title: Y-chromosomal Adam

text: The same holds for the concepts of matrilineal and patrilineal MRCAs: it follows from the definition of Y-MRCA that he had at least two sons who both have unbroken lineages that have survived to the present day. If the lineages of all but one of those sons die out, then the title of Y-MRCA shifts forward from the remaining son through his patrilineal descendants, until the first descendant is reached who had at least two sons who both have living, patrilineal descendants. The title of Y-MRCA is not permanently fixed to a single individual, and the Y-MRCA for any given population would himself have been part of a population which had its own, more remote, Y-MRCA.


title: Y-chromosomal Adam

text: Although the informal name "Y-chromosomal Adam" is a reference to the biblical Adam, this should not be misconstrued as implying that the bearer of the chromosome was the only human male alive during his time.


title: Y-chromosomal Adam

text: His other male contemporaries may also have descendants alive today, but not, by definition, through solely patrilineal descent; in other words, none of them have an unbroken male line of descendants ("son's son's son's … son") connecting them to currently living people.


title: Y-chromosomal Adam

text: By the nature of the concept of most recent common ancestors, these estimates can only represent a "terminus ante quem" ("limit before which"), until the genome of the entire population has been examined (in this case, the genome of all living humans).


title: Y-chromosomal Adam

text: Estimates on the age of the Y-MRCA crucially depend on the most archaic known haplogroup extant in contemporary populations. , this is haplogroup A00 (discovered in 2013). Age estimates based on this published during 2014–2015 range between 160,000 and 300,000 years, compatible with the time of emergence and early dispersal of "Homo sapiens".


title: Y-chromosomal Adam

text: In addition to the tendency of the title of Y-MRCA to shift forward in time, the estimate of the Y-MRCA's DNA sequence, his position in the family tree, the time when he lived, and his place of origin, are all subject to future revisions.


title: Y-chromosomal Adam

text: The time when Y-MRCA lived is determined by applying a molecular clock to human Y-chromosomes. In contrast to mitochondrial DNA (mtDNA), which has a short sequence of 16,000 base pairs, and mutates frequently, the Y chromosome is significantly longer at 60 million base pairs, and has a lower mutation rate. These features of the Y chromosome have slowed down the identification of its polymorphisms; as a consequence, they have reduced the accuracy of Y-chromosome mutation rate estimates.


title: Y-chromosomal Adam

text: Methods of estimating the age of the Y-MRCA for a population of human males whose Y-chromosomes have been sequenced are based on applying the theories of molecular evolution to the Y chromosome. Unlike the autosomes, the human Y-chromosome does not recombine often with the X chromosome during meiosis, but is usually transferred intact from father to son; however, it can recombine with the X chromosome in the pseudoautosomal regions at the ends of the Y chromosome. Mutations occur periodically within the Y chromosome, and these mutations are passed on to males in subsequent generations.


title: Y-chromosomal Adam

text: These mutations can be used as markers to identify shared patrilineal relationships. Y chromosomes that share a specific mutation are referred to as haplogroups. Y chromosomes within a specific haplogroup are assumed to share a common patrilineal ancestor who was the first to carry the defining mutation. (This assumption could be mistaken, as it is possible for the same mutation to occur more than once.) A family tree of Y chromosomes can be constructed, with the mutations serving as branching points along lineages. The Y-MRCA is positioned at the root of the family tree, as the Y chromosomes of all living males are descended from his Y chromosome.


title: Y-chromosomal Adam

text: Researchers can reconstruct ancestral Y chromosome DNA sequences by reversing mutated DNA segments to their original condition. The most likely original or ancestral state of a DNA sequence is determined by comparing human DNA sequences with those of a closely related species, usually non-human primates such as chimpanzees and gorillas. By reversing known mutations in a Y-chromosome lineage, a hypothetical ancestral sequence for the MRCA, Y-chromosomal Adam, can be inferred.


title: Y-chromosomal Adam

text: Determining the Y-MRCA's DNA sequence, and the time when he lived, involves identifying the human Y-chromosome lineages that are most divergent from each other—the lineages that share the fewest mutations with each other when compared to a non-human primate sequence in a phylogenetic tree. The common ancestor of the most divergent lineages is therefore the common ancestor of all lineages.


title: Y-chromosomal Adam

text: Early estimates of the age for the Y-MRCA published during the 1990s ranged between roughly 200 and 300 thousand years ago (kya),


title: Y-chromosomal Adam

text: Such estimates were later substantially revised downward, as in Thomson "et al." 2000, which proposed an age of about 59,000.


title: Y-chromosomal Adam

text: This date suggested that the Y-MRCA lived about 84,000 years after his female counterpart mt-MRCA (the matrilineal most recent common ancestor), who lived 150,000–200,000 years ago.


title: Y-chromosomal Adam

text: This date also meant that Y-chromosomal Adam lived at a time very close to, and possibly after, the migration from Africa which is believed to have taken place 50,000–80,000 years ago.


title: Y-chromosomal Adam

text: One explanation given for this discrepancy in the time depths of patrilineal vs. matrilineal lineages was that females have a better chance of reproducing than males due to the practice of polygyny. When a male individual has several wives, he has effectively prevented other males in the community from reproducing and passing on their Y chromosomes to subsequent generations. On the other hand, polygyny does not prevent most females in a community from passing on their mitochondrial DNA to subsequent generations. This differential reproductive success of males and females can lead to fewer male lineages relative to female lineages persisting into the future. These fewer male lineages are more sensitive to drift and would most likely coalesce on a more recent common ancestor. This would potentially explain the more recent dates associated with the Y-MRCA.


title: Y-chromosomal Adam

text: The "hyper-recent" estimate of significantly below 100 kya was again corrected upward in studies of the early 2010s, which ranged at about 120 kya to 160 kya.


title: Y-chromosomal Adam

text: This revision was due to the rearrangement of the backbone of the Y-chromosome phylogeny following the resequencing of Haplogroup A lineages.


title: Y-chromosomal Adam

text: In 2013, Francalacci "et al." reported the sequencing of male-specific single-nucleotide Y-chromosome polymorphisms (MSY-SNPs) from 1204 Sardinian men, which indicated an estimate of 180,000 to 200,000 years for the common origin of all humans through paternal lineage.


title: Y-chromosomal Adam

text: Also in 2013, Poznik "et al." reported the Y-MRCA to have lived between 120,000 and 156,000 years ago, based on genome sequencing of 69 men from 9 different populations.


title: Y-chromosomal Adam

text: In addition, the same study estimated the age of Mitochondrial Eve to about 99,000 and 148,000 years. As these ranges overlap for a time-range of 28,000 years (148 to 120 kya), the results of this study have been cast in terms of the possibility that "Genetic Adam and Eve may have walked on Earth at the same time" in the popular press.


title: Y-chromosomal Adam

text: The announcement by Mendez "et al." of the discovery of a previously unknown lineage, haplogroup A00, in 2013, resulted in another shift in the estimate for the age of Y-chromosomal Adam. The authors estimated the split from the other haplogroups at 338,000 years ago (kya) (95% confidence interval 237–581 kya), but later Elhaik "et al." (2014) dated it to between 163,900 and 260,200 years ago (95% CI), and Karmin et al. (2015) dated it to between 192,000 and 307,000 years ago (95% CI). The same study reports that non-African populations converge to a cluster of Y-MRCAs in a window close to 50kya (out-of-Africa migration), and an additional bottleneck for non-African populations at about 10kya, interpreted as reflecting cultural changes increasing the variance in male reproductive success (i.e. increased social stratification) in the Neolithic.


title: Y-chromosomal Adam

text: Initial sequencing (Karafet et al., 2008) of the human Y chromosome suggested that two most basal Y-chromosome lineages were Haplogroup A and Haplogroup BT. Haplogroup A is found at low frequencies in parts of Africa, but is common among certain hunter-gatherer groups. Haplogroup BT lineages represent the majority of African Y-chromosome lineages and virtually all non-African lineages. Y-chromosomal Adam was represented as the root of these two lineages. Haplogroup A and Haplogroup BT represented the lineages of Y-chromosomal Adam himself and of one of his sons, who had a new SNP.


title: Y-chromosomal Adam

text: Cruciani et al. 2011, determined that the deepest split in the Y-chromosome tree was found between two previously reported subclades of Haplogroup A, rather than between Haplogroup A and Haplogroup BT. Later, group A00 was found, outside of the previously known tree.


title: Y-chromosomal Adam

text: The rearrangement of the Y-chromosome family tree implies that lineages classified as Haplogroup A do not necessarily form a monophyletic clade. Haplogroup A therefore refers to a collection of lineages that do not possess the markers that define Haplogroup BT, though Haplogroup A includes the most distantly related Y chromosomes.


title: Y-chromosomal Adam

text: The M91 and P97 mutations distinguish Haplogroup A from Haplogroup BT. Within Haplogroup A chromosomes, the M91 marker consists of a stretch of 8 T nucleobase units. In Haplogroup BT and chimpanzee chromosomes, this marker consists of 9 T nucleobase units. This pattern suggested that the 9T stretch of Haplogroup BT was the ancestral version and that Haplogroup A was formed by the deletion of one nucleobase. Haplogroups A1b and A1a were considered subclades of Haplogroup A as they both possessed the M91 with 8Ts.


title: Y-chromosomal Adam

text: But according to Cruciani et al. 2011, the region surrounding the M91 marker is a mutational hotspot prone to recurrent mutations. It is therefore possible that the 8T stretch of Haplogroup A may be the ancestral state of M91 and the 9T of Haplogroup BT may be the derived state that arose by an insertion of 1T. This would explain why subclades A1b and A1a-T, the deepest branches of Haplogroup A, both possess the same version of M91 with 8Ts. Furthermore, Cruciani et al. 2011 determined that the P97 marker, which is also used to identify Haplogroup A, possessed the ancestral state in Haplogroup A but the derived state in Haplogroup BT.


title: Y-chromosomal Adam

text: and well predate the Out of Africa migration, geographical origin hypotheses continue to be limited to the African continent.


title: Y-chromosomal Adam

text: According to Cruciani "et al." 2011, the most basal lineages have been detected in West, Northwest and Central Africa, suggesting plausibility for the Y-MRCA living in the general region of "Central-Northwest Africa".


title: Y-chromosomal Adam

text: Scozzari "et al." (2012) agreed with a plausible placement in "the north-western quadrant of the African continent" for the emergence of the A1b haplogroup.


title: Y-chromosomal Adam

text: The revision of Y-chromosomal phylogeny since 2011 has affected estimates for the likely geographical origin of Y-MRCA as well as estimates on time depth. By the same reasoning, future discovery of presently-unknown archaic haplogroups in living people would again lead to such revisions. In particular, the possible presence of between 1% and 4% Neanderthal-derived DNA in Eurasian genomes implies that the (unlikely) event of a discovery of a single living Eurasian male exhibiting a Neanderthal patrilineal line would immediately push back T-MRCA ("time to MRCA") to at least twice its current estimate. However, the discovery of a Neanderthal Y-chromosome by Mendez "et al". suggests the extinction of Neanderthal patrilineages, as the lineage inferred from the Neanderthal sequence is outside of the range of contemporary human genetic variation. Questions of geographical origin would become part of the debate on Neanderthal evolution from "Homo erectus".


title: Carlos Gardel

text: Carlos Gardel (born Charles Romuald Gardès; 11 December 1890 – 24 June 1935) was a French-born Argentine singer, songwriter, composer and actor, and the most prominent figure in the history of tango. He was one of the most influential interpreters of world popular music in the first half of the 20th century. Gardel is the most famous popular tango singer of all time and is recognized throughout the world. He was notable for his baritone voice and the dramatic phrasing of his lyrics. Together with lyricist and long-time collaborator Alfredo Le Pera, Gardel wrote several classic tangos.


title: Carlos Gardel

text: Gardel died in an airplane crash at the height of his career, becoming an archetypal tragic hero mourned throughout Latin America. For many, Gardel embodies the soul of the tango style. He is commonly referred to as "Carlitos", "El Zorzal" ("The Song thrush"), "The King of Tango", "El Mago" (The Wizard), "El Morocho del Abasto" (The Brunette boy from Abasto), and ironically "El Mudo" (The Mute).


title: Carlos Gardel

text: In 1967, a controversial theory was published by Uruguayan writer Erasmo Silva Cabrera, asserting that Gardel was born in Tacuarembó, Uruguay. Other authors expanded upon this theory, and a museum to Gardel was established in Tacuarembó. But Gardel's friends and family all knew him as a French immigrant from Toulouse. Scholarly researchers analyzed the contradictory evidence, especially French birth and baptismal records, and confirmed his birthplace as Toulouse.


title: Carlos Gardel

text: Gardel was born to unmarried 25-year-old laundress Berthe Gardès, the baby registered under the name Charles Romuald Gardès in Toulouse, France, on 11 December 1890. The father of the baby boy was listed on his birth certificate as "unknown", but 11 days later Berthe Gardès signed a statement establishing the baby's father as Paul Laserre, a married man who left Toulouse a few months before the baby was born. Berthe Gardès also left Toulouse, a little over a year later, likely to escape the social stigma of having a child born out of wedlock. In early 1893 in Bordeaux, France, mother and son boarded the ship SS "Don Pedro" and sailed to Buenos Aires, arriving on 11 March 1893. Berthe Gardès had her passport recorded upon arrival; she told immigration authorities that she was a widow. The two-year-old boy was recorded as Charles Gardès.


title: Carlos Gardel

text: Gardel's mother settled at the western edge of the central San Nicolás district of Buenos Aires, at Calle Uruguay 162. She worked two blocks away on Calle Montevideo, pressing clothes in the French style, which commanded a relatively high price in the fashion-conscious city. Gardel grew up speaking Spanish, not French, with friends and family calling him Carlos, the Spanish version of his French name, and often by the familiar diminutive form Carlitos.


title: Carlos Gardel

text: Some time after 1918, Laserre traveled from France to Buenos Aires to ask Berthe Gardès, now called Doña Berta, whether she would like to legitimize her son by marrying Laserre. This would have disrupted her story about being a widow. Gardel told his mother that if she did not need this man in her life, neither did he, closing the matter with "I don't even wish to see him."


title: Carlos Gardel

text: Gardel began his singing career in bars and at private parties. He also sang with Francisco Martino and later in a trio with Martino and José Razzano. Gardel created the "tango-canción" in 1917 with his rendition of Pascual Contursi and Samuel Castriota's "Mi noche triste". The recording sold 10,000 copies and was a hit throughout Latin America.


title: Carlos Gardel

text: Gardel went on tour through Argentina, Uruguay, Chile, Brazil, Puerto Rico, Venezuela and Colombia, as well as making appearances in Paris, New York, Barcelona and Madrid. He sold 70,000 records in the first three months of a 1928 visit to Paris. As his popularity grew, he made a number of films for Paramount in France and the U.S. While sentimental films such as "Cuesta abajo" (1934) and "El día que me quieras" (1935) lack lasting dramatic value, they were outstanding showcases of his tremendous singing talents and movie star looks.


title: Carlos Gardel

text: Gardel was aware of the fact that much of his popularity was based on his attractiveness to women. In an effort to seem as if he were available to any woman, he sought to keep his love life secret. Gardel had one major girlfriend in his life: Isabel del Valle. He met del Valle in late 1920 when she was fourteen years of age. At the time, he was performing at the Esmeralda Theater in Buenos Aires. They were close for more than a decade. Gardel and del Valle were not seen together very often in public. Gardel's mother and del Valle's family helped make sure the relationship was not well known. Only Gardel's closest friends knew about it.


title: Carlos Gardel

text: Gardel arranged for del Valle to have a house; he provided money for her to live on. Around 1930 the relationship began to degrade. Gardel had his lawyer stop making payments to del Valle, who later married another man and moved to Uruguay. She was always respectful of the memory of Gardel, even when interviewed about him in late life for a 1980s television program.


title: Carlos Gardel

text: Gardel died on 24 June 1935 in an airplane crash in Medellín, Colombia. Others who died included the pilot Ernesto Samper, lyricist Alfredo Le Pera, guitarists Guillermo Desiderio Barbieri and , several business associates, and other friends of the group. It is believed that a third guitarist, José María Aguilar Porrás, died a few days after the crash.


title: Carlos Gardel

text: Millions of Gardel's fans throughout Latin America went into mourning. Hordes came to pay their respects as his body was taken from Colombia through New York City and Rio de Janeiro. Thousands rendered homage during the two days he lay in state in Montevideo, the city in which his mother lived at the time. Gardel's body was laid to rest in La Chacarita Cemetery in Buenos Aires.


title: Carlos Gardel

text: The place and year of Gardel's birth was a controversy that provoked debate; Toulouse, France, in 1890 was the most widely accepted version for many years. The Toulouse birthplace was confirmed in 2012 with the location of his birth certificate. Scholars such as Vanderbilt University history professor Simon Collier, University of Belgrano agriculture history professor Osvaldo Barsky and Uruguayan history professor Jorge Ruffinelli from Stanford University write about how Gardel was born in Toulouse, France, in 1890, and how he laid a false trail about his birthplace beginning in 1920, when he was almost 30.


title: Carlos Gardel

text: In October 1920, Gardel first applied for Uruguayan citizenship; in Buenos Aires he went to the Uruguayan consulate to complete paperwork that said he was born in 1887 in Tacuarembó, Uruguay. One month later he was issued a new Argentine identity card that listed him as a Uruguayan national. On 7 March 1923 he applied for citizenship in Argentina. On 1 May 1923 he took the oath of Argentine citizenship. Today, there is no absolute certainty regarding why he took these steps. The most likely reason for this act was to avoid problems with French authorities during an upcoming tour of France. As a French citizen by birth, Gardel had been required to register with the French military during the Great War. It is likely that Gardel never registered; his name is not found on any lists of registrants. Uruguay maintained a neutrality policy during the war, so Gardel probably chose Uruguayan citizenship on that basis.


title: Carlos Gardel

text: In 1967, writer Erasmo Silva Cabrera started the modern dispute over Gardel's birthplace when he published arguments describing Gardel as having been born in Tacuarembó, Uruguay. Nelson Bayardo wrote a similar book in 1988. In 1990, Eduardo Payssé González published a book containing many biographical details supporting a birthplace of Tacuarembó. The story is that Gardel was born in 1887 the son of influential Uruguayan landowner Carlos Escayola and Escayola's sister-in-law, 13-year-old Maria Lelia Oliva. The unwanted boy, named Carlos, was offered to Bertha Gardes who was passing through the area on a cabaret dance tour. Gardes took the boy back to France, where she was from. Later, she and the boy traveled again, this time to Buenos Aires, where they settled. This version of events conflicts with scholarly accounts describing Gardes as an ordinary woman who ironed and pressed clothing in Toulouse in 1890, not a touring dancer.


title: Carlos Gardel

text: After Gardel's death, his legal representative, Armando Defino, produced a handwritten will which he said was written by Gardel himself, stating he was born in Toulouse, France, to Berthe Gardes (1865–1943), and baptized with the name of Charles Romuald Gardes. This statement agrees with the original birth certificate registered in Toulouse on 11 December 1890.


title: Carlos Gardel

text: In his youth in Buenos Aires, Gardel's group of close friends called him ""El francesito"" (Frenchie), acknowledging his French origin. After 1920, Gardel gave contradictory and evasive stories about his birthplace, most likely because of the false papers he had filed. Reporters often wrote that Gardel was Uruguayan, born in Tacuarembó. In the newspaper "El Telégrafo" (Paysandú, Uruguay, 25 October 1933), Gardel was reported as saying, "I'm Uruguayan, born in Tacuarembó". In the June 1935 issue of "Caretas" magazine of Antioquia, Colombia, Gardel was reported as saying, "My heart is Argentinian, but my soul is Uruguayan, because that is where I was born". In 1931, Gardel wrote in a witnessed document, "I am French, born in Toulouse, 11 December 1890, son of Berthe Gardes."


title: Carlos Gardel

text: Gardel's legacy is intimately tied with the tango. For his tango singing, Gardel is still revered from Tokyo to Buenos Aires. A popular saying in Argentina, which serves as a testimony to his long-lived popularity, claims, "Gardel sings better every day." Another commonly used phrase in Argentina (and some other Latin American countries) which asserts that "Veinte años no es nada" ("Twenty years is nothing"), comes from his song "Volver" (1934). Another common Argentine phrase is "soy/sos Gardel y Le Pera" ("I'm/You are Gardel and Le Pera") referring to the greatness of both; used when somebody excels at something. Gardel has been posthumously inducted into the International Latin Music Hall of Fame in 2000 and the Latin Songwriters Hall of Fame in 2014.


title: Carlos Gardel

text: In the neighborhood of Abasto, Buenos Aires, the Carlos Gardel Museum opened in 2003, in a house that Gardel bought for his mother in 1927, and where he also lived from 1927 to 1933. Another Carlos Gardel Museum opened in 1999 in Valle Edén, an old farm site south of Tacuarembó, Uruguay.


title: Carlos Gardel

text: António Lobo Antunes wrote a novel entitled "The Death of Carlos Gardel", in which one of the characters believes that Gardel did not die in the plane crash in 1935.


title: Carlos Gardel

text: Gardel appears as a fictionalized character in the play "El día que me quieras" (1979) by the Venezuelan writer José Ignacio Cabrujas.


title: Carlos Gardel

text: "Doble o Nada" starring Dario Grandinetti and Aitana Sánchez-Gijón was released by Maverick in April 2003. It is a fictional story about a struggling Argentine tango singer who looks and sings like Gardel, and a woman admirer of Gardel, who encounters Franchi.


title: Carlos Gardel

text: Over the years, Argentina has issued several postal stamps honoring Gardel. In 1976 and again in 2004, Uruguay produced Gardel stamps, with Uruguay calling him the "immortal Tacuaremboan" in the 2004 version. In 1985, on the 50th anniversary of his death, Colombia produced a Gardel stamp which featured the singer and the airplane model that caused his death. On 16 March 2011, the United States Postal Service issued a set of five "Latin Music Legends" stamps including one picturing Carlos Gardel.


title: Eddie Mekka

text: Edward Rudolph Mekjian (June 14, 1952 – November 27, 2021), known professionally as Eddie Mekka, was an American actor, best known for his role as Carmine Ragusa on the hit television sitcom "Laverne & Shirley".


title: Eddie Mekka

text: Mekka was born in Worcester, Massachusetts, the son of Mariam (née Apkarian), a dry cleaning presser, and Vahe Vaughn Mekjian, a factory worker. His family was of Armenian descent. His father was a World War II veteran. He graduated from Burncoat High School and attended the Berklee College of Music.


title: Eddie Mekka

text: In the early 1970s, Mekka headed the Worcester County Light Opera in Massachusetts, teaching young people how to sing. After performing on Broadway in "The Lieutenant", for which he was nominated for a Tony Award, he moved to Los Angeles. He landed the role of Carmine "The Big Ragoo" Ragusa for "Laverne & Shirley" in 1976, acting on the series until it was canceled in 1983.


title: Eddie Mekka

text: Mekka starred in roughly 50 TV shows and movies throughout his career. His television credits included "24", "The Suite Life of Zack & Cody", "It's Always Sunny in Philadelphia", "The Bold and the Beautiful", and as Detective Murdoch in the Fox television movie "Catch Me If You Can". He had a small role in the Penny Marshall-directed 1992 film, "A League of Their Own" as the dance partner of Mae (Madonna) in the bar.


title: Eddie Mekka

text: Onstage, he performed in "Hairspray" at the Luxor in Las Vegas, Nevada, and in a national tour of "Grease" with Cindy Williams. Mekka returned to off-Broadway theatre on July 15, 2008, starring in Steve Solomon's long-running comedy "My Mother's Italian, My Father's Jewish & I'm In Therapy!" at the Westside Theatre.


title: Eddie Mekka

text: Mekka had regular solo singing performances for many years from the 1990s into the 2000s throughout the Naples and the Fort Lauderdale, Florida areas.


title: Eddie Mekka

text: Mekka reunited with his "Laverne & Shirley" co-star Cindy Williams in a November 2008 regional production of the Renée Taylor-Joseph Bologna comedy play "It Had to Be You".


title: Eddie Mekka

text: In 2008, Mekka wrapped production in the independent film "Code Enforcer". He starred opposite Erin Moran of "Happy Days".


title: Eddie Mekka

text: In 2010, Mekka starred as Tevye in "Fiddler on the Roof" at the John W. Engeman Theater in Northport, New York, from April 29 until June 20.


title: Eddie Mekka

text: Mekka was married to actress DeLee Lively from 1983 to 1992. He married Yvonne Marie Grace in 1994. Together they had one daughter, Mia.


title: Cyril Holland

text: Cyril Holland (born Cyril Wilde, 5 June 1885 – 9 May 1915) was the older of the two sons of Oscar Wilde and Constance Lloyd and brother to Vyvyan Holland.


title: Cyril Holland

text: According to his brother Vyvyan Holland's accounts in his autobiography, "Son of Oscar Wilde" (1954), Oscar was a devoted and loving father to his two sons. Their childhood was a relatively happy one. However, after Wilde's very public trials, conviction in 1895, and imprisonment for gross indecency, their mother Constance chose to take the family out of the spotlight.


title: Cyril Holland

text: She took the surname Holland for both the boys and herself in order to protect them from public scrutiny. She moved with the boys to Switzerland and enrolled them at , an English-speaking boarding school in Heidelberg, Germany. Oscar Wilde died in 1900; neither of his sons saw him again after he went to prison. When he was released, he went to France and never lived in England or Ireland again.


title: Cyril Holland

text: From 1899 to 1903 Cyril attended Radley College, a private school then in Berkshire. After leaving school, he became a gentleman cadet at the Royal Military Academy, Woolwich.


title: Cyril Holland

text: Holland was commissioned as a 2nd lieutenant, Royal Field Artillery, on 20 December 1905. He was promoted to lieutenant on 20 December 1908 and served in the United Kingdom for nearly three years. He was posted to India, where he served from September 1911 until 1914 with No. 9 Ammunition Column, RFA at Secunderabad. He was promoted to captain on 30 October 1914.


title: Cyril Holland

text: When the First World War broke out, Captain Holland was posted to British forces on the Continent. He took part in the battle for Neuve-Chapelle, where he was killed in France by a German sniper on 9 May 1915, during the Battle of Festubert. His grave is maintained by the War Graves Commission in St Vaast Post Military Cemetery, Richebourg-l'Avoué, France.


title: Isobel Yeung

text: Isobel Yeung (born ) is a British long-form documentary senior correspondent. She has covered a variety of stories concerning major global issues such as ongoing world conflicts, terrorism, mass detention, and genocide. She has also reported on social issues in developing countries such as gender roles, women's rights (e.g. in Afghanistan), mental health and corruption. Her work has earned her two Emmy Awards and a Gracie Award.


title: Isobel Yeung

text: Yeung was born on 2 November 1986 in Salisbury, England, to an English mother and Chinese father from Hong Kong. She was raised and spent most of her early life in Salisbury.


title: Isobel Yeung

text: After high school, Yeung spent a year abroad in Asia, funding her travels through modeling for fashion brands and as editor for lifestyle publications. Yeung graduated the University of Nottingham in 2009, having studied at both the UK and China campuses. Then she moved to China and freelanced for a number of print publications and TV channels, including International Channel Shanghai and China Central Television.


title: Isobel Yeung

text: In 2014, Yeung was hired by Vice News and relocated to the United States, settling in New York City. With Vice, she has predominantly been an on-air senior correspondent and producer for their flagship shows airing on HBO, specializing in long-form content and interviews. She is well-known for covering stories on gender discrimination and sexual consent.


title: Isobel Yeung

text: In 2022, Yeung reported on the state of law and justice in Afghanistan following the 2021 Taliban takeover. Yeung also covered the situation of women's rights under the governance of the Taliban and the ongoing humanitarian crisis in the country stemming from a shortage of food and medical supplies as well as a collapsed economy.


title: Isobel Yeung

text: In 2019, Yeung went undercover in Xinjiang, China, to investigate the internment camps for Uyghurs and other ethnic minorities in the Muslim-majority region, reporting on their mass detention, familial separation, and surveillance at the hands of Chinese authorities. Numerous times during her reporting, Yeung was followed, accosted, and had her camera footage deleted by Chinese police and security forces.


title: Isobel Yeung

text: In early 2017, Yeung travelled to Sevastopol on the Crimean Peninsula, forcibly annexed in 2014 by the Russian Federation, to report how the annexation had changed life on the peninsula. Yeung dined at the invitation of Russian oligarch and ex-KGB officer Alexander Lebedev in Sevastopol where he explained his vision for the restoration of the once famous USSR tourist destination. Yeung also interviewed Oleg Zubkov, owner of the Taigan Zoo and Safari Park in Crimea, about the sharp decline in tourism since the annexation and the Ukrainian damming of the North Crimean Canal. Yeung attended a 2018 Ukrainian presidential ceremony featuring President Petro Poroshenko that marked the Ukrainian Orthodox Church's split from the Russian Orthodox Church for the first time in 300 years. During her visit, she interviewed Ukrainian Crimeans who reported nine months of detention and torture by FSB officers for resisting the Russian occupation, the information blackout on the peninsula by Russian authorities, and the opening of the Kerch Strait Bridge.


title: Isobel Yeung

text: During the 2022 Russian invasion of Ukraine, Yeung travelled to the southern Ukrainian city of Mykolayiv, between the strategic coastal cities of Kherson and Odesa during the Battle of Mykolayiv. While touring the damaged city with Mayor Oleksandr Syenkevych, Yeung met with family of soldiers and civilians killed in Russian bombings of the city and filmed remnants of apparent cluster munitions. In meeting with 25 year-old Mykolayiv resident Olya, Yeung interviews both Olya and her aunt Svetlana who resides in Russia about the ongoing war. While speaking with Yeung, Svetlana describes the war's filtered coverage in Russia and how Ukrainians aren't seeing how "the Nazis torture people [in Ukraine]" and how "the Russian forces are liberating Ukraine from Nazis." Yeung also toured the trenches of the Ukrainian 79th Brigade to the east of the city, attended the funeral of a deceased Ukrainian soldier, and spoke to refugees fleeing the conflict.


title: Isobel Yeung

text: In 2018, Yeung travelled to Aden, Yemen, to report on the situation of the country's women during the Yemeni Civil War. In her Vice News report "The Women Fighting to Protect Yemen", she interviewed female fighters, child brides, domestic abuse victims, widows of the conflict, female protestors and chewed khat with government officials from the Yemeni Interior Ministry, where their takes on the country's problems related to gender discrimination, gender violence and financial displacement of Yemeni women were covered. She also interviewed former child soldiers of the Houthi movement.


title: Isobel Yeung

text: In 2019, Yeung was presented with the Marie Colvin Front Page Award for Foreign Correspondence. In 2017, Yeung won a Gracie Award for TV National Reporter/Correspondent for her work on "Afghan Women’s Rights" for Vice on HBO, and in 2016 she had been featured in a list of America's 50 Most Influential Women compiled by women's magazine "Marie Claire".


title: Bidet shower

text: A bidet shower —also known as a commode shower, toilet shower, bum shower, or bum gun— is a hand-held triggered nozzle that is placed near the toilet and delivers a spray of water used for anal cleansing and cleaning of the genitals after using the toilet for defecation and urination. The device is similar to that on a kitchen sink sprayer.


title: Bidet shower

text: The shower is a source of water for people who prefer using water rather than other methods of cleansing after defecation or urination. The shower is an alternative for the traditional sources of water for this action, such as the bidet, copper pot or bucket and mug, being more hygienic and compact. There is no contact between the spray of water and the used water drainage.


title: Bidet shower

text: The user typically grasps the faucet in the right hand and uses the thumb or forefinger (depending on the trigger location) to aim a spray of water at the anus or genitals to assist cleansing after using the toilet.


title: Bidet shower

text: The bidet shower is common in most parts of Asia where water is considered essential for anal cleansing. This includes India, Nepal, Pakistan, Egypt, Iran, Iraq, Maldives, Bangladesh, Brazil, Saudi Arabia, United Arab Emirates, Indonesia, Malaysia, Philippines, Sri Lanka, Thailand, Singapore, Vietnam and Cambodia. In those countries it is commonly installed in Western-style (sitting) toilet installations. In Thailand, it is common in both Western-style toilets and squat toilet installations. It is so ubiquitous that Thai parliamentarians were outraged on learning that the toilets in their new parliament building were not equipped with bidet showers. The bidet shower is similar in intent, if not method of use, to the Japanese washlet-style toilet seats, or so-called "electronic bidets".


title: Bidet shower

text: Bidet showers are used by Muslims in Muslim countries and all parts of the Arab world as well as in Asia in order to cleanse themselves with water after using the toilet. Here, water is commonly used instead of, or together with, toilet paper for cleaning after defecation. This practice was made well known to European football fans visiting Qatar during the 2022 FIFA World Cup. In Arabic, the shower is called a "shattafa" (شَطَّافَة).


title: Bidet shower

text: The use of water in many Christian countries is due in part to the biblical toilet etiquette which encourages washing after all instances of defecation. The bidet is common in predominantly Catholic countries where water is considered essential for anal cleansing, and in some traditionally Orthodox and Protestant countries such as Greece and Finland respectively, where bidet showers are common. In Europe, the bidet shower is used for example in Finland and Estonia. Bidets are more common bathroom fixtures in many southern European countries.


title: Bidet shower

text: The average American uses of toilet paper each year; every roll is estimated to require of water to produce and an additional each time it is used to flush the used leaves down the toilet (although the toilet will likely be flushed regardless of toilet paper usage). Given the environmental impact of toilet paper and wet wipes, bidets are growing in popularity.


title: Vanessa Lee Chester

text: Vanessa Lee Chester (born July 2, 1984) is an American actress. She began her career as a child actor in the films "A Little Princess" (1995) and "Harriet the Spy" (1996), before her breakthrough role in Steven Spielberg's "" (1997).


title: Vanessa Lee Chester

text: Chester was born on July 2, 1984 at Brooklyn, New York City, to Guyanese parents who immigrated to the United States. In her early childhood, she relocated with her mother to Los Angeles, California, where she began auditioning for and appearing in commercials.


title: Vanessa Lee Chester

text: Chester made her film debut in the comedy "CB4" (1993) starring Chris Rock. The following year, she appeared in a supporting role in Alfonso Cuarón's "A Little Princess" (1995). In 1996, she appeared opposite Michelle Trachtenberg as Janie in the Nickelodeon film "Harriet the Spy," which was a moderate box office success. The following year, she was cast in a lead role as Kelly in Steven Spielberg's "" (1997), playing the daughter of Ian Malcolm (Jeff Goldblum). The film was a box office hit, grossing over $600 million worldwide. Chester later worked mostly in television, most notably appearing in "Malcolm in the Middle" and "The West Wing." She was nominated for a Saturn Award ("The Lost World: Jurassic Park"), Image Award ("The Lost World: Jurassic Park"), Young Artist Award ("A Little Princess") and took home the Young Artist Award for Best Performance in a Feature Film – Supporting Young Actress ("Harriet The Spy"). In early 2012, Chester began work on an unnamed film by Ty Hodges.


title: The Virgin Spring

text: The Virgin Spring () is a 1960 Swedish rape and revenge film directed by Ingmar Bergman. Set in medieval Sweden, it is a tale about a father's merciless response to the rape and murder of his young daughter. The story was adapted by screenwriter Ulla Isaksson from a 13th-century Swedish ballad, "Töres döttrar i Wänge" ("Töre's daughters in Vänge"). Bergman researched the legend of Per Töre with an eye to an adaptation, considering an opera before deciding on a film version. Given criticism of the historical accuracy of his 1957 film "The Seventh Seal", he also invited Isaksson to write the screenplay. Other influences included the 1950 Japanese film "Rashomon". Max von Sydow played Töre.


title: The Virgin Spring

text: Isaksson and Bergman explored a number of themes in "The Virgin Spring", questioning morals, vengeance, and religious beliefs. The rape scene was also subject to censorship in screenings in the United States.


title: The Virgin Spring

text: The film won the Academy Award for Best Foreign Language Film at the 1961 Academy Awards and other honours. It was also the basis for the 1972 exploitation horror film "The Last House on the Left".


title: The Virgin Spring

text: In medieval Sweden, prosperous Christian Per Töre sends his daughter, Karin, to take candles to the church, a day's journey away. Karin is accompanied by a servant Ingeri, pregnant with an out-of-wedlock child, who secretly worships the Norse deity Odin. Along their way through the forest on horseback, Ingeri becomes frightened when they come to a stream-side mill and admonishes Karin; but Karin chooses to proceed on her own leaving Ingeri at the mill.


title: The Virgin Spring

text: Ingeri encounters a one-eyed man at the stream-side mill. When Ingeri asks about his name he enigmatically responds he has none "in these days". The man tells Ingeri that he can see and hear things others can not. When the man makes sexual advances towards her and promises her power, Ingeri flees in terror. Meanwhile, Karin meets three herdsmen, two men and a boy, and invites them to eat her lunch with her. Eventually, the two older men rape and murder Karin. Ingeri, after having caught up to the group, witnesses the whole ordeal hidden from a distance. The two older men then prepare to leave the scene with Karin's clothing. The younger boy is left with the body, but he takes the situation poorly, and is racked with guilt. He even tries to bury the body by sprinkling dirt but stops midway, and runs along with the older men.


title: The Virgin Spring

text: The herders then, unknowingly, seek shelter at the home of the murdered girl. During the night, one of the goat herders offers to sell Karin's clothes to her mother, and she suspects the worst. After they fall asleep, the mother locks the trio in the dining chamber and reveals her suspicions to Töre. Töre prepares to discover the truth about the situation and encounters Ingeri, who has also returned. She breaks down in front of Töre and tells him about the rape and murder. She confesses that she secretly wished for Karin's death out of jealousy. In a fit of rage, Töre decides to murder the herdsmen at the crack of dawn. He stabs one of the older men to death with a butcher knife and throws the other into the fire. He kills the boy too, lifting and hurling him against the wall, while his wife watches horrified.


title: The Virgin Spring

text: Soon after, Karin's parents, along with the members of their household, set out to find their daughter's body with Ingeri leading the way. Töre breaks down on seeing Karin's body and calls upon God. He vows that, although he cannot understand why God would allow such a thing to happen, he will build a church at the site of his daughter's death. As her parents lift Karin's body from the ground, a spring emerges from the spot where her head rested. Ingeri proceeds to wash herself with the water while Karin's mother cleans the dirt from her daughter's face.


title: The Virgin Spring

text: A variety of themes explored in the film include Christianity, Paganism, Norse mythology, feelings of guilt, vengeance, the questioning of religious faith and sexual innocence. All of the characters struggle with feelings of guilt: Ingeri for praying to Odin and standing by during the murder, Märeta for disliking Töre and wanting to be Karin's favourite parent, and Töre for killing the boy and possible feelings of incest towards Karin.


title: The Virgin Spring

text: Much of the religious themes centre on conflict between paganism and Christianity, recalling the misery Sweden experienced as the two religions struggled for predominance. In the film, paganism is associated with magic spells, envy and revenge. In a possible interpretation, Odin in this film becomes synonymous with the Devil. As with "The Seventh Seal", Bergman relies on the emotions and inner conflicts of his characters to represent spiritual crisis. Töre, played by Max von Sydow, loses his Christian values to commit the act of revenge, and offers to build a church as redemption. Film scholar Marc Gervais elaborated that Töre's revenge is "ritualized pagan vengeance", adding "Töre is torn between two ritualized imperatives: pagan vengeance, Christian repentance and forgiveness". Gervais commented on how it compared to William Shakespeare's "Macbeth" in its themes of "embracing the dark forces, succumbing to evil, and being overwhelmed by conscience".


title: The Virgin Spring

text: Consistent with fairy tales, Karin and Ingeri are presented as opposites, Karin as an innocent virgin who always appears clean and in fine clothing. In contrast, Ingeri is dirty, dark in complexion, rides a darker horse, and her pregnancy indicates compromised innocence. The rape scene represents Karin losing her innocence, with her appearance afterward being disordered.


title: The Virgin Spring

text: Screenwriter Ulla Isaksson viewed the spring as symbolizing Karin's innocence. Ingeri uses it to wash her head, which she used to plan the spell, and her eyes, which she used to watch the rape, and drinks the water, symbolizing absolution. Critic Peter Cowie tied the spring in with Ingeri's fire in the opening and streams seen throughout the film as representing "The pagan significance of fire, earth, and water".


title: The Virgin Spring

text: Director Ingmar Bergman first read about the legend of Per Töre, who had seven daughters who fell victim to seven rapists, as a student, and felt it was ideal for adaptation. He had proposed it as a ballet for the Royal Swedish Opera or as a play, but decided a film would be most suitable while making "Wild Strawberries". For adaptation, Bergman chose "Töres döttrar i Wänge" as among the simplest of the ballads about Töre.


title: The Virgin Spring

text: New influences came from Japanese cinema, with Bergman particularly being a fan of "Rashomon" (1950). He later referred to "The Virgin Spring" as "a wretched imitation of Kurosawa". For a screenwriter, Bergman chose novelist Ulla Isaksson. Isaksson had written a novel set in Medieval times and was acclaimed for its realism, which Bergman felt might prevent repeat of some criticisms of his 1957 film "The Seventh Seal". In writing the screenplay, Isaksson was most interested in exploring conflicts between Christianity and paganism, while Bergman wanted to dissect guilt.


title: The Virgin Spring

text: SF Studios required Bergman to make a comedy before agreeing to produce "The Virgin Spring". The comedy became "The Devil's Eye".


title: The Virgin Spring

text: By the time "The Virgin Spring" began production, Bergman's relationship with his usual cinematographer Gunnar Fischer was strained, due to Bergman's abrasiveness. When Fischer found another project to work on, Bergman replaced him with Sven Nykvist, who became his regular collaborator. In shooting "The Virgin Spring", Nykvist favoured more natural lighting than Fischer had.


title: The Virgin Spring

text: The film premiered in Stockholm on 8 February 1960, where 15 audience members walked out during the screening, and several left weeping. Although SF Studios accountants previously often faulted Bergman films as unprofitable, they acknowledged "The Virgin Spring" was a success. The film was also screened at the Cannes Film Festival in May 1960.


title: The Virgin Spring

text: In the United States, "The Virgin Spring" opened in New York City on 14 November 1960, censored to remove shots taken of Karin's naked legs around the body of the rapist. In Fort Worth, Texas, the film was banned as obscene, and the Texas Supreme Court declined to hear the case. The Criterion Collection released the film on DVD in Region 1 in January 2006 and re-released the film on Blu-ray in June 2018.


title: The Virgin Spring

text: The film received mixed reviews in Sweden, with "Svenska Dagbladet" publishing a review stating "It hits home like a fist between the eyes". In contrast, the "Stockholms-Tidningen" wrote Isaksson was better suited for print than film, where she was weak. "Aftonbladet"'s review called it "somewhat loose in execution".


title: The Virgin Spring

text: There was some controversy among U.S. critics. In a 1960 review, Bosley Crowther wrote, "Mr. Bergman has stocked it with scenes of brutality that, for sheer unrestrained realism, may leave one sickened and stunned. As much as they may contribute to the forcefulness of the theme, they tend to disturb the senses out of proportion to the dramatic good they do". Stanley Kauffmann wrote that "The vengeance scene is so long that it verges on the ridiculous". Dwight Macdonald questioned why God would create a spring instead of resurrecting Karin. The film was included in the "San Francisco Chronicle"'s "Hot 100 Films From the Past" in 1997.


title: The Virgin Spring

text: In 2011, author Alexandra Heller-Nicholas wrote "The Virgin Spring" gave "a relatively auspicious heritage" to rape and revenge films, and was "an art classic" with "sumptuous black and white cinematography", and that the reuse of the story in "The Last House on the Left" (1972) indicated "remarkable longevity" for the plot. Robin Wood wrote, ""The Virgin Spring" is Art; "Last House" is Exploitation". Leonard Maltin, giving "The Virgin Spring" three stars in his "2013 Movie Guide" and calling it "Fascinating, beautifully made", felt it was more proper to say "The Last House on the Left" "ripped off" Bergman's film than remade it. The film was a major influence on Taiwanese director Ang Lee and American film maker Wes Craven.


title: The Virgin Spring

text: The aggregation site "They Shoot Pictures, Don't They" has found it to be the 639th most acclaimed film ever made. Rotten Tomatoes, a review aggregator, also reports 87% approval among 23 surveyed critics, with an average rating of 7.9/10.


title: The Virgin Spring

text: The film won the Academy Award for Best Foreign Language Film, marking the first time Bergman won the award. The film was also entered into competition for the Palme d'Or at the 1960 Cannes Film Festival.


title: Uyare

text: Uyare () is a 2019 Indian Malayalam-language thriller film directed by Manu Ashokan (in his directorial debut), written by Bobby & Sanjay and produced by the sister-trio Shenuga, Shegna, and Sherga. The film stars Parvathy Thiruvothu, Asif Ali and Tovino Thomas with Siddique, Anarkali Marikar and Prathap Pothen in supporting roles. The story follows the life of Pallavi Raveendran (Parvathy), an aviation student who survives an acid attack that jeopardizes her career. Filming that began in November 2018 was completed by the end of January 2019.


title: Uyare

text: "Uyare" was released in India on 26 April 2019. It received widespread critical acclaim and was a major box office success of the year in Malayalam. It was nominated for the Best Debut Feature Film of a director at the 50th International Film Festival of India (IFFI), held from 20 to 28 November 2019. It was included in The Hindu's top 25 Malayalam films of the decade and is widely regarded as one of the defining movies of the New Wave Movement.


title: Uyare

text: Pallavi Raveendran's ambition is to become a pilot. She is in love with Govind Balakrishnan, who is highly possessive of her. She gets admission at a pilot training centre in Mumbai. Her busy schedule causes her to clash with Govind's demanding nature. After he pressures her to abandon her classes, and insults her in front of her friends, she angrily tells him to get out of her life. Next morning Govind tries to speak with Pallavi but she refuses. In revenge Govind throws acid on her face. As her eyesight is reduced by the injuries, her flight license is revoked.


title: Uyare

text: Govind is arrested, but the case is dismissed for lack of evidence. Pallavi returns home but her friend at the academy requests her to accompany her on a flight for moral support. She meets Vishal Rajashekharan, an influential and charismatic businessman, who is also the son of the airline's owner, on the flight. She has to move to another seat when a mother complains that Pallavi's disfigured face is scaring her child. Vishal tries to tell her that she can be anything she wants, but she shuts him down.


title: Uyare

text: After the flight, Vishal decides to take up the challenge and puts forward the idea of hiring her as cabin crew. His father turns down the idea, but Vishal announces his decision to hire an acid-attack survivor at a press conference, giving his father no way to back out. Vishal calls her, expecting her to be grateful, but she is furious for publicizing her story without her consent. Afterwards, her father convinces her to give him a chance and she agrees, training as an air hostess.


title: Uyare

text: On her first flight, she is given a hug by a passenger, which comforts her amongst the stares of other passengers. Vishal starts developing feelings for her and confesses them. Pallavi turns him down saying she treasures his friendship and does not want to ruin it by romanticizing it. On her next flight, Govind boards as a passenger and tries to talk to her. He asks her to withdraw her complaint, saying that it will ruin his future. An angry Pallavi throws a glass of cold water on his face. After landing, Govind files a complaint against her. Vishal asks her to apologize, but she refuses, saying that she will react the same way if such an incident happens again. Vishal is forced to sack her, and gives her notice. That night, Pallavi's father beats Govind up.


title: Uyare

text: The next day, the captain of Pallavi's flight collapses. The co-pilot is inexperienced and panics. Pallavi takes control of the flight, although she is still unable to see in one eye. Over the protests of the control tower, she lands the flight safely. Govind attempts suicide when he realises that the verdict of the case will be unfavourable for him.


title: Uyare

text: On the morning of her last flight, Pallavi meets Vishal and thanks him for giving her an opportunity to fly a plane at least once in her life. During the flight, a boy thanks her for saving his father, who had been on the affected flight. Pallavi is surprised to see most of the passengers present were in the affected flight. Vishal is also seen with them.


title: Uyare

text: Manu started as an assistant director to Rajesh Pillai. While working in Pillai's "Traffic" in 2011, Manu interacted with its writers Bobby & Sanjay. According to Manu, it was two years ago that Bobby & Sanjay asked him if he would like to direct a story they have written based on an acid attack survivor. After Pillai's death in 2016, Manu was looking to direct a film himself. Bobby & Sanjay agreed to develop the subject into a script. The film was produced by sisters Sherga, Shegna, and Shenuga—daughters of producer P. V. Gangadharan—under the company S Cube Films.


title: Uyare

text: Early on, the makers decided on Parvathy Thiruvothu for the leading role. She agreed, and used a prosthetic make-up to create the appearance of the acid burn. She had to wear this four hours prior to the shooting, and used the prosthetic make-up for almost 70 percent of the film. On the challenges of doing the role, Parvathy said: "this is the kind of trauma one cannot ever relate to unless a person goes through it. The nervousness of not ever knowing if I am capturing their pain, confusion and trauma in the right way was always there. No matter how many survivors that you speak to, the trauma cannot be internalised".


title: Uyare

text: Filming that began in November 2018 was completed by the end of January 2019. It was shot in Kochi and Dhule. Part of the film was shot at Sheroes Hangout in Agra, a cafe run by acid attack survivors. Prosthetic makeup was done by Zuby Johal and Rajiv Subba of Dirty Hands Studio, a Bangalore-based makeup effects and FX company. "Uyare" was their first Malayalam film.


title: Uyare

text: The first look poster of Uyare was released on 27 February 2019, featuring Parvathy. The trailer of the movie was released on 17 April 2019. The film was released on 26 April 2019. It was the first Malayalam film and second Indian film to be released in South Korea. The film was screened at the International Children's Film Festival of Kerala (ICFFK). It was nominated for the Best Debut Feature Film of a director at the 50th International Film Festival of India (IFFI), held from 20 to 28 November.


title: Uyare

text: In 10 days, the film grossed ₹9.4 crore worldwide, with ₹5.1 crore from Kerala alone. It collected ₹15 crore worldwide in 17 days, with ₹9 crore from India and ₹5 crore (with more than 50,000 admissions) from the Gulf Cooperation Council territories. As of 21 June 2019, "Uyare" is the third highest-grossing Malayalam film of 2019 in the United States and the rest-of-India territories, behind "Lucifer" and "Kumbalangi Nights". It grossed $93,597 (₹64.98 lakh) in the US in eight weeks. In May first week, "Uyare" was ranked among the top 10 best grossing films of that week in the multiplexes in India. However, in the United Kingdom, it grossed just £637 (₹58,095) in two weeks.


title: Uyare

text: In the United Arab Emirates (UAE), the film grossed $355,336 in the opening weekend (2 – 5 May) and was the best opener and the second best grossing film of that weekend (behind ""). It grossed $647,059 in six weeks run in the UAE. The film was released on 9 May in Australia and New Zealand, grossing $3,041 and $2,937 respectively in the opening weekend, and a total of $10,146 and $3,809 from two weeks. It collected $216 in the opening weekend in Nigeria. As of June 2019, "Uyare" remains in the top 50 highest-grossing films of the year in Nigeria and it is the only Malayalam film in the list.


title: Uyare

text: Rating the film 4.5 on a scale of 5 and describing the film as "poignant" and "classy", Sajin Shrijith of "The New Indian Express" said, "From the first frame to the last, Uyare is an exercise in restrained, sensitive filmmaking." Gautam S. of "Deccan Chronicle" wrote: "Uyare is an engaging and inspirational movie, which will remain in our hearts. It flies high on a gratifying script and performances."


title: Uyare

text: Sify.com rated the film 4 on a scale of 5 and wrote that the film is "an overwhelming experience that narrates a highly relevant issue in a fabulous way." Film critic Veeyen wrote: "The structural elements of ‘Uyare’ are bound to be familiar and the genre expectations are all in place, in that it has all the essential prerequisites of a survivor story. And yet, it's a story that needs to be told, time and again, in a world that has turned a bit too dark with relationships that have gone all adrift."


title: Uyare

text: Litty Simon from "Malayala Manorama" rated 4 out of 5 stars and wrote that, "The biggest strength of Uyare lies in its screenplay with minimal yet powerful dialogues. by Sanjay-Bobby is crisp and well etched by director Manu. Uyare is highly engaging right from the beginning to end. S. R. Praveen from "The Hindu" felt that "predictability is a problem" [in the film] and was also critical about the background score. He however praised Parvathy's performance, writing: "Despite the minor quibbles, ‘Uyare’ soars high on Parvathy's wings."


title: Sripriya

text: Sripriya is an Indian actress, film director and politician from Tamil Nadu. She has acted in over 300 films in Tamil, Telugu, Kannada, Malayalam and Hindi languages.


title: Sripriya

text: She has also directed films in Tamil, Kannada and Telugu languages, including the 2014 film "Drushyam". She is a Core Committee Member of Makkal Needhi Maiam, a political party founded by Kamal Haasan.


title: Sripriya

text: She first faced the camera for "Murugan Kaattiya Vazhi", directed by P. Madhavan in 1974. Following that, she acted with Rajinikanth, Kamal Haasan, Sivaji Ganesan, and Jaishankar among others.


title: Sripriya

text: Sripriya had a string of successful movies in the late 70s and early 80s. She played the lead character in C Rudraiya's 1977 film Aval Appadithan and her portrayal of Manju in the film won her a Tamil Nadu State Award that year. Her other hits include "Aattukara Alamelu", "Billa" and "Annai Oru Alayam".


title: Sripriya

text: She was awarded the Kalaimamani award in the early 1980s. She was in the jury of the National Awards committee and was a member of the State Awards committee.


title: Sripriya

text: She was Rajinikanth's leading lady in several of his films. She went on to act with Rajinikanth in 28 films. She has also paired in a number of films with Kamal Haasan as well, second only to Sridevi, who has been paired with Kamal Haasan for over 30 films. She also acted in a number of films which starred both Kamal and Rajini. This list of films includes "Illamai Oonjaladukirathu", "Aadu Puli Aatam", "Alladinum Arputha Vilakkakum", "Aval Appadithen" and "Natchathiram".


title: Sripriya

text: Overall, after starting in 1973, she has starred in more than 300 films in all the four South Indian languages, including over 200 in Tamil.


title: Sripriya

text: Following her acting career, Sripriya took to directing movies. Her directorial debut was 1984 Tamil film "Shanti Muhurtam". She directed the film "Malini 22 Palayamkottai", taking on the issue of sexual assaults on women. In an interview to the Indian Express, she has stated that "making this film is my way of registering [my] anger".


title: Sripriya

text: She has also directed television serials. By 2007, she had directed five serials, of which she considers "Viduthalai" the best serial. She has directed five films, two in Tamil, two in Kannada and one in Telugu with Venkatesh, Meena and Nadiya Moidu, titled "Drushyam".


title: Sripriya

text: Sripriya is also a visual artist and the proceeds from her paintings are given to social causes, mainly for children. Additionally, she is a writer and has penned the dialogues for several TV serials and films.


title: Sripriya

text: Sripriya was born in Chennai. She attended Church Park Convent School in Chennai. She is a trained classical dancer and hails from a professional music family including her uncles Natiyakalachakravarthy Padmashri, K. N. Dhandayuthapani Pillai and Rajamanickam Pillai.


title: Sripriya

text: Sripriya married actor Rajkumar Sethupathy, younger brother of actress Latha, in 1988. The couple has two children, a daughter and a son.


title: Sripriya

text: Sripriya has appeared in over 200 films in Tamil. She has also acted in many films in Telugu, Kannada and Malayalam languages.


title: Christoffel symbols

text: In mathematics and physics, the Christoffel symbols are an array of numbers describing a metric connection. The metric connection is a specialization of the affine connection to surfaces or other manifolds endowed with a metric, allowing distances to be measured on that surface. In differential geometry, an affine connection can be defined without reference to a metric, and many additional concepts follow: parallel transport, covariant derivatives, geodesics, etc. also do not require the concept of a metric. However, when a metric is available, these concepts can be directly tied to the "shape" of the manifold itself; that shape is determined by how the tangent space is attached to the cotangent space by the metric tensor. Abstractly, one would say that the manifold has an associated (orthonormal) frame bundle, with each "frame" being a possible choice of a coordinate frame. An invariant metric implies that the structure group of the frame bundle is the orthogonal group . As a result, such a manifold is necessarily a (pseudo-)Riemannian manifold. The Christoffel symbols provide a concrete representation of the connection of (pseudo-)Riemannian geometry in terms of coordinates on the manifold. Additional concepts, such as parallel transport, geodesics, etc. can then be expressed in terms of Christoffel symbols.


title: Christoffel symbols

text: In general, there are an infinite number of metric connections for a given metric tensor; however, there is a unique connection that is free of torsion, the Levi-Civita connection. It is common in physics and general relativity to work almost exclusively with the Levi-Civita connection, by working in coordinate frames (called holonomic coordinates) where the torsion vanishes. For example, in Euclidean spaces, the Christoffel symbols describe how the local coordinate bases change from point to point.


title: Christoffel symbols

text: At each point of the underlying -dimensional manifold, for any local coordinate system around that point, the Christoffel symbols are denoted for . Each entry of this array is a real number. Under "linear" coordinate transformations on the manifold, the Christoffel symbols transform like the components of a tensor, but under general coordinate transformations (diffeomorphisms) they do not. Most of the algebraic properties of the Christoffel symbols follow from their relationship to the affine connection; only a few follow from the fact that the structure group is the orthogonal group (or the Lorentz group for general relativity).


title: Christoffel symbols

text: Christoffel symbols are used for performing practical calculations. For example, the Riemann curvature tensor can be expressed entirely in terms of the Christoffel symbols and their first partial derivatives. In general relativity, the connection plays the role of the gravitational force field with the corresponding gravitational potential being the metric tensor. When the coordinate system and the metric tensor share some symmetry, many of the are zero.


title: Christoffel symbols

text: The definitions given below are valid for both Riemannian manifolds and pseudo-Riemannian manifolds, such as those of general relativity, with careful distinction being made between upper and lower indices (contra-variant and co-variant indices). The formulas hold for either sign convention, unless otherwise noted.


title: Christoffel symbols

text: Einstein summation convention is used in this article, with vectors indicated by bold font. The connection coefficients of the Levi-Civita connection (or pseudo-Riemannian connection) expressed in a coordinate basis are called "Christoffel symbols".


title: Christoffel symbols

text: define what is referred to as the local basis, with respect to the coordinate system , of the tangent space to at each point of its domain. These can be used to define the metric tensor:


title: Christoffel symbols

text: Some texts write formula_5 for formula_6, so that the metric tensor takes the particularly beguiling form formula_7. This convention also leaves use of the symbol formula_8 unambiguously for the vierbein.


title: Christoffel symbols

text: In Euclidean space, the general definition given below for the Christoffel symbols of the second kind can be proven to be equivalent to:


title: Christoffel symbols

text: Rearranging, we see that (assuming the partial derivative belongs to the tangent space, which cannot occur on a non-Euclidean curved space):


title: Christoffel symbols

text: In words, the arrays represented by the Christoffel symbols track how the basis changes from point to point. If the derivative doesn't lie on the tangent space, the right expression is the projection of the derivative over the tangent space (see covariant derivative below). Symbols of the second kind decompose the change with respect to the basis, while symbols of the first kind decompose it with respect to the dual basis. In this form, it's easy to see the symmetry of the lower or last two indices:


title: Christoffel symbols

text: from the definition of formula_14 and the fact that partial derivatives commute (as long as the manifold and coordinate system are well behaved).


title: Christoffel symbols

text: The same numerical values for Christoffel symbols of the second kind also relate to derivatives of the dual basis, as seen in the expression:


title: Christoffel symbols

text: The Christoffel symbols of the first kind can be derived either from the Christoffel symbols of the second kind and the metric,


title: Christoffel symbols

text: The Christoffel symbols of the second kind are the connection coefficients—in a coordinate basis—of the Levi-Civita connection.


title: Christoffel symbols

text: In other words, the Christoffel symbols of the second kind (sometimes or ) are defined as the unique coefficients such that


title: Christoffel symbols

text: where is the Levi-Civita connection on taken in the coordinate direction (i.e., ) and where is a local coordinate (holonomic) basis. Since this connection has zero torsion, and holonomic vector fields commute (i.e. formula_21) we have


title: Christoffel symbols

text: The Christoffel symbols can be derived from the vanishing of the covariant derivative of the metric tensor :


title: Christoffel symbols

text: As a shorthand notation, the nabla symbol and the partial derivative symbols are frequently dropped, and instead a semicolon and a comma are used to set off the index that is being used for the derivative. Thus, the above is sometimes written as


title: Christoffel symbols

text: Using that the symbols are symmetric in the lower two indices, one can solve explicitly for the Christoffel symbols as a function of the metric tensor by permuting the indices and resumming:


title: Christoffel symbols

text: where is the inverse of the matrix , defined as (using the Kronecker delta, and Einstein notation for summation) . Although the Christoffel symbols are written in the same notation as tensors with index notation, they do not transform like tensors under a change of coordinates.


title: Christoffel symbols

text: where formula_28 is the determinant of the metric tensor. This identity can be used to evaluate divergence of vectors.


title: Christoffel symbols

text: The Christoffel symbols are most typically defined in a coordinate basis, which is the convention followed here. In other words, the name Christoffel symbols is reserved only for coordinate (i.e., holonomic) frames. However, the connection coefficients can also be defined in an arbitrary (i.e., nonholonomic) basis of tangent vectors by


title: Christoffel symbols

text: where are the basis vectors and is the Lie bracket. The standard unit vectors in spherical and cylindrical coordinates furnish an example of a basis with non-vanishing commutation coefficients. The difference between the connection in such a frame, and the Levi-Civita connection is known as the contorsion tensor.


title: Christoffel symbols

text: where the overline denotes the Christoffel symbols in the formula_39 coordinate system. The Christoffel symbol does not transform as a tensor, but rather as an object in the jet bundle. More precisely, the Christoffel symbols can be considered as functions on the jet bundle of the frame bundle of , independent of any local coordinate system. Choosing a local coordinate system determines a local section of this bundle, which can then be used to pull back the Christoffel symbols to functions on , though of course these functions then depend on the choice of local coordinate system.


title: Christoffel symbols

text: For each point, there exist coordinate systems in which the Christoffel symbols vanish at the point. These are called (geodesic) normal coordinates, and are often used in Riemannian geometry.


title: Christoffel symbols

text: If a vector formula_45 is transported parallel on a curve parametrized by some parameter formula_46 on a Riemannian manifold, the rate of change of the components of the vector is given by


title: Christoffel symbols

text: Now just by using the condition that the scalar product formula_48 formed by two arbitrary vectors formula_45 and formula_50 is unchanged is enough to derive the Christoffel symbols. The condition is


title: Christoffel symbols

text: Applying the parallel transport rule for the two arbitrary vectors and relabelling dummy indices and collecting the coefficients of formula_53 (arbitrary), we obtain


title: Christoffel symbols

text: This is same as the equation obtained by requiring the covariant derivative of the metric tensor to vanish in the General definition section. The derivation from here is simple. By cyclically permuting the indices formula_55 in above equation, we can obtain two more equations and then linearly combining these three equations, we can express formula_40 in terms of metric tensor.


title: Christoffel symbols

text: Let and be vector fields with components and . Then the th component of the covariant derivative of with respect to is given by


title: Christoffel symbols

text: Here, the Einstein notation is used, so repeated indices indicate summation over indices and contraction with the metric tensor serves to raise and lower indices:


title: Christoffel symbols

text: Keep in mind that and that , the Kronecker delta. The convention is that the metric tensor is the one with the lower indices; the correct way to obtain from is to solve the linear equations .


title: Christoffel symbols

text: is equivalent to the statement that—in a coordinate basis—the Christoffel symbol is symmetric in the lower two indices:


title: Christoffel symbols

text: The index-less transformation properties of a tensor are given by pullbacks for covariant indices, and pushforwards for contravariant indices. The article on covariant derivatives provides additional discussion of the correspondence between index-free notation and indexed notation.


title: Christoffel symbols

text: for any scalar field, but in general the covariant derivatives of higher order tensor fields do not commute (see curvature tensor).


title: Christoffel symbols

text: To find the contravariant derivative of a vector field, we must first transform it into a covariant derivative using the metric tensor


title: Christoffel symbols

text: The Christoffel symbols find frequent use in Einstein's theory of general relativity, where spacetime is represented by a curved 4-dimensional Lorentz manifold with a Levi-Civita connection. The Einstein field equations—which determine the geometry of spacetime in the presence of matter—contain the Ricci tensor, and so calculating the Christoffel symbols is essential. Once the geometry is determined, the paths of particles and light beams are calculated by solving the geodesic equations in which the Christoffel symbols explicitly appear.


title: Christoffel symbols

text: Let formula_70 be the generalized coordinates and formula_71 be the generalized velocities, then the kinetic energy for a unit mass is given by formula_72, where formula_73 is the metric tensor. If formula_74, the potential function, exists then the contravariant components of the generalized force per unit mass are formula_75. The metric (here in a purely spatial domain) can be obtained from the line element formula_76. Substituting the Lagrangian formula_77 into the Euler-Lagrange equation, we get


title: Christoffel symbols

text: When Cartesian coordinates can be adopted (as in inertial frames of reference), we have an Euclidean metrics, the Christoffel symbol vanishes, and the equation reduces to Newton's second law of motion. In curvilinear coordinates (forcedly in non-inertial frames, where the metrics is non-Euclidean and not flat), fictitious forces like the Centrifugal force and Coriolis force originate from the Christoffel symbols, so from the purely spatial curvilinear coordinates.


title: Christoffel symbols

text: Given a spherical coordinate system, which describes points on the earth surface (approximated as an ideal sphere).


title: Christoffel symbols

text: For a point x, is the distance to the earth core (usually approximately the earth radius). and are the latitude and longitude. Positive is the northern hemisphere. To simplify the derivatives, the angles are given in radians (where d sin(x)/dx = cos(x), the degree values introduce an additional factor of 360 / 2 pi).


title: Christoffel symbols

text: At any location, the tangent directions are formula_82 (up), formula_83 (north) and formula_84 (east) - you can also use indices 1,2,3.


title: Christoffel symbols

text: The related metric tensor has only diagonal elements (the squared vector lengths). This is an advantage of the coordinate system and not generally true.


title: Christoffel symbols

text: The resulting Christoffel symbols of the second kind formula_88 then are (organized by the "derivative" index in a matrix):


title: Christoffel symbols

text: These values show how the tangent directions (columns: formula_82, formula_83, formula_84) change, seen from an outside perspective (e.g. from space), but given in the tangent directions of the actual location (rows: , , ).


title: Christoffel symbols

text: As an example, take the nonzero derivatives by in formula_93, which corresponds to a movement towards north (positive dθ):


title: Christoffel symbols

text: These effects are maybe not apparent during the movement, because they are the adjustments that keep the measurements in the coordinates , , . Nevertheless, it can affect distances, physics equations, etc. So if e.g. you need the exact change of a magnetic field pointing approximately "south", it can be necessary to also correct your measurement by the change of the north direction using the Christoffel symbols to get the "true" (tensor) value.


title: Christoffel symbols

text: The Christoffel symbols of the first kind formula_99 show the same change using metric-corrected coordinates, e.g. for derivative by :


title: Fast bowling

text: Fast bowling (also referred to as pace bowling) is one of two main approaches to bowling in the sport of cricket, the other being spin bowling. Practitioners of pace bowling are usually known as "fast" bowlers, "quicks", or "pacemen". They can also be referred to as a "seam" bowler, a "swing" bowler or a "fast bowler who can swing it" to reflect the predominant characteristic of their deliveries. Strictly speaking, a pure swing bowler does not need to have a high degree of pace, though dedicated medium-pace swing bowlers are rarely seen at Test level in modern times.


title: Fast bowling

text: The aim of pace bowling is to deliver the ball in such a fashion as to cause the batsman to make a mistake. The bowler achieves this by making the hard cricket ball deviate from a predictable, linear trajectory at a sufficiently high speed that limits the time the batsman has to compensate for it. For deviation caused by the ball's stitching (the seam), the ball bounces off the pitch and deflects either away from the batsman's body, or inwards towards them. Swing bowlers on the other hand also use the seam of the ball but in a different way. To 'bowl swing' is to induce a curved trajectory of the cricket ball through the air. Swing bowlers use a combination of seam orientation, body position at the point of release, asymmetric ball polishing, and variations in delivery speed to effect an aerodynamic influence on the ball. The ability of a bowler to induce lateral deviation or 'sideways movement' can make it difficult for the batsman to address the flight of the ball accurately. Beyond this ability to create an unpredictable path of ball trajectory, the fastest bowlers can be equally potent by simply delivering a ball at such a rate that a batsman simply fails to react either correctly, or at all, while spin bowlers also seek to deceive batters they do so in a rather different manner. Effective spin bowlers compensate for a much lower speed of delivery with ability to make the ball deviate in a considerably more extreme fashion than typical fast bowling.


title: Fast bowling

text: A widespread method of classification is based on average ball release speed. However, there is no universally accepted set of definitions and the categorization of bowlers according to speed may take into account competition level and gender. Terms used in different classifications include "slow medium", "medium" ( like Kyle Mayers of the West Indies Team for instance) , "fast medium", "fast" and "express". ESPNcricinfo, a popular cricket news website, uses both "medium fast" and "fast medium" in addition to "medium" and "fast".


title: Fast bowling

text: Bowlers may be categorised according to their use of swing bowling or seam bowling techniques, although the term "seamer" is also commonly used to refer to pace bowlers in general.


title: Fast bowling

text: First, a fast bowler must grip the ball correctly. The basic fast bowling grip to achieve maximum speed is to hold the ball with the seam upright and to place the index and middle fingers close together at the top of the seam with the thumb gripping the ball at the bottom of the seam. The image on the top shows the correct grip. The first two fingers and the thumb should hold the ball forward of the rest of the hand, and the other two fingers should be tucked into the palm. The ball is held quite loosely so that it leaves the hand easily. Other grips are possible, and result in different balls – see swing and seam bowling below. The bowler usually holds their other hand over the hand gripping the ball until the latest possible moment so that the batsman cannot see what type of ball is being bowled.


title: Fast bowling

text: A fast bowler needs to take a longer run-up toward the wicket than a spinner, due to the need to generate the momentum and rhythm required to bowl a fast delivery. Fast bowlers measure their preferred run up in strides, and mark the distance from the wicket. It is important for the bowler to know exactly how long the run-up is because it must terminate behind the popping crease. A bowler who steps beyond this has bowled a no-ball, which affords the batsman immunity from dismissal, adds one run to the batting team's score, and forces the bowler to bowl another ball in the over.


title: Fast bowling

text: At the end of the run-up the bowler brings his lead foot down on the pitch with the knee as straight as possible. This helps generate speed but can be dangerous due to the pressure it places on the joint. Knee injuries are not uncommon amongst fast bowlers: for example, the English pace bowler David Lawrence was sidelined for many months after splitting his kneecap in two. The pressure on the leading foot is such that some fast bowlers cut the front off their shoes to stop their toes from being injured as they are repeatedly pressed against the inside of the shoe. The bowler then brings the bowling arm up over their head and releases the ball at the height appropriate to where they want the ball to pitch. Again, the arm must be straight though this is a stipulation of the laws of cricket rather than an aid to speed. Bending the elbow and "chucking" the ball would make it too easy for the bowler to aim accurately at the batsman's wicket and get them out.


title: Fast bowling

text: Fast bowlers tend to have an action that leaves them either side-on or chest-on at the end of the run up. A chest-on bowler has chest and hips aligned towards the batsman at the instant of back foot contact, while a side-on bowler has chest and hips aligned at ninety degrees to the batsman at the instant of back foot contact. West Indian bowler Malcolm Marshall was a classic example of a chest-on bowler, while Australian pace bowler Dennis Lillee used a side-on technique to great effect.


title: Fast bowling

text: While a bowler's action does not affect their bowling speed, it can limit the style of balls that they can bowl. Although this is not a hard and fast rule, side-on bowlers generally bowl outswingers, and chest-on bowlers generally bowl inswingers.


title: Fast bowling

text: A variant on the fast bowler's action is the sling (sometimes referred to as the slingshot or javelin), where the bowler begins his delivery with his or her arm fully extended behind their back. The slinging action generates extra speed, but sacrifices control. The most famous exponent of the slinging action was Jeff Thomson, who bowled at extraordinary pace off a short run up. Other international examples include Fidel Edwards, Shaun Tait, Lasith Malinga, Mitchell Johnson, and Shoaib Akhtar.


title: Fast bowling

text: After the ball has been released, the bowler "follows through" at the end of his or her action. This involves veering to the side so as not to tread on the pitch and taking a few more strides to slow down. Striding on to the protected area of the pitch at the end of a delivery can damage the surface, making rough patches that spin bowlers can exploit to get extra turn on the ball; doing so is illegal according to the laws of the game. Bowlers who persistently run onto the pitch can be warned, with three warnings disqualifying a bowler from bowling again during the innings.


title: Fast bowling

text: An effective fast bowler must be able to hold a consistent line and length, or in common terms, to be accurate. In this context, line refers to the path of the ball towards the batsman, in the horizontal dimension running from the off to the leg side, while length describes the distance the ball travels toward the batsman before bouncing. Variations in length is generally seen as the more important of the two for a fast bowler. The faster the bowler, the harder it is to achieve consistent line and length but sheer speed can make up for the shortfall. Fast bowlers who also manage to be accurate can be devastatingly effective, for example the likes of Australian pace bowler Glenn McGrath and South African pace bowler Shaun Pollock.


title: Fast bowling

text: In modern cricket, the two lines usually aimed for by fast bowlers is the so-called "corridor of uncertainty", the area just outside the batsman's off stump, or actually on the stumps. It is difficult for the batsman to tell whether or not such a ball is likely to strike their wicket, and thus to know whether to attack, defend or leave the ball. This technique was historically known as off theory (contrast leg theory), but it is now so routine that it is rarely given a name at all, or forgotten about completely. Variation in line is also important and deliveries aimed at the leg stump can also serve a purpose.


title: Fast bowling

text: Precise mastery of the line of the ball is best used when a batsman is known to have a weakness hitting a particular shot, because a bowler with an effective line can place the ball in the weak spot time after time. Failing to overcome a persistent inability to hit balls on a certain line has been enough to end the careers of innumerable batsmen once they had been found out by skilled line bowlers.


title: Fast bowling

text: A good length ball is one that makes the batsman unsure whether he should play forward or back to the delivery. There is no fixed distance to a good length, or indeed any other length of ball in cricket since the distance required varies with ball speed, the state of the pitch, and heights of the bowler and batsman. Note that bowling a "good length" in this sense is not always appropriate—in some situations, on some pitches and against some batsmen other lengths are more effective. The diagram to the right explains the different lengths.


title: Fast bowling

text: A ball that bounces a little way before the good length and rises to the batsman's abdomen is said to be "short pitched" or described as a "long hop" and is easier for a batsman to hit as he has had more time to see if the height or line of the ball has deviated after bouncing. A short-pitched ball is also at a more suitable height for the batsman to play an attacking pull shot. A ball that bounces significantly before the good length and reaches shoulder or head height is a bouncer and can be an effective delivery. Any ball short enough to bounce over the batsman's head is usually called wide by the Umpire. Bowling short pitched or wide balls is a bad idea as they are relatively easy for the batsman to defend or attack.


title: Fast bowling

text: At the other end of the scale, balls that bounce slightly closer to the batsman than the good length are said to be "full pitched" or "overpitched" or described as a "half volley". These are often easier for the batsman to play than the good length because they do not have time to move much after bouncing off the seam and, arriving at the batsmen low to the ground, are ideal for drive strokes. However, in conditions favourable to swing bowling full pitched bowling gives the ball more time to move through the air challenging the batsman weigh up the risk of being able to play drives against uncertainty about the swing. Closer still to the batsman's feet is the yorker. An effective yorker's length is difficult to pick early, forcing the batsman back into the crease. Additionally, because it bounces at the batsmen's feet, a well-bowled yorker is not playable by a conventional cricket shot. If the ball fails to bounce at all before reaching the batsman it is labelled a "full toss". It is easier for a batsman to play such a delivery as it has not deviated from bouncing off the pitch.


title: Fast bowling

text: Because the three effective lengths (good length, bouncer and yorker) are all interspersed by lengths that are easier for the batsman to hit, control of length is an important discipline for a fast bowler. In addition to all the above variables, batsmen control how far out of the crease they face, further complicating the bowler's task of correct length estimation. Spin bowlers on the other hand are almost always aiming for the good length, but need a much finer control of flight and line to be effective.


title: Fast bowling

text: A fast bowler tries to be physically fit throughout his cricket career, which may span more than a decade.


title: Fast bowling

text: Strike bowling is the term usually applied to bowlers who are used primarily to take wickets rather than restrict runs. Typically, strike bowlers work in short spells, either at the start of an innings or to confront new batters, although they are also employed tactically at other times. For fast bowlers, results can be achieved through sheer speed and aggression, rather than by trying to make the ball move through the air (swing bowling) or off the pitch (seam bowling). More commonly, however, a combined approach is adopted to produce balls that the batter finds difficult or impossible to play, whatever the speed at which they are delivered. In this respect, the inswinging yorker is a good example of delivery that, even when bowled relatively slowly, can nevertheless be highly effective.


title: Fast bowling

text: A bouncer (or bumper) is a ball aimed to pitch in the first half of the pitch, meaning it has had time to rise sharply to chest or head height by the time it reaches the batsman. This causes two problems for the batsman who receives the ball. If they try to play it, their bat is at eye-level making it difficult to visually track the ball to the bat and time the shot correctly. If they leave or miss the ball, it may strike them painfully on the head or chest and occasionally result in injury. For this reason, bowling spells containing many bouncers are said to be "intimidatory bowling".


title: Fast bowling

text: The usual response to a bouncer is for the batsman simply to duck underneath it, but this requires fast reflexes and a strong nerve and the batsman is sometimes hit in any case. The natural reflex is to attempt to defend one's head with a straight bat but this should be suppressed if possible, as the likely result is that the ball flies off the bat at an uncontrolled angle making for an easy catch. Most batsman have panicked and lost their wickets in this fashion several times in their career after prolonged spells of bouncers.


title: Fast bowling

text: Physically powerful batsmen often attempt to strike the ball on the rise, even though this obstructs their vision of the ball since it is not uncommon that their sheer brute force combined with the speed of the ball makes it fly to the boundary. This possibility, combined with the difficulty that the wicketkeeper has trying to stop a high ball, means that bouncers can be expensive in terms of runs against skilled batsmen.


title: Fast bowling

text: A slower ball is a ball delivered exactly like a usual pace delivery in terms of action and run-up but where the grip is changed slightly to slow the ball down. This deceives the batsman, who will likely try to play the ball as though it were at full speed, making them mistime the shot. The result is usually that the ball strikes lower down the bat, making it leave the bat at a slower speed. (A cricket bat has a "middle" – hitting the ball at this point transfers the maximum possible energy to the ball. Hitting the ball away from the "middle" transfers less energy, producing less speed.) Also, the bat generally has travelled further when it hits the ball, and is in the upward part of its arc, so it leaves the bat at a steeper angle. The combination of these can be a slow-moving, looping ball that is relatively easy to catch. In an extreme case, the batsman plays the shot so early as to completely play over the ball, and be clean-bowled.


title: Fast bowling

text: One of a number of different grips is illustrated to the right. Essentially the only difference is that the middle and index fingers are split and come down on each side of the seam. This causes more drag on the ball as it leaves the hand, slowing down the delivery. Slower balls are also bowled by using the off break grip and finger action used by off spinners. A slower delivery may also be achieved – less commonly – by using a leg spin grip and wrist action or by supporting the upper aspect of the ball with only one finger or with the knuckles.


title: Fast bowling

text: The slower ball is particularly effective against a batsman seeking to score quickly. Consequently, its prominence has increased with the development of one-day cricket and Twenty20 cricket, and particularly when "bowling at the death" (at the end of an innings) where batsman attack with abandon.


title: Fast bowling

text: A more experienced batsman can adjust a shot mid-stroke, momentarily pausing so as to "middle" the ball when it is hit.


title: Fast bowling

text: In another version of the slower ball, also known as the SLOB, the bowler releases the ball with the top fingers only. Aimed as a "beamer", the delivery method makes the ball drop dramatically in flight and arrive at a "yorker" length. This was most famously used by Chris Cairns to Chris Read, causing him to duck into a full-length ball that went on to the stumps.


title: Fast bowling

text: A yorker ball bounces off the pitch right in front of (or is aimed at the toes of) the batsman's feet, an area known as the "block hole". Because of the usual stance of the batsman and the regulation length of the cricket bat the bat is not usually held near the ground while the batsman prepares to strike the ball, so playing a yorker requires the batsman to alter the height of his or her bat very quickly after detecting a yorker has been bowled. This is difficult, and the yorker can often squeeze through the gap and break the wicket. Successfully playing this type of delivery is also known as "digging out" a yorker.


title: Fast bowling

text: Bowling a yorker requires pinpoint accuracy, since bowling it slightly too long results in a full toss or full-pitched delivery that is easy for the batsman to play because the ball has not deviated by bouncing off the pitch. It also has most of its value as a surprise ball. For these two reasons, yorkers are not common deliveries in most circumstances.


title: Fast bowling

text: In the latter stages of an innings in one day cricket, batters seek to attack every ball bowled. In such circumstances, the yorker is a particularly effective delivery, both in taking wickets and preventing boundaries from being hit. The yorker is very frequently bowled in these circumstances, and bowlers who can bowl yorkers accurately are prized in this form of cricket.


title: Fast bowling

text: Seam bowling is the act of using the seam of the ball to cause the ball to bounce in an unpredictable fashion when it hits the pitch. A good batsman can predict where a ball is going to bounce, and from that work out what the height of the ball will be when it reaches the bat. By generating variations in bounce, the bowler can make it more likely that the batsman will make a mistake in this assessment and give away their wicket.


title: Fast bowling

text: Seam deliveries can be bowled at any pace, but most specialist seamers bowl at medium, medium-fast or fast-medium pace. The basic technique of seam bowling is to employ the normal fast bowling or slower ball grip and to try to ensure that the seam remains upright until the ball hits the pitch. If the seam is upright and the ball is spinning around its horizontal axis, there is no appreciable Magnus effect, and the ball does not move in the air. The seam of the ball is raised and causes variations in bounce and movement if it is the first part of the ball to hit the pitch.


title: Fast bowling

text: Seam bowlers can get a lot of help from certain types of pitches. Hard pitches that have a cracked or ridged surface are best for seam bowling since the hardness makes it easier to bounce the ball without losing speed while the uneven surface adds to the unpredictability of the bounce when the ball hits the pitch. This is known as "variable bounce". On rare occasions, an extremely hard and uneven pitch is declared too dangerous to play on, since the batsman cannot predict the ball, and are likely to be hit as a result. Green pitches can also assist the seam bowler since the tiny tufts of grass represent an uneven surface although this is a mixed blessing since the green surface also slows the ball slightly. It is difficult for a seam bowler to be effective on a very flat and even-surfaced pitch (known as a "flat track" in cricket vernacular) and seamers usually resort to aggressive bowling tactics and/or bowling cutters on such surfaces.


title: Fast bowling

text: A cutter is a fast ball that is spinning, that is, a delivery that is rotating around the opposite axis to the seam instead of keeping the seam straight. While this rotation is nowhere near as much as that achieved by a spin bowler, the small variations it can produce are still enough to make a batsman uncomfortable due to the speed of the ball. Cutters can be an effective way for a seam bowler to get the ball to move if he or she is not receiving much assistance from the pitch.