title: University of New Hampshire

text: The University of New Hampshire is located in the town of Durham, a rural small town on the Amtrak line to Boston. The Durham campus is , with in the "campus core" and of open land on the west edge of campus. The campus core is considered to be the university property within a 10-minute walk from Thompson Hall, the symbolic and near-geographic center of campus. The campus core contains many of the academic and residential buildings, while the outer campus contains much of the agriculture land and buildings. The university owns a total of of land. For the 2020-2021 school year, in order to go on campus students were required to self-test twice weekly to enter campus buildings and use the university's buses.


title: University of New Hampshire

text: As of 2006, the university housed 55% of all undergraduate students. While not required to live on campus freshman year, students are strongly encouraged to; as of the fall 2020 semester about 96% of incoming freshmen chose to live on campus, and over 70% of returning sophomores did as well.


title: University of New Hampshire

text: The university offers students a choice of traditional dorm rooms, suites, and on-campus apartments. The university's Campus Master Plan envisions housing about 60% of undergraduates, requiring an addition of 1700 beds. However, the state of New Hampshire does not provide funding for non-academically related buildings, including dormitories.


title: University of New Hampshire

text: Undergraduate housing is divided into three areas: The Hills, The Valley and The Timbers (formerly Area I, Area II and Area III, respectively). There are also two undergraduate apartment complexes, The Gables and Woodside Apartments. The university offers graduate housing in Babcock Hall. The second oldest dorm on campus is Hetzel Hall, named after the university's former president Ralph D. Hetzel. Built in 1925, it is located near downtown Durham.


title: University of New Hampshire

text: Several of the university's dormitories have specific themes, including a substance-free dormitory, an international dormitory, and several first year-only dormitories. In addition, many buildings have designated quiet floors for study.


title: University of New Hampshire

text: For the fall 2006 semester, two new buildings at The Gables ("North" and "South") were opened, providing an additional 400 beds. In summer 2006, one-half of Forest Park was demolished to make way for two new buildings (A & B) of the Southeast Residential Community (SERC). Buildings SERC A and SERC B have provided housing for 492 students since fall 2007. In summer 2020 the Forest Park apartments were demolished in order to make way for more on-campus housing. Two existing mini-dorms were demolished during summer 2007 (leaving four mini-dorms) to construct a third building, SERC C, which has provided housing for 235 students since fall 2008. SERC A, B, and C are now referred to as Handler, Peterson, and Haaland Hall. Plans exist to provide 781 new beds by demolishing the remaining nine buildings (98 units) in Forest Park. Later plans call for the construction of a new 170-unit graduate housing facility at a location to be determined.


title: University of New Hampshire

text: Due to the over-enrollment of the 2006–2007 academic year, the university offered students who intended to live in campus housing a free parking pass for the academic year, credit in UNH "Dining Dollars" and a refund of the housing deposit given that the student withdrew their intentions to live on campus. The incentive was designed to free up space for the large incoming freshman class.


title: University of New Hampshire

text: As of March 2015, University of New Hampshire at Manchester is located in the Pandora Mill at 88 Commercial Street, on the banks of the Merrimack River in Manchester's historic Amoskeag Millyard. The move to 88 Commercial Street increased the physical plant of the college by almost 50%, as from 2001 to 2014 the school was located in the University Center building at 400 Commercial Street.


title: University of New Hampshire

text: The University of New Hampshire Franklin Pierce School of Law is a located in Concord, New Hampshire. It was founded in 1973 by Robert H. Rines as the Franklin Pierce Law Center, and operated independently until 2010, when it was formally incorporated to be a part of the University of New Hampshire.


title: University of New Hampshire

text: Conant Hall was dedicated as a National Historical Chemical Landmark—the first in New Hampshire. Conant Hall was the first chemistry building on the Durham campus, and it was the headquarters of the American Chemical Society from 1907–1911, when Charles Parsons was the society’s secretary. In addition, from 1906–1928, the hall housed the laboratories of Charles James, who was an innovative developer of separation and analytical methods for compounds of rare earth elements. James Hall, the second chemistry building on campus, was named for Charles James.


title: University of New Hampshire

text: Notable alumni of the University of New Hampshire include world-renowned author John Irving (B.A. 1965), National Book Award-winning author Alice McDermott (M.A. 1968), filmmaker Jennifer Lee (B.A. 1992) and several former governors of the state of New Hampshire. Joan Ferrini-Mundy is the current president of the University of Maine.


title: Time in Indonesia

text: The Indonesian Archipelago geographically stretches across four time zones from in Aceh to in Papua. However, the Indonesian government recognises only three time zones in its territory, namely:


title: Time in Indonesia

text: The boundary between the Western and Central time zones was established as a line running north between Java and Bali through the provincial boundaries of West and Central Kalimantan. The border between the Central and Eastern time zones runs north from the eastern tip of Indonesian Timor to the eastern tip of Sulawesi.


title: Time in Indonesia

text: These time zones were first observed on 1 January 1988 (according to Presidential Decree 41/1987). Prior to that date, West and Central Kalimantan used WITA, while Bali belonged to WIB (since 29 November 1963).


title: Time in Indonesia

text: Western parts of Indonesia observed 30 minute daylight saving time (DST) from 1 November 1932 to 23 March 1942, and from 23 September 1945 to 1 January 1964 (except from 1 May 1948 to 1 May 1950, which observed 1 hour daylight saving time instead). West and Central Borneo also observed 1 hour DST from 1 January 1964 to 1 January 1988. Eastern Indonesia observed 30 minute DST from 1 September 1944 until 1 January 1964. Furthermore, 20 minute daylight saving time was observed in Java and Sumatra from 1 January 1924 to 1 November 1932.


title: Time in Indonesia

text: From 23 March 1942 to 23 September 1945, both western and central parts of Indonesia used Japan Standard Time (JST) () for the sake of the effectiveness of Japanese military operations in Indonesia This meant that western parts of Indonesia observed 2 hour daylight saving time, and central parts of Indonesia observed 1 hour daylight saving time during the period of Japanese occupation 1942 to 1945.


title: Lion-class battleship

text: The "Lion" class was a class of six fast battleships designed for the Royal Navy (RN) in the late 1930s. They were a larger, improved version of the preceding "King George V" class, with guns. Only two ships were laid down before the Second World War began in September 1939 and a third was ordered during the war, but their construction was suspended shortly afterwards. The design was modified in light of war experience in 1942, but the two ships already begun were scrapped later in the year.


title: Lion-class battleship

text: None of the other ships planned were laid down, although there was a proposal in 1941 to modify one of the suspended ships into a hybrid battleship-aircraft carrier with two 16-inch gun turrets and a flight deck. Preliminary work for a new design began in 1944 and continued for the next year or so until the RN realised that they were unaffordable in the post-war financial environment.


title: Lion-class battleship

text: The design of the "Lion"-class battleships was influenced by the terms of several arms control treaties of the 1920s and 1930s. The Washington Naval Treaty of 1922 had banned new battleship construction, with certain specified exceptions, for a decade. The London Naval Treaty of 1930 extended the ban for five more years, which meant that almost all the First World War-era ships would be eligible for replacement by the Washington Treaty's rules when the London Treaty expired. The British government intended for the 1935 Second London Naval Disarmament Conference to prevent a naval arms race that Britain could ill afford, but the Japanese refusal to sign the resulting Second London Naval Treaty of 1936 thwarted that hope.


title: Lion-class battleship

text: The three signatories, Britain, France and the United States had agreed to limit the size and gun calibre for the battleships that would be built by the signatories. They were restricted to standard displacement and a main armament calibre of . This dictated the choice of the 14-inch gun for the main battery of the "King George V"s (KGV). The treaty contained an "Escalator Clause" that would increase the maximum allowable calibre to 16 inches if the Japanese government failed to sign; this was triggered in April 1937.


title: Lion-class battleship

text: The Board of Admiralty then began preliminary design work on a 35,000-long-ton ship armed with 16-inch guns and it was promising enough that the Director of Naval Construction (DNC) was ordered to further investigate such designs. To save design time, many of the features of the "KGV"s were incorporated in the new design, but the limited size of the ship was a real challenge for the designers. Maintaining the same speed, protection, and secondary armament as the older ships while using 16-inch guns proved impossible while remaining within the treaty limits. In an effort to remain within treaty limits, the overall weight of armour was slightly reduced and two twin gun turrets as well as aircraft and their facilities were eliminated.


title: Lion-class battleship

text: The treaty-imposed design problems became irrelevant on 31 March 1938, when the signatories of the Treaty invoked the tonnage escalation clause because the Japanese refused to provide any information about their battleship construction programme and the signatories feared that their new ships could be outclassed by the new Japanese battleships. Due to limitations of docking facilities and costs, the Admiralty hoped to have the new limit at ; the limit was eventually settled at because the Americans would accept only that figure or none at all. The Admiralty in any case decided to limit itself to 40,000 long tons and nine 16-inch guns on the grounds that larger vessels would be unable to dock at the major Royal Navy dockyards at Rosyth or Portsmouth. A new design was prepared with more armour, more powerful machinery, the two twin 5.25-inch gun turrets restored, and four aircraft added. The Admiralty approved this design on 15 December and bids were solicited very shortly afterwards.


title: Lion-class battleship

text: The 1938 version of the "Lion" class had a waterline length of , an overall length of , a beam of , and a maximum draught of . They would have displaced at standard load and at deep load. The appearance of the "Lions" closely resembled that of the "KGV"s, but included a transom stern to improve steaming efficiency at high speed. The crew complement was estimated to be about 1,680 officers and ratings.


title: Lion-class battleship

text: In the interests of saving time, the four-shaft unit machinery design from the "KGV"s was duplicated with alternating boiler and engine rooms. The "Lion"-class ships would have had four sets of geared Parsons steam turbine sets housed in separate engine rooms, each driving one propeller shaft. They were designed to produce a total of at overload condition and a speed of . The turbines were intended to be powered by eight Admiralty three-drum boilers in four boiler rooms at a working pressure of and temperature of . The turbines and boilers could be cross-connected in an emergency. The ships were designed to carry of fuel oil. Their maximum estimated range was at a speed of . They would have been equipped with six turbogenerators and two 330-kW diesel generators that supplied the common ring main at 220 volts.


title: Lion-class battleship

text: The "Lion"-class ships' main armament consisted of nine newly designed 45-calibre BL 16-inch Mark II guns in three hydraulically powered triple-gun turrets. The maximum elevation of the turrets was increased to +40° although the guns were loaded at +5°. They fired projectiles at a muzzle velocity of ; this provided a maximum range of . Their rate of fire was two rounds per minute and the ships carried 100 shells per gun. The secondary armament consisted of sixteen 50-calibre QF 5.25-inch Mk I dual-purpose guns in eight twin-gun mounts. They had a maximum depression of −5° and a maximum elevation of +70°. They fired an high-explosive shell at a muzzle velocity of . At maximum elevation, the guns had a maximum range of . Their normal rate of fire was about 7–8 rounds per minute and 400 rounds were provided for each gun. Short-range air defence was provided by 48 QF 2-pounder "pom-pom" guns in six octuple mountings. The 2-pounder gun fired a , shell at a muzzle velocity of to a distance of . The gun's rate of fire was approximately 96–98 rounds per minute and 1800 rounds per gun were carried by the ships.


title: Lion-class battleship

text: Their armour scheme was virtually identical to that of the "KGV"s. The waterline belt was intended to be made from Krupp cemented armour (KCA) thick and was long. The main portion of the belt would have been high, but a lower strake, high, extended an additional past the ends of the armoured citadel. It was intended to be tapered vertically from 14.7 inches in thickness to at the bottom edge of the belt, while the plates at the end of the belt would have been only thick at the top. Transverse bulkheads thick would have closed off each end of the armoured citadel. At the aft end of the steering gear compartment would have been a transverse bulkhead. The KCA face-plates of the main gun turrets were intended to be 15 inches thick and their roofs would have used non-cemented armour plates. Their sides remained in thickness. The barbettes for the 16-inch guns were intended to be 15 inches thick on the sides, tapering to closer to the centreline of the ship.


title: Lion-class battleship

text: Intended to resist the impact of a armour-piercing bomb dropped from a height of , the "Lion"s deck protection was identical to that of the "KGV" class. It consisted of non-cemented armour over the magazines that reduced to over the machinery spaces. The armour continued forward and aft of the citadel at the lower-deck level. Forward it tapered in steps from five inches down to near the bow. Aft, it protected the steering gear and propeller shafts with of armour. Unlike the Germans, French and Americans, the British no longer believed that heavy armour for the conning tower served any real purpose, given that the chance of hitting the conning tower was very small, and protected the forward conning tower with only of armour.


title: Lion-class battleship

text: The underwater protection, also virtually identical to that of the "KGV"s, would have consisted of a wide three-layer system of voids and liquid-filled compartments meant to absorb the energy of an underwater explosion. It was bounded on the inside by the torpedo bulkhead. Both of the inner and outer voids were fitted with pumps to flood them with water to level the ship (counter-flood) in case she began to list. Over the length of the citadel, this system was found to be proof against of TNT during full-scale trials. The "Lion"-class ships would have had a double bottom with a depth of .


title: Lion-class battleship

text: Naval historians William Garzke and Robert Dulin believe that the design of the "Lion" class would have corrected some of the deficiencies of the "KGV"s with the notable exceptions of the too-shallow torpedo protection system, caused by limits of the existing infrastructure, and the limited endurance, both of which were addressed in the revised 1942 design. Their 16-inch main battery, although not the most powerful in the world, were superior to the earlier guns used in the s, and they "would have been the most powerful and fastest battleships to have served in the Royal Navy."


title: Lion-class battleship

text: Construction was suspended shortly after the war began and the Admiralty took advantage of the time to refine the design in light of war experience in late 1941. The beam was increased to , the maximum width allowed by the locks of the Panama Canal, to increase the depth and effectiveness of the ships' torpedo protection system, and almost of fuel oil were added to increase the ship's endurance. The beam increase meant that many of the Royal Navy home docking facilities, including Rosyth and Portsmouth, could no longer accommodate these ships. The requirement that 'A' turret had to be able to fire directly ahead at 0° elevation was rescinded as it radically reduced freeboard forward and caused the "KGV"s to take a lot of water over the bow in head seas. To partially compensate for the additional weight, the belt armour was reduced in thickness by to except over the magazines, and the aircraft and their facilities were removed. The space in the superstructure freed up by these changes was used to increase the light anti-aircraft armament to nine octuple and one quadruple 2-pounder mounts.


title: Lion-class battleship

text: The overall length of the "Lion" class increased to and the displacement grew to at standard load and at deep load. No changes were made to the propulsion machinery, but the speed decreased to because of the greater displacement. The of fuel increased their endurance to an estimated maximum of at a speed of 10 knots. The freeboard forward was increased by nearly , and the radar suite was increased to match that of the battleship , then under construction. Because the light cruiser lost all steam power when she struck a mine early in the war, two diesel generators were substituted for two turbo-generators. The extra beam was used to increase the depth of the torpedo protection system amidships from 13.25 ft to . The ships' crew was estimated at 1,750 officers and ratings.


title: Lion-class battleship

text: The RN's Plans Division set a requirement for a dozen battleships for the post-war navy and the DNC began another design in February 1944 that would incorporate wartime lessons, but they soon concluded that "the power of modern weapons had increased so much that ever-increasing armour and torpedo protection was required until it became incompatible with the limited offensive power of the ship." The main armament was revised to an improved Mk IV version of the 16-inch gun in a new Mk III turret that fired a heavier shell at a marginally lower velocity, mounted in three triple turrets. They would also carry twelve twin QF Mk V guns as their secondary armament and one twin and ten sextuple Bofors mounts plus fifty 20 mm Oerlikons for anti-aircraft protection. Calculations for a preliminary sketch design were completed in October and revealed a , ship at standard load and at deep load. More detailed studies were conducted in January 1945 and showed that the ship would actually displace at standard load and deep. This design was too large, so multiple variants were considered over the next several months, examining the effects of reducing side armour, underwater protection and the number of main and secondary gun turrets. The provisional staff requirements were issued in March and increased the speed to and set the endurance equal to that of the original design, which was slightly modified in April as 'Design B'. This greatly hampered the ability of the designers to reduce the size of the design as only those variants with two main gun turrets were below at standard displacement. The most radical variant, christened 'Design X', had an armour arrangement similar to the modernised battlecruiser with a pair of 16-inch and eight 4.5-inch turrets and had only minimal underwater protection, relying on tight compartmentalisation and strengthened internal bulkheads to localise damage. This yielded a ship at standard load.


title: Lion-class battleship

text: That same month a committee headed by Rear-Admiral Reginald Servaes reviewed all the proposals and the Admiralty requested a sketch design of 'X' with two 16-inch turrets, both forward of the superstructure as in the French , and a thicker waterline belt in May that the DNC designated 'X3'. This displaced at standard load. The following month the Admiralty asked that the 16-inch turrets be replaced by quadruple turrets and the DNC replied that no design work had been done on such turrets and would thus delay construction by 15 to 18 months and add about to the ship's displacement. The DNC asked permission to investigate further methods of reducing the size of 'B3' in July and work continued on both designs through October. By this time the impossibility of even maintaining the existing battle fleet, much less building such large battleships, had become clear in light of Britain's economic difficulties and further design work was informally suspended on all but the new Mk IV gun and its Mk III turret; this was finally cancelled by the First Sea Lord on 10 March 1949.


title: Lion-class battleship

text: On 8 January 1941, Rear-Admiral Bruce Fraser, Third Sea Lord and Controller of the Navy, asked the DNC to work up a hybrid aircraft carrier based on the "Lion"-class hull. Two months later, a sketch design was presented for consideration, but it was not well regarded by the participants. This design retained all three main gun turrets and the flight deck was deemed too short to be useful. A revised version with only the two forward turrets retained was requested and was ready in July. In this design, the displacement ranged from at standard load and at deep load. The design's dimensions included a waterline length of , a beam of and a draught of . The flight deck was long and had a width of . The machinery was unchanged, but another of oil increased her endurance to at 10 knots. The hybrid's armament consisted of six 16-inch guns in two triple turrets, sixteen 5.25-inch guns and eight octuple 2-pounder mounts. Twelve fighters and two torpedo bombers could be carried. The Director of Naval Gunnery's assessment was that "The functions and requirements of carriers and of surface gun platforms are entirely incompatible ... the conceptions of these designs ... is evidently the result of an unresolved contest between a conscious acceptance of aircraft and a subconscious desire for a 1914 Fleet ... these abortions are the results of a psychological maladjustment. The necessary readjustments should result from a proper re-analysis of the whole question, what would be a balanced fleet in 1945, 1950 or 1955?" The design was rejected.


title: Lion-class battleship

text: Six "Lion"-class ships were planned, two each in the 1938, 1939, and 1940 Naval Programmes. The first pair, "Lion" and "Temeraire", were ordered on 28 February 1939 from Vickers Armstrongs and Cammell Laird, respectively. "Lion" was laid down at Vickers' Walker, Newcastle upon Tyne shipyard on 4 July; "Temeraire" preceded her at Birkenhead on 1 June. The contract for "Conqueror" was awarded on 15 August to John Brown, and that of "Thunderer" was scheduled for 15 November for Fairfield. After the start of the Second World War in September, construction continued desultorily until early October, when it was suspended by the Admiralty for one year; construction of the 16-inch guns and their turrets was to continue. The second pair of "Lion"s were now expected to be laid down in January and April 1941. On 15 November 1939, work on "Lion" and "Temeraire" was authorised to resume whenever there was available labour, but it was suspended again in May 1940. In November, the decision to suspend construction was reaffirmed and steel from "Lion" was ordered transferred to "Vanguard". After thoroughly revising the design in late 1942, the RN's Director of Contracts wrote to Vickers Armstrongs and Cammell Laird "requesting them to clear the slipways and reuse the material on other naval contracts where possible". All design work ceased in April 1943 and armour plates made for "Lion" were to be scrapped. Only four 16-inch guns, and no turrets, were ever completed. One of the guns was used to test aspects of the Mk IV gun.


title: The Last Leg

text: The Last Leg (known during its first series as The Last Leg with Adam Hills) is a British comedy and late-night television talk/sketch show that originally ran alongside the 2012 Summer Paralympics every night following the main coverage on Channel 4. Anchored by Australian comedian Adam Hills and co-hosted by Josh Widdicombe and Alex Brooker, it gives a review of the week's events.


title: The Last Leg

text: Featuring a mix of comedy, guests and Paralympics highlights, the show received strong reviews and regularly pulled in more than a million viewers each night of the Paralympic Games. It has since become a weekly show giving a humorous alternative look back at the week's events. Outside of the UK, the show is broadcast in Hills' native Australia by the ABC, albeit (as mentioned on the show in September 2022) delayed until the Tuesday of the next week and with a different theme tune.


title: The Last Leg

text: "The Last Leg" is described by main presenter Adam Hills as "Three guys with four legs talking about the week", because Hills was born without a right foot and Brooker had his right leg amputated when he was a baby.


title: The Last Leg

text: The original series, broadcast during the 2012 Paralympics, was a look back at each day's events during the competition, as well as a look at the news that week. Following on from the Paralympics, the series became weekly, and looks at political and other events in the news that week, as well as covering Paralympic matters. The show features guest interviews with Paralympians and celebrities.


title: The Last Leg

text: Originally it was intended to be broadcast on More4 at midnight and was intended to feature Hills alone, hence the original title. However, after a run-through, Channel 4 saw more potential and put the show on at 10pm every day. During the pilot, which saw Hills alone as presenter and Widdicombe and Brooker merely as guests, producers decided to keep Brooker and Widdicombe as recurring co-presenters.


title: The Last Leg

text: The series is broadcast live and encourages interaction with the viewers at home, holding polls via Twitter using hashtags. A recurring theme in the show is the use of the hashtag #isitok to highlight questions from Twitter users to be asked in the show. Initially it was for asking questions about disability that people felt awkward asking: the broadening of the show's remit is reflected in the questions asked in this stream.


title: The Last Leg

text: The show originally was broadcast from the Riverside Studios in London. It would later move to the ITV London Studios on London's South Bank. From Series 14 it is now made in Studio TC1 at the BBC Studios in Television Centre, West London, which is operated and run by BBC Studioworks, though some 2020 episodes were made at Elstree Studios.


title: The Last Leg

text: In late April 2020 it was announced that "The Last Leg" would be ""Locked Down Under"" during the coronavirus lockdown. Hills, Widdicombe and Brooker would be hosting the show from their homes in Melbourne, London and Huddersfield taking social distancing to the extreme and looking at the week's news in a comedic manner. Guests including Miriam Margolyes and Stephen Merchant were featured using video relay, and each episode ended with a song from The Horne Section. The show ran for five episodes from 8 May until 5 June and is available on All 4 after broadcast.


title: The Last Leg

text: Recurring segments in the show include rants or attacks by Hills on certain people and organisations, which has since resulted in the coining of Hills' catchphrase: "Don't be a dick!" Another segment is "The Last 7 Days", in which Widdicombe looks at more comic news items that have occurred during the week, and Brooker's various attempts to qualify for the 2016 Summer Paralympics. Another is the "Bullshit Button", which was first used in a segment in which Brooker interviewed the then-Leader of the Liberal Democrats Nick Clegg to see if Clegg could persuade him to vote in the 2015 UK general election. Brooker would press a large red buzzer that played an audio recording of him saying the word "Bullshit" if he thought Clegg was lying during the interviews. Since then, the buzzer has been used in various situations whenever the show thinks someone is lying, and a second buzzer has been added which features Widdicombe saying: "That's true, actually" when someone says something that really is true.


title: The Last Leg

text: After appearing on the show in 2017, comedian Armando Iannucci's voice has replaced Brooker's voice on the bullshit button. Since the replacement, four more buttons have been implemented, all four varying in levels: "cow chutney", "a shite in shining armour", "a turd the size of Disneyland Paris" and "Thomas the Wank Engine", the latter being the most often used. Most recently added is a button in which the sound is Brooker and Widdicombe exclaiming "Fuck off" in unison.


title: The Last Leg

text: Since January 2014, "The Last Leg" has presented a mock prize to the "Dick of the Year", awarded for being the biggest dick over the previous year. The winner is voted on by the viewers using Twitter with the hashtag #dickoftheyear. The winner for 2013 was Russian president Vladimir Putin.


title: The Last Leg

text: In January 2015, journalist Katie Hopkins received the most votes for 2014's "Dick of the Year" but Hills and the team making the show decided not give Hopkins the prize on the grounds that she would enjoy receiving it. Thus, the prize went to the person with the second-highest number of votes, UK Independence Party leader Nigel Farage.


title: The Last Leg

text: The prize for 2015 was awarded to Health Secretary Jeremy Hunt, who won 80% of the vote in the final round of voting, beating Donald Trump into second place.


title: The Last Leg

text: In the 2016 Christmas special, the prize was awarded to whole of the year 2016, defeating Donald Trump, Nigel Farage and David Cameron.


title: The Last Leg

text: In 2017, it was announced that as well as "Dick of the Year", the people who have come second and third will be named "Ballbags of the Year". The nominations for 2017 were decided for by both public vote and a selection of wildcards chosen by the hosts of the show. The nominees are Theresa May, Kim Jong-un, Donald Trump, Adam's wildcard Bob Katter, Josh's wildcard Lewis Hamilton, and Alex's wildcard Philip Hammond. The result was Trump being declared the winner, with May second and Hamilton third. There was also a special award given to Harvey Weinstein, who was ruled out of running for the main award on the grounds that it is possible that Weinstein may take "Dick of the Year" as a compliment. Weinstein was given the "Steaming Turd" award for "lifetime achievement".


title: The Last Leg

text: 2018 followed a similar format to the previous year, with nominees selected by viewers and three from the hosts. The nominees were Theresa May, Jacob Rees-Mogg, Piers Morgan, Adam's wildcard Boris Johnson, Josh's wildcard Steve Smith, and Alex's wildcard Thanos. Rees-Mogg was announced as the winner, whilst Donald Trump was given a special award.


title: The Last Leg

text: In 2019, comedy writer Graham Linehan was the runaway favourite nominee by viewers to be given the award, in light of controversial comments he had made on social media about transgender people. After Linehan expressed interest in winning the award, Hills and the team disqualified him from receiving the award under the precedent set by Hopkins in 2014. The public's nominees were Rees-Mogg, Johnson, and Prince Andrew, Adam's wildcard was the Chinese government, Alex's wildcard was Rebekah Vardy's Instagram account, Josh's nominee was the video assistant referee system. Johnson was declared the winner, with Rees-Mogg second and Prince Andrew third. Another poll also announced David Cameron as "Dick of the Decade".


title: The Last Leg

text: to Dominic Cummings, beating Donald Trump, who finished second and Matt Hancock, who finished third, while other nominees included Arsenal F.C., Rudy Giuliani and 5G.


title: The Last Leg

text: In 2022, Alex nominated the FIFA World Cup mascot Laʼeeb and Josh nominated Stranger Things antagonist Vecna. Other nominees included Elon Musk, Matt Hancock, Kanye West, and Liz Truss. Vladimir Putin was awarded the Steaming Turd Award for the Russian invasion of Ukraine.


title: The Last Leg

text: The theme music is Public Enemy's "Harder Than You Think", which became the show's permanent theme after initially serving as the title music to the whole of Channel 4's 2012 Summer Paralympics coverage.


title: The Last Leg

text: The first and ninth series were broadcast daily at the end of the day's Paralympics coverage on Channel 4. The second series was broadcast each Friday, with the show moving to Wednesday nights for its third series, before reverting to Friday nights for the fourth and fifth series.


title: The Last Leg

text: In October 2012 it was announced that the show would return for a Christmas special titled "The Last Leg of the Year" and a second series, which began broadcasting in January 2013. A third and fourth series followed in July 2013 and January 2014 (timed around the 2014 Winter Paralympics) respectively. A fifth series started broadcasting in August 2014, followed by a sixth series in January 2015 and a seventh in June 2015.


title: The Last Leg

text: After the seventh series, a special 2-part series entitled "The Last Leg Goes Down Under" was broadcast on 29 January and 5 February 2016, and preceded the start of series 8 on 12 February. Starting from series 8, the show was given a brand new set.


title: The Last Leg

text: On 25 March 2016, in a parody of the Boaty McBoatface internet poll controversy, the show released the #renametheLastLeg hashtag on Twitter live on the set to allow viewers to choose a new name for the show. The show brought the number of choices down to the four most popular ones and then they released a Twitter poll to change the name of the programme for next week's final episode of the series. The poll received a total of 3,731 votes with the highest scoring programme name being "Your Mum" with a 30% vote. The last episode of the series aired on 1 April 2016 and was called "Your Mum". During one 2016 Summer Paralympics episode on 14 September 2016, host Adam Hills announced that the show was to be renamed again, this time in Paralympic athlete Libby Clegg's honour. The remainder of that show was called "The Fast Clegg".


title: The Last Leg

text: The show aired a two-hour special entitled "Re-United Kingdom" dedicated to MP Jo Cox on 16 June 2017 (the anniversary of her death). Featuring dozens of comedians and politicians, the show aimed to inspire the public to resolve animosity between people they had fallen out with. Politicians appeared in pre-recorded skits where they were stuck in a lift with another politician they disliked, and found common ground; some members of the public who had resolved arguments with each other were shown in a hot tub together.


title: The Last Leg

text: Following the passing of Queen Elizabeth II on Thursday 8 September 2022, it was announced that there would be no new episode that Friday. This was not due to any regulations, but was rather a choice made by those involved with the show, with Adam Hills breaking the news on Twitter: "It just doesn’t feel right". The show the next week was a tribute to Her Majesty, without the typical broad coverage of the week's news.


title: The Last Leg

text: Adam Hills was quoted as saying "If the Paralympics is covered well, it can change the way Jim Davidson looks at and treats people with disabilities". "The Daily Mirror" described "The Last Leg" as "a real success". Veteran TV pundit, the late Clive James said: "Taken as a whole, the Channel 4 coverage of the Paralympics was very good, but almost the best part of it was The Last Leg, the discussion show at the end of each day".


title: The Last Leg

text: The programme provoked a discussion in the media about whether disability and comedy could work together on TV. "The Independent" described it as "a high risk venture" saying that Hills "reminds us frequently that he has a prosthetic leg, giving him licence to crack jokes that most of us wouldn't dream of." Frances Ryan, for "The Guardian", described it as "often tasteless, sometimes awkward, always funny". Damon Rose for BBC News said that "Comedian Adam Hills' late night irreverent Para-chat show The Last Leg – a title reflecting Adam's lack of a segment of his lower limb – has taken mainstream viewers to dark and delightfully surprising places that only disability humour can go. And it has given a sense of permission for regular viewers to talk openly about things they may previously have shied away from".


title: The Last Leg

text: Brooker's 2015 interview with Nick Clegg for the programme was described by political journalist Hugo Rifkind as "a model of how to talk normally to a politician – and make them talk normally back".


title: Fun Home

text: Fun Home: A Family Tragicomic is a 2006 graphic memoir by the American cartoonist Alison Bechdel, author of the comic strip "Dykes to Watch Out For". It chronicles the author's childhood and youth in rural Pennsylvania, United States, focusing on her complex relationship with her father. The book addresses themes of sexual orientation, gender roles, suicide, emotional abuse, dysfunctional family life, and the role of literature in understanding oneself and one's family.


title: Fun Home

text: Writing and illustrating "Fun Home" took seven years, in part because of Bechdel's laborious artistic process, which includes photographing herself in poses for each human figure. "Fun Home" has been the subject of numerous academic publications in areas such as biography studies and cultural studies as part of a larger turn towards serious academic investment in the study of comics/sequential art.


title: Fun Home

text: "Fun Home" has been both a popular and critical success, and spent two weeks on the "New York Times" Best Seller list. In "The New York Times Sunday Book Review", Sean Wilsey called it "a pioneering work, pushing two genres (comics and memoir) in multiple new directions." Several publications named "Fun Home" as one of the best books of 2006; it was also included in several lists of the best books of the 2000s. It was nominated for several awards, including the National Book Critics Circle Award and three Eisner Awards (winning the Eisner Award for Best Reality-Based Work). A French translation of "Fun Home" was serialized in the newspaper "Libération"; the book was an official selection of the Angoulême International Comics Festival and has been the subject of an academic conference in France. "Fun Home" also generated controversy, being challenged and removed from libraries due to its contents.


title: Fun Home

text: In 2013, a musical adaptation of "Fun Home" at The Public Theater enjoyed multiple extensions to its run, with book and lyrics written by Obie Award-winning playwright Lisa Kron, and score composed by Tony Award-nominated Jeanine Tesori. The production, directed by Sam Gold, was called "the first mainstream musical about a young lesbian." As a musical theatre piece, "Fun Home" was a finalist for the 2014 Pulitzer Prize for Drama, while winning the Lucille Lortel Award for Outstanding Musical, the New York Drama Critics' Circle Award for Best Musical, and the Obie Award for Musical Theater. The Broadway production opened in April 2015 and earned an even dozen nominations for the 69th Tony Awards, winning the Tony Award for Best Musical.


title: Fun Home

text: Bechdel states that her motivation for writing "Fun Home" was to reflect on why things turned out the way they did in her life. She reflects on her father's untimely death and whether Alison would have made different choices if she were in his position. This motivation is present throughout as she contrasts Bruce's artifice in hiding things with Alison's free and open self. The process of writing "Fun Home" required many references to literary works and archives to both accurately write and draw the scenes. As Bechdel wrote the book, she would reread the sources of her literary references, and this attention to detail in her references led to the development of each chapter having a different literary focus. On the process of writing the book, Bechdel says, "It was such a huge project: six or seven years of drawing and excavating. It was sort of like living in a trance."


title: Fun Home

text: "Fun Home" is drawn in black line art with a gray-blue ink wash. Sean Wilsey wrote that "Fun Home"s panels "combine the detail and technical proficiency of R. Crumb with a seriousness, emotional complexity and innovation completely its own." Writing in the "Gay & Lesbian Review Worldwide", Diane Ellen Hamer contrasted "Bechdel's habit of drawing her characters very simply and yet distinctly" with "the attention to detail that she devotes to the background, those TV shows and posters on the wall, not to mention the intricacies of the funeral home as a recurring backdrop." Bechdel told an interviewer for "The Comics Journal" that the richness of each panel of "Fun Home" was very deliberate:


title: Fun Home

text: Bechdel wrote and illustrated "Fun Home" over a seven-year period. Her meticulous artistic process made the task of illustration slow. She began each page by creating a framework in Adobe Illustrator, on which she placed the text and drew rough figures. She used extensive photo reference and, for many panels, posed for each human figure herself, using a digital camera to record her poses. Bechdel also used photo reference for background elements. For example, to illustrate a panel depicting fireworks seen from a Greenwich Village rooftop on July 4, 1976, she used Google Images to find a photograph of the New York skyline taken from that particular building in that period. She also painstakingly copied by hand many family photographs, letters, local maps and excerpts from her own childhood journal, incorporating these images into her narrative. After using the reference material to draw a tight framework for the page, Bechdel copied the line art illustration onto plate finish Bristol board for the final inked page, which she then scanned into her computer. The gray-blue ink wash for each page was drawn on a separate page of watercolor paper, and combined with the inked image using Photoshop. Bechdel chose the bluish wash color for its flexibility, and because it had "a bleak, elegiac quality" which suited the subject matter. Bechdel attributes this detailed creative process to her "barely controlled obsessive-compulsive disorder".


title: Fun Home

text: The narrative of "Fun Home" is non-linear and recursive. Incidents are told and re-told in the light of new information or themes. Bechdel describes the structure of "Fun Home" as a labyrinth, "going over the same material, but starting from the outside and spiraling in to the center of the story." In an essay on memoirs and truth in the academic journal "PMLA", Nancy K. Miller explains that as Bechdel revisits scenes and themes "she re-creates memories in which the force of attachment generates the structure of the memoir itself." Additionally, the memoir derives its structure from allusions to various works of literature, Greek myth and visual arts; the events of Bechdel's family life during her childhood and adolescence are presented through this allusive lens. Miller notes that the narratives of the referenced literary texts "provide clues, both true and false, to the mysteries of family relations."


title: Fun Home

text: The memoir focuses on Bechdel's family, and is centered on her relationship with her father, Bruce. Bruce was a funeral director and high school English teacher in Beech Creek, where Alison and her siblings grew up. The book's title comes from the family nickname for the funeral home, the family business in which Bruce grew up and later worked; the phrase also refers ironically to Bruce's tyrannical domestic rule. Bruce's two occupations are reflected in "Fun Home"s focus on death and literature.


title: Fun Home

text: In the beginning of the book, the memoir exhibits Bruce's obsession with restoring the family's Victorian home. His obsessive need to restore the house is connected to his emotional distance from his family, which he expressed in coldness and occasional bouts of abusive rage. This emotional distance, in turn, is connected with his being a closeted homosexual. Bruce had homosexual relationships in the military and with his high school students; some of those students were also family friends and babysitters. At the age of 44, two weeks after his wife requested a divorce, he stepped into the path of an oncoming Sunbeam Bread truck and was killed. Although the evidence is equivocal, Alison concludes that her father died by suicide.


title: Fun Home

text: The story also deals with Alison's own struggle with her sexual identity, reaching a catharsis in the realization that she is a lesbian and her coming out to her parents. The memoir frankly examines her sexual development, including transcripts from her childhood diary, anecdotes about masturbation, and tales of her first sexual experiences with her girlfriend, Joan. In addition to their common homosexuality, Alison and Bruce share obsessive-compulsive tendencies and artistic leanings, albeit with opposing aesthetic senses: "I was Spartan to my father's Athenian. Modern to his Victorian. Butch to his nelly. Utilitarian to his aesthete." This opposition was a source of tension in their relationship, as both tried to express their dissatisfaction with their given gender roles: "Not only were we inverts, we were inversions of each other. While I was trying to compensate for something unmanly in him, he was attempting to express something feminine through me. It was a war of cross-purposes, and so doomed to perpetual escalation." However, shortly before Bruce's death, he and his daughter have a conversation in which Bruce confesses some of his sexual history; this is presented as a partial resolution to the conflict between father and daughter.


title: Fun Home

text: At several points in the book, Bechdel questions whether her decision to come out as a lesbian was one of the triggers for her father's suicide. This question is never answered definitively, but Bechdel closely examines the connection between her father's closeted sexuality and her own open lesbianism, revealing her debt to her father in both positive and negative lights.


title: Fun Home

text: Bechdel describes her journey of discovering her own sexuality: "My realization at nineteen that I was a lesbian came about in a manner consistent with my bookish upbringing." Yet, hints of her sexual orientation arose early in her childhood; she wished "for the right to exchange [her] tank suit for a pair of shorts" in Cannes and for her brothers to call her Albert instead of Alison on one camping trip. Her father also exhibited homosexual behaviors, but the revelation of this made Bechdel feel uneasy. "I'd been upstaged, demoted from protagonist in my own drama to comic relief in my parents' tragedy". Father and daughter handled their issues differently. Bechdel chose to accept the fact, before she had a lesbian relationship, but her father hid his sexuality. He was afraid of coming out, as illustrated by "the fear in his eyes" when the conversation topic comes dangerously close to homosexuality.


title: Fun Home

text: In addition to sexual orientation, the memoir touches on the theme of gender identity. Bechdel had viewed her father as "a big sissy" while her father constantly tried to change his daughter into a more feminine person throughout her childhood.


title: Fun Home

text: The underlying theme of death is also portrayed. Unlike most young people, the Bechdel children have a tangible relationship with death because of the family mortuary business. Alison ponders whether her father's death was an accident or suicide, and finds it more likely that he killed himself purposefully.


title: Fun Home

text: The allusive literary references used in "Fun Home" are not merely structural or stylistic: Bechdel writes, "I employ these allusions ... not only as descriptive devices, but because my parents are most real to me in fictional terms. And perhaps my cool aesthetic distance itself does more to convey the Arctic climate of our family than any particular literary comparison." Bechdel, as the narrator, considers her relationship to her father through the myth of Daedalus and Icarus. As a child, she confused her family and their Gothic Revival home with the Addams Family seen in the cartoons of Charles Addams. Bruce Bechdel's suicide is discussed with reference to Albert Camus' novel "A Happy Death" and essay "The Myth of Sisyphus". His careful construction of an aesthetic and intellectual world is compared to "The Great Gatsby" by F. Scott Fitzgerald, and the narrator suggests that Bruce Bechdel modeled elements of his life after Fitzgerald's, as portrayed in the biography "The Far Side of Paradise". His wife Helen is compared with the protagonists of the Henry James novels "Washington Square" and "The Portrait of a Lady". Helen Bechdel was an amateur actress, and plays in which she acted are also used to illuminate aspects of her marriage. She met Bruce Bechdel when the two were appearing in a college production of "The Taming of the Shrew", and Alison Bechdel intimates that this was "a harbinger of my parents' later marriage". Helen Bechdel's role as Lady Bracknell in a local production of "The Importance of Being Earnest" is shown in some detail; Bruce Bechdel is compared with Oscar Wilde. His homosexuality is also examined with allusion to Marcel Proust's "In Search of Lost Time". The father and daughter's artistic and obsessive-compulsive tendencies are discussed with reference to E. H. Shepard's illustrations for "The Wind in the Willows". Bruce and Alison Bechdel exchange hints about their sexualities by exchanging memoirs: the father gives the daughter "Earthly Paradise", an autobiographical collection of the writings of Colette; shortly afterwards, in what Alison Bechdel describes as "an eloquent unconscious gesture", she leaves a library copy of Kate Millett's memoir "Flying" for him. Finally, returning to the Daedalus myth, Alison Bechdel casts herself as Stephen Dedalus and her father as Leopold Bloom in James Joyce's "Ulysses", with parallel references to the myth of Telemachus and Odysseus.


title: Fun Home

text: The chapter headings, too, are all literary allusions. The first chapter, "Old Father, Old Artificer", refers to a line in Joyce's "A Portrait of the Artist as a Young Man", and the second, "A Happy Death", invokes the Camus novel. "That Old Catastrophe" is a line from Wallace Stevens's "Sunday Morning", and "In the Shadow of the Young Girls in Flower" is the literal translation of the title of one of the volumes of Marcel Proust's "In Search of Lost Time", which is usually given in English as "Within a Budding Grove".


title: Fun Home

text: In addition to the literary allusions which are explicitly acknowledged in the text, Bechdel incorporates visual allusions to television programs and other items of pop culture into her artwork, often as images on a television in the background of a panel. These visual references include the film "It's a Wonderful Life", Bert and Ernie of "Sesame Street", the Smiley Face, Yogi Bear, "Batman", the Road Runner and Wile E. Coyote, the resignation of Richard Nixon and "The Flying Nun".


title: Fun Home

text: Heike Bauer, a professor at the University of London, categorizes "Fun Home" as part of the queer transnational archive for its contribution towards the "felt experiences" of the LGBTQ community. Bauer argues that books provide a relatable source, or a felt experience, as Alison uses literature to understand her own feelings in a homophobic society. Bauer notes that as Alison finds relatable literature for her experiences, "Fun Home" itself becomes a similar outlet for its readers by increasing representation of LGBTQ literature.


title: Fun Home

text: Valerie Rohy, an English professor at the University of Vermont, questions the authenticity of Alison's archives in the book. Rohy explores how Alison uses her diary in her childhood and readings in her young adulthood to both document her life and learn about herself through written works. On the uncertainty relating to Bruce's cause of death, Rohy says Alison concludes it to be a suicide to fill in her knowledge gap of the situation, similar to her use of books to fill in gaps in her own understanding of her childhood.


title: Fun Home

text: Judith Kegan Gardiner, a professor of English and Gender and Women's Studies at the University of Illinois, Chicago, views "Fun Home" as queer literature that bends the literary norms of the graphic novel genre, arguing Bechdel combines both tragedy, normally associated with men, and humor, normally associated with women, by discussing her father's death using a comic book style and dark humor. Gardiner argues Bechdel takes control of creating an open culture for lesbian feminist work through "Fun Home" by focusing less on Bruce's wrongdoings regarding minors, and more on the tragedy faced by Alison and the guilt towards his subsequent death after her coming out. She also says that by breaking the gender norms of the genre, particularly within lesbian and gay literature, "Fun Home" has dramatically affected representation.


title: Fun Home

text: "Fun Home" was first printed in hardcover by Houghton Mifflin (Boston, New York City) on June 8, 2006. This edition appeared on the "New York Times" Hardcover Nonfiction bestseller list for two weeks, covering the period from June 18 to July 1, 2006. It continued to sell well, and by February 2007 there were 55,000 copies in print. A trade paperback edition was published in the United Kingdom by Random House under the Jonathan Cape imprint on September 14, 2006; Houghton Mifflin published a paperback edition under the Mariner Books imprint on June 5, 2007.


title: Fun Home

text: In the summer of 2006, a French translation of "Fun Home" was serialized in the Paris newspaper "Libération" (which had previously serialized "Persepolis" by Marjane Satrapi). This translation, by Corinne Julve and Lili Sztajn, was subsequently published by on October 26, 2006. In January 2007, "Fun Home" was an official selection of the Angoulême International Comics Festival. In the same month, the Anglophone Studies department of the Université François Rabelais, Tours sponsored an academic conference on Bechdel's work, with presentations in Paris and Tours. At this conference, papers were presented examining "Fun Home" from several perspectives: as containing "trajectories" filled with paradoxical tension; as a text interacting with images as a paratext; and as a search for meaning using drag as a metaphor. These papers and others on Bechdel and her work were later published in the peer-reviewed journal "GRAAT" ("Groupe de Recherches Anglo-Américaines de Tours", or Tours Anglo-American Research Group).


title: Fun Home

text: An Italian translation was published by in January 2007. In Brazil, Conrad Editora published a Portuguese translation in 2007. A German translation was published by Kiepenheuer & Witsch in January 2008. The book has also been translated into Hungarian, Korean, and Polish, and a Chinese translation has been scheduled for publication.


title: Fun Home

text: In Spring 2012, Bechdel and literary scholar Hillary Chute co-taught a course at the University of Chicago titled "Lines of Transmission: Comics and Autobiography".


title: Fun Home

text: "Fun Home" was positively reviewed in many publications. "The Times" of London described "Fun Home" as "a profound and important book;" Salon.com called it "a beautiful, assured piece of work;" and "The New York Times" ran two separate reviews and a feature on the memoir. In one "New York Times" review, Sean Wilsey called "Fun Home" "a pioneering work, pushing two genres (comics and memoir) in multiple new directions" and "a comic book for lovers of words". Jill Soloway, writing in the "Los Angeles Times", praised the work overall but commented that Bechdel's reference-heavy prose is at times "a little opaque". Similarly, a reviewer in "The Tyee" felt that "the narrator's insistence on linking her story to those of various Greek myths, American novels and classic plays" was "forced" and "heavy-handed". By contrast, the "Seattle Times" reviewer wrote positively of the book's use of literary reference, calling it "staggeringly literate". "The Village Voice" said that "Fun Home" "shows how powerfully—and economically—the medium can portray autobiographical narrative. With two-part visual and verbal narration that isn't simply synchronous, comics presents a distinctive narrative idiom in which a wealth of information may be expressed in a highly condensed fashion."


title: Fun Home

text: Several publications listed "Fun Home" as one of the best books of 2006, including "The New York Times", Amazon.com, "The Times" of London, "New York" magazine and "Publishers Weekly", which ranked it as the best comic book of 2006. Salon.com named "Fun Home" the best nonfiction debut of 2006, admitting that they were fudging the definition of "debut" and saying, ""Fun Home" shimmers with regret, compassion, annoyance, frustration, pity and love—usually all at the same time and never without a pervasive, deeply literary irony about the near-impossible task of staying true to yourself, and to the people who made you who you are." "Entertainment Weekly" called it the best nonfiction book of the year, and "Time" named "Fun Home" the best book of 2006, describing it as "the unlikeliest literary success of 2006" and "a masterpiece about two people who live in the same house but different worlds, and their mysterious debts to each other."


title: Fun Home

text: "Fun Home" was a finalist for the 2006 National Book Critics Circle Award, in the memoir/autobiography category. In 2007, "Fun Home" won the GLAAD Media Award for Outstanding Comic Book, the Stonewall Book Award for non-fiction, the Publishing Triangle-Judy Grahn Nonfiction Award, and the Lambda Literary Award in the "Lesbian Memoir and Biography" category. "Fun Home" was nominated for the 2007 Eisner Awards in two categories, Best Reality-Based Work and Best Graphic Album, and Bechdel was nominated as Best Writer/Artist. "Fun Home" won the Eisner for Best Reality-Based Work. In 2008, "Entertainment Weekly" placed "Fun Home" at No. 68 in its list of "New Classics" (defined as "the 100 best books from 1983 to 2008"). "The Guardian" included "Fun Home" in its series "1000 novels everyone must read", noting its "beautifully rendered" details.


title: Fun Home

text: In 2009, "Fun Home" was listed as one of the best books of the previous decade by "The Times" of London, "Entertainment Weekly" and Salon.com, and as one of the best comic books of the decade by "The Onion"s A.V. Club.


title: Fun Home

text: In 2010, the "Los Angeles Times" literary blog "Jacket Copy" named "Fun Home" as one of "20 classic works of gay literature". In 2019, the graphic novel was ranked 33rd on "The Guardian"s list of the 100 best books of the 21st century.


title: Fun Home

text: In October 2006, a resident of Marshall, Missouri, attempted to have "Fun Home" and Craig Thompson's "Blankets", both graphic novels, removed from the city's public library. Supporters of the books' removal characterized them as "pornography" and expressed concern that they would be read by children. Marshall Public Library Director Amy Crump defended the books as having been well-reviewed in "reputable, professional book review journals", and characterized the removal attempt as a step towards "the slippery slope of censorship". On October 11, 2006, the library's board appointed a committee to create a materials selection policy, and removed "Fun Home" and "Blankets" from circulation until the new policy was approved. The committee "decided not to assign a prejudicial label or segregate [the books] by a prejudicial system", and presented a materials selection policy to the board. On March 14, 2007, the Marshall Public Library Board of Trustees voted to return both "Fun Home" and "Blankets" to the library's shelves. Bechdel described the attempted banning as "a great honor", and described the incident as "part of the whole evolution of the graphic-novel form."


title: Fun Home

text: In 2008, an instructor at the University of Utah placed "Fun Home" on the syllabus of a mid-level English course, "Critical Introduction to English Literary Forms". One student objected to the assignment, and was given an alternate reading in accordance with the university's religious accommodation policy. The student subsequently contacted a local organization called "No More Pornography", which started an online petition calling for the book to be removed from the syllabus. Vincent Pecora, the chair of the university's English department, defended "Fun Home" and the instructor. The university said that it had no plans to remove the book.


title: Fun Home

text: In 2013, Palmetto Family Council, a conservative South Carolina group affiliated with Focus on the Family and the Family Research Council, challenged the inclusion of "Fun Home" as a reading selection for incoming freshmen at the College of Charleston. Palmetto Family president Oran Smith called the book "pornographic". Bechdel disputed this, saying that pornography is designed to cause sexual arousal, which is not the purpose of her book. The controversy made its way to the Senate and House of Representatives. In the Senate they were voting on whether or not to make budget cuts to the summer reading program for incoming freshmen. Senator Brad Hutto used a four-hour filibuster to delay the voting process and felt that this was "a challenge to academic freedom and an act that would shame our state." There was an alternative for students who find that the selection of reading chosen by their institution is offensive: they are offered a College Reads! as the alternative. The past president of College of Charleston, Glenn McConnell, had contradicting opinions on "Fun Home". When asked about the reading he stated that professors have academic freedom when it comes to what they teach in the classroom, but they should also ask themselves if it is worth it and "it certainly wouldn’t be my book of choice." The punishment given to the college was a cut to funding to prevent the institution from exploring identity and sexuality. Many tried to fight this because it was seen as a restriction and became a "battlefield in a full-blown culture war.”


title: Fun Home

text: College provost George Hynd and associate provost Lynne Ford defended the choice of "Fun Home", pointing out that its themes of identity are especially appropriate for college freshmen. However, seven months later, the Republican-led South Carolina House of Representatives Ways and Means Committee cut the college's funding by $52,000, the cost of the summer reading program, to punish the college for selecting "Fun Home". Rep. Garry Smith, who proposed the cuts, said that in choosing "Fun Home" the university was "promoting the gay and lesbian lifestyle". Rep. Stephen Goldfinch, another supporter of the cuts, said, "This book trampled on freedom of conservatives. ... Teaching with this book, and the pictures, goes too far." Bechdel called the funding cut "sad and absurd" and pointed out that "Fun Home" "is after all about the toll that this sort of small-mindedness takes on people's lives." The full state House of Representatives subsequently voted to retain the cuts. College of Charleston students and faculty reacted with dismay and protests to the proposed cuts, and the college's Student Government Association unanimously passed a resolution urging that the funding be restored. A coalition of ten free-speech organizations wrote a letter to the South Carolina Senate Finance Committee, urging them to restore the funds and warning them that "[p]enalising state educational institutions financially simply because members of the legislature disapprove of specific elements of the educational program is educationally unsound and constitutionally suspect". The letter was co-signed by the National Coalition Against Censorship, the ACLU of South Carolina, the American Association of University Professors, the Modern Language Association, the Association of College and Research Libraries, the American Booksellers Foundation for Free Expression, the Comic Book Legal Defense Fund, the Association of American Publishers, the National Council of Teachers of English and the American Library Association. After a nearly week-long debate in which "Fun Home" and Bechdel were compared to slavery, Charles Manson and Adolf Hitler, the state Senate voted to restore the funding, but redirect the funds towards study of the United States Constitution and "The Federalist Papers"; the university was also required to provide alternate books to students who object to an assignment due to a "religious, moral or cultural belief". Governor Nikki Haley approved the budget measure penalizing the university.


title: Fun Home

text: In 2015, the book was assigned as summer reading for the incoming class of 2019 at Duke University. Several students objected to the book on moral and/or religious grounds.


title: Fun Home

text: In 2018, parents challenged "Fun Home" in the Watchung Hills Regional High School curriculum. The challenge was rejected, and the book remained in the school. One year later, a lawsuit was filed in May 2019 against the administrators of the school asking for removal of the book. The lawsuit claims that if the book is not removed, "minors will suffer irreparable harm and that New Jersey statutes will be violated." After the Watchung Hills High School challenge, administrators at nearby North Hunterdon High School removed "Fun Home" from their libraries as well, but the book was later restored in February 2019.


title: Fun Home

text: In January 2022, the Wentzille school board in Missouri voted 4–3 to ban "Fun Home", going against the review committee's 8–1 vote to retain the book in the district's libraries. The ban included three other books, as well: George M. Johnson's "All Boys Aren't Blue", Toni Morrison's "The Bluest Eye", and Kiese Laymon’s "Heavy".


title: Fun Home

text: In May 2022, parents challenged "Fun Home" in the Rapid City Area Schools, claiming the book is "pornographic" and the overall picture of having books similar to "Fun Home" in schools is a "Marxist Revolution." Some teachers disagreed because the book has highly marginalized voices such as the LGBTQ+ community. The school board decided to temporarily remove the book.


title: Fun Home

text: In May 2022, the Board of Education in Nixa, Missouri voted to remove Fun Home from school libraries.


title: Fun Home

text: "Fun Home" has been adapted into a stage musical, with a book by Lisa Kron and music by Jeanine Tesori. The musical was developed through a 2009 workshop at the Ojai Playwrights Conference and workshopped in 2012 at the Sundance Theatre Lab and The Public Theater's Public Lab. Bechdel did not participate in the musical's creation. She expected her story to seem artificial and distant on stage, but she came to feel that the musical had the opposite effect, bringing the "emotional heart" of the story closer than even her book did.


title: Fun Home

text: The musical debuted Off-Broadway at The Public Theater on September 30, 2013. The production was directed by Sam Gold and starred Michael Cerveris and Judy Kuhn as Bruce and Helen Bechdel. The role of Alison was played by three actors: Beth Malone played the adult Alison, reviewing and narrating her life, Alexandra Socha played "Medium Alison" as a student at Oberlin, discovering her sexuality, and Sydney Lucas played Small Alison, at age 10. It received largely positive reviews, and its limited run was extended several times until January 12, 2014. The musical was a finalist for the 2014 Pulitzer Prize for Drama; it also won the Lucille Lortel Award for Outstanding Musical, the New York Drama Critics' Circle Award for Best Musical, and the Obie Award for Musical Theater. Alison Bechdel drew a one-page comic about the musical adaptation for the newspaper "Seven Days".


title: Fun Home

text: A Broadway production opened at Circle in the Square Theatre in April 2015. The production won five 2015 Tony Awards, including Best Musical, and ran for 26 previews and 582 regular performances until September 10, 2016, with a national tour that began in October 2016. Kalle Oskari Mattila, in "The Atlantic", argued that the musical's marketing campaign "obfuscates rather than clarifies" the queer narrative of the original novel.


title: Fun Home

text: On January 3, 2020, it was announced that Jake Gyllenhaal and Riva Marker, through their Nine Stories Productions banner, secured the rights to adapt the musical version of "Fun Home" into a film. Sam Gold, who directed the Broadway production, is set to helm the film in his feature directorial debut, in which Gyllenhaal will star as Bruce Bechdel.


title: You Shook Me All Night Long

text: "You Shook Me All Night Long" is a song by Australian hard rock band AC/DC, from the album "Back in Black". The song also reappeared on their later album "Who Made Who". It is AC/DC's first single with Brian Johnson as the lead singer, replacing Bon Scott who died of alcohol poisoning in February 1980. It reached number 35 on the USA's Hot 100 pop singles chart in 1980. The single was re-released internationally in 1986, following the release of the album "Who Made Who". The re-released single in 1986 contains the B-side(s): B1. "She's Got Balls" (Live, Bondi Lifesaver '77); B2. "You Shook Me All Night Long" (Live '83 – 12-inch maxi-single only).


title: You Shook Me All Night Long

text: In January 2018, as part of Triple M's "Ozzest 100", the 'most Australian' songs of all time, "You Shook Me All Night Long" was ranked number 63.


title: You Shook Me All Night Long

text: "You Shook Me All Night Long" placed at number 10 on VH1's list of "The 100 Greatest Songs of the 80s". It was also number 1 on VH1's "Top Ten AC/DC Songs". "Guitar World" placed "You Shook Me All Night Long" at number 80 on their "100 Greatest Guitar Solos" list. In 2021, it was ranked at No. 287 on Rolling Stone's "Top 500 Greatest Songs of All Time."


title: You Shook Me All Night Long

text: Rock critic Robert Christgau regarded it as a "drum-hooked fucksong" and the band's "only great work of art".


title: You Shook Me All Night Long

text: Four live versions of the song were officially released. The first one appeared on the 1986 maxi-single "You Shook Me All Night Long"; the second one was included on the band's album "Live"; the third version is on the soundtrack to the Howard Stern movie "Private Parts", and also appears on the AC/DC box set "Backtracks"; and the fourth one is on the band's live album, "Live at River Plate".


title: You Shook Me All Night Long

text: "You Shook Me All Night Long" was also the second song to be played by AC/DC on "Saturday Night Live" in 2000, following their performance of "Stiff Upper Lip." When AC/DC was inducted to the Rock and Roll Hall of Fame in 2003 by Steven Tyler of Aerosmith, they performed this song with Tyler.


title: You Shook Me All Night Long

text: Johnson performed the song with Billy Joel at Madison Square Garden in New York, US in March 2014. The "Salon" publication stated on the following morning in its introduction to the video footage of the performance: "This will either be your favorite video today, or a total musical nightmare!"


title: You Shook Me All Night Long

text: There have been several claims made over decades that (at least) some parts of the lyrics to the song were written by Bon Scott.


title: You Shook Me All Night Long

text: Silver Smith, late former girlfriend of Bon Scott, interviewed by Jesse Fink for his biography of Scott, "Bon: The Last Highway", said: "I know for sure that [the song] was written at [my flat in] Gloucester Road [in Kensington, London] back in ’76. 'She told me to come but I was already there' – he wrote that in a letter to somebody, one of his grotty mates, just after we got together, actually. He always kept notebooks and added and subtracted to them and so on. He put in 'American thighs' even way back then, because that was the market they were going to try and crack. So that was written a long time ago." In the same book, Scott's girlfriend in Miami, Florida, a woman under the pseudonym "Holly X", says the original lyric "chartreuse eyes" was changed to "sightless eyes" and that she had a horse called Doubletime. The lyrics "working double time on the seduction line" appear in the finished song.


title: You Shook Me All Night Long

text: Doug Thaler, Bon's friend and AC/DC's booking agent on their American tours, also says: "I don’t care who tells me anything different: you can bet your life that Bon Scott wrote the lyrics to 'You Shook Me All Night Long'. It's Bon Scott's lyrics all over the place."


title: You Shook Me All Night Long

text: From "AC/DC: Hell Ain't a Bad Place to Be" by Mick Wall: "However Malcolm Dome claims that shortly before he died, Bon 'shoved me his book of lyrics. He had sheets of lyrics that he kept in a file, carried them around. He'd been showing me some of the ideas he'd been working for Back in Black. Not the song 'Back in Black' but songs that were for the next album. There were a couple of lines, like, 'She told me to come but I was already there', which ended up in 'You Shook Me All Night Long' - that’s a Bon lyric. And I saw it. I saw it written down. There were lyrics, lines used, on Back in Black that Bon wrote. [But] he wasn't credited and to this day no one's really sure what happened. I don't think he even got close to finishing the whole songs. But there are lines in there that I know."


title: You Shook Me All Night Long

text: Dome also stated "Bon proudly showed me some of the scribbles he'd put down in preparation for an album he felt would define AC/DC - and open up new possibilities as well. It's hard to be absolutely accurate from a distance of quarter of a century, and through the haze of alcohol which enveloped the night, but one line sticks in my mind as being on one of those sheets: 'She told me to come, but I was already there.' A renowned lyric from the song You Shook Me All Night Long, it has Bon's trademark all over it - a neatly worked double entendre that fits in with the track record of a man who wrote Big Balls, The Jack and other similarly styled songs."


title: You Shook Me All Night Long

text: The first is directed by Eric Dionysius and Eric Mistler, is similar to the other "Back in Black" videos ("Back in Black", "Hells Bells", "What Do You Do For Money Honey", "Rock and Roll Ain't Noise Pollution" and "Let Me Put My Love Into You") and is available on the special "Back in Black, The Videos". It is also included on the "Backtracks" box set.


title: You Shook Me All Night Long

text: The second is directed by David Mallet and released six years after the song's original release (when the song was reissued in "Who Made Who"). Angus and Malcolm Young follow Johnson around the English town of Huddersfield, with Angus Young wearing his signature schoolboy outfit. The video clip casts the English glamour model Corinne Russell, a former Hill's Angel and Page 3 Girl—along with other leather clad women wearing suits with zips at the groin region—pedaling exercise bicycles in the background.


title: You Shook Me All Night Long

text: The VH1 series "Pop-Up Video" revealed that, during the scene with the mechanical bull, the woman playing Johnson's lover accidentally jabbed herself with her spur twice. The roadie who came to her aid married her a year later, and Angus Young gave them a mechanical bull as a wedding present as a joke. In the original 1980 video Phil Rudd played drums, while the 1986 video showed Simon Wright, who replaced Rudd in 1983. Rudd returned to AC/DC in 1994.


title: Kim Sol-song

text: Kim Sol-song (; born 30 December 1974) is the daughter of North Korea's former leader Kim Jong-il and Kim Young-sook. She has been active within the propaganda department, been in charge of literary affairs, and previously led the security and schedule of her father as his secretary.


title: Kim Sol-song

text: She was a favourite of her father. She attended the same school as her father, graduated from Kim Il-sung University's Economics Department and was assigned to the propaganda department of the Central Committee of the Workers' Party of Korea. She was in charge of literary affairs: all the signatures on works of literature coming into the department were signed by her.


title: Kim Sol-song

text: According to a North Korean defector, who used to be a high-ranking official in Pyongyang, Sol-song was in charge of the security and schedule for Kim Jong-Il since the late 1990s. In this capacity, she accompanied her father during trips to North Korean Army units and local villages. During these trips, she has been observed wearing the uniform of a lieutenant colonel of the North Korean People's Army.


title: Kim Sol-song

text: Sol-song was described by a North Korean defector as "intelligent" and "beautiful"; Seol-song had hair down to her waist and is 1.65 metres (5 ft 5 in) tall, which is considered tall for a woman.


title: John Berger

text: John Peter Berger (; 5 November 1926 – 2 January 2017) was an English art critic, novelist, painter and poet. His novel "G." won the 1972 Booker Prize, and his essay on art criticism "Ways of Seeing", written as an accompaniment to the BBC series of the same name, was influential. He lived in France for over fifty years.


title: John Berger

text: Berger was born on 5 November 1926 in Stoke Newington, London, the first of two children of Miriam and Stanley Berger.


title: John Berger

text: His grandfather was from Trieste, Italy, and his father, Stanley, raised as a non-religious Jew who adopted Catholicism, had been an infantry officer on the Western Front during the First World War and was awarded the Military Cross and an OBE.


title: John Berger

text: Berger was educated at St Edward's School, Oxford. He served in the British Army during the Second World War from 1944 to 1946. He enrolled at the Chelsea School of Art and the Central School of Art and Design in London.


title: John Berger

text: Berger began his career as a painter and exhibited works at a number of London galleries in the late 1940s. His art has been shown at the Wildenstein, Redfern and Leicester Galleries in London.


title: John Berger

text: Berger taught drawing at St Mary's teacher training college. He later became an art critic, publishing many essays and reviews in the "New Statesman". His Marxist humanism and his strongly stated opinions on modern art combined to make him a controversial figure early in his career. As a statement of political commitment, he titled an early collection of essays "Permanent Red".


title: John Berger

text: Berger was never a formal member of the Communist Party of Great Britain (CPGB): rather he was a close associate of it and its front, the Artists’ International Association (AIA), until the latter disappeared in 1953. He was active in the Geneva Club, a discussion group that appears to have overlapped with British communist circles in the 1950s.


title: John Berger

text: In 1958, Berger published his first novel, "A Painter of Our Time", which tells the story of the disappearance of Janos Lavin, a fictional exiled Hungarian painter, and his diary's discovery by an art critic friend called John. The work was withdrawn by the publisher under pressure from the Congress for Cultural Freedom a month after its publication. His next novels were "The Foot of Clive" and "Corker's Freedom"; both of which presented an urban English life of alienation and melancholy. Berger moved to Quincy in the Haute-Savoie, France, in 1962 due to his distaste for life in Britain.


title: John Berger

text: In 1972, the BBC broadcast his four-part television series "Ways of Seeing" and published its accompanying text, a book of the same name. The first episode functions as an introduction to the study of images; it was derived in part from Walter Benjamin's essay "The Work of Art in the Age of Mechanical Reproduction". The subsequent episodes concern the image of woman as a sexualized object in Western culture, expressions of property ownership and wealth in European oil painting, and modern advertising. The series, the first of several close collaborations with director Mike Dibb, has had a lasting influence, and in particular introduced the concept of the male gaze, as part of his analysis of the treatment of the nude in European painting. It soon became popular among feminists, including the British film critic Laura Mulvey, who used it to critique traditional media representations of the female character in cinema.


title: John Berger

text: Berger's novel "G.", a picaresque romance set in Europe in 1898, won the James Tait Black Memorial Prize and the Booker Prize in 1972.


title: John Berger

text: Berger donated half the Booker cash prize to the British Black Panthers, and retained half to support his work on the study on migrant workers that became "A Seventh Man", asserting that both endeavors represented aspects of his political struggle.


title: John Berger

text: Berger's sociological writings include "A Fortunate Man: The Story of a Country Doctor" (1967) and "A Seventh Man: Migrant Workers in Europe" (1975).


title: John Berger

text: Berger and photographer Jean Mohr, his frequent collaborator, sought to document and understand the experiences of peasants.


title: John Berger

text: Their subsequent book, "Another Way of Telling", discusses and illustrates their documentary technique and treats the theory of photography through Berger's essays and Mohr's photographs. His studies of individual artists include "The Success and Failure of Picasso" (1965), a survey of that modernist's career, and "Art and Revolution: Ernst Neizvestny, Endurance, and the Role of the Artist in the USSR" (1969).


title: John Berger

text: In the 1970s, Berger collaborated on three films with the Swiss director Alain Tanner: He wrote or co-wrote "La Salamandre" (1971), "The Middle of the World" (1974), and "Jonah Who Will Be 25 in the Year 2000" (1976). His major fictional work of the 1980s, the trilogy "Into Their Labours" (consisting of the novels "Pig Earth", "Once in Europa", and "Lilac and Flag"), treats the European peasant experience from its farming roots to contemporary economic and political displacement and urban poverty.


title: John Berger

text: In 1974, Berger co-founded the Writers and Readers Publishing Cooperative Ltd in London with Arnold Wesker, Lisa Appignanesi, Richard Appignanesi, Chris Searle, Glenn Thompson, Siân Williams, and others. The cooperative was active until the early 1980s.


title: John Berger

text: In later essays, Berger wrote about photography, art, politics, and memory. He published in "The Shape of a Pocket" a correspondence with Subcomandante Marcos, and penned short stories that appeared in "The Threepenny Review" and "The New Yorker". His sole volume of poetry is "Pages of the Wound", though other volumes, such as the theoretical essays "And Our Faces, My Heart, Brief as Photos" contain poetry. His 2007 collection of essays on the uses of art as an instrument of political resistance, Hold Everything Dear, was titled after the poem by Gareth Evans. His later novels include "To the Wedding", a love story dealing with the AIDS crisis, and "King: A Street Story", a novel about homelessness and shantytown life told from the perspective of a stray dog. Initially, Berger insisted that his name be kept off the cover and title page of "King", wanting the novel to be received on its own merits.


title: John Berger

text: Berger's 1980 volume "About Looking" includes an influential chapter, "Why Look at Animals?" It is cited by numerous scholars in the interdisciplinary field of animal studies. The chapter was later reproduced in a Penguin Great Ideas selection of essays of the same title.


title: John Berger

text: Berger's novel "From A to X" was long-listed for the 2008 Booker Prize. In "Bento's Sketchbook" (2011) Berger combines extracts from Baruch Spinoza, sketches, memoir, and observations in a book that contemplates the relationship of materialism to spirituality. According to Berger, what could be seen as a contradiction "is beautifully resolved by Spinoza, who shows that it is not a duality, but in fact an essential unity". The book has been described as "a characteristically "sui generis" work combining an engagement with the thought of the 17th-century lens grinder, draughtsman, and philosopher Baruch Spinoza, with a study of drawing and a series of semi-autobiographical sketches". Among his last works is "Confabulations" (essays, 2016).


title: John Berger

text: first to artist and illustrator Patt Marriott in 1949; the marriage was childless and the couple divorced. In the mid-1950s, he married the Russian Anya Bostock (née Anna Sisserman), with whom he had two children, Katya Berger and Jacob Berger; the couple divorced in the mid-1970s. Soon afterwards, he married Beverly Bancroft, with whom he had one child, Yves. Beverly died in 2013.


title: John Berger

text: In July 2009 Berger donated his archive of 369 files, nine boxes and one book to the British Library. The contents include literary manuscripts, drafts, unpublished material and correspondence.


title: Arezzo

text: Arezzo ( , , ) is a city and "comune" in Italy and the capital of the province of the same name located in Tuscany. Arezzo is about southeast of Florence at an elevation of above sea level. As of 2022, the population was about 97,000.


title: Arezzo

text: Known as the city of gold and of the high fashion, Arezzo was home to artists and poets such as Giorgio Vasari, Guido of Arezzo and Guittone d'Arezzo and in its province to Renaissance artist Michelangelo. In the artistic field, the city is famous for the frescoes by Piero della Francesca inside the Basilica of San Francesco, and the crucifix by Cimabue inside the Basilica of San Domenico. The city is also known for the important Giostra del Saracino, a game of chivalry that dates back to the Middle Ages.


title: Arezzo

text: Described by Livy as one of the "Capita Etruriae" (Etruscan capitals), Arezzo ("Aritim" in Etruscan) is believed to have been one of the twelve most important Etruscan cities—the so-called Dodecapolis, part of the Etruscan League. Etruscan remains establish that the acropolis of San Cornelio, a small hill next to that of San Donatus, was occupied and fortified in the Etruscan period. There is other significant Etruscan evidence: parts of walls, an Etruscan necropolis on "Poggio del Sole" (still named "Hill of the Sun"), and most famously, the two bronzes, the "Chimera of Arezzo" (5th century BC) and the "Minerva" (4th century BC) which were discovered in the 16th century and taken to Florence. Increasing trade connections with Greece also brought some elite goods to the Etruscan nobles of Arezzo: the krater painted by Euphronios c. 510 BC depicting a battle against Amazons (in the Museo Civico, Arezzo 1465) is unsurpassed.


title: Arezzo

text: Conquered by the Romans in 311 BC, "Arretium" became a military station on the via Cassia, the road by which Rome expanded into the basin of the Po. Arretium sided with Marius (157 – 86 BC) in the Roman Civil War, and the victorious Sulla ( 138 – 78 BC) planted a colony of his veterans in the half-demolished city, as "Arretium Fidens" ("Faithful Arretium"). The old Etruscan aristocracy was not extinguished: Gaius Cilnius Maecenas, whose name has become eponymous with "patron of the arts", came of the noble Aretine Etruscan stock. The city continued to flourish as "Arretium Vetus" ("Old Arretium"), the third-largest city in Italy in the Augustan period, well known in particular for its widely exported pottery manufactures, the characteristic moulded and glazed Arretine ware, "bucchero"-ware of dark clay and red-painted vases (the so-called "coral" vases).


title: Arezzo

text: Around 261 AD the town council of Arezzo dedicated an inscription to its patron L. Petronius Taurus Volusianus. See that article for discussion of the possible political/military significance of Volusianus's association with the city.


title: Arezzo

text: In the 3rd to 4th century Arezzo became an episcopal seat: it is one of the few cities whose succession of bishops are known by name without interruption to the present day, in part because the bishops operated as the feudal lords of the city in the Middle Ages. The Roman city was demolished, partly in the course of the Gothic War and of the late-6th-century invasion of the Lombards, partly dismantled, as elsewhere throughout Europe. The Aretines re-used the stones for fortifications. Only the amphitheater remained.


title: Arezzo

text: The commune of Arezzo threw off the control of its bishop in 1098 and functioned as an independent city-state until 1384. Generally Ghibelline in tendency, it opposed Guelph Florence. In 1252 the city founded its university, the "Studium". After the rout of the Battle of Campaldino (1289), which saw the death of Bishop , the fortunes of Ghibelline Arezzo started to ebb, apart from a brief period under the Tarlati family, chief among them Guido Tarlati, who became bishop in 1312 and maintained good relations with the Ghibelline party. The Tarlati sought support in an alliance with Forlì and its overlords, the Ordelaffi, but failed: Arezzo yielded to Florentine domination in 1384; its individual history became subsumed in that of Florence and of the Medicean Grand Duchy of Tuscany. During this period Piero della Francesca ( 1415–1492) worked in the church of San Francesco di Arezzo producing the splendid frescoes, recently restored, which are Arezzo's most famous works. Afterwards the city began an economical and cultural decay, which ensured the preservation of its medieval centre.


title: Arezzo

text: In the 18th century the neighbouring marshes of the Val di Chiana, south of Arezzo, were drained and the region became less malarial. At the end of the-century French troops led by Napoleon Bonaparte conquered Arezzo, but the city soon turned (1799–1800) into a resistance base against the invaders with the "Viva Maria" movement, winning the city the role of provincial capital. In 1860 Arezzo became part of the Kingdom of Italy.


title: Arezzo

text: City buildings suffered heavy damage during World War II; the Germans made a stand in front of Arezzo early in July 1944 and fierce fighting ensued before the British 6th Armoured Division, assisted by New Zealand troops of the 2nd New Zealand Division, liberated the town 16 July 1944. The Commonwealth War Graves Commission's Arezzo War Cemetery, where 1,266 men are buried, is located to the north-west of the city.


title: Arezzo

text: Arezzo is set on a steep hill rising from the floodplain of the River Arno. In the upper part of the town are the cathedral, the town hall and the Medici Fortress ("Fortezza Medicea"), from which the main streets branch off towards the lower part as far as the gates. The upper part of the town maintains its medieval appearance despite the addition of later structures. Arezzo's city proper is near the high risk areas for earthquakes, but located in a transitional area where the risk for severe earthquakes is much lower than in nearby Umbria and Abruzzo, albeit it is slightly more vulnerable than Florence. Notable earthquakes are still a very rare phenomenon in the province, with a 4.6 quake to its north-east that claimed no lives on 26 November 2001 the exception.


title: Arezzo

text: The Piazza Grande is the most noteworthy medieval square in the city, opening behind the 13th century Romanesque apse of Santa Maria della Pieve. Once the main marketplace of the city, it is currently the site of the "Giostra del Saracino" ("Joust of the Saracen"). It has a sloping pavement in red brick with limestone geometrical lines. Aside from the apse of the church, other landmarks of the square include:


title: Malicious (1973 film)

text: Malicious () is a 1973 Italian erotic comedy-drama film co-written and directed by Salvatore Samperi. It stars Laura Antonelli, Turi Ferro and Alessandro Momo. The film is about the sexual desire of a widower and his three sons for their new housekeeper. At the Silver Ribbons awards, Antonelli and Ferro won Best Actress and Best Supporting Actor, respectively. The film was entered into the 23rd Berlin International Film Festival. A sequel, "Malizia 2000", was released in 1991 with the same cast.


title: Malicious (1973 film)

text: Following the death of his wife, a father of three sons (aged 18, 14 and 6) hires an attractive young housekeeper named Angela, and soon becomes engaged to her. His sons are also infatuated with Angela, and each of them uses their particular way to approach and capture the apparently innocent and naive young woman, and to see more of her body. But only one of them succeeds in dominating and conquering her: the middle son, the teenager Nino. He blackmails her into eventually tolerating his increasingly aggressive sexual desire. He ordered her to get naked as he chases her around the house.


title: Malicious (1973 film)

text: The film was the most popular Italian film in Italy in 1973 with 11,756,327 admissions, the 11th most of all-time.


title: Samsung Galaxy Note 8

text: The Samsung Galaxy Note 8 is an Android-based smartphone phablet designed, developed, produced and marketed by Samsung Electronics. The successor to the discontinued Samsung Galaxy Note 7, Samsung Galaxy Note Fan Edition and Samsung Galaxy Note 5, it was unveiled on 23 August 2017 and became available on 15 September 2017.


title: Samsung Galaxy Note 8

text: The Note 8 improves on the core device specifications and hallmark S Pen features of earlier devices. While retaining the same overall look and approximate size of the Galaxy S8+, it features an upgraded processor and, for the first time in Samsung's smartphone history, a dual-camera system on the rear of the device; one functions as a wide-angle lens and the other as a telephoto lens, with both featuring 12 MP resolution and optical image stabilization. The S Pen has increased pressure sensitivity levels and its software has been upgraded to offer improved note taking capabilities on the always-on display, as well as animated GIF and improved translation features.


title: Samsung Galaxy Note 8

text: On 20 July 2017, Samsung tweeted a teaser video showing a darkened device with a stylus, stating the date of its next "Unpacked" event as 23 August 2017. The Galaxy Note 8 was unveiled at that event, with a release date on 15 September 2017. Samsung Galaxy Note 7 owners could buy this phablet at a special discount of $524.


title: Samsung Galaxy Note 8

text: The Note 8 is powered by a pp Exynos 8895 or Snapdragon 835 processor, depending on geographic region, along with 6 GB of RAM.


title: Samsung Galaxy Note 8

text: The Galaxy Note 8 is equipped with a non-user-replaceable 3300 mAh battery with up to 15 Watts of charging performance using Qualcomm Quick Charge 2.0.


title: Samsung Galaxy Note 8

text: The Note 8 has a 6.3-inch 1440p Super AMOLED display with curved edges similar to the Galaxy S8, but with a slightly more flat surface area. Samsung marketed it as an "Infinity Display".


title: Samsung Galaxy Note 8

text: It is Samsung's first phone to feature a dual-lens camera system, which comes with a 12 MP wide-angle lens with f/1.7 aperture and a 12 MP telephoto lens with f/2.4 aperture and twice the focal length, both equipped with optical image stabilization.


title: Samsung Galaxy Note 8

text: Like the predecessor, it supports video recording with 2160p (4K) at 30fps (limited to 10 minutes each video), 1080p (Full HD) at up to 60 frames per second and 720p (HD) slow motion at up to 240 frames per second.


title: Samsung Galaxy Note 8

text: In the United States, it is sold with 64 GB of internal storage, along with microSD card support, but increases storage to 128 GB and 256 GB internationally.


title: Samsung Galaxy Note 8

text: The handset features a fingerprint scanner next to the rear camera, and retains facial recognition and iris recognition similar to the S8.


title: Samsung Galaxy Note 8

text: The Note 8 comes bundled with high-end AKG-tuned earbuds as well as the Note series' proprietary S Pen. Compared to the Note 5, the S Pen in the Note 8 has enhanced levels of pressure sensitivity (4,096 distinct levels of pressure), though "The Verge" noted that those enhancements were featured in the defunct Note 7. Ports include a 3.5 mm headphone jack and a USB-C port for charging and data transfer. It has support for Samsung DeX as well, letting Note 8 users connect their device to a dock and monitor to enable a PC-like computing environment with mouse and keyboard input.


title: Samsung Galaxy Note 8

text: Both the Note 8 and its S Pen are certified with IP68 rating for water and dust resistance, and is available in five color variants: "Midnight Black," "Orchid Gray," "Maple Gold," "Deepsea Blue," and "Blossom Pink" – which is often dubbed "Star Pink." However, the Maple Gold, Deep-Sea Blue, and Blossom Pink variants are not available worldwide, and are limited to certain regions and/or countries. Similar to the Galaxy S8, the Note 8 has a dedicated physical key for launching the Bixby virtual assistant.


title: Samsung Galaxy Note 8

text: A limited edition version for the 2018 Winter Olympics was made, with a white back, gold accents, and themed wallpapers.