title: Regeneration (Doctor Who)

text: Each subsequent regeneration was then filmed in a variety of different ways, as dictated by the director on that particular episode. Indeed, no two regenerations were particularly similar until the Russell T Davies era. Only BBC Wales "Doctor Who" attempted to standardise the way regeneration looked. Ever since "The Parting of the Ways" (2005), every regeneration has been portrayed as a "golden glow explosion" (although the colour of the explosion is fiery orange in "The Parting of the Ways" and is milky white in "Utopia"). Rose was the first to describe this type of regenerations, saying "I saw him sort of explode, and then you replaced him" to the Tenth Doctor immediately after the Ninth Doctor regenerated. Also, these regenerations are portrayed as violent discharges that could harm anyone nearby, to the point where the most powerful occurrences, seen in "The End of Time" and "The Time of the Doctor", were able to destroy the Tardis interior and send out a shockwave that destroyed a Dalek ship along with several troops respectively. Each time there was a regeneration with people nearby, either the Doctor or his companions had everyone present get away from the person who was regenerating to avoid them being harmed. In smaller discharges, regeneration was far less harmful and could be emitted from the hand in wisps of golden regeneration energy, which was capable of healing the injuries of others. The subsequent Children in Need special established that there was residual "regeneration energy" in a gaseous state after a transformation that had to be expelled through the mouth. This was seen again in "The Christmas Invasion", "The Eleventh Hour" and "The Doctor's Daughter" — though the latter narrative never made quite clear that Jenny actually regenerated. The Tenth Doctor was seen breathing out gaseous regeneration energy shortly after his transformation, as was the Eleventh Doctor. Consciously holding back the regeneration caused a buildup of energy that resulted in a powerful and violent explosive discharge of regeneration energy. Also, gaining a new cycle of regenerations and Time Lords lives being reset resulted in a shockwave and explosion of regeneration energy with the range of a thermonuclear explosion. Directed regeneration energy discharges could destroy anything in its path, even a Dalek Saucer, while the shock wave destroyed any Dalek troops in the vicinity. The actual regeneration of the Eleventh Doctor, following the wild outburst of regeneration energy that only reset his body, is the first time that the revived series differed from the established process of regeneration. When regenerating into the Twelfth Doctor, the process only includes a brief, mostly off-screen (due to the Doctor leaning back out of the camera) blast of energy.


title: Regeneration (Doctor Who)

text: This visual standardisation has allowed narratives to play around with regeneration. The mere presence of "regeneration energy" can now be used to heighten dramatic tension. This visual short cut, unavailable to production teams in the classic era, has been a particular favourite of Steven Moffat, who used the "golden glow" liberally throughout the 2011 series; in fact, unlike in the Russell T Davies era, in which nearly every regeneration had subtle differences, every Moffat era regeneration until "The Time of the Doctor" is nearly identical. Several of the 2011 episodes used that VFX in a way that wordlessly suggested regeneration.


title: Génépi

text: Génépi or génépy () or genepì (in Italian) is a traditional herbal liqueur or aperitif popularized in the Alpine regions of Europe. "Genepi" also refers to alpine plants of the genus "Artemisia" (commonly called "wormwood") that provide the liqueur's flavor and color, and the French Savoy region adjacent to the Aosta Valley, where the Artemisia genepi plants grow and where the beverage is commonly produced.


title: Génépi

text: Génépi liqueur is related to absinthe in that its namesake botanicals are of the genus "Artemisia", but like Chartreuse, it is a liqueur (contains sugar) and traditionally taken neat. Like many European herbal liqueurs, especially those used as digestifs, the flavor of génépi can be an acquired taste. It is less sweet than many digestifs, and the flavor imparted by the herbs is reminiscent of chamomile or feverfew. It is naturally light olive to pale gold in color. Cheaper versions may be made bright green through the addition of food coloring.


title: Génépi

text: Because génépi is produced by steeping the aromatic flowering tops of select "Artemisia sp." in a strong, clear alcohol such as vodka or pure grain alcohol, it cannot be considered equivalent to spirits traditionally produced by re-distilling botanicals in alcohol, such as absinthe and gin.


title: Génépi

text: The word génépi is similar to other European words such as ginepro (Italian), juniper (English), jenever (Dutch), and genièvre (French), from the Latin iuni-pero meaning “evergreen.” It is also associated with the Savoy region. The "Petit Larousse Illustré" says that génépi "is the generic name of different aromatic plants typical of the Alps". Zingarelli defines the term "genepí" by distinguishing between two meanings. The first refers to the plant, an unspecified member of the genus "Artemisia", while the second refers to the beverage resulting from it and from other Alpine plants. The "Enciclopedia Espasa" contends that "genippi" is the native Alpine word for a particular group of plants of the genus "Artemisia" and lists their names and characteristics.


title: Génépi

text: French writers distinguish between two kinds of génépi: white or female génépi (botanically "A. mutellina", also known as "A. umbelliformis" or "A.rupestris" All., "A. laxa" Lamarck and "A. eriantha" Tem., among others) and black or male génépi (botanically "A. genipi", also known as "A. spicata" Baumg. Wulfen ex Jacq. and "A. rupestris" Vill., among others).


title: Génépi

text: The wormwoods known as génépi are endemic to the Alps and Pyrenees, but can also be found in the Apennines and other mountainous regions in the western and central north Mediterranean. However, in the strictest sense the name génépi applies only to those members of the genus Artemisia growing in the Savoy region known as Genepi. While the name clearly reflects a geographical origin, the European Union does not protect French génépi liqueur under its Protected Geographical Status system.


title: Génépi

text: Instead, as of 2008, while génépi is recognized as a category of spirit to be regulated by the EU, only génépi of Italian origin (from Val d’Aosta and Piemonte) is protected. Under the EU legislation, the name génépi is limited in use to those Italian products, but unlike under systems of appellation, there are few regulations or limitations on how the product is produced or what ingredients are used in making it. A beverage may be labelled and sold as génépi only if it complies with general EU requirements for liqueur, such as a minimum sugar content (expressed as invert sugar) of 100 grams per litre.


title: Génépi

text: Swiss chocolate is sold in France (and no doubt elsewhere) with the wording in English (as well as in French and German) "Milk Chocolate with a Swiss Genepi Liquor filling".


title: Génépi

text: As of 2011 it does not appear that the French AOC system recognizes génépi from Savoy or anywhere else.


title: Génépi

text: For making génépi liqueur, several species of "Artemisia" (the genus of the wormwoods) are particularly valued, including "A. genipi" (black génépi) and "A. umbelliformis" (white génépi) - either of which being sometimes referred to as "A. rupestris". The botanical identification of the plants traditionally collected for use in making génépi liqueur is complicated by scientific reclassification work in the genus "Artemisia", spurred by recent trends in molecular assay and cladistics , that has resulted in the decline in use (among academics) of common names used in traditional literature.


title: Génépi

text: It is likely that a wide range of wormwoods native to the mountainous areas of Spain, France, Switzerland and Italy have been used to make the liqueur, with personal taste, tradition and availability shaping the selection. According to Stephen Gould, "Any liquor/liqueur made with any member of the artemisia family, except artemisia ab. (Grand wormwood) would be considered a Genepi ..."


title: Génépi

text: Other species known to have been used at one time or another in producing génépi are "A. glacialis", "A. pontica" and "A. borealis". Flowers of "Alsem der Alpen", the botanically related "Achillea erba-rotta" subsp. "moschata" known in English as musk milfoil, are sometimes added or used to substitute entirely for one or more of the génépi species. Collectively, these various Alpine plants that blossom at high altitudes during July and August are known in German as "Edelraute".


title: Génépi

text: Génépi can be made at home through the simple addition of prepared herbs to vodka or grain alcohol. The chopped, dried wormwood flowers are sold in southwestern Europe in small sachets similar to tea bags. Home-brewing instructions, as well as ingredients, can be found online. For the more adventurous, the flowers and herbs can be harvested in July and August. After drying and chopping, the herbal mass can be enclosed in cheesecloth for steeping. A generic recipe for a liter of génépi would require forty flowers and forty sugar lumps to be added to 40% alcohol by volume.


title: Génépi

text: There are myriad of brands of génépi liqueur in commerce, most being of small production volume and limited distribution. Additionally, there are a number of commercial liqueurs that resemble génépi or share common ingredients, perhaps the most notable being Chartreuse produced by the Carthusian monks in the mountains beyond Grenoble. Conversely, numerous small producers throughout the French region of Savoy and the Italian region of Val d'Aosta have occasionally bottled and made available their local products, and many restaurateurs in those regions produce and sell their own.


title: Génépi

text: The traditional génépi from the Province of Cuneo has been selected by the Italian Slow Food Foundation as an Ark of Taste product.


title: Fosbury Flop

text: The Fosbury Flop is a jumping style used in the track and field sport of high jump. It was popularized and perfected by American athlete Dick Fosbury, whose gold medal in the 1968 Summer Olympics in Mexico City brought it to the world's attention. The flop became the dominant style of the event; before Fosbury, most elite jumpers used the straddle technique, Western Roll, Eastern cut-off or scissors jump to clear the bar. Though the backwards flop technique had been known for years before Fosbury, landing surfaces had been sandpits or low piles of matting and high jumpers had to land on their feet or at least land carefully to prevent injury. With the advent of deep foam matting, high jumpers were able to be more adventurous in their landing styles and hence experiment with styles of jumping.


title: Fosbury Flop

text: The approach (or run-up) in the Flop style of high jump is characterized by (at least) the final four or five steps being run in a curve, allowing the athlete to lean into his or her turn, away from the bar. This allows the center of gravity to be lowered even before knee flexion, giving a longer time period for the take-off thrust. Additionally, on take-off, the sudden move from inward lean to outwards produces a rotation of the jumper's body along the bar's axis, aiding clearance.


title: Fosbury Flop

text: Combined with the rotation around the jumper's vertical axis (center around which something rotates; waist) produced by the drive leg (similar to an ice skater spinning around on one spot), the resulting body position on bar clearance is laid out supine with the body at ninety degrees to the bar with the head and shoulders crossing the bar before the trunk and legs. This gives the Flop its characteristic "backward over the bar" appearance, with the athlete landing on the mat on their shoulders and back.


title: Fosbury Flop

text: While in flight, the athlete can progressively arch shoulders, back, and legs in a rolling motion, keeping as much of the body as possible below the bar. It is theoretically possible for the center of mass to pass under the bar.


title: Fosbury Flop

text: While the Straddle style required strength in the takeoff knee and could be used by relatively burly athletes (cf. Valeriy Brumel), the Flop allowed athletes of a slender build to use their co-ordination to greater effect and not risk knee injuries, which they had previously suffered from other styles.


title: Fosbury Flop

text: Predominantly, athletes using the Flop use a "J" shaped approach, where the first three to five strides head in a straight line at ninety degrees to the bar, with the final four to five being run in a curve noted above.


title: Fosbury Flop

text: Fosbury himself cleared the bar with his hands by his sides, whereas some athletes cross the bar with their arms held out to the side or even above their heads, optimizing their mass distribution. Studies show that variations in approach, arm technique, and other factors can be adjusted to achieve each athlete's best performance.


title: Fosbury Flop

text: For reasons similar to those noted as drawbacks to the "J" shaped approach, the Flop's optimal speed of approach is not a full-out sprint. Similarly, increasing the number of strides beyond eight or ten is not recommended unless the athlete has achieved high consistency in the approach and can handle the increased speed. The angle of take-off towards the bar is usually somewhere between fifteen and thirty degrees. The angle must not be too shallow, or the jumper jumps too far along the bar, landing on it. If the angle is too wide, there is not enough time to "layout" in the air.


title: Fosbury Flop

text: The "broken" leg (which is thrust into the air first at take-off) is always the nearer leg to the bar. Thus someone who uses a left foot take-off (where the left foot transmits the jump force and is the latter to leave the ground) will approach the bar from its right-hand side, curving to his left to approach his right shoulder. The right leg will drive into the air, and the jumper's body rotates anti-clockwise around the vertical axis to present his back to the bar in flight.


title: Fosbury Flop

text: As well as driving the leg and hips at take-off, the athlete should drive or even swing one or both arms into the air, contributing to the upwards momentum.


title: Pretty Deadly (professional wrestling)

text: Pretty Deadly is a British professional wrestling tag team consisting of Elton Prince (born 21 May 1997) and Kit Wilson (born 4 August 1994). They are currently signed to WWE, where they perform on the NXT brand, and are former NXT Tag Team Champions with two reigns.


title: Pretty Deadly (professional wrestling)

text: Howley and Stoker debuted as a tag team on 2 February 2019 on Hustle Wrestling Live in Enfield by defeating Justin Case and Justin Vincible in a tag team match. However, they were briefly active one time under the name of Greased Lightning in a match against Lance Lawrence and Oliver Peace on the 14 November 2015 episode of WrestleForce Live in Basingstoke. Stoker was previously known as Sammy Smooth. After that, they both returned to competing as singles wrestlers. They are also known for their tenures with professional wrestling promotions such as Progress Wrestling and Revolution Pro Wrestling. During their affiliation, they captured the one time as Pretty Bastards and one time as The Collective also teaming up with James Castle as a freebird trio.


title: Pretty Deadly (professional wrestling)

text: They had sporadic appearances across NXT UK in 2019 before making their official WWE debut in a losing effort to Wild Boar and Primate. They were forced to take a six-month hiatus before returning to United Kingdom and turning in their first victory in WWE. Howley and Stoker became the number one contenders for the NXT UK Tag Team Championship on 28 January 2021 after defeating Mark Andrews and Flash Morgan Webster, Oliver Carter and Ashton Smith and The Hunt (Wild Boar and Primate) in a four-way tag team match.


title: Pretty Deadly (professional wrestling)

text: Cementing their villainous status, they defeated Gallus (Mark Coffey and Wolfgang) to capture the NXT UK Tag Team Championship on the 25 February 2021 edition of "NXT UK". They would retain the titles against Amir Jordan and Kenny Williams on the 1 April episode of "NXT UK" after Williams turned on Jordan. On the 4 June episode of "NXT UK", Pretty Deadly would successfully defend their titles against Jack Starz and Nathan Frazer. On the 22 July episode "NXT UK", they would retain against Subculture's Mark Andrews and Flash Morgan. On the 19 August episode of "NXT UK", Pretty Deadly would retain against Moustache Mountain (Trent Seven and Tyler Bate). However, they would lose the titles to Moustache Mountain in a rematch on the 9 December episode of "NXT UK", ending their reign at 287 days.


title: Pretty Deadly (professional wrestling)

text: On the 5 April edition of "NXT 2.0", Pretty Deadly, now under the ring names of Elton Prince and Kit Wilson revealed themselves as The Creed Brothers' attackers after they defeated Imperium (Fabian Aichner and Marcel Barthel), effectively making their debut on the NXT brand. The following week, they would defeat the Creed Brothers in a Gauntlet match, involving Legado del Fantasma (Raul Mendoza and Joaquin Wilde), Josh Briggs and Brooks Jensen, and Grayson Waller and Sanga, to win the vacant NXT Tag Team Championship, making them the first tag team to win the titles on their NXT debut and the second team to hold both the NXT and NXT UK Tag Team Championship. They lost the tag titles to the Creed Brothers on 4 June at In Your House, ending their first reign at 53 days. On the 19 July episode of "NXT", Pretty Deadly fought Josh Briggs and Brooks Jensen for the NXT UK Tag Team Championship in a losing effort. At Worlds Collide on 4 September, Pretty Deadly defeated the Creed Brothers, Gallus and Brooks Jensen and Josh Briggs in a Fatal 4-Way Tag Team Elimination Match to unify the NXT and NXT UK Tag Team Championships. At NXT Deadline, Pretty Deadly lost the NXT Tag Team Championship to The New Day, ending their second reign at 98 days.


title: Go the Fuck to Sleep

text: Go the Fuck to Sleep is a satirical book written by American author Adam Mansbach and illustrated by Ricardo Cortés. Described as a "children's book for adults", it reached No. 1 on Amazon.com's bestseller list a month before its release, thanks to an unintended viral marketing campaign during which booksellers forwarded PDF copies of the book by e-mail.


title: Go the Fuck to Sleep

text: When Adam Mansbach's daughter, Vivien, was three years old, she would take up to four hours to fall asleep. Exhausted and exasperated, one night Mansbach posted a note on Facebook, "Look out for my forthcoming children’s book, "Go the Fuck to Sleep"". Following his post, friends of Mansbach responded enthusiastically, so that Mansbach began writing what was then only a hypothetical book. Mansbach had the illustrations for the picture book done by a friend, illustrator Ricardo Cortés (a contributor to "The New York Times"), and approached Akashic Books, a book publisher from New York.


title: Go the Fuck to Sleep

text: "Go the Fuck to Sleep" is written as a "children's book for adults". While its writing is in the style of classic children's bedtime stories, it includes the parent's language as commentary on the tricks used by Mansbach's daughter to avoid having to go to bed. The narrator advises the child that other animals have gone to sleep already including cats and lambs, and asks the child to "Please go the fuck to sleep". As the pleading progresses, the narrator begins to grow more upset, decrying himself as a parent, then eventually falling asleep himself. He wakes to find his child asleep, then quietly exits to watch a movie with his spouse. Unfortunately, a beep from the microwave wakes up their child again.


title: Go the Fuck to Sleep

text: "Go the Fuck to Sleep" was subject to an unintended viral marketing campaign after PDF copies of the book, presumably from advance copies sent to booksellers, were distributed via email. While the book was originally scheduled for release in October 2011, by the end of April the book had hit No. 2 on Amazon.com's bestseller list, and by May 12 the book was No. 1. In the meantime, the publishing date was moved up to June, and the publisher increased its first printing to 150,000 copies. Akashic, which acknowledged the importance of social media in popularizing the book ("it's a miracle from the heavens for us"), is trying to prevent copyright infringement of the book. The book's title on the cover had the letters "uc" in the word "fuck" hidden by a full moon, while the book's text includes the full word. The rights for the United Kingdom and the Commonwealth were acquired by Canongate. The film rights have been optioned by Fox 2000.


title: Go the Fuck to Sleep

text: The audiobook company Audible.com published an audiobook version of "Go the Fuck to Sleep," narrated by Samuel L. Jackson. The CD's total running time is just over 7 minutes, which includes an unabridged reading of the book by Jackson, a brief introductory monologue by Jackson explaining why he decided to record the book, and approximately 2 minutes' worth of introductory and legal matter (spoken copyright notice, etc.). The actual reading of the manuscript by Jackson runs approximately minutes. It was a finalist for the 2012 Audie Award for Audiobook of the Year and Audie Award for Humor.


title: Go the Fuck to Sleep

text: As a follow-up, Mansbach wrote a family-friendly version of the book called "Seriously, Just Go To Sleep". Whereas the original was a parody of a children's book written expressly for the adult age group, "Seriously, Just Go To Sleep" is a real children's book for a parent to read to their child, and the word "fuck" was replaced by the parent in the story expressing frustration with the stubborn child in a more G-rated way. For example, "I know you're not thirsty, that's bullshit. Stop lying. Lie the fuck down, my darling, and sleep" was changed to "I know you're not thirsty. You just had a drink. Stop goofing around now, and sleep."


title: Go the Fuck to Sleep

text: The book was translated into many other languages, and in February 2014, it was announced on Facebook and in other sources the book would receive a translation into Jamaican patois, entitled "Go de Rass to Sleep".


title: Go the Fuck to Sleep

text: According to Mansbach, the frustrations he wrote about "are not permissible to talk about. We're not completely honest because we don't want to be bad parents." Macy Halford said this frustration elicited a response peculiar to modern parents:


title: Go the Fuck to Sleep

text: According to Mark Rotella, an editor at "Publishers Weekly" (and father of two), this is one of the books "that are less earnest about raising your child. They help parents step back and laugh at themselves a bit ... It's more like a parenting book for when the parent is inconsolable in the middle of night and frustrated." The publisher for the UK and the Commonwealth, Canongate, likewise pointed to the book as a parents' book: "This book perfectly captures the familiar and unspoken tribulations of putting your child down for the night. In the process, it opens up a conversation about parenting, charming and enraging as it can be, and chimes a note of solidarity with tired parents everywhere."


title: Go the Fuck to Sleep

text: Positive initial response to the Facebook posts was matched by positive criticism from reviewers. Macy Halford, writing for "The New Yorker", said "the book is super funny, and the art, by Ricardo Cortés, is perversely sweet, so sweet and genuine that it made me cringe". Some of the reviewers chimed in from experience, as did Sarah Western Balzer, writing for "Here Is the City": "It goes on a bit too long, and by the end, he's kind of in a rage. But then, putting a two- or three-year-old to bed can be totally fucking enraging at times."


title: Go the Fuck to Sleep

text: In an award-winning essay, the scholar Robin Bernstein analyzed the book and its sequel, "Seriously, Just Go to Sleep", to argue that children's literature is a site of complex power negotiations between parents and children.


title: Go the Fuck to Sleep

text: The senior vice president and director of Macmillan Children's Publishing announced that she felt the book was a parody of Macmillan's book "It's Time to Sleep, My Love" by author Eric Metaxas and illustrator Nancy Tillman, saying "Except for the profanity laced throughout, the book has the same kind of lilting lullaby as Eric's, and the art style is the same as Nancy's." Metaxas complained that the book damages the innocence of children's lullabies. Mansbach responded that he was not familiar with the Macmillan book and that his work satirized children's bedtime books in general rather than any particular book.


title: Go the Fuck to Sleep

text: "Go the Fuck to Sleep" is 69th on the American Library Association's list of most commonly challenged books in the United States between 2010 and 2019, a list compiled in 2020.


title: Go the Fuck to Sleep

text: In July 2011, "Men's Health" published a retort to the book: a parody poem written from the child's perspective titled "Get the Fuck Out of My Room" and containing parenting advice.


title: Go the Fuck to Sleep

text: "MAD Magazine" parodied the book as "Stay The Fuck Awake" in its February 2012 issue, in reference to air traffic controllers sleeping on the job.


title: Go the Fuck to Sleep

text: In September 2012, Samuel L. Jackson parodied his audio narration of the book by appearing in an ad for Barack Obama's reelection campaign entitled "Wake the Fuck Up", written by Mansbach.


title: Go the Fuck to Sleep

text: As well as the audio book read by Samuel L. Jackson, the book attracted several celebrity readings including by German film director Werner Herzog at the official launch of the book at the New York Public Library. Kevin Pollak, doing a vocal impression of Christopher Walken, read some of the story on "Kevin Pollak's Chat Show" by viewer request.


title: Go the Fuck to Sleep

text: As part of a rapidly growing internet meme, the publisher of the book in Australia, Text Publishing, posted a video of Australian actress Noni Hazlehurst reading the book to camera in the style she formerly used on the children's television program "Play School". She immediately offered to record a reading of the book after being sent a copy by the publisher.


title: Go the Fuck to Sleep

text: LeVar Burton (known as the former host of the children's television show "Reading Rainbow"; as Geordi LaForge on ""; and as Kunta Kinte on "Roots") read the book during a 2014 charity live stream event held by the Rooster Teeth podcast.


title: Go the Fuck to Sleep

text: Actor Jennifer Garner 'lovingly' read the book for Vanity Fair, which became popular on YouTube in March 2016.


title: Go the Fuck to Sleep

text: In September 2014, a sequel, "You Have to Fucking Eat" was announced, which was published that November. It is illustrated by Owen Brozman. A third book in the series, "Fuck, Now There Are Two of You", has been released on October 1, 2019.


title: Go the Fuck to Sleep

text: His book "Stay the Fuck at Home" (2020), was written to support awareness of coronavirus disease 2019 self-isolation measures; it has yet to be formally published. The book was read on "Jimmy Kimmel Live" by actor Samuel L. Jackson.


title: Karolina Bielawska

text: Karolina Bielawska (born 11 April 1999) is a Polish model, television presenter, and beauty queen who was crowned Miss World 2021. She became the second titleholder from Poland, the first one being Aneta Kręglicka who won the pageant in 1989.


title: Karolina Bielawska

text: Bielawska was born in Łódź. She is a business student with a bachelor's degree in management and she is studying for her master's degree.


title: Karolina Bielawska

text: She is the daughter of Agnieszka Zakrzewska-Bielawska, dean of the Faculty of Organization and Management of the Lodz University of Technology, and Łukasz Bielawski, former president of ŁKS Łódź.


title: Karolina Bielawska

text: On 24 November 2019, Bielawska represented Łódź at Miss Polonia 2019 and won the title, which made her Poland's Miss World 2020 candidate. Miss World 2020 was cancelled due to the COVID-19 pandemic. She retained the Miss World Poland 2021 title.


title: Karolina Bielawska

text: After winning the elections, she engaged in charity activities, such as volunteering for "Soup na Pietrynie", initiator of the Polish National Charity Action "Korona z Głowy" supporting those in need during the pandemic, ambassador of the social campaign "Dotykam = Wygrywam" acting to fight breast cancer and a participant in the "FASS OFF" campaign for the Dom Foundation in Łódź. She supports the Great Orchestra of Christmas Charity and the DKMS Foundation, is an ambassador of the charity action fighting COVID-19 in Peru, the action included in the Ministry of Foreign Affairs "Polonia4Neighbors", and as part of the charity project "Beauty with a purpose" together with the Foundation "Zupa na Pietrynie" created the first bathhouse in Łódź for people who are homeless.


title: Karolina Bielawska

text: Bielawska represented Poland at Miss World 2021 held at the Coca-Cola Music Hall in San Juan, Puerto Rico on 16 March 2022, when she won the pageant. She became the second Polish to win Miss World after Aneta Kręglicka got the title in 1989.


title: 120×570mm NATO

text: 120×570mm NATO tank ammunition (4.7 inch) also known as 120×570mmR is a common, NATO-standard (STANAG 4385), tank gun semi-combustible cartridge used by 120mm smoothbore guns, superseding the earlier 105×617mmR cartridge used in NATO-standard rifled tank guns.


title: 120×570mm NATO

text: The 120×570R cartridge was originally intended for the German Rh-120 smoothbore gun but an interoperability agreement signed between West Germany and France in April1979, followed in September1981 by a project to install the M256 120 mm smoothbore gun on future M1A1 Abrams tanks made it a NATO standard.


title: 120×570mm NATO

text: The 120×570mm are one-piece ammunition with semi-combustible cartridge cases. These incorporate a short, metallic stub case with an elastomeric sealing ring which allows the use of a normal sliding wedge type of breech and at the same time significantly reduces the weight of the rounds. Thus, a round of 120 mm Rheinmetall APFSDS ammunition has a mass of 19.8 kg, which is little more than the 18 kg mass of a typical 105 mm APFSDS round with the traditional metallic cartridge case.


title: 120×570mm NATO

text: There are different ways to measure APFSDS penetration value. NATO uses the 50% (This means that 50% of the shell had to go through the plate), while the Soviet/Russian standard is higher (80% had to go through). According to authorities like Paul Lakowski, the difference in performance can reach as much as 8%


title: Joshua Colley

text: Joshua Colley and his twin brother Cameron were born on January 20, 2002, to Brad and Robbie Lynn Colley. Colley was raised in Trinity, Florida.


title: Joshua Colley

text: Colley played the role of Les in the musical "Newsies" between March 11, 2013 and February 2, 2014. In January 2014, it was announced that Colley would play the role of Gavroche in the Broadway revival of "Les Misérables", alternating in that role with Gaten Matarazzo. Colley started with the show when it began previews on March 1, 2014 and performed until March 1, 2015. "The Huffington Post" called Colley's performance "'grounded and believable and anything but an outtake from "Oliver!""


title: Joshua Colley

text: In 2014, Colley was cast as the voice of Pig Robinson in the Nick Jr. animated television show "Peter Rabbit". He voiced the role from 2014 to 2015.


title: Joshua Colley

text: Colley played the lead role in "You're a Good Man, Charlie Brown" at the York Theater Company from May 24, 2016 to June 26, 2016. The cast album was released on November 18, 2016 by Broadway Records.


title: Joshua Colley

text: He took one week off of the run to perform in "The Little Mermaid" at the Hollywood Bowl. Colley played the role of Flounder, alongside Sara Bareilles, Tituss Burgess, John Stamos, and Rebel Wilson in the first week of June 2016.


title: Joshua Colley

text: In the third and final season of the coming-of-age series "Love, Victor" Colley portrayed Liam, Victor's sharp-tongued classmate.


title: Joshua Colley

text: On October 12, 2022, he was cast to play Monty in the upcoming HBO Max series titled Dead Boy Detectives.


title: FR-4

text: FR-4 (or FR4) is a NEMA grade designation for glass-reinforced epoxy laminate material. FR-4 is a composite material composed of woven fiberglass cloth with an epoxy resin binder that is flame resistant ("self-extinguishing").


title: FR-4

text: "FR" stands for "flame retardant", and does not denote that the material complies with the standard UL94V-0 unless testing is performed to UL 94, Vertical Flame testing in Section 8 at a compliant lab. The designation FR-4 was created by NEMA in 1968.


title: FR-4

text: FR-4 glass epoxy is a popular and versatile high-pressure thermoset plastic laminate grade with good strength to weight ratios. With near zero water absorption, FR-4 is most commonly used as an electrical insulator possessing considerable mechanical strength. The material is known to retain its high mechanical values and electrical insulating qualities in both dry and humid conditions. These attributes, along with good fabrication characteristics, lend utility to this grade for a wide variety of electrical and mechanical applications.


title: FR-4

text: Grade designations for glass epoxy laminates are: G-10, G-11, FR-4, FR-5 and FR-6. Of these, FR-4 is the grade most widely in use today. G-10, the predecessor to FR-4, lacks FR-4's self-extinguishing flammability characteristics. Hence, FR-4 has since replaced G-10 in most applications.


title: FR-4

text: FR-4 epoxy resin systems typically employ bromine, a halogen, to facilitate flame-resistant properties in FR-4 glass epoxy laminates. Some applications where thermal destruction of the material is a desirable trait will still use G-10 "non flame resistant".


title: FR-4

text: Which materials fall into the "FR-4" category is defined in the NEMA LI 1-1998 standard. Typical physical and electrical properties of FR-4 are as follows. The abbreviations LW (lengthwise, warp yarn direction) and CW (crosswise, fill yarn direction) refer to the conventional perpendicular fiber orientations in the XY plane of the board (in-plane). In terms of Cartesian coordinates, lengthwise is along the x-axis, crosswise is along the y-axis, and the z-axis is referred to as the through-plane direction. The values shown below are an example of a certain manufacturer's material. Another manufacturer's material will usually have slightly different values. Checking the actual values, for any particular material, from the manufacturer's datasheet, can be very important, for example in high frequency applications.


title: FR-4

text: FR-4 is a common material for printed circuit boards (PCBs). A thin layer of copper foil is typically laminated to one or both sides of an FR-4 glass epoxy panel. These are commonly referred to as copper clad laminates. The copper thickness or copper weight can vary and so is specified separately.


title: FR-4

text: FR-4 is also used in the construction of relays, switches, standoffs, busbars, washers, arc shields, transformers and screw terminal strips.


title: The Painted Bird (film)

text: The Painted Bird () is a 2019 internationally co-produced black and white war drama film written, directed and produced by Václav Marhoul. It is an adaptation of Jerzy Kosiński's novel of the same name. It is the first film to feature the Interslavic language; Marhoul stated that he decided to use Interslavic so that no Slavic nation would nationally identify with the story.


title: The Painted Bird (film)

text: "The Painted Bird" was selected to play in competition at the 76th Venice International Film Festival and was chosen for 2019 Toronto International Film Festival as part of Special Presentations. The film also screened in the Dare strand at the 63rd BFI London Film Festival. It was selected as the Czech entry for the Best International Feature Film at the 92nd Academy Awards making the December shortlist. Its brutal scenes led to walkouts from audiences at the Venice, Toronto and London film festivals. At the 35th Warsaw International Film Festival, the audience honored the film with a long ovation after its only screening.


title: The Painted Bird (film)

text: In an unidentified area of war-torn Eastern Europe, a young boy lives with his elderly aunt. Startled at her death, the boy accidentally sets the house ablaze and leaves. His further adventures are a series of horrific encounters with ignorance, exploitation, and depravity. In the first village he reaches, an old healer buys him, but he is later blamed for bad luck and thrown in a river. He is next taken in by a miller and his wife. After the miller gouges out the eyes of a younger man seen exchanging glances with his wife, the boy runs off. He meets Lekh, a bird breeder who treats him well. Lekh has sex with a wild woman whom local village women brutally rape, after which Lekh hangs himself. The boy leaves.


title: The Painted Bird (film)

text: The boy finds a tame horse with a broken leg and takes it to the next village, where a villager kills it. Cossack Cavalry Corps force the villagers to deliver him to the Germans, identifying him as a Jew. The German soldier tasked with executing the boy releases him. Later caught by SS guards who bring him to a local town, he is saved from execution. A local priest takes him in, but then arranges for him to lodge with a local man named Garbos, who proves to be a pedophile. The boy causes Garbos's gruesome death. After the well-meaning priest dies, his replacement has no use for the boy, and he is run out of the town.


title: The Painted Bird (film)

text: The boy is then taken in by Labina. When her elderly father dies, she coaxes the boy into performing sexual acts on her, beating him when he fails to perform and mocking his inadequacy by simulating sex with a goat. He later retaliates by killing the goat and tossing its head through Labina's window before running away.


title: The Painted Bird (film)

text: The boy comes into contact with the Red Army again. One of the Soviet officers, a sniper named Mitka, decides to take care of him temporarily. The boy watches Mitka kill several locals in reprisal for an attack on Russian soldiers. As the Russians decamp, they send the boy to an orphanage, where he is a loner and repeatedly tries to escape. He is beaten by a local anti-Semitic shopkeeper, whom he kills in revenge. A man named Nikodém comes to the orphanage, greets the boy tearfully as his son, and takes him home. The boy refuses to speak. Nikodém tries to explain why they sent him to his aunt and the boy protests angrily. He asks if he at least remembers his name, but the boy does not respond. Traveling by bus toward home, Nikodém falls asleep. His son notices a number tattooed on his father's arm and with his finger writes his name, Joska, on the bus window.


title: The Painted Bird (film)

text: Václav Marhoul announced his intention to adapt Jerzy Kosiński's "The Painted Bird" in September 2012 when he secured rights for the story. Marhoul stated that the film will have budget approximately 120 million CZK. His plan was to secure finances during next 2 years. The film received financial support of 15 million CZK from the Czech Film Fund in 2016.


title: The Painted Bird (film)

text: The film entered production in 2017. Marhoul decided to shoot the film in seven phases. First phase finished on 7 May 2017. Filmmakers were filming around Ukrainian village Svalovych from 23 March 2017 to 12 April 2017. Some reshoots had to be made from 21 to 23 April 2017 in Brdy Military area. Second phase started in South Slovakia on 5 June 2017 to 5 July 2017. Film crew was shooting around Váh river, at Mlynská Dolina and in Malý Dunajec.


title: The Painted Bird (film)

text: Shooting moved to Lipno Dam and Kvilda in February and March 2018. Crew had to deal with bad weather as they needed ice on the lake. Shooting concluded in July 2018 after 100 shooting days during 16 months. The film then entered post production. Post production concluded in February 2019.


title: The Painted Bird (film)

text: For the villagers' dialogue, Marhoul decided to use the Interslavic language instead of any ethnic Slavic language:


title: The Painted Bird (film)

text: The first trailer for the film was released on 28 July 2019. The film had its worldwide premiere at 76th Venice International Film Festival on 3 September 2019. The film was first projected in Czech cinemas for journalists on 11 September 2019. It entered distribution for Czech cinemas on 12 September 2019. The film was originally scheduled to be released in May 2019.


title: The Painted Bird (film)

text: IFC Films became the distributor of the film for United States in October 2019. Premiere in the United States was set for 10 July 2020.


title: The Painted Bird (film)

text: "The Painted Bird" has received very positive reviews from critics with many likening it to films by Andrei Tarkovsky. It holds an approval rating of on Rotten Tomatoes based on reviews, with an average rating of . The site's critics consensus reads: "Brutally uncompromising in its portrayal of Nazi Germany, "The Painted Bird" is a difficult watch that justifies its dark horror with searing impact." On Metacritic, the film has a weighted average score of 72 out of 100, based on 23 critics, indicating "generally favorable reviews".


title: The Painted Bird (film)

text: The film was projected for journalists on 2 September 2019. Some people left the theatre as they could not stand the depicted violence and rape scenes. The Daily Mail described it as "a panoply of depravity.” Overall reception was positive as the film received a long ovation from the audience and some unofficial responses called it one of the front-runners for Golden Lion, but ultimately lost to "Joker". Director Marhoul was particularly praised. The film also received a 10-minute standing ovation during its premiere on 3 September 2019.


title: The Painted Bird (film)

text: Xan Brooks of "The Guardian" gave the film five stars, calling it a "savage, searing three-hour tour of hell" and "phantasmagorical horror, rattling around ravaged eastern Europe for just shy of three hours." He praised the film's visuals and atmosphere. Guy Lodge of "Variety" was also positive, noting camerawork by Vladimír Smutný. He called the film "muscular, savagely realized Jerzy Kosiński adaptation puts an unnamed Jewish boy through a challenging litany of Holocaust horrors."


title: The Painted Bird (film)

text: In a more negative review, A.A. Dowd of "The A.V. Club" praised the film's cinematography while criticizing its bleak tone, saying ""The Painted Bird" is, in the end, the kind of slog that treats shopworn insights about the brutality of man as justification for drowning us in the evidence."


title: The Painted Bird (film)

text: "The Hollywood Reporter" picked "The Painted Bird" as one of 20 best films projected at Film festivals during Fall 2019.


title: The Painted Bird (film)

text: The film opened in Czech cinemas on 12 September 2019. It was attended by 26,094 people and grossed 4,034,060 CZK during the first weekend. The film grossed 14,267,334 CZK in Czech theatres, equal to $620,319.


title: The Painted Bird (film)

text: "The Painted Bird" was nominated for 11 Czech Lion Awards and has won 9 of them including the Best film.


title: Ferrari Monza SP

text: The Ferrari Monza SP1 and SP2 are limited production sports cars produced by Italian automobile manufacturer Ferrari, introduced in 2018 for the 2019 model year. The cars mark the start of a new lineage of models called the "Icona" series, a program aimed at creating special cars inspired by classic Ferrari models, all to be produced in limited series. The first cars of the new lineage are the Monza SP1 and SP2, whose designs are inspired by the 750 Monza, 250 Testarossa and 166 MM. The SP1 and SP2 nomenclature refers to the number of seats for each model. 499 units are expected to be produced at a price of €1.58 million before options.


title: Ferrari Monza SP

text: Both the SP1 and SP2 are powered by a variant of the naturally aspirated "F140 GA" V12 found in the 812 Superfast. The engine has been tuned to generate more than the engine in the 812, for a total of at 8,500 rpm and of torque at 7,000 rpm, making them at the time, the most powerful factory Ferrari V12 road cars ever produced until the release of the 812 Competizione and Competizione A in 2021 featuring an upgraded F140 V12 producing .


title: Ferrari Monza SP

text: The chassis is loosely based on the 812 and both the SP1 and SP2 cars feature carbon fibre composite bodywork. The SP1 weighs , while the two-seat SP2 is heavier at . The strength of the composite bodywork allows for the inclusion of a large clamshell hood.


title: Ferrari Monza SP

text: Manufacturer claimed performance figures for both of the cars include a acceleration time of 2.9 seconds, acceleration time of 7.9 seconds and a top speed that exceeds .


title: Ferrari Monza SP

text: The SP1 and SP2 feature low slung, carbon fibre speedster bodywork inspired by early, post-war Ferrari race cars such as the 166 MM, as well as the 250 Testarossa and 750 Monza. The SP1 is a single-seater, with the driver's position situated to one side of the car, while the SP2 has two seats separated by a center section. Both of the cars feature small scissor doors and don't have windshields, instead relying on a patented system Ferrari calls the "Virtual Windshield", which is supposed to deviate airflow away from the driver. In 2020, Ferrari Styling Centre was awarded the Compasso d’Oro industrial design award for the Monza SP1. Award was received by Flavio Manzoni and Jane Reeve.


title: What Is It Like to Be a Bat?

text: "What Is It Like to Be a Bat?" is a paper by American philosopher Thomas Nagel, first published in "The Philosophical Review" in October 1974, and later in Nagel's "Mortal Questions" (1979). The paper presents several difficulties posed by consciousness, including the possible insolubility of the mind–body problem owing to "facts beyond the reach of human concepts", the limits of objectivity and reductionism, the "phenomenological features" of subjective experience, the limits of human imagination, and what it means to be a particular, conscious thing.


title: What Is It Like to Be a Bat?

text: Nagel famously asserts that "an organism has conscious mental states if and only if there is something that it is like to "be" that organism—something it is like "for" the organism." This assertion has achieved special status in consciousness studies as "the standard 'what it's like' locution." Daniel Dennett, while sharply disagreeing on some points, acknowledged Nagel's paper as "the most widely cited and influential thought experiment about consciousness."


title: What Is It Like to Be a Bat?

text: Nagel challenges the possibility of explaining "the most important and characteristic feature of conscious mental phenomena" by reductive materialism (the philosophical position that all statements about the mind and mental states can be translated, without any loss or change in meaning, into statements about the physical). For example, a reductive physicalist's solution to the mind–body problem holds that whatever "consciousness" is, it can be fully described via physical processes in the brain and body.


title: What Is It Like to Be a Bat?

text: Nagel begins by assuming that "conscious experience is a widespread phenomenon" present in many animals (particularly mammals), even though it is "difficult to say [...] what provides evidence of it." Thus, Nagel sees consciousness not as something exclusively human, but as something shared by many, if not all, organisms. Nagel must be speaking of something other than sensory perception, since objective facts and widespread evidence show that organisms with sensory organs have biological processes of sensory perception. In fact, what all organisms share, according to Nagel, is what he calls the "subjective character of experience" defined as follows: "An organism has conscious mental states if and only if there is something that it is like to "be" that organism – something that it is like "for" the organism."


title: What Is It Like to Be a Bat?

text: The paper argues that the subjective nature of consciousness undermines any attempt to explain consciousness via objective, reductionist means. The subjective character of experience cannot be explained by a system of functional or intentional states. Consciousness cannot be fully explained if the subjective character of experience is ignored, and the subjective character of experience cannot be explained by a reductionist; it is a mental phenomenon that cannot be reduced to materialism. Thus, for consciousness to be explained from a reductionist stance, the idea of the subjective character of experience would have to be discarded, which is absurd. Neither can a physicalist view, because in such a world each phenomenal experience had by a conscious being would have to have a physical property attributed to it, which is impossible to prove due to the subjectivity of conscious experience. Nagel argues that each and every subjective experience is connected with a "single point of view", making it infeasible to consider any conscious experience as "objective".


title: What Is It Like to Be a Bat?

text: Nagel uses the metaphor of bats to clarify the distinction between subjective and objective concepts. Because bats are mammals, they are assumed to have conscious experience. Nagel was inspired to use a bat for his argument after living in a home where the animals were frequent visitors. Nagel ultimately used bats for his argument because of their highly evolved and active use of a biological sensory apparatus that is significantly different from that of many other organisms. Bats use echolocation to navigate and perceive objects. This method of perception is similar to the human sense of vision. Both sonar and vision are regarded as perceptual experiences. While it is possible to imagine what it would be like to fly, navigate by sonar, hang upside down and eat insects like a bat, that is not the same as a bat's perspective. Nagel claims that even if humans were able to metamorphose gradually into bats, their brains would not have been wired as a bat's from birth; therefore, they would only be able to experience the life and behaviors of a bat, rather than the mindset.


title: What Is It Like to Be a Bat?

text: Such is the difference between subjective and objective points of view. According to Nagel, "our own mental activity is the only unquestionable fact of our experience", meaning that each individual only knows what it is like to be them (subjectivism). Objectivity requires an unbiased, non-subjective state of perception. For Nagel, the objective perspective is not feasible, because humans are limited to subjective experience.


title: What Is It Like to Be a Bat?

text: Nagel concludes with the contention that it would be wrong to assume that physicalism is incorrect, since that position is also imperfectly understood. Physicalism claims that states and events are physical, but those physical states and events are only imperfectly characterized. Nevertheless, he holds that physicalism cannot be understood without characterizing objective and subjective experience. That is a necessary precondition for understanding the mind-body problem.


title: What Is It Like to Be a Bat?

text: Daniel Dennett denies Nagel's claim that the bat's consciousness is inaccessible, contending that any "interesting or theoretically important" features of a bat's consciousness would be amenable to third-person observation. For instance, it is clear that bats cannot detect objects more than a few meters away because echolocation has a limited range. Dennett holds that any similar aspects of its experiences could be gleaned by further scientific experiments. Kathleen Akins similarly argued that many questions about a bat's subjective experience hinge on unanswered questions about the neuroscientific details of a bat's brain (such as the function of cortical activity profiles), and Nagel is too quick in ruling these out as answers to his central question.


title: What Is It Like to Be a Bat?

text: Peter Hacker analyzes Nagel's statement as not only "malconstructed" but philosophically "misconceived" as a definition of consciousness, and he asserts that Nagel's paper "laid the groundwork for…forty years of fresh confusion about consciousness."


title: What Is It Like to Be a Bat?

text: Eric Schwitzgebel and Michael S. Gordon have argued that, contrary to Nagel, normal sighted humans "do" use echolocation much like bats - it is just that it is generally done without one's awareness. They use this to argue that normal people in normal circumstances can be grossly and systematically mistaken about their conscious experience.


title: Speeds and feeds

text: The phrase speeds and feeds or feeds and speeds refers to two separate velocities in machine tool practice, cutting speed and feed rate. They are often considered as a pair because of their combined effect on the cutting process. Each, however, can also be considered and analyzed in its own right.


title: Speeds and feeds

text: "Cutting speed" (also called "surface speed" or simply "speed") is the speed difference (relative velocity) between the cutting tool and the surface of the workpiece it is operating on. It is expressed in units of distance across the workpiece surface per unit of time, typically surface feet per minute (sfm) or meters per minute (m/min). "Feed rate" (also often styled as a solid compound, "feedrate", or called simply "feed") is the relative velocity at which the cutter is advanced along the workpiece; its vector is perpendicular to the vector of cutting speed. Feed rate units depend on the motion of the tool and workpiece; when the workpiece rotates ("e.g.", in turning and boring), the units are almost always distance per spindle revolution (inches per revolution [in/rev or ipr] or millimeters per revolution [mm/rev]). When the workpiece does not rotate ("e.g.", in milling), the units are typically distance per time (inches per minute [in/min or ipm] or millimeters per minute [mm/min]), although distance per revolution or per cutter tooth are also sometimes used.


title: Speeds and feeds

text: If variables such as cutter geometry and the rigidity of the machine tool and its tooling setup could be ideally maximized (and reduced to negligible constants), then only a lack of power (that is, kilowatts or horsepower) available to the spindle would prevent the use of the maximum possible speeds and feeds for any given workpiece material and cutter material. Of course, in reality those other variables are dynamic and not negligible, but there is still a correlation between power available and feeds and speeds employed. In practice, lack of rigidity is usually the limiting constraint.


title: Speeds and feeds

text: The phrases "speeds and feeds" or "feeds and speeds" have sometimes been used metaphorically to refer to the execution details of a plan, which only skilled technicians (as opposed to designers or managers) would know.


title: Speeds and feeds

text: Cutting speed may be defined as the rate at the workpiece surface, irrespective of the machining operation used. A cutting speed for mild steel of 100 ft/min is the same whether it is the speed of the cutter passing over the workpiece, such as in a turning operation, or the speed of the cutter moving past a workpiece, such as in a milling operation. The cutting conditions will affect the value of this surface speed for mild steel.


title: Speeds and feeds

text: Schematically, speed at the workpiece surface can be thought of as the tangential speed at the tool-cutter interface, that is, how fast the material moves past the cutting edge of the tool, although "which surface to focus on" is a topic with several valid answers. In drilling and milling, the outside diameter of the tool is the widely agreed surface. In turning and boring, the surface can be defined on either side of the depth of cut, that is, either the starting surface or the ending surface, with neither definition being "wrong" as long as the people involved understand the difference. An experienced machinist summed this up succinctly as "the diameter I am turning from" versus "the diameter I am turning to." He uses the "from", not the "to", and explains why, while acknowledging that some others do not. The logic of focusing on the largest diameter involved (OD of drill or end mill, starting diameter of turned workpiece) is that this is where the highest tangential speed is, with the most heat generation, which is the main driver of tool wear.


title: Speeds and feeds

text: There will be an optimum cutting speed for each material and set of machining conditions, and the spindle speed (RPM) can be calculated from this speed. Factors affecting the calculation of cutting speed are:


title: Speeds and feeds

text: Cutting speeds are calculated on the assumption that optimum cutting conditions exist. These include:


title: Speeds and feeds

text: The cutting "speed" is given as a set of constants that are available from the material manufacturer or supplier. The most common materials are available in reference books or charts, but will always be subject to adjustment depending on the cutting conditions. The following table gives the cutting speeds for a selection of common materials under one set of conditions. The conditions are a tool life of 1 hour, dry cutting (no coolant), and at medium feeds, so they may appear to be incorrect depending on circumstances. These cutting speeds may change if, for instance, adequate coolant is available or an improved grade of HSS is used (such as one that includes [cobalt]).


title: Speeds and feeds

text: The machinability rating of a material attempts to quantify the machinability of various materials. It is expressed as a percentage or a normalized value. The American Iron and Steel Institute (AISI) determined machinability ratings for a wide variety of materials by running turning tests at 180 surface feet per minute (sfpm). It then arbitrarily assigned 160 Brinell B1112 steel a machinability rating of 100%. The machinability rating is determined by measuring the weighed averages of the normal cutting speed, surface finish, and tool life for each material. Note that a material with a machinability rating less than 100% would be more difficult to machine than B1112 and material and a value more than 100% would be easier.


title: Speeds and feeds

text: Machinability ratings can be used in conjunction with the Taylor tool life equation, in order to determine cutting speeds or tool life. It is known that B1112 has a tool life of 60 minutes at a cutting speed of 100 sfpm. If a material has a machinability rating of 70%, it can be determined, with the above knowns, that in order to maintain the same tool life (60 minutes), the cutting speed must be 70 sfpm (assuming the same tooling is used).


title: Speeds and feeds

text: When calculating for copper alloys, the machine rating is arrived at by assuming the 100 rating of 600 SFM. For example, phosphorus bronze (grades A–D) has a machinability rating of 20. This means that phosphor bronze runs at 20% the speed of 600 SFM or 120 SFM. However, 165 SFM is generally accepted as the basic 100% rating for "grading steels".


title: Speeds and feeds

text: The spindle speed is the rotational frequency of the spindle of the machine, measured in revolutions per minute (RPM). The preferred speed is determined by working backward from the desired surface speed (sfm or m/min) and incorporating the diameter (of workpiece or cutter).


title: Speeds and feeds

text: Excessive spindle speed will cause premature tool wear, breakages, and can cause tool chatter, all of which can lead to potentially dangerous conditions. Using the correct spindle speed for the material and tools will greatly enhance tool life and the quality of the surface finish.


title: Speeds and feeds

text: For a given machining operation, the cutting speed will remain constant for most situations; therefore the spindle speed will also remain constant. However, facing, forming, parting off, and recess operations on a lathe or screw machine involve the machining of a constantly changing diameter. Ideally, this means changing the spindle speed as the cut advances across the face of the workpiece, producing constant surface speed (CSS). Mechanical arrangements to effect CSS have existed for centuries, but they were never applied commonly to machine tool control. In the pre-CNC era, the ideal of CSS was ignored for most work. For unusual work that demanded it, special pains were taken to achieve it. The introduction of CNC-controlled lathes has provided a practical, everyday solution via automated CSS Machining Process Monitoring and Control. By means of the machine's software and variable speed electric motors, the lathe can increase the RPM of the spindle as the cutter gets closer to the center of the part.


title: Speeds and feeds

text: Grinding wheels are designed to be run at a maximum safe speed, the spindle speed of the grinding machine may be variable but this should only be changed with due attention to the safe working speed of the wheel. As a wheel wears it will decrease in diameter, and its effective cutting speed will be reduced. Some grinders have the provision to increase the spindle speed, which corrects for this loss of cutting ability; however, increasing the speed beyond the wheels rating will destroy the wheel and create a serious hazard to life and limb.


title: Speeds and feeds

text: Generally speaking, spindle speeds and feed rates are less critical in woodworking than metalworking. Most woodworking machines including power saws such as circular saws and band saws, jointers, Thickness planers rotate at a fixed RPM. In those machines, cutting speed is regulated through the feed rate. The required feed rate can be extremely variable depending on the power of the motor, the hardness of the wood or other material being machined, and the sharpness of the cutting tool.


title: Speeds and feeds

text: In woodworking, the ideal feed rate is one that is slow enough not to bog down the motor, yet fast enough to avoid burning the material. Certain woods, such as black cherry and maple are more prone to burning than others. The right feed rate is usually obtained by "feel" if the material is hand fed, or by trial and error if a power feeder is used. In thicknessers (planers), the wood is usually fed automatically through rubber or corrugated steel rollers. Some of these machines allow varying the feed rate, usually by changing pulleys. A slower feed rate usually results in a finer surface as more cuts are made for any length of wood.


title: Speeds and feeds

text: Spindle speed becomes important in the operation of routers, spindle moulders or shapers, and drills. Older and smaller routers often rotate at a fixed spindle speed, usually between 20,000 and 25,000 rpm. While these speeds are fine for small router bits, using larger bits, say more than or 25 millimeters in diameter, can be dangerous and can lead to chatter. Larger routers now have variable speeds and larger bits require slower speed. Drilling wood generally uses higher spindle speeds than metal, and the speed is not as critical. However, larger diameter drill bits do require slower speeds to avoid burning.


title: Speeds and feeds

text: Cutting feeds and speeds, and the spindle speeds that are derived from them, are the "ideal" cutting conditions for a tool. If the conditions are less than ideal then adjustments are made to the spindle's speed, this adjustment is usually a reduction in RPM to the closest available speed, or one that is deemed (through knowledge and experience) to be correct.


title: Speeds and feeds

text: Some materials, such as machinable wax, can be cut at a wide variety of spindle speeds, while others, such as stainless steel require much more careful control as the cutting speed is critical, to avoid overheating both the cutter and workpiece. Stainless steel is one material that hardens very easily under cold working, therefore insufficient feed rate or incorrect spindle speed can lead to less than ideal cutting conditions as the work piece will quickly harden and resist the tool's cutting action. The liberal application of cutting fluid can improve these cutting conditions; however, the correct selection of speeds is the critical factor.


title: Speeds and feeds

text: Most metalworking books have nomograms or tables of spindle speeds and feed rates for different cutters and workpiece materials; similar tables are also likely available from the manufacturer of the cutter used.


title: Speeds and feeds

text: The spindle speeds may be calculated for all machining operations once the SFM or MPM is known. In most cases, we are dealing with a cylindrical object such as a milling cutter or a workpiece turning in a lathe so we need to determine the speed at the periphery of this round object. This speed at the periphery (of a point on the circumference, moving past a stationary point) will depend on the rotational speed (RPM) and diameter of the object.


title: Speeds and feeds

text: One analogy would be a skateboard rider and a bicycle rider travelling side by side along the road. For a given surface speed (the speed of this pair along the road) the rotational speed (RPM) of their wheels (large for the skater and small for the bicycle rider) will be different. This rotational speed (RPM) is what we are calculating, given a fixed surface speed (speed along the road) and known values for their wheel sizes (cutter or workpiece).


title: Speeds and feeds

text: The exact RPM is not always needed, a close approximation will work (using 3 for the value of formula_1).


title: Speeds and feeds

text: e.g. for a cutting speed of 100 ft/min (a plain HSS steel cutter on mild steel) and diameter of 10 inches (the cutter or the work piece)


title: Speeds and feeds

text: and, for an example using metric values, where the cutting speed is 30 m/min and a diameter of 10 mm (0.01 m),


title: Speeds and feeds

text: Feed rate is the velocity at which the cutter is fed, that is, advanced against the workpiece. It is expressed in units of distance per revolution for turning and boring (typically "inches per revolution" ["ipr"] or "millimeters per revolution"). It can be expressed thus for milling also, but it is often expressed in units of distance per time for milling (typically "inches per minute" ["ipm"] or "millimeters per minute"), with considerations of how many teeth (or flutes) the cutter has then determined what that means for each tooth.


title: Speeds and feeds

text: When deciding what feed rate to use for a certain cutting operation, the calculation is fairly straightforward for single-point cutting tools, because all of the cutting work is done at one point (done by "one tooth", as it were). With a milling machine or jointer, where multi-tipped/multi-fluted cutting tools are involved, then the desired feed rate becomes dependent on the number of teeth on the cutter, as well as the desired amount of material per tooth to cut (expressed as chip load). The greater the number of cutting edges, the higher the feed rate permissible: for a cutting edge to work efficiently it must remove sufficient material to cut rather than rub; it also must do its fair share of work.


title: Speeds and feeds

text: The ratio of the spindle speed and the feed rate controls how aggressive the cut is, and the nature of the swarf formed.


title: Speeds and feeds

text: This formula can be used to figure out the feed rate that the cutter travels into or around the work. This would apply to cutters on a milling machine, drill press and a number of other machine tools. This is not to be used on the lathe for turning operations, as the feed rate on a lathe is given as "feed per revolution."


title: Speeds and feeds

text: Cutting speed and feed rate come together with "depth of cut" to determine the "material removal rate", which is the volume of workpiece material (metal, wood, plastic, etc.) that can be removed per time unit.


title: Speeds and feeds

text: Speed-and-feed selection is analogous to other examples of applied science, such as meteorology or pharmacology, in that the theoretical modeling is necessary and useful but can never fully predict the reality of specific cases because of the massively multivariate environment. Just as weather forecasts or drug dosages can be modeled with fair accuracy, but never with complete certainty, machinists can predict with charts and formulas the approximate speed and feed values that will work best on a particular job, but cannot know the exact optimal values until running the job. In CNC machining, usually the programmer programs speeds and feedrates that are as maximally tuned as calculations and general guidelines can supply. The operator then fine-tunes the values while running the machine, based on sights, sounds, smells, temperatures, tolerance holding, and tool tip lifespan. Under proper management, the revised values are captured for future use, so that when a program is run again later, this work need not be duplicated.


title: Speeds and feeds

text: As with meteorology and pharmacology, however, the interrelationship of theory and practice has been developing over decades as the theory part of the balance becomes more advanced thanks to information technology. For example, an effort called the Machine Tool Genome Project is working toward providing the computer modeling (simulation) needed to predict optimal speed-and-feed combinations for particular setups in any internet-connected shop with less local experimentation and testing. Instead of the only option being the measuring and testing of the behavior of its own equipment, it will benefit from others' experience and simulation; in a sense, rather than 'reinventing a wheel', it will be able to 'make better use of existing wheels already developed by others in remote locations'.


title: Speeds and feeds

text: Speeds and feeds have been studied scientifically since at least the 1890s. The work is typically done in engineering laboratories, with the funding coming from three basic roots: corporations, governments (including their militaries), and universities. All three types of institution have invested large amounts of money in the cause, often in collaborative partnerships. Examples of such work are highlighted below.


title: Speeds and feeds

text: In the 1890s through 1910s, Frederick Winslow Taylor performed turning experiments that became famous (and seminal). He developed Taylor's Equation for Tool Life Expectancy.


title: Speeds and feeds

text: Scientific study by Holz and De Leeuw of the Cincinnati Milling Machine Company did for milling cutters what F. W. Taylor had done for single-point cutters.


title: Speeds and feeds

text: "Following World War II, many new alloys were developed. New standards were needed to increase [U.S.] American productivity. Metcut Research Associates, with technical support from the Air Force Materials Laboratory and the Army Science and Technology Laboratory, published the first Machining Data Handbook in 1966. The recommended speeds and feeds provided in this book were the result of extensive testing to determine optimum tool life under controlled conditions for every material of the day, operation and hardness."


title: Speeds and feeds

text: A study on the effect of the variation of cutting parameters in the surface integrity in turning of an AISI 304 stainless steel revealed that the feed rate has the greatest impairing effect on the quality of the surface, and that besides the achievement of the desired roughness profile, it is necessary to analyze the effect of speed and feed on the creation of micropits and microdefects on the machined surface. Moreover, they found that the conventional empirical relation that relates feed rate to roughness value does not fit adequately for low cutting speeds.


title: All Together Now (2020 film)

text: All Together Now is a 2020 American drama film directed by Brett Haley, from a screenplay by Haley, Marc Basch, Matthew Quick and Ol Parker. It is based upon the novel "Sorta Like a Rockstar" by Quick. It stars Auliʻi Cravalho, Justina Machado, Fred Armisen, Carol Burnett, Judy Reyes, Taylor Richardson, Rhenzy Feliz, Gerald Isaac Waters and Anthony Jacques.


title: All Together Now (2020 film)

text: Amber Appleton is in high school in Portland, Oregon with her mother Becky. They are temporarily homeless after Becky leaves her abusive boyfriend Oliver, sleeping in the school bus Becky drives.


title: All Together Now (2020 film)

text: Amber is very busy, including teaching an ESL class and working in an old age home, where she has bonded with Joan, a resident. She also plans an annual school variety show, the proceeds going to charity. Amber is invited to audition for the drama program at Carnegie Mellon University, her deceased father's alma mater. At Becky's encouragement, she spends rent money for a plane ticket. Becky is fired when it's discovered that they have been living in the bus. She decides to return to Oliver, but Amber refuses to join her, sleeping on a park bench and subsequently getting robbed.


title: All Together Now (2020 film)

text: She confides about her situation in her friend Ty, who takes Amber to his family's vacation house to stay and help her prepare for her audition. She tells him that her father's death caused her mother to struggle and for them to be evicted and move in with Oliver, who eventually became abusive. Becky, who is an alcoholic, frequently suffers relapses while with Oliver. With the help of Donna, the mother of her friend Ricky, Amber tells Becky that she does not feel safe living with Oliver. They have an argument, and Becky leaves; Amber stays at Donna's house. The following morning, Amber meets with police officers at school, who inform her that her mother and Oliver have been killed in a drunk driving car accident.


title: All Together Now (2020 film)

text: On the day of her audition, Amber discovers that her dog Bobby is sick; she misses her plane flight to her audition, to take him to the vet, where she learns he requires expensive surgery. She drops out and begins working full-time in order to afford the surgery, forgoing a rescheduled audition and losing contact with her friends. Ty confronts her and accuses her of rejecting help from others, and the two stop speaking.


title: All Together Now (2020 film)

text: She plans to skip the variety show, but Ty surprises her at work, revealing that the proceeds will go towards paying for the dog's surgery. All of Amber's friends perform in the show, including the students from her ESL class. At the end of the evening, the fundraiser is still $2,000 short, but suddenly receives an anonymous donation of $200,000. At the home, Joan reveals that she is the one who made the donation, as she considers her as family. Amber gets another audition from Carnegie Mellon, and she and Ty share a kiss before she leaves.


title: All Together Now (2020 film)

text: In August 2013, Fox Searchlight Pictures acquired screen rights to "Sorta Like a Rock Star" by Matthew Quick, and would produce and finance the film, with Temple Hill Entertainment and Gotham Group producing, with Laura Sandler and Amanda Harlib writing the film. In March 2016, it was announced Miguel Arteta would direct the film, with Ol Parker writing the script. In July 2017, it was announced Bryce Dallas Howard would direct the film, replacing Arteta and Fox Searchlight Pictures no longer involved. In November 2017, Netflix acquired distribution rights to the film, with Quick writing the screenplay.


title: All Together Now (2020 film)

text: In July 2019, Auliʻi Cravalho joined the cast of the film, with Brett Haley replacing Dallas Howard who departed due to scheduling conflicts. In September 2019, Carol Burnett, Fred Armisen, Rhenzy Feliz, Justina Machado, Judy Reyes, Gerald Isaac Waters, Taylor Richardson, and Anthony Jacques had joined the cast of the film.


title: All Together Now (2020 film)

text: Principal photography began in October 2019 in Portland, Oregon. Neighborhoods in northeast Portland have been used to film. Some of the homes used for filming were in the same neighborhoods as those featured in Fred Armisen's work, "Portlandia".


title: All Together Now (2020 film)

text: On review aggregator website Rotten Tomatoes, the film holds an approval rating of based on reviews, with an average rating of . The website's critics consensus reads: "Elevated by Auli'i Cravalho's charming performance, "All Together Now" is an uplifting drama that stays largely on the right side of the line between sweet and cloying." On Metacritic, the film has a weighted average score of 64 out of 100, based on 11 critics, indicating "generally favorable reviews".


title: New York Times Co. v. Sullivan

text: New York Times Co. v. Sullivan, 376 U.S. 254 (1964), was a landmark U.S. Supreme Court decision ruling that the First Amendment to the U.S. Constitution's freedom of speech protections limit the ability of American public officials to sue for defamation. The decision held that if a plaintiff in a defamation lawsuit is a public official or candidate for public office, not only must they prove the normal elements of defamationpublication of a false defamatory statement to a third partythey must also prove that the statement was made with "actual malice", meaning the defendant either knew the statement was false or recklessly disregarded whether it might be false.


title: New York Times Co. v. Sullivan

text: The underlying case began in the spring of 1960, when "The New York Times" published a full-page advertisement by supporters of Martin Luther King Jr. that criticized the police in Montgomery, Alabama, for their mistreatment of civil rights movement protesters. The ad had several inaccuracies regarding facts such as the number of times King had been arrested during the protests, what song the protesters had sung, and whether students had been expelled for participating. Based on the inaccuracies, Montgomery police commissioner L. B. Sullivan sued the "Times" for defamation in the local Alabama county court. After the judge ruled that the advertisement's inaccuracies were defamatory "per se", the jury returned a verdict in favor of Sullivan and awarded him $500,000 in damages. The "Times" appealed to the Supreme Court of Alabama, which affirmed the verdict, and then to the U.S. Supreme Court, which agreed to hear the case.


title: New York Times Co. v. Sullivan

text: In March 1964, the Court issued a 9–0 decision holding that the Alabama court's verdict violated the First Amendment. The decision defended free reporting of the civil rights movement campaigns in the southern United States. It is one of the key decisions supporting the freedom of the press. Before this decision, there were nearly $300 million in libel actions from the southern states outstanding against news organizations, part of a collective effort by southern officials to use defamation suits to prevent critical coverage of civil-rights issues in out-of-state publications. The Supreme Court's decision, and its adoption of the actual malice standard, reduced the financial exposure from potential defamation claims and frustrated efforts by public officials to use these claims to suppress political criticism.


title: New York Times Co. v. Sullivan

text: In later cases, beginning with the 1967 decision "Curtis Publishing Co. v. Butts", the Supreme Court has extended "Sullivan" higher legal standard for defamation to all "public figures". These decisions have made it extremely difficult for a public figure to win a defamation lawsuit in the United States.


title: New York Times Co. v. Sullivan

text: On March 29, 1960, "The New York Times" carried a full-page advertisement titled "Heed Their Rising Voices", paid for by the Committee to Defend Martin Luther King and the Struggle for Freedom in the South. In the advertisement, the Committee solicited funds to defend Martin Luther King Jr., against an Alabama perjury indictment. The advertisement described actions against civil rights protesters, some of them inaccurately, some of which involved the police force of Montgomery, Alabama. Referring to Alabama "official authority and police power", the advertisement stated: "They have arrested [King] seven times. ... ", whereas he had been arrested four times; and that "truckloads of police ... ringed the Alabama State College Campus" after the demonstration at the State Capitol, whereas the police had been "deployed near" the campus but had not actually "ringed" it and had not gone there in connection with the State Capitol demonstration. Although the Montgomery Public Safety commissioner, L. B. Sullivan, was not named in the advertisement, Sullivan argued that the inaccurate criticism of actions by the police was defamatory to him as well because it was his duty to supervise the police department.


title: New York Times Co. v. Sullivan

text: Because Alabama law denied public officers recovery of punitive damages in a libel action on their official conduct unless they first made a written demand for a public retraction and the defendant failed or refused to comply, Sullivan sent such a request. The "Times" did not publish a retraction in response to the demand. Instead, its lawyers wrote a letter stating, among other things, that "we ... are somewhat puzzled as to how you think the statements in any way reflect on you," and "you might, if you desire, let us know in what respect you claim that the statements in the advertisement reflect on you."


title: New York Times Co. v. Sullivan

text: Sullivan did not respond but instead filed a libel suit a few days later. He also sued four African-American ministers mentioned in the ad: Ralph Abernathy, S.S. Seay, Sr., Fred Shuttlesworth, and Joseph Lowery.


title: New York Times Co. v. Sullivan

text: The "Times" subsequently published a retraction of the advertisement upon the demand of Governor John Patterson of Alabama, who alleged the publication charged him with "grave misconduct and ... improper actions and omissions as Governor of Alabama and "ex officio" chairman of the State Board of Education of Alabama." When asked to explain why there had been a retraction for the Governor but not for Sullivan, the Secretary of the "Times" testified:


title: New York Times Co. v. Sullivan

text: We did that because we didn't want anything that was published by the "Times" to be a reflection on the State of Alabama and the Governor was, as far as we could see, the embodiment of the State of Alabama and the proper representative of the state and we had by that time learned more of the facts which the ad purported to recite and, finally, the ad did refer to the action of the state authorities and the Board of Education presumably of which the Governor is the "ex officio" chairman ...


title: New York Times Co. v. Sullivan

text: However, the Secretary also testified he did not think that "any of the languages in there referred to Mr. Sullivan."


title: New York Times Co. v. Sullivan

text: Sullivan secured a judgment for $500,000 in the Alabama state trial court. The state supreme court affirmed on August 30, 1962, saying "The First Amendment of the U.S. Constitution does not protect libelous publications". "The Times" appealed to the United States Supreme Court.


title: New York Times Co. v. Sullivan

text: Constitutional law scholar Herbert Wechsler successfully argued the case before the United States Supreme Court. Louis M. Loeb, a partner at the firm of Lord Day & Lord who served as chief counsel to the "Times" from 1948 to 1967, was among the authors of the brief of the "Times".


title: New York Times Co. v. Sullivan

text: On March 9, 1964, the Supreme Court issued a unanimous 9–0 decision in favor of the "Times" that vacated the Alabama court's judgment and limited newspapers' liability for damages in defamation suits by public officials.


title: New York Times Co. v. Sullivan

text: Justice William J. Brennan Jr. authored the Court's opinion, and six justices joined it. The Court began by explaining that criticism of government and public officials was at the core of American rights to freedom of speech and freedom of the press.


title: New York Times Co. v. Sullivan

text: The Court said that because of these core American principles, it would "consider this case against the background of a profound national commitment to the principle that debate on public issues should be uninhibited, robust, and wide-open, and that it may well include vehement, caustic, and sometimes unpleasantly sharp attacks on government and public officials."


title: New York Times Co. v. Sullivan

text: With this background, the Court framed the case around the question of whether this American constitutional commitment to free speech required loosening traditional defamation laws.


title: New York Times Co. v. Sullivan

text: In answer, the Court held that the advertisement's inaccuracies did not remove its free-speech constitutional protections. The Court reasoned that "erroneous statement is inevitable in free debate, and ... must be protected if the freedoms of expression are to have the breathing space that they need ... to survive". It concluded that the importance of safeguarding the "breathing space" created by the First Amendment's protections required giving constitutional protection to "erroneous statements honestly made". The Court analogized Alabama's libel law to the infamous Alien and Sedition Acts passed in the late 1790s during the presidency of John Adams. It reasoned that a broad interpretation of libel laws that protected government officials from criticism would produce situations similar to those under the Alien and Sedition Acts, which had been historically criticized.


title: New York Times Co. v. Sullivan

text: Because of the importance of free debate about public officials, the Court held that it was not enough that Alabama's libel law—like most libel laws in the English common law tradition—allowed defendants to use the truth of their defamatory statements as a defense. Instead, the Court held that under U.S. law, any public official suing for defamation must prove that the defendant made the defamatory statement with "actual malice".


title: New York Times Co. v. Sullivan

text: The Court said that besides proving "actual malice", the First Amendment's protections also imposed two other limitations on libel laws. First, a public official seeking damages must prove that the defendant's defamatory statement was about the official individually, not about government policy generally. Second, unlike in traditional common law defamation lawsuits where the defendant had the burden to prove that his or her statement was true, in defamation suits involving American public officials the officials must prove that the defendant's statement was false.


title: New York Times Co. v. Sullivan

text: The rule that somebody alleging defamation should have to prove untruth, rather than that the defendant should have to prove the truth of a statement, stood as a departure from the previous common law. In England, the development was specifically rejected in "Derbyshire County Council v. Times Newspapers Ltd" and it was also rejected in Canada in "Hill v. Church of Scientology of Toronto" and more recently in "Grant v. Torstar Corp". In Australia, the outcome of the case was followed in "Theophanous v. The Herald & Weekly Times Ltd", but "Theophanous" was itself overruled by the High Court of Australia in "Lange v Australian Broadcasting Corporation" (1997) 189 CLR 520.


title: New York Times Co. v. Sullivan

text: In 2014, on the 50th anniversary of the ruling, "The New York Times" released an editorial in which it stated the background of the case, laid out the rationale for the Supreme Court decision, critically reflected on the state of freedom of the press 50 years after the ruling and compared the state of freedom of the press in the United States with other nations. The editorial board of "The New York Times" heralded the "Sullivan" decision not only as a ruling which "instantly changed libel law in the United States", but also as "the clearest and most forceful defense of press freedom in American history." The board added:


title: New York Times Co. v. Sullivan

text: In a 2015 "TIME" Magazine survey of over 50 law professors, both Owen Fiss (Yale) and Steven Schiffrin (Cornell) named "New York Times v. Sullivan" "the best Supreme Court decision since 1960," with Fiss noting that the decision helped cement "the free-speech traditions that have ensured the vibrancy of American democracy" and Schiffrin remarking that the case "overturned the censorial aspects of the law of libel and made it far easier in what’s left of our democracy for citizens—including the Fourth Estate—to criticize the powerful."


title: New York Times Co. v. Sullivan

text: In February 2019, the Supreme Court denied a petition brought by Katherine McKee, one of the women that accused Bill Cosby of sexual assault, which claimed that Cosby had leaked a letter that permanently damaged her reputation, and had sought civil action against Cosby on this matter. Lower courts rejected her case based on "New York Times Co.", stating that she "thrust herself to the forefront of a public controversy", making her a limited public figure and requiring the higher standard of malice to be demonstrated. The denial by the Supreme Court did not include a vote count, but Justice Clarence Thomas wrote the solitary opinion on the case, agreeing that denial was appropriate per "New York Times Co.", but stating that he believed that decision of "New York Times Co." was made wrongly. Thomas wrote "If the Constitution does not require public figures to satisfy an actual-malice standard in state-law defamation suits, then neither should we".


title: New York Times Co. v. Sullivan

text: In March 2021, federal judge Laurence Silberman called on the Supreme Court to overturn "New York Times v. Sullivan", stating that the "New York Times" and "The Washington Post" are "virtually Democratic Party broadsheets". Silberman's dissent also accused big tech companies of censoring conservatives and warned that "Democratic Party ideological control" of mainstream media may be a prelude to an "authoritarian or dictatorial regime" that constitutes "a threat to a viable democracy".


title: New York Times Co. v. Sullivan

text: Judge Silberman's dissent produced significant public discussion of "Sullivan" and potential reforms. Many conservative-leaning outlets endorsed Silberman's criticisms of "Sullivan". Most liberal-leaning outlets and several moderate conservatives condemned Silberman's decision for its tone and the substantive idea of loosening defamation standards. However, some liberal scholars and a Harvard Law student writing in the "Wall Street Journal" embraced significant reforms to "Sullivan".


title: New York Times Co. v. Sullivan

text: In the July 2021 denial of certiorari in "Berisha v. Lawson", Justice Thomas dissented and reiterated his opposition to "New York Times v. Sullivan". Justice Neil Gorsuch also questioned the usefulness of "NYT v. Sullivan" when applied to today's media and social media.


title: Last.fm

text: Last.fm is a music website founded in the United Kingdom in 2002. Using a music recommender system called "Audioscrobbler", Last.fm builds a detailed profile of each user's musical taste by recording details of the tracks the user listens to, either from Internet radio stations, or the user's computer or many portable music devices. This information is transferred ("scrobbled") to Last.fm's database either via the music player (including, among others, Spotify, Deezer, Tidal, MusicBee, SoundCloud, and Anghami) or via a plug-in installed into the user's music player. The data is then displayed on the user's profile page and compiled to create reference pages for individual artists.


title: Last.fm

text: On 30 May 2007, it was acquired by CBS Corporation via its streaming division CBS Interactive, today a part of Paramount Global, for £140 million (US$280 million).


title: Last.fm

text: The site formerly offered a radio streaming service, which was discontinued on 28 April 2014. The ability to access the large catalogue of music stored on the site was later removed entirely, replaced by links to YouTube and Spotify where available.


title: Last.fm

text: The current Last.fm website was developed from two separate sources, "Last.fm" and "Audioscrobbler", which were merged in 2005. Audioscrobbler began as a computer science project of Richard Jones when he attended the University of Southampton School of Electronics and Computer Science in the United Kingdom, with the term "scrobbling" defined as the finding, processing, and distribution of information involving people, music, and other data. Jones developed the first plugins, and then opened an API to the community, after which many music players on different operating system platforms were supported. Audioscrobbler was limited to keeping track of which songs its users played on a registered computer, which allowed for charting and collaborative filtering.


title: Last.fm

text: Last.fm was founded in 2002 by Felix Miller, Martin Stiksel, Michael Breidenbruecker and Thomas Willomitzer, all of them from Germany or Austria, as an Internet radio station and music community site, using similar music profiles to generate dynamic playlists. The site name takes advantage of a domain hack using .fm, the top level domain of Micronesia, popular with FM radio related sites. The "love" and "ban" buttons allowed users to gradually customise their profiles. Last.fm won the Europrix 2002 and was nominated for the Prix Ars Electronica in 2003.


title: Last.fm

text: The Audioscrobbler and Last.fm teams began to work closely together, both teams moving into the same offices in Whitechapel, London, and by 2003 Last.fm was fully integrated with Audioscrobbler profiles. Input could come through an Audioscrobbler plugin or a Last.fm station. The sites also shared many community forums, although a few were unique to each site. The old Audioscrobbler site at the audioscrobbler.com domain name was wholly merged into the new Last.fm site on 9 August 2005. Audioscrobbler.net was launched as a separate development-oriented site on 5 September 2005. However, at the very bottom of each of the Last.fm pages there was an Audioscrobbler "slogan", which changes each time the page is refreshed. Based on well-known sayings or advertisements, these originally appeared at the top of the Audioscrobbler website pages and were all created and contributed by the original site members.


title: Last.fm

text: An update to the site was made on 14 July 2006, which included a new software application for playing Last.fm radio streams and for logging of tracks played with other media players. Other changes included the improvement of the friends system and updating it to require a two-way friendship, the addition of the Last.fm "Dashboard" where users can see on one page relevant information for their profile, expanded options for purchasing music from online retailers and a new visual design for the web site (including an optional black colour scheme). The site began expanding its language base on 15 July 2006, with a Japanese version. Currently, the site is available in German, Spanish, French, Italian, Polish, Portuguese, Swedish, Russian, Turkish and Simplified Chinese. In late 2006, the site won Best Community Music Site at the BT Digital Music Awards in October. Last.fm also teamed with EMI on Tuneglue-Audiomap. In January 2007 it was nominated for Best Website at the NME Awards.


title: Last.fm

text: At the end of April 2007, rumours of negotiations between CBS and Last.fm emerged, suggesting that CBS intended to purchase Last.fm for about £225 million ($449 million). In May 2007 it was announced that Channel 4 Radio was to broadcast a weekly show called Worldwide Chart reflecting what Last.fm users around the world were listening to. On 30 May 2007, it was announced that Last.fm had been bought by CBS for £140 million with Last.fm's current management team staying in place. In July 2008, the "new generation" Last.fm was launched featuring a completely new layout, color scheme, and several new features, as well as some old ones removed. This was, however, met with dissatisfaction amongst some users, who complained about the "ugly and non-user-friendly layout", bugs, and slowness. Still, a month after the redesign a CBS press release credited the redesign with generating a 20% growth in the site's traffic.


title: Last.fm

text: On 22 February 2009, Techcrunch claimed that "[the] RIAA asked social music service Last.fm for data about its users' listening habits to find people with unreleased tracks on their computers. And Last.fm, which is owned by CBS, allegedly handed the data over to the RIAA." This led to several public postings from both Last.fm and Techcrunch, with Last.fm denying passing any personal data to RIAA. The request was purportedly prompted by the leak of U2's then-unreleased album "No Line On The Horizon", and its subsequent widespread distribution via peer-to-peer file sharing services such as BitTorrent.


title: Last.fm

text: Three months later, on 22 May 2009, Techcrunch claimed that it was CBS, the parent company of Last.fm, that handed over the data. Last.fm again denied that this was the case, saying that CBS could not have handed over the data without Last.fm's knowledge.