern's youth. "Roberta" (1933) by Kern and Harbach included the songs "Smoke Gets in Your Eyes", "Let's Begin and "Yesterdays" and featured, among others, Bob Hope, Fred MacMurray, George Murphy and Sydney Greenstreet all in the early stages of their careers. Kern's "Three Sisters" (1934), was his last West End show, with a libretto by Hammerstein. The musical, depicting horse-racing, the circus, and class distinctions, was a failure, running for only two months. Its song "I Won't Dance" was used in the film "Roberta". Some British critics objected to American writers essaying a British story; James Agate, doyen of London theatre critics of the day, dismissed it as "American inanity," though both Kern and Hammerstein were strong and knowledgeable Anglophiles. Kern's last Broadway show (other than revivals) was "Very Warm for May" (1939), another show-biz story and another disappointment, although the score included the Kern and Hammerstein classic "All The Things You Are".


title: Jerome Kern

text: In 1935, when musical films had become popular once again, thanks to Busby Berkeley, Kern returned to Hollywood, where he composed the scores to a dozen more films, although he also continued working on Broadway productions. He settled permanently in Hollywood in 1937. After suffering a heart attack in 1939, he was told by his doctors to concentrate on film scores, a less stressful task, as Hollywood songwriters were not as deeply involved with the production of their works as Broadway songwriters. This second phase of Kern's Hollywood career had considerably greater artistic and commercial success than the first. With Hammerstein, he wrote songs for the film versions of his recent Broadway shows "Music in the Air" (1934), which starred Gloria Swanson in a rare singing role, and "Sweet Adeline" (1935). With Dorothy Fields, he composed the new music for "I Dream Too Much" (1935), a musical melodrama about the opera world, starring the Metropolitan Opera diva Lily Pons. Kern and Fields interspersed the opera numbers with their songs, including "the swinging 'I Got Love,' the lullaby 'The Jockey on the Carousel,' and the entrancing title song." Also with Fields, he wrote two new songs, "I Won't Dance" and "Lovely to Look At", for the Fred Astaire and Ginger Rogers film version of "Roberta" (1935), which was a hit. The show also included the song "I'll Be Hard to Handle". This was given a 1952 remake called "Lovely to Look At".


title: Jerome Kern

text: Their next film, "Swing Time" (1936) included the song "The Way You Look Tonight", which won the Academy Award in 1936 for the best song. Other songs in "Swing Time" include "A Fine Romance", "Pick Yourself Up" and "Never Gonna Dance". "The Oxford Companion to the American Musical" calls "Swing Time" "a strong candidate for the best of the Fred Astaire and Ginger Rogers musicals" and says that, although the screenplay is contrived, it "left plenty of room for dance and all of it was superb. ... Although the movie is remembered as one of the great dance musicals, it also boasts one of the best film scores of the 1930s." For the 1936 film version of "Show Boat", Kern and Hammerstein wrote three new songs, including "I Have The Room Above Her" and "Ah Still Suits Me". "High, Wide, and Handsome" (1937) was intentionally similar in plot and style to "Show Boat", but it was a box-office failure. Kern songs were also used in the Cary Grant film, "When You're in Love" (1937), and the first Abbott and Costello feature, "One Night in the Tropics" (1940). In 1940, Hammerstein wrote the lyric "The Last Time I Saw Paris", in homage to the French capital, recently occupied by the Germans. Kern set it, the only time he set a pre-written lyric, and his only hit song not written as part of a musical. Originally a hit for Tony Martin and later for Noël Coward, the song was used in the film "Lady Be Good" (1941) and won Kern another Oscar for best song. Kern's second and last symphonic work was his 'Mark Twain Suite" (1942).


title: Jerome Kern

text: In his last Hollywood musicals, Kern worked with several new and distinguished partners. With Johnny Mercer for "You Were Never Lovelier" (1942), he contributed "a set of memorable songs to entertain audiences until the plot came to its inevitable conclusion". The film starred Astaire and Rita Hayworth and included the song "I'm Old Fashioned". Kern's next collaboration was with Ira Gershwin on "Cover Girl" starring Hayworth and Gene Kelly (1944) for which Kern composed "Sure Thing","Put Me to the Test," "Make Way for Tomorrow" (lyric by E. Y. Harburg), and the hit ballad "Long Ago (and Far Away)". For the Deanna Durbin Western musical, "Can't Help Singing" (1944), with lyrics by Harburg, Kern "provided the best original score of Durbin's career, mixing operetta and Broadway sounds in such songs as 'Any Moment Now,' 'Swing Your Partner,' 'More and More,' and the lilting title number." "More and More" was nominated for an Oscar.


title: Jerome Kern

text: Kern composed his last film score, "Centennial Summer" (1946) in which "the songs were as resplendent as the story and characters were mediocre. ... Oscar Hammerstein, Leo Robin, and E. Y. Harburg contributed lyrics for Kern's lovely music, resulting in the soulful ballad 'All Through the Day,' the rustic 'Cinderella Sue,' the cheerful 'Up With the Lark,' and the torchy 'In Love in Vain.'" "All Through the Day" was another Oscar nominee. The music of Kern's last two films is notable in the way it developed from his earlier work. Some of it was too advanced for the film companies; Kern's biographer, Stephen Banfield, refers to "tonal experimentation ... outlandish enharmonics" that the studios insisted on cutting. At the same time, in some ways his music came full circle: having in his youth helped to end the reigns of the waltz and operetta, he now composed three of his finest waltzes ("Can't Help Singing", "Californ-i-ay" and "Up With the Lark"), the last having a distinctly operetta-like character.


title: Jerome Kern

text: Kern and his wife, Eva, often vacationed on their yacht "Show Boat". He collected rare books and enjoyed betting on horses. At the time of Kern's death, Metro-Goldwyn-Mayer was filming a fictionalized version of his life, "Till the Clouds Roll By", which was released in 1946 starring Robert Walker as Kern. In the film, Kern's songs are sung by Judy Garland, Kathryn Grayson, June Allyson, Lena Horne, Dinah Shore, Frank Sinatra and Angela Lansbury, among others, and Gower Champion and Cyd Charisse appear as dancers. Many of the biographical facts are fictionalized.


title: Jerome Kern

text: In the fall of 1945, Kern returned to New York City to oversee auditions for a new revival of "Show Boat", and began to work on the score for what would become the musical "Annie Get Your Gun", to be produced by Rodgers and Hammerstein. On November 5, 1945, at 60 years of age, he suffered a cerebral hemorrhage while walking at the corner of Park Avenue and 57th Street. Identifiable only by his ASCAP card, Kern was initially taken to the indigent ward at City Hospital, later being transferred to Doctors Hospital in Manhattan. Hammerstein was at his side when Kern's breathing stopped. Hammerstein hummed or sang the song "I've Told Ev'ry Little Star" from "Music in the Air" (a personal favorite of the composer's) into Kern's ear. Receiving no response, Hammerstein realized Kern had died. Rodgers and Hammerstein then assigned the task of writing the score for "Annie Get Your Gun" to the veteran Broadway composer Irving Berlin.


title: Jerome Kern

text: Kern is interred at Ferncliff Cemetery in Westchester County, New York. His daughter, Betty Jane (1913–1996) married Artie Shaw in 1942 and later Jack Cummings. Kern's wife eventually remarried, to a singer named George Byron.


title: Jerome Kern

text: Jerome Kern was nominated eight times for an Academy Award, and won twice. Seven nominations were for Best Original Song; these included a posthumous nomination in each of 1945 and 1946. One nomination was in 1945 for Best Original Music Score. Kern was not eligible for any Tony Awards, which were not created until 1947. In 1976, "Very Good Eddie" was nominated for a Drama Desk Award as Outstanding Revival, and the director and actors received various Tony, Drama Desk and other awards and nominations. Elisabeth Welsh was nominated for a Tony Award for her performance in "Jerome Kern Goes to Hollywood" in 1986, and "Show Boat" received Tony nominations in both 1983 and 1995, winning for best revival in 1995 (among numerous other awards and nominations), and won the Laurence Olivier Award for best revival in 2008. In 1986, "Big Deal" was nominated for the Tony for best musical, among other awards, and Bob Fosse won as best choreographer. In 2000, "Swing!", featuring Kern's "I Won't Dance" was nominated for the Tony for Best Musical, among others. In 2002, "Elaine Stritch at Liberty", featuring Kern's "All in Fun", won the Tony Award for Best Special Theatrical Event. In 2004, "Never Gonna Dance" received two Tony nominations.


title: Jerome Kern

text: Kern was inducted into the Songwriters Hall of Fame posthumously, in 1970. In 1985, the U.S. Post Office issued a postage stamp (Scott #2110, 22¢), with an illustration of Kern holding sheet music. The Grateful Dead guitarist Jerry Garcia was named after Kern by his Dixieland bandleader father.


title: Jerome Kern

text: Note: All shows listed are musical comedies for which Kern was the sole composer unless otherwise specified.


title: Jerome Kern

text: During his first phase of work (1904–1911), Kern wrote songs for 22 Broadway productions, including songs interpolated into British musicals or featured in revues (sometimes writing lyrics as well as music), and he occasionally co-wrote musicals with one or two other composers. During visits to London beginning in 1905, he also composed songs that were first performed in several London shows. The following are some of the most notable such shows from this period:


title: Jerome Kern

text: From 1912 to 1924, the more-experienced Kern began to work on dramatically concerned shows, including incidental music for plays, and, for the first time since his college show "Uncle Tom's Cabin", he wrote musicals as the sole composer. His regular lyricist collaborators for his more than 30 shows during this period were Bolton, Wodehouse, Caldwell, Harry B. Smith and Howard Dietz. Some of his most notable shows during this very productive period were as follows:


title: Jerome Kern

text: During the last phase of his theatrical composing career, Kern continued to work with his previous collaborators but also met Oscar Hammerstein II and Otto Harbach, with whom Kern wrote his most lasting, memorable, and well-known works. The most successful of these are as follows:


title: Jerome Kern

text: In addition to revivals of his most popular shows, Kern's music has been posthumously featured in a variety of revues, musicals and concerts on and off Broadway.


title: Jerome Kern

text: Among the more than 700 songs by Kern are such classics as "They Didn't Believe Me" (1914), "Look for the Silver Lining" (1920), "Ol' Man River", "Can't Help Lovin' Dat Man", "Make Believe", "You Are Love" and "Bill" (all from "Show Boat", 1927), "The Song Is You" (1932), "Smoke Gets in Your Eyes", "Yesterdays" and "Let's Begin" (all from "Roberta", 1933), "I Won't Dance" (1935), "A Fine Romance" and the Academy Award-winning "The Way You Look Tonight" (both from "Swing Time", 1936), "All the Things You Are" (1939) and "I'm Old Fashioned" (1942). Another Oscar winner was "The Last Time I Saw Paris". One of Kern's last hits was "Long Ago (and Far Away)" (1944).


title: Manas National Park

text: Manas National Park () is a national park, UNESCO Natural World Heritage Site, Project Tiger reserve, biosphere reserve and an elephant reserve in Assam, India. Located in the Himalayan foothills, it is contiguous with Royal Manas National Park in Bhutan. The park is known for its rare and endangered endemic wildlife such as the Assam roofed turtle, hispid hare, golden langur and pygmy hog. Manas is famous for its population of the wild water buffalo.


title: Manas National Park

text: The name of the park is originated from the Manas River. The Manas river is a major tributary of Brahmaputra River, which passes through the heart of the national park.


title: Manas National Park

text: The Manas National Park was declared a sanctuary on 1 October 1928 with an area of . Manas bio reserve was created in 1973. Prior to the declaration of the sanctuary, it was a reserved forest called Manas R.F. and North Kamrup R.F. It was used by the Cooch Behar royal family and Raja of Gauripur as a hunting reserve. In 1951 and 1955, the area was increased to . It was declared a World Heritage Site in December 1985 by UNESCO. Kahitama R.F. the Kokilabari R.F. and the Panbari R.F. were added in the year 1990 to form the Manas National Park. In 1992, UNESCO declared it as a world heritage site in danger due to heavy poaching and terrorist activities. On 25 February 2008, the area was increased to . On 21 June 2011, it was removed from the List of World Heritage in Danger and was commended for its efforts in preservation.


title: Manas National Park

text: There is only one forest village, Pagrang, in the core of the national park. Apart from this village 56 more villages surround the park. Many more fringe villages are directly or indirectly dependent on the park.


title: Manas National Park

text: Political Geography: The park area falls in the following districts: Chirang, Baksa in the autonomous territorial region, i.e BTR in the state of Assam in India.


title: Manas National Park

text: The park is divided into three ranges. The western range is based at Panbari, the central at Bansbari near Barpeta Road, and the eastern at Bhuiyapara near Pathsala. The ranges are not well connected; while two major rivers need to be forded in going from the centre to the Panbari, there is a rough trail (the "Daimari road") connecting the centre to the eastern range. Most visitors come to Bansbari and then spend some time inside the forest at Mathanguri on the Manas river at the Bhutan border.


title: Manas National Park

text: Physical Geography: Manas is located in the foothills of the Eastern Himalaya and is densely forested. The Manas river flows through the west of the park and is the main river within it. It is a major tributary of Brahmaputra river and splits into two separate rivers, the "Bwrsi" and "Bholkaduba" as it reaches the plains. Five other smaller rivers also flow through the national park which lies on a wide, low-lying alluvial terrace spreading out below the foothills of the outer Himalaya. The Manas river also serves as an international border dividing India and Bhutan. The bedrock of the savanna area in the north of the park is made up of limestone and sandstone, whereas the grasslands in the south of the park stand on deep deposits of fine alluvium. The combination of Sub-Himalayan Bhabar Terai formation along with the riverine succession continuing up to Sub-Himalayan mountain forest makes it one of the richest areas of biodiversity in the world. The park is in the area and is situated at an altitude of above mean sea level.


title: Manas National Park

text: Vegetation: The monsoon forests of Manas lie in the Brahmaputra Valley semi-evergreen forests ecoregion. The combination of Sub-Himalayan Bhabar Terai region with riverine succession leading up to the Himalayan subtropical broadleaf forests makes it one of the richest biodiversity areas in the world.


title: Manas National Park

text: Much of the riverine dry deciduous forest is at an early successional stage. It is replaced by moist deciduous forest away from water courses, which is succeeded by semi-evergreen climax forest in the northern part of the park. A total of 543 plants species have been recorded from the core zone. Of these, 374 species are dicotyledons (including 89 trees), 139 species monocotyledons and 30 are pteridophytes and gymnosperms.


title: Manas National Park

text: The park's common trees include "Aphanamixis polystachya", "Anthocephalus chinensis", "Syzygium cumini", "Syzygium formosum", "Syzygium oblatum", "Bauhinia purpurea", "Mallotus philippensis", "Cinnamomum tamala", "Actinodaphne obvata", "Bombax ceiba", "Sterculia villosa", "Dillenia indica", "Dillenia pentagyna", "Careya arborea", "Lagerstroemia parviflora", "Lagerstroemia speciosa", "Terminalia bellirica", "Terminalia chebula", "Trewia polycarpa", "Gmelina arborea", "Oroxylum indicum" and "Bridelia" spp. The grasslands are dominated by "Imperata cylindrica", "Saccharum naranga", "Phragmites karka", "Arundo donax", "Dillenia pentagyna", "Phyllanthus emblica", "Bombax ceiba", and species of "Clerodendrum", "Leea", "Grewia", "Premna" and "Mussaenda".


title: Manas National Park

text: The sanctuary has recorded 55 species of mammals, 380 species of birds, 50 of reptiles, and 3 species of amphibians. Out of these wildlife, 21 mammals are India's Schedule I mammals and 31 of them are threatened.


title: Manas National Park

text: The fauna of the sanctuary include Indian elephants, Indian rhinoceros, gaurs, wild water buffaloes, barasingha, Indian tigers, Indian leopards, clouded leopards, Asian golden cats, jungle cat, leopard cat, fishing cat, marbled cat, Indian wolf, dholes, golden jackal, Bengal fox, capped langurs, golden langurs, Assamese macaques, rhesus macaque, gray langur, slow loris, hoolock gibbons, smooth-coated otters, sloth bears, nilgai, four-horned antelope, barking deer, hog deer, black panthers, sambar deer and chitals and large Indian civet, common palm civet, spotted Linsang, yellow-throated marten, black giant squirrel, Indian porcupine, Indian pangolin, Chinese pangolin, wild boar.


title: Manas National Park

text: The park is well known for species of rare and endangered wildlife that are not found anywhere else in the world like the Assam roofed turtle, hispid hare, golden langur and pygmy hog.


title: Manas National Park

text: The Manas hosts more than 450 species of birds. It has the largest population of the endangered Bengal florican to be found anywhere. Other major bird species include great hornbills, jungle fowls, bulbuls, brahminy ducks, kalij pheasants, egrets, pelicans, fishing eagles, crested serpent-eagles, falcons, scarlet minivets, bee-eaters, magpie robins, pied hornbills, grey hornbills, mergansers, harriers, Indian peafowl, ospreys and herons.


title: Toyota Group

text: The is a group of companies that have supplier, vendor and investment relationships with Toyota Industries and Toyota Motor vehicle manufacturing facilities. It is similar to a "keiretsu" in that no particular entity has outright control over the entire group, although unlike most "keiretsu" it does not contain a major bank.


title: Tagalog grammar

text: Tagalog grammar (Tagalog: "Balarilà ng Tagalog") is the body of rules that describe the structure of expressions in the Tagalog language, the language of the Tagalog region of the Philippines.


title: Tagalog grammar

text: In Tagalog, there are nine basic parts of speech: nouns ("pangngalan"), pronouns ("panghalip"), verbs ("pandiwa"),adverbs ("pang-abay"), adjectives ("pang-uri"), prepositions ("pang-ukol"), conjunctions ("pangatnig"), ligatures ("pang-angkop") and particles. Tagalog is an agglutinative yet slightly inflected language. Pronouns are inflected for number and verbs for focus, aspect and voice.


title: Tagalog grammar

text: Tagalog verbs are morphologically complex and are conjugated by taking on a variety of affixes reflecting focus/trigger, aspect, voice, and other categories. Below is a chart of the main verbal affixes, which consist of a variety of prefixes, suffixes, infixes, and circumfixes.


title: Tagalog grammar

text: With object-focus verbs in the completed and progressive aspects, the infix "-in-" frequently becomes the infix "-ni-" or the prefix "ni-" if the root word begins with , , , or ; e.g., "linalapitan" or "nilalapitan" and "inilagay" or "ilinagay".


title: Tagalog grammar

text: With the suffixes "-in" and "-an", if the root word ends in a vowel, the suffixes insert an h at the beginning to become "-hin" and "-han" to make speaking more natural. This does not usually happen with root words ending in pseudo-vowels such as "w" and "y". An example of this is "basa" which becomes "basahin" rather than "basain".


title: Tagalog grammar

text: The imperative affixes are not often used in Manila, but they do exist in other Tagalog speaking provinces.


title: Tagalog grammar

text: The aspect of the verb indicates the progressiveness of the verb. It specifies whether the action happened, is happening, or will happen. Tagalog verbs are conjugated for time using aspect rather than tense.


title: Tagalog grammar

text: An infinitive with the affixes "ma", "mag" and "mang" will become "na", "nag" and "nang" in the complete aspect.


title: Tagalog grammar

text: The affix "in" in an infinitive will be a prefix if the root word begins with a vowel and an infix if the root word begins with a consonant. If the affix is "hin", then "hin" will become "in".


title: Tagalog grammar

text: If the infinitive has the affix "um", the first syllable or the first two letters of the root word will be repeated. Note that in certain contexts, the infinitive form can also mean that the action has been completed(Naganap).


title: Tagalog grammar

text: If the infinitive has the affixes "ma", "mag" and "mang", change it to "na", "nag" and "nang" and repeat the first syllable or first two letters of the root word.


title: Tagalog grammar

text: If the infinitive has the affixes "in" or "hin" and the root word starts with a vowel, put the affix at the start and repeat the first syllable or first two letters of the root word.


title: Tagalog grammar

text: If the infinitive has the affixes "in" or "hin" and the root word starts with a consonant, make the affix into an infix and repeat the first syllable or first two letters of the root word.


title: Tagalog grammar

text: If the infinitive has the affix "um", remove the "um" and repeat the first syllable or first two letters of the root word.


title: Tagalog grammar

text: If the infinitive has the affixes "ma", "mag" and "mang", retain it and repeat the first syllable or first two letters of the root word.


title: Tagalog grammar

text: If the infinitive has the affixes "in" or "hin", retain it and repeat the first syllable or first two letters of the root word.


title: Tagalog grammar

text: This states that the action has just been completed before the time of speaking or before a specified time.


title: Tagalog grammar

text: Usually, the prefix "ka" is used and the first syllable or the first two letters of the root word will be repeated.


title: Tagalog grammar

text: The central feature of verbs in Tagalog and other Philippine languages is the "trigger system", often called voice or focus. In this system, the thematic relation (agent, patient, or other oblique relationslocation, direction, etc.) of the noun marked by the direct-case particle is encoded in the verb.


title: Tagalog grammar

text: In its default unmarked form, the verb triggers a reading of the direct noun as the patient of the clause. In its second most common form, it triggers the noun as the agent of the clause. Other triggers are location, beneficiary, instrument, reason, direction, and the reciprocal.


title: Tagalog grammar

text: Affixes can also be used in nouns or adjectives: "baligtaran" (from "baligtád", to reverse) (reversible), "katamaran" (from "tamád", lazy) (laziness), "kasabihán" (from "sabi", to say) (proverb), "kasagutan" (from "sagót", answer), "bayarín" (from "bayad", to pay) (payment), "bukirín" (from "bukid", farm), "lupaín" (from "lupa", land), "pagkakaroón" (from "doón/roón", there) (having/appearance), and "pagdárasál" (from "dasál", prayer). Verbs with affixes (mostly suffixes) are also used as nouns, which are differentiated by stress position. Examples are "panoorin" (to watch or view) and "panoorín" (materials to be watched or viewed), "hangarín" (to wish) and "hangarin" (goal/objective), "aralin" (to study) and "aralín" (studies), and "bayaran" (to pay) and "bayarán" (someone or something for hire).


title: Tagalog grammar

text: The agent-trigger affixes are "-um-", "mag-", "man-", and "ma-". The difference between "mag-" and "-um-" is a source of confusion among learners of the language. Generally speaking, there are two main distinctions among many; "mag-" refers to externally directed actions and "-um-" for internally directed actions. For example, "bumilí" means "to buy" while "magbilí" means "to sell". However this isn't writ law for these affixes; there are exceptions for example, "mag-ahit" means "to shave oneself" while "umahit" means "to shave someone". "magbili" and "umahit" are rarely used; in southern dialects of Tagalog na- is used instead of -um-.


title: Tagalog grammar

text: "ma-" is used with only a few roots which are semantically intransitive, for example, "matulog" (to sleep). "ma-" is not to be confused with "ma-", the prefix for patient-triggered verb forms.


title: Tagalog grammar

text: The locative trigger refers to the location or direction of an action or the area affected by the action.


title: Tagalog grammar

text: The benefactive trigger refers to the person or thing that benefits from the action; i.e., the beneficiary of an action.


title: Tagalog grammar

text: The reciprocal trigger refers to the action being done by the subjects at the same time. The subject is usually compound, plural or collective.


title: Tagalog grammar

text: Tagalog verbs also have affixes expressing grammatical mood; some examples are indicative, potential, social, and distributed.


title: Tagalog grammar

text: While Tagalog nouns are not inflected, they are usually preceded by case-marking particles. These follow an Austronesian alignment, also known as a "trigger" system, which is a distinct feature of Austronesian languages. There are three basic cases: "direct" (or absolutive, often less accurately labeled the nominative); "indirect" (which may function as an ergative, accusative, or genitive); and oblique.


title: Tagalog grammar

text: The direct case is used for intransitive clauses. In transitive clauses using the default grammatical voice of Tagalog, the direct marks the patient (direct object) and the indirect marks the agent, corresponding to the subject in English. In the more marked voice the reverse occurs, with the direct marking the agent and the indirect marking the patient. Because the base form of the clause is superficially similar to the passive voice in English, this has led to a misconception that Tagalog is spoken primarily in the passive voice. It is also superficially similar to ergative languages such as those of Australia, so Tagalog has also been analyzed as an ergative language. However, the English passive clause is intransitive, and likewise in ergative languages one of the voices forms an intransitive clause, whereas in Tagalog both voices are transitive, and so align well with neither nominative–accusative languages such as English nor with ergative languages.


title: Tagalog grammar

text: One of the functions of voice in Tagalog is to code definiteness, analogous to the use of definite and indefinite articles in English. When the patient is marked with the direct case particle, it is generally definite, whereas when it is marked with the indirect case it is generally indefinite.


title: Tagalog grammar

text: The oblique particle and the locative derived from it are similar to prepositions in English, marking things such as location and direction.


title: Tagalog grammar

text: The case particles fall into two classes: one used with names of people (proper) and one for everything else (common).


title: Tagalog grammar

text: The common indirect marker is spelled "ng" and pronounced . "Mgá", pronounced , marks the common plural.


title: Tagalog grammar

text: Like nouns, personal pronouns are categorized by case. As above, the indirect forms also function as the genitive.


title: Tagalog grammar

text: Genitive pronouns follow the word they modify. Oblique pronouns can take the place of the genitive pronoun but they precede the word they modify.


title: Tagalog grammar

text: The inclusive dual pronoun "kata/kitá" has largely disappeared from the Manila Dialect. It survives in other Tagalog dialects, particularly those spoken in the rural areas. However "kitá" is used to replace the pronoun sequence "[verb] ko ikaw", (I [verb] you).


title: Tagalog grammar

text: As previously mentioned, the pronoun sequence "[verb] ko ikáw", (I [verb] you) may be replaced by "kitá".


title: Tagalog grammar

text: The inclusive pronoun "tayo" refers to the first and second persons. It may also refer to a third person(s).


title: Tagalog grammar

text: The second person singular has two forms. "Ikáw" is the non-enclitic form while "ka" is the enclitic which never begins a sentence. The plural form "kayó" is also used politely in the singular, similar to French "vous".