title: Escape from Tomorrow

text: After an argument with his wife, Jim takes their children to various Disney park rides, while pursuing Sophie and Isabelle. Later on, he meets a mysterious woman, who uses a necklace of hers to hypnotise him, making him black out and wake up to her having sex with him. She then informs him that the parks' wholesome, costumed princesses are actually part of a secret prostitution ring that services rich Asian businessmen and that the turkey legs sold in the park are actually emu meat.


title: Escape from Tomorrow

text: Jim's attempts to meet Isabelle and Sophie are noticed by Emily, causing tension between her and Jim, even when they go further with the kids to Epcot. After Emily and Elliot go back to the hotel following an argument with Jim resulting in her slapping Sara, Sophie approaches and invites Jim to come with her and Isabelle. When Jim refuses, Sophie spits in his face and walks off. Jim notices that Sara has disappeared and frantically searches for her, until the park guards use a taser to knock him unconscious.


title: Escape from Tomorrow

text: Jim awakens in a secret detention facility under Epcot's Spaceship Earth where he sees pictures of a naked woman he imagined on the Soarin' ride, and video screens displaying events that happened earlier. A scientist discusses Jim's flights of fantasy and imagination, revealing that he is part of an experiment by the Siemens Corporation ever since he first went to the theme park as a child with his father. His boss is in on the conspiracy and his firing was all part of the plan along with the closure of the Buzz Lightyear ride, just as he and Elliot approached the boarding area. The scientist also tells Jim that he had turned in Elliot to them, like Jim's father had done to him as a child.


title: Escape from Tomorrow

text: After damaging the instrument panel with medical ointment and decapitating the scientist, who turns out to be an android, Jim escapes the laboratory through a sewer. He then finds that Sara has been captured by the mysterious woman, now wearing a Snow White costume. She proceeds to tell them about her past as a costumed princess, which ended after she crushed a little girl to death whilst hugging her. She hypnotizes Jim with the necklace again, but Sara pulls it off and smashes it, freeing Jim from her spell, and allowing her and Jim to escape.


title: Escape from Tomorrow

text: After returning to his hotel room and putting Sara to bed, Jim begins suffering from digestive distress, and vomits up a large amount of blood and hairballs, which he recognises as symptoms of cat flu; brought on by Sophie spitting on his face earlier, unknowingly infecting him. Elliot, awoken by the noises in the bathroom, comes in to find Jim on the verge of death. He weakly begs Elliot for help, but he shuts the door on him.


title: Escape from Tomorrow

text: The next day, a distressed Emily finds Jim's dead body, which now has cat eyes and a grinning face. Cleaning staff arrive to remove all proof, with one of them filling Elliot's head with false memories of riding the Buzz Lightyear attraction. As Jim's body is taken away, a new family comes to the hotel, which consists of another version of Jim, the woman from the Soarin' attraction, and their daughter.


title: Escape from Tomorrow

text: Randy Moore, a native of Lake Bluff, Illinois, frequently visited his father in Orlando following his parents' divorce. The two often spent time together at Walt Disney World nearby. "It was a special, physical place, and it became an emotional space," he told "Filmmaker." He added: "Obviously, I have a lot of father issues that I can't separate from that place." Later, their relationship deteriorated.


title: Escape from Tomorrow

text: He decided to pursue a career in film. After attending two other film schools, he graduated from Full Sail University in another Central Florida town, Winter Park, as the class valedictorian. He moved to Southern California and began working as a story editor, primarily doing uncredited rewrites.


title: Escape from Tomorrow

text: In Hollywood, he married and started a family. Much like his own father, he frequently took his own children to Disneyland. "It wasn't until our first family trip together that this very visceral emotional landscape of my past, that I had by now nearly all but forgotten, hit me again like [a] bullet." On the family's first trip to Walt Disney World, the emotions grew stronger. "[I]t was like he was there as a ghost. We were going on the same rides I used to go on with him, but now we're no longer talking anymore."


title: Escape from Tomorrow

text: His wife, a native of the former Soviet Union who had no memories or expectations like his, saw things with fresh eyes. Moore said "She's a nurse and goes between floors at hospitals. At one point she turned to me at some princess fair or something and said, 'This is worse than working the psych [ward] at the hospital.'"


title: Escape from Tomorrow

text: He read Neal Gabler's biography of Walt Disney and took the children to Disneyland more frequently. "I became obsessed with finding a connection," he recalled later. He wrote the screenplay for "Escape from Tomorrow" in a month along with two others. An inheritance from his grandparents provided the bulk of the film's budget, which he put at around $650,000, triple what he had originally planned.


title: Escape from Tomorrow

text: "There was nowhere else to do it," Moore says of his decision to use Disney World as a setting and shoot at the parks. Disney, which has a reputation for aggressively protecting its intellectual property, has been tolerant of visitors uploading videos of their visits to YouTube and elsewhere since most of those user-created videos project a positive image of the parks. But Moore did not expect to get permission from Disney to shoot there given his negative, surrealistic portrayal of the park.


title: Escape from Tomorrow

text: Moore used guerrilla filmmaking techniques, which sometimes call for using locations without getting permission. "Escape from Tomorrow" is not the first film made in whole, or part, this way at the Disney parks. In 2010, the British street artist Banksy shot a scene for "Exit Through the Gift Shop" in one of the parks with his collaborator Mr. Brainwash. They managed to smuggle the footage out after being detained and questioned by park security. The following year, a viral found footage short, "Missing in the Mansion", filmed in the Haunted Mansion, was distributed online without interference from Disney.<ref name="/Film post"></ref>


title: Escape from Tomorrow

text: Extensive pre-production was necessary. The unique nature of the film shoot dictated steps not normally taken in filmmaking, such as charting the position of the sun weeks in advance since they could not use lighting equipment. Scenes were rehearsed and blocked in hotel rooms, rather than the actual locations. "We must have walked through the entire movie at least eight or nine times during multiple scouting trips before we ever rolled camera," Moore says.


title: Escape from Tomorrow

text: Before principal photography, the cast and crew bought season passes to both the Disneyland and Walt Disney World resorts. They spent ten days in Florida, then returned to California for two weeks at Disneyland, making the parks depicted in the film a combination of both resorts. Actors and crew entered the parks in small groups to avoid attracting attention. "At one point, I even made the camera department shave off their facial hair and dress in tourist attire, which almost provoked a mutiny," says Moore. Despite the actors wearing the same clothes for days on end, Moore told the "Los Angeles Times", park personnel never appeared to notice them, save for one day near the end of filming when Disneyland security thought they were paparazzi harassing a celebrity family.


title: Escape from Tomorrow

text: The film was shot using the video mode of two Canon EOS 5D Mark II and one Canon EOS 1D Mark IV digital single-lens reflex cameras, which helped the filmmakers look more like typical park visitors. To compensate for their inability to control the lighting, the film was shot in monochrome mode. "[W]e were shooting with really fast lenses wide open, so our depth of field was razor thin. Black and white helped us enormously with focus and composition, since we were doing almost everything in camera and didn't use a focus puller," Moore recalled. It was an irreversible choice. "[B]ecause the 5D doesn't shoot RAW, we customized settings in its monochromatic mode and couldn't go back to color, even if we had wanted to." Moore was comfortable with the result because of the surrealistic, dreamlike quality it created, forcing viewers to see the familiar sights of the Disney parks in a new way.


title: Escape from Tomorrow

text: Actors and crew used their phones to communicate and store information such as the script—that way, they looked like guests casually using their phones. The phones were also used to record sound, in addition to digital recorders taped to each actor's body that were left running all day. For day scenes, Moore felt comfortable risking only three or four takes of each scene, but found he could do more at night.


title: Escape from Tomorrow

text: After the location filming, production went back to soundstages for interiors. Some scenes were shot against a green screen background for second unit footage of other locations to be substituted, allowing the use of crane shots. With the photography done, Moore took the film to South Korea to edit to prevent Disney from finding out; he also refused to tell most of his close friends what he was doing. Visual effects were done by the same company there that had done them for the 2006 South Korean monster film, "The Host".


title: Escape from Tomorrow

text: The post-production tasks were as challenging as the production itself. Sound editors had to listen to the entire uncut tracks from the recorders taped to the actors' bodies in order to find the dialogue. Content proprietary to Disney, such as the lyrics to "It's a Small World" and footage from Soarin', was removed from the film to avoid copyright infringement. Composer Abel Korzeniowski contributed a light, airy score similar to those used in Hollywood's Golden Age.


title: Escape from Tomorrow

text: Moore submitted the film to the Sundance Film Festival, where many independent films seek distributors. He had little hope that it would be accepted due to the festival's corporate sponsors. But Trevor Groth, the festival's new director of programming, was "blown away" by "Escape from Tomorrow", and accepted it for the festival's non-competitive "Next" category, for films that transcend the limitations of the low budgets common to most independent films.


title: Escape from Tomorrow

text: When the 2013 festival began in Park City, Utah, the secrecy about the movie continued. The festival's website only identified the setting as a theme park. Nan Chalat-Noaker, critic for the "Park Record", recalls that the festival and even the film's publicist were unwilling to share further details about the film, but strongly urged critics to see it. In her review, she declined to identify the setting of the film by name, although she dropped broad hints, out of fear it would alert Disney's lawyers. The premiere, on the festival's first night, was not fully attended; when word got out to the attendees, all the other shows were effectively sold out.


title: Escape from Tomorrow

text: On review aggregation website Rotten Tomatoes, the film has an approval rating of 56% based on 87 reviews, with an average rating of 6/10. The site's critical consensus reads: "Conceptually audacious but only intermittently successful in execution, "Escape From Tomorrow" is nonetheless visually inventive and darkly surreal." On Metacritic, the film has a score of 58 out of 100, based on 27 critics, indicating "mixed or average reviews".


title: Escape from Tomorrow

text: Before the Martin Luther King Day weekend was over, "Escape from Tomorrow" was being widely discussed by festival attendees. "The New York Times" and the "Los Angeles Times" both ran articles about the film and Moore. Much of the attention focused on the audacity of the filmmaking. Movies.com reported that people were already calling it "the ultimate guerrilla film". On the night of the premiere, Drew McWeeny wrote:


title: Escape from Tomorrow

text: Other critics concurred that the film had artistic merit. "[W]atching Moore's noir tale is like being super-glued to your seat while getting poked in the eye," Chalat-Noaker wrote. "It's both fascinating and repelling." Stephen Zeitchik of the "Los Angeles Times" called it "one of the strangest and most provocative movies this reporter has seen in eight years attending the Sundance Film Festival". At Indiewire, Eric Kohn wrote that "Moore portrays Disney World as the ultimate horror show and gets the point across in nearly every scene".


title: Escape from Tomorrow

text: While they conceded the film's audacious production made it worth their time to watch, other critics found flaws. "It's not a great film. The story has some good ideas, but the execution is uneven," wrote Peter Sciretta at /Film, while still recommending it as "unlike anything you've seen before [or will] see again". Similarly, CraveOnline's William Bibbiani "wouldn't have missed it for the world" but qualified it by noting that the film often lacked "cohesion and clarity".


title: Escape from Tomorrow

text: Kyle Smith of the "New York Post" had the most negative assessment, calling it "more fun to discuss than to sit through". While he found the guerilla filmmaking aspect of it "intriguing", all it amounted to for him was "a couple of amusingly surreal moments" that could have taken place at any sufficiently large amusement park: "Even Disney-hating hipsters are going to be disappointed; the film is a pure festival play that is more or less unreleasable unless theater owners start selling weed along with popcorn."


title: Escape from Tomorrow

text: A.O. Scott of "The New York Times" and Michael O'Sullivan of "The Washington Post" each also gave a negative review for this film. "None of it is as scary or as funny as it should be," the former wrote, "and what starts out as a sly thumb in the eye of corporate power ends up as a muddled and amateurish homage to David Lynch".


title: Escape from Tomorrow

text: The film premiered on October 11, 2013, opening in 30 theaters in the U.S., eventually reporting total box office grosses of $171,962.


title: Escape from Tomorrow

text: Many journalists who saw the film at Sundance speculated that it was likely that Disney would take legal action to prevent the film from being shown outside the festival, or perhaps even during it. "Disney's lawyers are probably climbing onto helicopters and planning a raid on Park City right now," wrote McWeeny. Critics urged others present to see it before it was too late, and commented that it was questionable if those not present at the festival would ever have an opportunity to see it.


title: Escape from Tomorrow

text: However, others noted that if Disney had attempted to block the film's release, it was unclear on what legal grounds it could be done. Moore took care to avoid direct copyright infringement of songs or films played as part of attractions, and intellectual property law is less clear on the other aspects of the film. Science fiction writer Cory Doctorow, who distributed his first novel, "Down and Out in the Magic Kingdom", set in a 22nd-century Disney World, under a Creative Commons license, believes there's at most "a possible trademark claim, and I suppose that Disney could conceivabl[y] bring suit for violating the park's terms of use, but these are much harder cases to make than copyright."


title: Escape from Tomorrow

text: Columbia Law School professor Tim Wu did not think Disney would have any defensible intellectual property claim. "Though the filmmakers may have committed trespass when they broke Disney World's rules and if it violated the terms of entry on their tickets, the film itself is a different matter," he wrote on "The New Yorker"'s blog. "As commentary on the social ideals of Disney World, it seems to clearly fall within a well-recognized category of fair use, and therefore probably will not be stopped by a court using copyright or trademark laws."


title: Escape from Tomorrow

text: Despite the film's repeated use of Disney's characters and iconography, Wu explained, trademark law was not sufficient. "Disney does not have some kind of general intellectual-property right in Disney World itself." To make a trademark-infringement case against Moore, he continued, Disney would have to convince a court that the use of its protected imagery in the movie could reasonably lead viewers to believe that it had a role in the film's production, and he did not think that was a plausible argument. "The scene where a Disney Princess attempts to crush a child seems to eliminate that possibility."


title: Escape from Tomorrow

text: As such, he saw the film as offering artistic commentary on the cultural impact of Disney, and thus clearly falling under fair use. Wu likened it to a 1990s case brought by Mattel against artist Thomas Forsythe, after he sold some of his photographs depicting another American icon, Barbie, being eaten by vintage appliances as a way of calling attention to the toy doll's role in promoting the objectification of women in American culture. Not only did the court dismiss Mattel's complaint, "[t]he judges were so annoyed by the lawsuits that they awarded attorney's fees of nearly two million dollars to the artist ... A judge has to think of the First Amendment when asked to ban art work."


title: Escape from Tomorrow

text: At "Slate", Aisha Harris allowed that this was a possibility, especially if children were filmed without their parents' consent, but noted "the law on that issue is not black and white either."


title: Escape from Tomorrow

text: Disney did not return reporters' calls or emails for comment, nor took any legal action during the festival, although it confirmed to CNN that it was "aware" of the movie. Despite critical apprehension that the film would never be shown outside the festival, some observers saw the situation as more complex. Were Disney to attempt to forcefully suppress the film, that effort could serve to draw even more attention to it, a phenomenon known as the Streisand effect. Even if Disney were to successfully prevent official distribution, the film could easily be pirated and distributed over the Internet. In his "Post" review, Smith suggested that Disney prevent this by taking the opposite course, simply ignoring "Escape from Tomorrow" and letting the attention dissipate by itself.


title: Escape from Tomorrow

text: Michael Ryan, director of The YoungCuts Film Festival, noted that there was a precedent for the film in the Air Pirates lawsuit, in which Disney spent eight years in court with some underground cartoonists who had published an underground comix parody in which Mickey Mouse and the other Disney characters engaged in explicit sex and used illegal drugs, among other behavior they avoided in Disney's own narratives. He suggested that Disney buy the rights and release the film itself, which it could easily do as its announced interest would guarantee it a monopsony on the film since no other distributor would want to match Disney's deep pockets or its feared legal response. As a Disney release, "Escape from Tomorrow" would have a large potential audience of both Disney enthusiasts and antagonists, Disney would be making money from property it already owns instead of someone else and the company's apparent willingness to go in the joke would take some of the satiric edge off.


title: Escape from Tomorrow

text: According to "The Hollywood Reporter", Disney chose to avoid responding to the film altogether, rather than seeking legal action, in an effort to prevent increased publicity.


title: Teegarden's Star b

text: Teegarden's Star b (also known as Teegarden b) is an exoplanet found orbiting within the habitable zone of Teegarden's Star, an M-type red dwarf around 12 light years away from the Solar System. Together with Teegarden's Star c, GJ 1061 c, d, Luyten b and Tau Ceti e, it is the fourth-closest potentially habitable exoplanet as of April 2020.


title: Teegarden's Star b

text: In July 2019, a team of more than 150 scientists led by Mathias Zechmeister published a peer-reviewed article in Astronomy & Astrophysics as part of the CARMENES survey supporting the existence of two candidate exoplanets orbiting Teegarden's Star.


title: Teegarden's Star b

text: Because of the alignment and faintness of Teegarden's Star, Doppler spectroscopy (also known as the radial velocity method) was necessary to detect possible exoplanets. This method detects exoplanets indirectly by observing their effects on a host star's radial velocity, the speed at which it is moving towards or away from the Earth. These radial velocity anomalies in turn produce doppler shifts observable with a spectrograph-equipped telescope of sufficient power.


title: Teegarden's Star b

text: To accomplish this, the team used the CARMENES instrument on the 3.5-meter telescope of Spain's Calar Alto Observatory. After three years of observation, two periodic radial velocity signals emerged: one at 4.91 days (Teegarden's Star b) and another at 11.41 days (Teegarden's Star c).


title: Teegarden's Star b

text: Teegarden's Star b is the innermost known planet orbiting Teegarden's Star, with an orbital period of just 4.91 days. The planet's minimum mass is 1.05 Earth masses (); this value would be the true mass if the planet's orbit is not inclined from the Earth's perspective. Because of this, Teegarden's Star b is likely to be rocky. Teegarden's Star b may even have an ocean of water on its surface.


title: Teegarden's Star b

text: Teegarden's Star b orbits within the habitable zone of its host star, meaning it is possible that its atmospheric composition could allow for stable liquid water on its surface.


title: Teegarden's Star b

text: Teegarden’s Star is a low-mass red dwarf, with a mass of around 9 percent the mass of the Sun's, and with a temperature of around 2,900 Kelvin (2,623 °C or 4,760 F). Due to the very low temperature and luminosity of Teegarden's Star it was only discovered in 2003, since it has an apparent magnitude of only 15.1 (and an absolute magnitude of 17.22). Like most red and brown dwarfs it emits most of its energy in the infrared spectrum. It is also older than the Sun, with an age of 8 billion years.


title: Teegarden's Star b

text: Astronomers had long thought it was likely that many undiscovered dwarf stars existed within 20 light-years of Earth, because stellar-population surveys show the count of known nearby dwarf stars to be lower than otherwise expected, and these stars are dim and easily overlooked. Teegarden's team thought that these dim stars might be found by data mining some of the huge optical sky survey data sets taken by various programs for other purposes in previous years. So they reexamined the NEAT asteroid tracking data set and found this star. The star was then located on photographic plates from the Palomar Sky Survey taken in 1951. This discovery is significant as the team did not have direct access to any telescopes and did not include professional astronomers at the time of the discovery.


title: Teegarden's Star b

text: The parallax was initially measured as 0.43 ± 0.13 arcseconds. This would have placed its distance at only 7.50 light-years, making Teegarden's Star only the third star system in order of distance from the Sun, ranking between Barnard's Star and Wolf 359. However, even at that time the anomalously low luminosity (the absolute magnitude would have been 18.5) and high uncertainty in the parallax suggested that it was in fact somewhat farther away, still one of the Sun's nearest neighbors but not nearly as high in the ranking in order of distance. A more accurate parallax measurement of 0.2593 arcseconds was made by George Gatewood in 2009, yielding the now accepted distance of 12.578 light-years.


title: Ping-pong diplomacy

text: Ping-pong diplomacy ( "Pīngpāng wàijiāo") refers to the exchange of table tennis (ping-pong) players between the United States (US) and People's Republic of China (PRC) in the early 1970s, that began during the 1971 World Table Tennis Championships in Nagoya, Japan as a result of an encounter between players Glenn Cowan (of the US) and Zhuang Zedong (of the PRC). The exchange and its promotion helped to humanize the people in each country after a period of isolation and distrust. It paved the way for President Richard Nixon's visit to Beijing in 1972, and is considered a turning point in relations between the United States and the People's Republic of China.


title: Ping-pong diplomacy

text: The United States viewed the People's Republic of China as an aggressor nation and enforced an economic containment policy including an embargo on the PRC, following its entry into the Korean War in 1950. After approximately 20 years of neither diplomatic nor economic relations, both countries finally saw an advantage in opening up to each other: China viewed closer relations with the United States as a beneficial counter to its increasingly tense relationship with the Soviet Union, which had seen the outbreak of a series of bloody border incidents, while the U.S. sought closer relations with China as leverage in its peace negotiations with North Vietnam.


title: Ping-pong diplomacy

text: "The thirty-first World Table Tennis Championships, held in Nagoya, Japan, provided an opportunity for both China and the United States."


title: Ping-pong diplomacy

text: The U.S. Table Tennis team was in Nagoya, Japan in 1971 for the 31st World Table Tennis Championships on April 6 when they received an invitation to visit China. From the early years of the People's Republic, sports had played an important role in diplomacy, often incorporating the slogan "Friendship First, Competition Second". During the isolationist years, athletes were among the few PRC nationals who were allowed to travel overseas. On April 10, 1971, the team and accompanying journalists became the first American delegation to set foot in the Chinese capital since 1949. The meeting was facilitated by the National Committee on United States – China Relations. Prior to the visit by the American table tennis players, eleven Americans were admitted into the PRC for one week because they all professed affiliation with the Black Panther Party, which followed a Maoist political line. This was unusual, given that high-profile American citizens such as Senator Eugene McCarthy expressed interest in visiting China after the 1968 presidential election, but even he could not have a trip arranged for him despite his office.


title: Ping-pong diplomacy

text: According to "History of U.S. Table Tennis" by Tim Boggan, who went to China along with the U.S. Table Tennis Team, three incidents may have triggered their invitation from China. Welshman H. Roy Evans, then President of the International Table Tennis Federation, claimed that he visited China prior to the 31st World Table Tennis Championship and suggested to non-Chinese sports authorities and Premier Zhou Enlai that China should take steps to get in contact with the world through international sport events after the Cultural Revolution. Furthermore, the American player Leah "Miss Ping" Neuberger, the 1956 World Mixed Doubles Champion and nine-time U.S. Open Women's Singles Champion, was traveling at the time with the Canadian Table Tennis Team that had been invited by China to visit the country. China diplomatically extended its approval of Leah Neuberger's application for a visa to the entire American team. The third incident, perhaps the most likely trigger, was the unexpected but dramatic meeting between the flamboyant American player Glenn Cowan and the Chinese player Zhuang Zedong, a three-time world champion and winner of many other table tennis events. Zhuang Zedong described the incident in a 2007 talk at the USC U.S.-China Institute.


title: Ping-pong diplomacy

text: The events leading up to the encounter began when Glenn Cowan missed his team bus one afternoon after his practice in Nagoya during the 31st World Table Tennis Championship. Cowan had been practicing for 15 minutes with the Chinese player, Liang Geliang, when a Japanese official came and wanted to close the training area. Cowan boarded a shuttle bus carrying the Chinese team, most of whom treated him with suspicion. Chinese player Zhuang Zedong, however, shook Cowan's hand, spoke to him through an interpreter and presented him with a silk-screen portrait of Huangshan Mountains, a famous product from Hangzhou. Cowan wanted to give something back, but all he could find from his bag was a comb. The American hesitantly replied, "I can't give you a comb. I wish I could give you something, but I can't." This World Table Tennis Championships marked the return of China's participation after a six-year absence. When the Chinese team and Cowan walked off the bus, journalists who were following the Chinese team took photographs. In the political climate of the 1960s, the sight of an athlete of Communist China with an athlete of the United States was sure to garner attention. As a self-described hippie, Cowan presented Zhuang with a T-shirt with a red, white and blue peace emblem flag and the words "Let It Be," lyrics from a song by The Beatles, on the following day.


title: Ping-pong diplomacy

text: When a journalist asked Cowan, "Mr. Cowan, would you like to visit China?", he answered, "Well, I'd like to see any country I haven't seen before--Argentina, Australia, China, ... Any country I haven't seen before." "But what about China in particular? Would you like to go there?" "Of course," said Glenn Cowan.


title: Ping-pong diplomacy

text: During an interview in 2002 with the famous TV personality Chen Luyu, Zhuang Zedong told more of the story: "The trip on the bus took 15 minutes, and I hesitated for 10 minutes. I grew up with the slogan 'Down with the American imperialism!' And during the Cultural Revolution, the string of class struggle was tightened unprecedentedly, and I was asking myself, 'Is it okay to have anything to do with your No. 1 enemy?'" Zhuang recalled remembering that Chairman Mao Zedong met Edgar Snow on the Rostrum of Tiananmen on the National Day in 1970 and said to Snow that China should now place its hope on American people.


title: Ping-pong diplomacy

text: Zhuang looked in his bag and first went through some pins, badges with Mao's head, silk handkerchiefs, and fans. But he felt these were not decent enough to be a good gift. He finally picked the silk portrait of Huangshan Mountains. On the following day, many Japanese newspapers carried photographs of Zhuang Zedong and Glenn Cowan.


title: Ping-pong diplomacy

text: When the Chinese Department of Foreign Affairs received a report that the U.S. Table Tennis Team hoped to get invited to visit China, the department declined as usual. Zhou Enlai and Mao Zedong initially agreed with the decision, but when Mao Zedong saw the news with Cowan in "Reference News", an internal newspaper accessible only to high-ranking government officials, he decided to invite the U.S. Table Tennis Team. It was reported that Mao Zedong said, "This Zhuang Zedong not only plays table tennis well, but is good at foreign affairs, and he has a mind for politics." On April 10, 1971, nine American players, four officials, and two spouses stepped across a bridge from Hong Kong to the Chinese mainland and then spent their time during April 11–17 playing fun matches, touring the Great Wall and Summer Palace, and watching a ballet.


title: Ping-pong diplomacy

text: Upon his return to the United States, one of the American players told reporters that the Chinese were very similar to people in the U.S. He said:


title: Ping-pong diplomacy

text: The people are just like us. They are real, they're genuine, they got feeling. I made friends, I made genuine friends, you see. The country is similar to America, but still very different. It's beautiful. They got the Great Wall, they got plains over there. They got an ancient palace, the parks, there's streams, and they got ghosts that haunt; there's all kinds of, you know, animals. The country changes from the south to the north. The people, they have a, a unity. They really believe in their Maoism.


title: Ping-pong diplomacy

text: Ping-pong diplomacy was successful and resulted in opening the U.S.-PRC relationship, leading the U.S. to lift the embargo against China on June 10, 1971. On February 28, 1972, during President Nixon and Henry Kissinger's visit to Shanghai, the Shanghai Communiqué was issued between the U.S. and the PRC. The Communiqué noted that both nations would work towards the normalization of their relations.


title: Ping-pong diplomacy

text: Two months after Richard Nixon's visit, Zhuang Zedong visited the U.S. as the head of a Chinese table-tennis delegation, April 12–30, 1972. Notably, the Chinese delegation played a team of University of Maryland, College Park students at the university's Cole Field House on April 17, 1972. The president's daughter Tricia Nixon Cox was in the stands. Also on the itinerary were Canada, Mexico and Peru. Efforts to employ "ping-pong diplomacy" were not always successful, such as when the All Indonesia Table Tennis Association (PTMSI) refused China's invitation in October 1971, claiming that accepting the PRC's offer would improve the PRC's reputation. Because neither Soviet athletes nor journalists appeared in China following the appearance of the American players and journalists, one speculation is that the act showed the equal scorn of both countries towards the USSR.


title: Ping-pong diplomacy

text: Another example of Ping Pong Diplomacy occurred during the 1991 World Table Tennis Championships in Chiba, Japan, where a unified Korean team played together for the first time since the Korean War.


title: Ping-pong diplomacy

text: The diplomatic efforts leading to the formation of this unified team were led by then-International Table Tennis Federation President, Ichiro Ogimura.


title: Ping-pong diplomacy

text: Prior to the championships, Ogimura visited South Korea 20 times and traveled to North Korea 15 times to plead for a unified team from the Korean peninsula. Ogimura also worked with local Japanese government heads to create joint training camps in the cities of Nagano, Nagaoka and Chiba, and secured agreement from the ITTF for North Korea and South Korea to compete under the unified name of “Korea”.


title: Ping-pong diplomacy

text: The Korean team played under a white flag depicting the Korean peninsula in blue and used the Korean folksong, Arirang, rather than the national anthem of either the North or the South.


title: Ping-pong diplomacy

text: This action has since been repeated. At the 2018 World Team Table Tennis Championships, the two Koreas entered separate teams in the competition but, when they were paired against each other at the quarter-final of the women's event, they negotiated instead to field a joint team for the semi-final.


title: Who (album)

text: Who (sometimes stylised as WHO) is the twelfth studio album by the English rock band the Who, released on 6 December 2019. The band's first new studio album in thirteen years, and the second overall comprising the duo of vocalist Roger Daltrey and instrumentalist Pete Townshend, it comprises ballads, rock music, electronic experimentation and "classic Who-ish" songs, according to Townshend.


title: Who (album)

text: Promoted by three singles, including the lead single "Ball and Chain", "WHO" was a commercial success, reaching number three on the UK Albums Chart and number two on the American "Billboard" 200. The album was also positively received by music critics. The Who supported the album with their Moving On! Tour.


title: Who (album)

text: In January 2019, The Who confirmed that they were working on their first album of new material in 13 years (since their 2006 studio album "Endless Wire"), which would contain "dark ballads, heavy rock stuff, experimental electronica, sampled stuff and Who-ish tunes that began with a guitar that goes yanga-dang", as Townshend stated. As with previous Who albums, vocalist Roger Daltrey and guitarist Pete Townshend recorded their parts of "Who" separately.


title: Who (album)

text: "Ball and Chain", released as the first single on 13 September 2019, is a re-recording of a Pete Townshend solo song called "Guantanamo", which was released on his 2015 compilation "". A second song, "All This Music Must Fade" was released as a single on 3 October 2019 and a third, "I Don't Wanna Get Wise" received a release on Spotify and iTunes in November 2019.


title: Who (album)

text: The album was supported by their Moving On! Tour. "Got Nothing to Prove", one of the deluxe edition bonus tracks, was initially recorded as a demo in 1966, but was ultimately discarded by their manager and producer Kit Lambert due to lack of emotional resonance in the lyrics. "Sand", another early demo from 1966, is included on the Japan edition of the album as a bonus track. "Got Nothing to Prove" was later offered to Jimmy James and the Vagabonds, (who supported the Who at their Marquee Club performances in 1965) who also declined it.


title: Who (album)

text: The album debuted at number two on the U.S. "Billboard 200" album chart for the week ending 21 December 2019.


title: Who (album)

text: On 30 October 2020, The Who released a new deluxe edition of "Who" featuring an updated version of "Beads on One String" newly remixed by Pete Townshend plus a bonus CD of live acoustic tracks from their only two live shows of 2020. The extra songs on the deluxe version of "Who" were recorded in Kingston-on-Thames on Valentines Day 2020, exactly 50 years to the day since the band's seminal show at Leeds University which resulted in the live album "Live At Leeds".


title: Who (album)

text: Conceptually, the album tackles the struggles of being an elderly rock musician, as "The Guardian" writer, Alexis Petridis noted. "Townshend seems more troubled than ever," Petridis stated, and this feeling overlaps into songs such as "I Don't Wanna Get Wise," which according to Petridis, "...views a rock career as one of inevitable decline." Musically, the album sounds like a "traditional" Who record. Senior "Rolling Stone" writer, Kory Grow, called "WHO","classic rock comfort food" and commented on its nostalgic feel: "...Townshend and Daltrey...can still summon their inner Who-ness in their mid 70s." Likewise, "Ultimate Classic Rock"'s senior editor, Michael Gallucci, reflected on how the band's newest album sounds more like a "conventional" Who record, despite the album being thematically different from any of their previous works: "It's a throwback record for the most part, with nods all over the place to their classic work. It's not a retread, but it sounds like a Who album, which is crucial for something like this, as well as an upgrade for the 21st century."


title: Who (album)

text: The album cover was designed by pop artist Peter Blake, whose work includes the band's "Face Dances" and The Beatles' "Sgt. Pepper's Lonely Hearts Club Band" album covers. It is a patchwork of 25 squares: 22 squares showing different coloured images placed around three squares forming the word "WHO" in the centre of the album cover. The 22 squares depict some of the band's influences and symbols of their career and culture:


title: Who (album)

text: "WHO" has received generally positive reviews from critics and fans alike. According to "Metacritic" scores, fans gave the album a 7.4/10 star rating, while critics gave the album a 79/100 score. Praise for the band's performance also resonated with critics. In the "Chicago Tribune", Pablo Gorondi complimented Daltrey for, "sing(ing) with power, sensitivity, range and conviction, just as he has done for decades," and called Townshend's voice a "highlight," while still "rip(ping) power chords and perform(ing) slinky riffs." Gorondi continued his praise by stating that the dominant reasons why the album was "such a joy" were due to "Townshend's songwriting and guitar playing and Daltrey's superlative singing."


title: Who (album)

text: Despite the praises for its 1970s rock sound and Daltrey and Townshend's performances, "WHO" has received criticism. According to Matthew Taub of "Consequence of Sound", some tracks are "not particularly well conceived," citing songs such as "Detour" and "Hero Ground Zero," as "just sit(ting) there" or "feeling more like an intermission." Taub also commented that the track "Break the News", which was written by Townshend's younger brother, Simon, sounded like it was, "plucked from some kind of factory for generic acoustic pop songs — somehow like 100 other songs you’ve heard, yet none you can actually name."


title: Who (album)

text: Another observation was the generational tone of the album. Chris Willman from "Variety" stated, "There are hints of mirth amid the crotchetiness. Right in the opening line, when Daltrey sings “I don’t care, I know you’re gonna hate this song,” followed later by “I don’t mind other guys ripping off my song.”" "New Musical Express" journalist, Mark Beaumont, similarly noted this theme with the track, "I Don't Wanna Get Wise": "...(it) almost reads like a 75-year-old Daltrey talking to the drunk and tardy 20-year-old who sang 'My Generation.'"


title: Marge Champion

text: Marjorie Celeste Champion ( Belcher; September 2, 1919October 21, 2020) was an American dancer and actress. At fourteen, she was hired as a dance model for Walt Disney Studios animated films. Later, she performed as an actress and dancer in film musicals, and in 1957 had a television show based on song and dance. She also did creative choreography for liturgy, and served as a dialogue and movement coach for the 1978 TV miniseries, "The Awakening Land", set in the late 18th century in the Ohio Valley.


title: Marge Champion

text: Champion was born in Los Angeles, California, on September 2, 1919. Her father, Ernest, was a Hollywood dance director who taught Shirley Temple, Betty Grable, Ramon Novarro, Cyd Charisse, Fay Wray and Joan Crawford, as well as Champion's future husband Gower Champion; her mother was Gladys Lee Baskette (née Rosenberg). Champion had an older half sister, Lina Basquette, who began acting in 1916 in silent films. Lina was the daughter of her mother's first husband, Frank Baskette, who had committed suicide. Champion and Basquette's maternal grandfather, Lazarus Rosenberg, was Jewish.


title: Marge Champion

text: Marjorie began dancing at an early age as her sister had done. She started as a child under the instruction of her father. She studied exclusively with her father from age five until she left for New York. She credited her good health and long career to her father's teaching principles: careful, strict progression of activity, emphasis on correct alignment, precise placement of body, attention to detail and to the totality of dynamics and phrasing. Her first dance partner was Louis Hightower. In 1930, she made her debut in the Hollywood Bowl at age 11 in the ballet "Carnival in Venice". By age twelve, she became a ballet instructor at her father's studio. Marge played Tina in the Hollywood High School operetta The Red Mill. She also sang in the Hollywood High School Girls' Senior Glee Club and graduated in 1936.


title: Marge Champion

text: She was hired by The Walt Disney Studio as a dance model for their animated film "Snow White and the Seven Dwarfs" (1937). Her movements were copied to enhance the realism of the animated Snow White figure. For one scene Belcher served as model while wrapped in a baggy overcoat for two dwarfs at once, when for the "Silly Song" dance, Dopey gets on Sneezy's shoulder to dance with Snow White. Belcher later modeled for characters in other animated films: the Blue Fairy in "Pinocchio" (1940) and Hyacinth Hippo in the "Dance of the Hours" segment of "Fantasia," a ballet parody that she also helped choreograph. She even recalls doing some modeling for Mr. Stork in Dumbo. When working with Disney on "Snow White and the Seven Dwarfs", Champion recalls, "the animators couldn't take a young girl out of themselves, they couldn't take the prince out of themselves".


title: Marge Champion

text: The first picture Belcher remembered being in was "The Castles" with Fred Astaire and Ginger Rogers. This gave her a feeling that she would really like to do movies but what she really wanted to do was go to New York and be in New York shows. Sadly, Belcher wasn't tall enough for ballet, which is what she trained all her life for.


title: Marge Champion

text: Together as a dance team, the Champions performed in MGM musicals of the 1940s and 50s, including their first MGM musical "Till the Clouds Roll By" (1946), "Show Boat" (1951) and "Everything I Have Is Yours" (1952). Other films with Gower included "Mr. Music" (1950, with Bing Crosby), "Give a Girl a Break" (1953), "Jupiter's Darling" (1955), and "Three for the Show" (1955). MGM wanted the couple to remake Fred Astaire and Ginger Rogers films, but only one, "Lovely to Look At" (1952), a remake of "Roberta" (1935), was completed. The couple refused to remake any of the others, the rights to which were still owned by RKO.


title: Marge Champion

text: Gower and Marge Champion appeared as the Mystery Guests on the May 15, 1955, airing of "What's My Line". Mary Healy guessed who they were. They appeared again on the February 8, 1959, airing of the show, with panelist Martin Gabel guessing who they were.


title: Marge Champion

text: During the summer of 1957, the Champions had their own TV series, "The Marge and Gower Champion Show", a situation comedy with song and dance numbers. Marge played a dancer and Gower a choreographer. Real-life drummer Buddy Rich was featured as a fictional drummer named Cozy.


title: Marge Champion

text: In the 1970s, Champion, actress Marilee Zdenek, and choreographer John West were part of a team at Bel Aire Presbyterian Church that created a number of creative worship services featuring dance and music. They later offered workshops and related liturgical arts programs throughout the country. She and Zdenek co-authored two books, "Catch the New Wind" and "God Is a Verb", related to this work.


title: Marge Champion

text: Champion served as a dialogue and movement coach for the TV miniseries, "The Awakening Land" (1978), adapted from Conrad Richter's trilogy of the same name. It was set in the late 18th-century Ohio Valley. She has also worked as a dance instructor and choreographer in New York City. She made a rare television acting appearance in 1982 on the dramatic TV series "Fame", playing a ballet teacher with a racial bias against African-American students.


title: Marge Champion

text: Champion appeared in several stage musicals and plays on Broadway as a performer. She made her New York debut in "What's Up" (1943). She also performed in the "Dark of the Moon" (1945) as the Fair Witch, and "Beggar's Holiday" (1946) having multiple roles. She made her last Broadway appearance in "3 for Tonight" in 1955. She also worked as a choreographer or Assistant, including "Lend an Ear" in 1948 as assistant to the Choreographer; "Make a Wish" in 1951, as assistant to Gower Champion; "Hello, Dolly!" in 1964 as special assistant; and "Stepping Out" (1987) as choreographic associate. She appeared as Emily Whitman in the 2001 Broadway stage revival of "Follies". She stated how "as a dancer, by the time you're 40 you're done. If I ever come back, I want to be an actress – it lasts long. But I was 81 when I was in "Follies".


title: Marge Champion

text: Champion married Art Babbitt, an animator at Disney and creator of Goofy, in 1937. They divorced three years later. She married dancer Gower Champion in 1947, and they had two sons (Blake and Gregg). They divorced in January 1973. Belcher met Gower when she was 12 years old in the ninth grade at Bancroft Junior High, and that was when their romance started. Although performances often took them away from California, Los Angeles remained their home base.


title: Marge Champion

text: Champion married director Boris Sagal in 1977. He died four years later on May 22, 1981 in a helicopter accident during the production of the miniseries "World War III". She became stepmother to Boris' five children including Katey, Jean, Liz, and Joey. Her son Blake died at the age of 25 in a car accident in 1987.


title: Marge Champion

text: Champion turned 100 on September 2, 2019. She died one year later on October 21, 2020, at her son's home in Los Angeles. She was 101.


title: Marge Champion

text: Champion choreographed "Whose Life Is It Anyway?, The Day of the Locust," and "Queen of the Stardust Ballroom," for which she received an Emmy Award. She was honored with the Disney Legends Award in 2007. Two years later, she was inducted into the National Museum of Dance's Mr. & Mrs. Cornelius Vanderbilt Whitney Hall of Fame In 2013, Champion received The Douglas Watt Lifetime Achievement Award at the Fred and Adele Astaire Awards ceremonies.


title: Marge Champion

text: Champion was interviewed in numerous documentaries, including for the behind-the-scenes documentary directed by Oscar-winner Chris Innis, "The Story of the Swimmer", which was featured on the 2014 Grindhouse Releasing/Box Office Spectaculars Blu-ray/DVD restoration of "The Swimmer". She was also interviewed at a Hollywood film festival screening of "The Swimmer" by filmmaker Allison Anders for the same release. Champion and Donald Saddler, who met while performing together in the "Follies" in 2001, are the subjects of a short film about the two dancers leading meaningful lives at age 90. She still danced twice a week with choreographer, actor, and an original member of American Ballet Theatre, Donald Saddler, who first performed at Jacob's Pillow in 1941. The still-spry dance partners were making a documentary "Still Dancing," which chronicles their biweekly dance sessions.


title: Thiruvalluvar Statue

text: The Thiruvalluvar Statue, or the Valluvar Statue, is a stone sculpture of the Tamil poet and philosopher Valluvar, author of the Tirukkural, an ancient Tamil work on Dharma and morality. It is located atop a small island near the town of Kanniyakumari on the southernmost point of the Indian peninsula on the Coromandel Coast, where two seas (the Bay of Bengal and the Arabian Sea) and an ocean (the Indian Ocean) meet. The statue was sculpted by the Indian sculptor V. Ganapati Sthapati, who also created the Iraivan Temple, and was unveiled on the millennium day of 1 January 2000 by the then Chief Minister M. Karunanidhi. It is currently the 25th tallest statue in India.


title: Thiruvalluvar Statue

text: The combined height of the statue and pedestal is , denoting the 133 chapters of the Tirukkural. This includes sculpture of Valluvar standing upon a pedestal that represents the 38 chapters of Virtue, the first of the three books of the Kural text. The statue itself represents the second and third books of the Kural text, namely, Wealth and Love. The whole design signifies that wealth and love be earned and enjoyed on the foundation of solid virtue. The right hand of the statue with three fingers pointing skywards signifies the three cantos of the Kural text, namely, "Aram", "Porul", and "Inbam" (Virtue, Wealth, and Love, respectively), combined. The head of the statue stands at a height of above the sea level.


title: Thiruvalluvar Statue

text: The statue, with its slight bend around the waist is reminiscent of a dancing pose of the Hindu deities like Nataraja. The statue weighs .


title: Thiruvalluvar Statue

text: The monument is regarded as a cultural fusion because of its juxtaposition beside the Vivekananda Rock Memorial. Built-in conformation with traditional Indian architecture, the statue has provision to provide a hollow portion inside from toe to scalp. Visitors, however, will not be allowed to scale, but instead be permitted to climb up to the foot of the statue at a height of .


title: Thiruvalluvar Statue

text: The project was conceived by then Chief Minister M. Karunanidhi in December 1975. On 15 April 1979, the then Prime Minister Morarji Desai laid the foundation stone for the statue, in the presence of the then Chief Minister, M. G. Ramachandran. However, the actual sculpting work, led by Dr. V. Ganapati Sthapathy, former principal of the Government College of Architecture at Mahabalipuram, began a decade later on 6 September 1990, on the tiny island adjacent to the Vivekananda Rock Memorial when funds were allocated in the 199091 budget.


title: Thiruvalluvar Statue

text: Sthapathy was chosen for the project over 300 master builders because his suggestion for an all-stone monument to the poet-philosopher prevailed. He observed that stone would be more durable than metal, citing that the Statue of Liberty, which is made of copper, required extensive renovation just a century after its installation. Initially, the project stalled, perhaps owing to Karunanidhi's election loss, but then recommenced in 1997 when he returned to office. At the cost of more than , the project employed about 150 workers, sculptors, assistants and supervisors, who worked about 16 hours a day to complete the work.


title: Thiruvalluvar Statue

text: The bend around the waist depicting a dance pose made the design challenging. However, the problem was tackled well in advance by the sculptor by creating a full-length wooden prototype before construction. Study of this prototype led to the identification of an energy line (known in Vastu as "kayamadhyasutra"), currently an empty cavity in the center of the statue from top to bottom.


title: Thiruvalluvar Statue

text: The stonework was divided amongst three workshops, in Kanniyakumari, Ambasamudram and Sholinganallur. Ambasamudram contributed of stones, while Sholinganallur was quarried for of high-quality granite stones for the outer portion of the statue. While the largest of the 3,681 stones were long and weighed over , the majority weighed . Stones of such proportions were previously used only in Mayan temples in South America. An interesting detail is a face, with the ears, nose, eyes, mouth, forehead all made of individual stones carved by hand. The work was done mostly by hand, with each carver wearing down 40 to 50 sharp chisels a day. The sculptors' team considered that the manual method on granite stones is the most dependable since machines may tend to break stones and precision is difficult. Stumps of palmyra tree and poles of casuarina (ironwood) were used for scaffolding. It took 18,000 casuarina poles tied together with two truckloads of ropes to reach the top of the statue. The statue was placed on its pedestal on 19 October 1999.


title: Thiruvalluvar Statue

text: The statue was unveiled on the millennium day of 1 January 2000. The statue was inaugurated on 1 January 2000 by Dr. M. Karunanidhi, the then chief minister of Tamil Nadu. Besides Indian political leaders and celebrities, foreign delegates including those from Malaysia, Singapore, and Sri Lanka, participated in the opening ceremony. Several Tamil teachers from the state of Tamil Nadu took out a rally from Kottaram to Kanniyakumari carrying Tirukkural placards to mark the ceremony. More than fifty thousand people gathered for the event. The chief minister, after unveiling the statue, called it a "beacon of light to guide human life for all time to come."


title: Thiruvalluvar Statue

text: The monument was hit by the Indian Ocean tsunami on 26 December 2004 but stood unaffected. The statue is designed to survive earthquakes of unexpected magnitude, such as magnitude 6 on the Richter Scale occurring within . This is far beyond that of any event recorded in the regional history because the bedrock in the region is ancient and without known local faults.


title: Thiruvalluvar Statue

text: To prevent the statue from corrosion due to sea breeze, the statue is chemically treated once in four years. The salty deposits in every joint are removed and replaced with new cement mixture. Paper pulp is then applied on the whole of the statue. As the paper pulp coating dries, it absorbs the salty deposits completely, after which it is removed.


title: Thiruvalluvar Statue

text: The statue has been thus treated three times since its unveiling. The fourth treatment began on 17 April 2017 and was completed by 15 October 2017.


title: Thiruvalluvar Statue

text: The statue stands from the coastline of Kanniyakumari on a small island rock. Ferry service are available from the mainland. The ferry service to Vivekananda Rock Memorial stops for a while at the Valluvar Statue.


title: Thiruvalluvar Statue

text: The Vivekananda Kendra has a proposal to connect the Valluvar memorial with the Vivekananda rock memorial by bridge to enable visitors to move easily from one island to the other.


title: Cabochon

text: A cabochon (; ) is a gemstone that has been shaped and polished, as opposed to faceted. The resulting form is usually a convex (rounded) obverse with a flat reverse. Cabochon was the default method of preparing gemstones before gemstone cutting developed.


title: Cabochon

text: Cutting "en cabochon" (French: "in the manner of a cabochon") is usually applied to opaque gems, while faceting is usually used for transparent stones. Hardness is also taken into account as softer gemstones with a hardness lower than 7 on the Mohs hardness scale are easily scratched, mainly by silicon dioxide in dust and grit. This would quickly make translucent gems unattractive—instead they are polished as cabochons, making the scratches less evident.


title: Cabochon

text: In asteriated stones such as star sapphires and chatoyant stones such as cat's eye chrysoberyl, a domed cabochon cut can show the star or eye, which would not be visible in a faceted cut.


title: Cabochon

text: The usual shape for cutting cabochons is an ellipse, because the eye is less sensitive to small asymmetries in an ellipse, as opposed to in a uniformly round shape, such as a circle, and because the elliptical shape, combined with the dome, is attractive. An exception is cabochons on some watches' crowns, which are circular.


title: Cabochon

text: The procedure involves cutting a slab of the rough rock with a slab saw, and then stencilling a shape from a template. The slab is then trimmed near the marked line using a diamond blade saw—called a trim saw. Diamond-impregnated wheels or silicon carbide wheels can be used to grind the rough rock down. Most lapidary workshops and production facilities have moved away from silicon carbide to diamond grinding wheels or flat lap disks.


title: Cabochon

text: Once the piece is trimmed it can be "dopped" or completed by hand. "Dopping" is normally done by adhering the stone with hard wax onto a length of wooden dowel called a "dop stick". The piece is then ground to the template line, the back edges may be bevelled, and finally the top is sanded and polished to a uniform dome.


title: Jaguar XJ (X350)

text: The Jaguar XJ (X350) is a full-size four-door luxury saloon manufactured and marketed worldwide by Jaguar for model years 2003–2009 as the third generation of the Jaguar XJ saloon — carrying the internal designation "X350" and the internal designation "X358", following its 2007 intermediate facelift.


title: Jaguar XJ (X350)

text: Both the X350 and X358 were available with a six-speed automatic transmission, a range of petrol and diesel engines (V6, V8 and supercharged V8), numerous trim levels — and short wheelbase (2003–2009) or long wheelbase (2005–2009) configurations. Extended-length models were the longest vehicles Jaguar had manufactured.


title: Jaguar XJ (X350)

text: The X350 was noted for its advanced electrical systems, self-leveling adaptive air suspension and full aluminium unibody chassis and bodywork, among the first for a mass-produced automobile. The bodyshell (body in white) was 40 per cent lighter and 50 percent stiffer than its predecessor, despite its increased overall size.


title: Jaguar XJ (X350)

text: Styling of the third generation was a conservative evolution of the previous XJ's styling; its slatted grille recalling the grille of the original 1968 XJ. Exterior styling was by principal designer Tom Owen along with Sandy Boyes, under the design directorship of Geoff Lawson, who died midway through the project, and his successor Ian Callum. the XJ's interior was styled by Giles Taylor. Manufacturing took place at Jaguar's Castle Bromwich Assembly in Birmingham.


title: Jaguar XJ (X350)

text: With an unpainted and highly polished example of its all-alloy body shell on display, the X350 debuted at the 2002 Paris Motor Show. The full X350/358 generation largely coincided with Jaguar's ownership by Ford's Premier Automotive Group — until Tata Motors purchased Jaguar in 2008. Production ended in March 2009 after seven years with a total production of 83,566.


title: Jaguar XJ (X350)

text: The X350's aluminium bodyshell used an aerospace construction method, a hybrid of adhesive bonding and rivet joinery and known as rivet-bonding or riv-bonding — an industry first in volume automotive production. Both chassis and body formed an aluminium unibody structure. Using aluminium rather than steel required new techniques, technological development and production layout along with significant investment.


title: Jaguar XJ (X350)

text: The stressed aluminium unibody used 15 aluminium castings, 35 extrusions and 284 stampings bonded using 120 yards of robotically-applied, heat-cured, aerospace-grade epoxy adhesives and approximately 3,200 self-piercing zinc-coated, boron steel rivets — Jaguar's first use of self-piercing rivets. In addition to the rivets, which do not require a predrilled or punched hole, each rivet making its own hole on insertion, the process also uses a small number of nuts, bolts, and spot welds. Castings and extrusions accounted for about 11 percent of the XJ bodyshell.


title: Jaguar XJ (X350)

text: To ensure manufacturing feasibility, numerous styling elements required a redesign to accommodate forming in aluminium rather than steel, including the bonnet profiles, especially around the headlamps; the radii in the wing-to-bumper gaps and the rear wing/door shut pressing; the side light configuration and the bodyside ‘haunch’. Chief Program engineer Russ Varney said the XJ also taught Jaguar "about the "springback" of stamped parts, where the pieces won't keep their exact shape."


title: Jaguar XJ (X350)

text: To reduce front-end collision repair costs and ameliorate increased insurance rates associated with aluminium construction, the body was designed to withstand an impact of 10 mph without structural damage and used a bolt-on front-end module (BOFE). A hydroformed aluminium extrusion with an energy-absorbing foam cover formed a bumper beam cross-member, to provide strength and crushability in the event of a minor collision. Sacrificial extruded aluminium "crash cans" were designed to protect the body structure and front-end componentry.


title: Jaguar XJ (X350)

text: Steel is used for front and rear subframes and magnesium (as strong as aluminium while 30 per cent lighter) is used for seat frames and lateral instrument panel beams.


title: Jaguar XJ (X350)

text: Jaguar had previously and prominently used aluminium construction, in the XK120 which was produced in the 1940s and used aluminium panels, along with its C‑Type and D‑Type race cars as well as the 1960s E-Type which used aluminium chassis and body design.


title: Jaguar XJ (X350)

text: Ford retained the bonding and riveting patents of the XJ's aluminium monocoque body, when it sold Jaguar to Indian automobile manufacturer Tata Motors in 2008.


title: Jaguar XJ (X350)

text: The X350 employed a multi-link layout with four-wheel self-levelling adaptive air suspension instead of the previous generation's double wishbone IRS. The suspension was controlled electronically, requiring no intervention from the driver, to adjust damper settings (in milliseconds) and adjust the ride and handling under varying conditions — its electronic control system marketed as Computer Active Technology Suspension (CATS). The air suspension was designed to activate every 24 hours to level the vehicle when parked and not in use.


title: Jaguar XJ (X350)

text: From the previous generation, the overall body was wider, longer and higher — with increased head, leg, shoulder and cargo room — and carried a .32 coefficient of drag. Door shut lines were engineered uniformly to a 3.8 mm gap to adjacent body elements. The bonnet and boot were engineered to 3.5 mm to adjacent body elements. The doors opened to 62 degrees front and 65 degrees rear. The long wheelbase model, introduced in 2005, was the longest vehicle Jaguar had manufactured at the time. With a five inch extension behind the B-pillar (i.e., the rear doors were 5 inches longer), the extended model had a wheelbase and overall length of — the bodyshell's weight increased by and the roof height increased by over the standard-wheelbase XJ. The turning radius was increased by 13 inches over the standard-wheelbase model.


title: Jaguar XJ (X350)

text: The 12-volt wiring system used multiplexing to integrate four systems: low-speed, event-driven communications around the body; high-speed powertrain system (engine, transmission, air suspension system and instrument cluster); fibre-optic communication protocol for telematics, navigation, phone, voice activation, audio and multimedia systems; and safety systems protocol.


title: Jaguar XJ (X350)

text: At introduction, standard equipment included mirror-matched walnut burl wood grain trim throughout the interior, piano-black center console trim, leather seating, wood-trimmed steering wheel, leather-covered overhead assist handles, dual-zone automatic climate control, glass electric tilt and slide sunroof with single-touch open/close, rain-sensing automatic wipers, automatic headlights, front fog lights, 24 lamp LED taillights, front and rear parking sensors, boot power latching mechanism, electrically adjustable steering wheel with memory and entry/exit function, electrochromic self-dimming side mirrors with compass, a trip computer, electrically adjustable pedals with 2.5 inch travel, 4 power points, all window one-touch up/down power operation, metallic paint (no-cost option), a full-size spare tyre, electronically tilt and telescoping steering wheel, keyless entry, puddle lamps, electronic park brake, and 8-speaker, 320-watt sound system with boot-mounted 6-CD changer and in-dash CD player.


title: Jaguar XJ (X350)

text: Safety systems included four-channel anti-lock brakes with emergency brake assist, traction control, dynamic stability control, and front, side thorax as well as full-length side curtain airbags. Electronic coordination of seatbelts and airbags, marketed as Advanced Restraint Technology System (ARTS), was designed to sense crash severity, driver position and seatbelt status using ultrasonic and seat weight sensors to optimize airbag deployment force.


title: Jaguar XJ (X350)

text: Optional equipment included xenon headlights, headlight powerwash, adaptive cruise control, multi-stage heated seats, heated steering wheel, DVD navigation (with postal code programming where country-provided), soft-grain ruched (micro-pleated) leather seats and trim, electrically adjustable pedals and rear-seat multimedia entertainment system for CD listening or DVD movie watching via front seat head restraint-mounted video screens.


title: Jaguar XJ (X350)

text: At introduction, upper trim levels offered soft grain leather, leatherette fascia top and contrasting seat piping, inlain Peruvian boxwood trim, lambswool rugs, 320-watt, 12-speaker audio system, 4-zone heating and cooling system, 16-way adjustable front seats, rear heated seats — and optional electrically reclining rear seat and power rear centre sunblind.


title: Jaguar XJ (X350)

text: The rear seating of long-wheelbase models could be equipped with a fixed or power-adjustable bench or individually powered and heated seats.


title: Jaguar XJ (X350)

text: The V8 engines remained in the new model, but were the revised and more powerful versions found in the 2003 S-Type. The 294 PS 4.0 L and 375 PS 4.0 L supercharged engines from the X308 Mk II were replaced by the S-Type's 4.2 L and 4.2 L supercharged units respectively, while a new 3.5 L V8 was also introduced for the European market which was derived from the 4.2 L engine and was rated at .


title: Jaguar XJ (X350)

text: The 3.2 L V8 from the previous model was replaced by the 3.0 L V6 from the X-Type and S-Type. The V6 powers the XJ6, while the XJ8 was powered by a naturally aspirated V8. The XJR was powered by a supercharged 4.2 L V8. The XJ6 and the XJ TDVi are the only X350 models not sold in the Americas.


title: Jaguar XJ (X350)

text: In 2005, Jaguar introduced the diesel-powered XJ TDVi, featuring the same Ford-Peugeot-developed 2.7-litre twin-turbocharged V6 found in the S-Type. The engine, known as the AJD-V6, is rated at and of torque, and was fitted with electronically controlled active engine mounts to minimise vibration at idle.


title: Jaguar XJ (X350)

text: North American XJ models were equipped with the naturally aspirated engine or an optional supercharged 4.2 L V8 engine. The latter engine's valvetrain had a dual overhead cam design with four valves per cylinder and its top speed was electronically limited to .


title: Jaguar XJ (X350)

text: At introduction, the XJ was marketed worldwide in various trim levels, including XJ8, XJ Vanden Plas and XJR in North America, and XJ6, XJ8, XJ Sovereign in the UK. For the 2005 model year, Jaguar introduced a long-wheelbase variant of the X350. For 2007, the premium model was reintroduced as the Jaguar Sovereign when the Super V8 and Daimler versions were dropped.


title: Jaguar XJ (X350)

text: The facelifted X350 debuted in 2005 for the model year 2006 with a revised front grille and with slightly redesigned front fenders. Some vehicle electronics systems have been updated.


title: Jaguar XJ (X350)

text: The facelifted X350 debuted in February 2007 for the model year 2008 with a revised front grille and front bumper assembly featuring a prominent lower grille. A Jaguar emblem within the grille replaced the previous bonnet-mounted bonnet ornament.


title: Jaguar XJ (X350)

text: The front lights were revised and door mirrors incorporated side repeaters. The front wings had prominent faux side vents, and the side sills, rear bumper and taillights were revised. The interior featured redesigned front seats.


title: Jaguar XJ (X350)

text: Models with the 2.7-litre diesel or with the 3.0-litre petrol V6 engines are also known as the XJ6 (since the engines have six cylinders), while the 4.2-litre V8 petrol engine mounted in the Sovereign results in that model being known as the XJ8. Also notice that the model list for the UK does not include the 3.5-litre V8 engine available in Germany, for example.


title: Jaguar XJ (X350)

text: Note: the XJ6 and the XJ 2.7D are not available in the US, unlike in Europe. The 'L' on the XJ8L badge denotes the long-wheelbase version.


title: Jaguar XJ (X350)

text: All engines were paired with a ZF six-speed automatic transmission. The XJ6 petrol versions have a lower final drive ratio.


title: Zelig

text: Zelig is a 1983 American mockumentary film written, directed by and starring Woody Allen as Leonard Zelig, a nondescript enigma, who, apparently out of his desire to fit in and be liked, unwittingly takes on the characteristics of strong personalities around him. The film, presented as a documentary, recounts his period of intense celebrity during the 1920s, including analyses by contemporary intellectuals.


title: Zelig

text: The film received critical acclaim and was nominated for numerous awards, including the Academy Awards for Best Cinematography and Costume Design.


title: Zelig

text: "Zelig" was photographed and narrated in the style of 1920s black-and-white newsreels, which are interwoven with archival footage from the era and re-enactments of real historical events. Color segments from the present day include interviews of real cultural figures, such as Saul Bellow and Susan Sontag, and fictional ones.


title: Zelig

text: Set in the 1920s and 1930s, the film concerns Leonard Zelig (Woody Allen), a nondescript man who has the ability to transform his appearance to that of the people who surround him. He is first observed at a party by F. Scott Fitzgerald, who notes that Zelig related to the affluent guests in a refined Boston accent and shared their Republican sympathies, but while in the kitchen with the servants, he adopted a coarser tone and seemed to be more of a Democrat. He soon gains international fame as a "human chameleon".


title: Zelig

text: Dr. Eudora Fletcher (Mia Farrow) is a psychiatrist who wants to help Zelig with this strange disorder when he is admitted to her hospital. Through the use of hypnotism, she discovers Zelig yearns for approval so strongly that he physically changes to fit in with those around him. Dr. Fletcher eventually cures Zelig of his compulsion to assimilate, but goes too far in the other direction; for a brief period he is so intolerant of others' opinions that he gets into a brawl over whether or not it is a nice day.


title: Zelig

text: Dr. Fletcher realizes that she is falling in love with Zelig. Because of the media coverage of the case, both patient and doctor become part of the popular culture of their time. However, fame is the main cause of their division. Numerous women claim that he married and impregnated them, causing a public scandal. The same society that made Zelig a hero destroys him.


title: Zelig

text: Zelig's illness returns, and he tries to fit in once more, before he disappears. Dr. Fletcher finds him in Germany working with the Nazis before the outbreak of World War II. Together they escape, as Zelig uses his ability to imitate one more time, mimicking Fletcher's piloting skills and flying them back home across the Atlantic upside down. They eventually return to America, where they are proclaimed heroes and marry to live full happy lives.


title: Zelig

text: Susan Sontag, Irving Howe, Saul Bellow, Bricktop, Dr. Bruno Bettelheim and Professor John Morton Blum appear as themselves.


title: Zelig

text: Allen used newsreel footage, and inserted himself and other actors into it, using bluescreen technology. To provide an authentic look to his scenes, Allen and cinematographer Gordon Willis used a variety of techniques, including locating some of the antique film cameras and lenses used during the eras depicted in the film, and simulating damage, such as crinkles and scratches, on the negatives to make the finished product look more like vintage footage. The virtually seamless blending of old and new footage was achieved almost a decade before digital filmmaking technology made such techniques much easier to accomplish, as seen in films such as "Forrest Gump" (1994) and various television advertisements.


title: Zelig

text: The film uses cameo appearances by real figures from academia and other fields for comic effect. Contrasting the film's vintage black-and-white film footage, these persons appear in color segments as themselves, commenting in the present day on the Zelig phenomenon as if it really happened. They include essayist Susan Sontag, psychoanalyst Bruno Bettelheim, Nobel Prize-winning novelist Saul Bellow, political writer Irving Howe, historian John Morton Blum, and the Paris nightclub owner Bricktop.


title: Zelig

text: Also appearing in the film's vintage footage are Charles Lindbergh, Al Capone, Clara Bow, William Randolph Hearst, Marion Davies, Charlie Chaplin, Josephine Baker, Fanny Brice, Carole Lombard, Dolores del Río, Adolf Hitler, Joseph Goebbels, Hermann Göring, James Cagney, Jimmy Walker, Lou Gehrig, Babe Ruth, Adolphe Menjou, Claire Windsor, Tom Mix, Marie Dressler, Bobby Jones, and Pope Pius XI.


title: Zelig

text: In the time it took to complete the film's special effects, Allen filmed "A Midsummer Night's Sex Comedy" and "Broadway Danny Rose". This is Orion Pictures' last film to be released through Warner Bros.


title: Zelig

text: Before being shown at the Venice Film Festival, the film opened on six screens in the US and grossed US$60,119 on its opening weekend; it eventually earned US$11.8 million in North America.


title: Zelig

text: "Zelig" has a 97% rating on the review aggregator Rotten Tomatoes based on 31 reviews, with an average score of 8/10. The site's consensus reads: "Wryly amusing, technically impressive, and ultimately thought-provoking, "Zelig" represents Woody Allen in complete command of his craft".


title: Zelig

text: "Variety" said the film was "consistently funny, though more academic than boulevardier", and "The Christian Science Monitor" called it "amazingly funny and poignant". "Time Out" described it as "a strong contender for Allen's most fascinating film", while "TV Guide" said, "Allen's ongoing struggles with psychoanalysis and his Jewish identity – stridently literal preoccupations in most of his work – are for once rendered allegorically. The result is deeply satisfying". Gene Siskel gave the film two stars out of four, calling it "a beautifully made but slight fable." Pauline Kael wrote that when the film was over "I felt good, but I was still a little hungry for a movie. There's a reason 'Zelig' seems small; there aren't any characters in it, not even Zelig."


title: Zelig

text: Colin Greenland reviewed "Zelig" for "Imagine" magazine, and stated that "Woody Allen's most irresistable film for quite a while. He has found a new way to make fun of his own neuroses without exposing us to the egoism which became so overbearing in "Manhattan" or "Stardust Memories"."


title: Zelig

text: It ranked 588th among critics, and 546th among directors, in the 2012 "Sight & Sound" polls of the greatest films ever made. Chris Nashawaty of "Entertainment Weekly" listed the work as one of Allen's finest, lauding it as "a spot-on homage to vintage newsreels and a seamless exercise in technique." "The Daily Telegraph" film critics Robbie Collin and Tim Robey also named it as a career highlight and argued, "The special effects, in which Allen is seamlessly inserted into vintage newsreels, are still astonishing, and draw out the aching tragicomedy of Zelig's plight. He's the original man who wasn't there." Calum Marsh of "Slant" magazine wrote, "We are infinitely pliable. That's the thesis of "Zelig", Allen's wisest film, which has much to say about the way a person can be bent and contorted in the name of acceptance. Its ostensibly wacky conceit ... is grounded in an emotional and psychological reality all too familiar to shrug off as farce. We'll go very far out of our way to avoid conflict. "Zelig" seizes on that weakness and forces us to recognize it."


title: Reign Edwards

text: Reign Edwards (born December 1, 1996) is an American actress. She is best known for her role as Nicole Avant on the CBS soap opera "The Bold and the Beautiful", for which she was nominated for the Daytime Emmy Award for Outstanding Younger Actress in a Drama Series in 2016, 2017 and 2018.


title: Reign Edwards

text: In 2015, she was cast in the CBS drama series "The Bold and the Beautiful" in the role of Nicole Avant.


title: Reign Edwards

text: In 2017, she took the recurring role of a secret agent in the series "MacGyver". In 2018, she appeared in the horror film "Hell Fest".


title: Juniperus communis

text: Juniperus communis, the common juniper, is a species of small tree or shrub in the cypress family Cupressaceae. An evergreen conifer, it has the largest geographical range of any woody plant, with a circumpolar distribution throughout the cool temperate Northern Hemisphere.


title: Juniperus communis

text: "Juniperus communis" is very variable in form, ranging from —rarely —tall to a low, often prostrate spreading shrub in exposed locations. It has needle-like leaves in whorls of three; the leaves are green, with a single white stomatal band on the inner surface. It never attains the scale-like adult foliage of other members of the genus. It is dioecious, with male and female cones (both of which are wind pollinated) on separate plants.


title: Juniperus communis

text: The male cones are yellow, long, and fall soon after shedding their pollen in March–April. The fruit are berry-like cones known as juniper berries. They are initially green, ripening in 18 months to purple-black with a blue waxy coating; they are spherical, diameter, and usually have three (occasionally six) fleshy fused scales, each scale with a single seed. The seeds are dispersed when birds eat the cones, digesting the fleshy scales and passing the hard, unwinged seeds in their droppings.


title: Juniperus communis

text: The juniper berry oil is composed largely of monoterpene hydrocarbons such as α-pinene, myrcene, sabinene, limonene and β-pinene.


title: Juniperus communis

text: As to be expected from the wide range, "J. communis" is very variable, with several infraspecific taxa; delimitation between the taxa is still uncertain, with genetic data not matching morphological data well.


title: Juniperus communis

text: Some botanists treat subsp. "alpina" at the lower rank of variety, in which case the correct name is "J. communis" var. "saxatilis" Pallas, though the name "J. communis" var. "montana" is also occasionally cited; others, primarily in eastern Europe and Russia, sometimes treat it as a distinct species "J. sibirica" Burgsd. (syn. "J. nana" Willd., "J. alpina" S.F.Gray).


title: Juniperus communis

text: The species has the largest geographical range of any woody plant, with a circumpolar distribution throughout the cool temperate Northern Hemisphere from the Arctic south in mountains to around 30°N latitude in North America, Europe and Asia. Relict populations can be found in the Atlas Mountains of Africa.


title: Juniperus communis

text: "Juniperus communis" is cultivated in the horticulture trade and used as an evergreen ornamental shrub in gardens. The following cultivars gained the Royal Horticultural Society's Award of Garden Merit in 1993:


title: Juniperus communis

text: It is too small to have any general lumber usage. In Scandinavia, however, juniper wood is used for making containers for storing small quantities of dairy products such as butter and cheese, and also for making wooden butter knives. It was also frequently used for trenails in wooden shipbuilding by shipwrights for its tough properties.


title: Juniperus communis

text: In Estonia juniper wood is valued for its long lasting and pleasant aroma, very decorative natural structure of wood (growth rings) as well as good physical properties of wood due to slow growth rate of juniper and resulting dense and strong wood. Various decorative items (often eating utensils) are common in most Estonian handicraft shops and households.


title: Juniperus communis

text: According to the old tradition, on Easter Monday Kashubian (Northern Poland) boys chase girls whipping their legs gently with juniper twigs. This is to bring good fortune in love to the chased girls.


title: Juniperus communis

text: Juniper wood, especially burl wood, is frequently used to make knife handles for French pocketknives such as the Laguiole.


title: Juniperus communis

text: Its astringent blue-black seed cones, commonly known as juniper berries, are too bitter to eat raw and are usually sold dried and used to flavour meats, sauces, and stuffings. They are generally crushed before use to release their flavour. Since juniper berries have a strong taste, they should be used sparingly. They are generally used to enhance meat with a strong flavour, such as game, including game birds, or tongue.


title: Juniperus communis

text: The cones are used to flavour certain beers and gin (the word "gin" derives from an Old French word meaning "juniper"). In Finland, juniper is used as a key ingredient in making sahti, a traditional Finnish ale. Also the Slovak alcoholic beverage Borovička and Dutch Jenever are flavoured with juniper berry or its extract.


title: Juniperus communis

text: Juniper is used in the traditional farmhouse ales of Norway, Sweden, Finland, Estonia, and Latvia. In Norway, the beer is brewed with juniper infusion instead of water, while in the other countries the juniper twigs are mainly used as filters to prevent the crushed malts from clogging the outlet of the lauter tun. The use of juniper in farmhouse brewing has been common in much of northern Europe, seemingly for a very long time.


title: Juniperus communis

text: Juniper berries have long been used as medicine by many cultures including the Navajo people. Western American tribes combined the berries of "J. communis" with "Berberis" root bark in a herbal tea. Native Americans also used juniper berries as a female contraceptive.


title: Juniperus communis

text: Juniper leaves were found to harbor fungi with potent anti-fungal compounds, including ibrexafungerp, which is now FDA approved to treat fungal infections.


title: Fortune India 500

text: The Fortune India" 500 is a ranking of the top 500 corporations in India compiled on the basis of latest sales and gross revenue figures. The list is published annually by "Fortune" magazine. Fortune India" is "Fortune" sixth international edition following local editions for China, Turkey, Korea, Indonesia as well as a special edition for Greece.


title: Fortune India 500

text: "Fortune India" is published monthly in English, through a licence agreement between Time Inc., the publisher of "Fortune" (US) and Kolkata-based ABP Group, one of India's largest media companies. The first issue of "Fortune India" was published in September 2010 with Dibyendra Nath Mukerjea as the editor and Pavan Varshnei as the president. In October 2011, the publication celebrated its first anniversary with a double issue.


title: Fortune India 500

text: The "Fortune India" 500 list ranks publicly traded companies by their annual audited total income for the financial year ending on or before 30 June. The list has been published in its current form since 2010, and also includes financial corporations and service providers, leading by revenue.


title: Fortune India 500

text: Reliance Industries retained at the top for three successive years, whilst State Bank of India climbed up to second place and Indian Oil Corporation fell to third place.


title: Fortune India 500

text: Reliance Industries continued on top place in the 2020 "Fortune India" 500 rankings, while Indian Oil Corporation and Oil & Natural Gas Corporation were second and third respectively.


title: Fortune India 500

text: Reliance Industries was ranked 96th in the "Global" "Fortune" 500 list, and the top 7 positioned companies in the Indian list made it to the global "Fortune" 500 list.


title: Fortune India 500

text: Reliance Industries exchanged positions with Indian Oil Corporation for the top place in the 2019 "Fortune India" 500 rankings, while Oil & Natural Gas Corporation continued on the third position.


title: Fortune India 500

text: Indian Oil Corporation continued on top place in the 2018 "Fortune India" 500 rankings, while Reliance Industries and Oil & Natural Gas Corporation was second and third respectively.


title: Fortune India 500

text: Indian Oil Corporation topped the 2017 "Fortune India" 500 rankings, and Reliance Industries was listed second. The next three places were taken by State Bank of India, Tata Motors, and Rajesh Exports, respectively.


title: Fortune India 500

text: Indian Oil Corporation, Reliance Industries and Bharat Petroleum Corporation dominate the list in the second year.


title: Fortune India 500

text: Zee Entertainment Enterprises (#1 media, #256 overall), Sun TV Network (#2, #347), HT Media (#3, #383), Network 18 (#4, #413) and Dish TV (#5, #437) are in the list of media companies in the "Fortune India" 500 roster of India's largest corporations.


title: Fortune India 500

text: Tata Consultancy Services (#1 IT, #20 overall), Wipro (#2, #25), Infosys (#3, #27), HCL Technologies Limited (#4, #49), Satyam Computer Services (#5, #153) and Tech Mahindra (#6, #161) are the top IT companies in the list.


title: Fortune India 500

text: Indian Oil Corporation topped the inaugural "Fortune India" 500 rankings, and Reliance Industries was listed second. The next three places were taken by State Bank of India, Bharat Petroleum and Hindustan Petroleum respectively.


title: .me

text: The .me registry is operated by doMEn, which won a contract to do so after a bid process conducted by the government of Montenegro and was launched through various accredited registrars around the world.


title: .me

text: Montenegro declared its independence from Serbia and Montenegro on 3 June 2006, after a majority of Montenegrins supported independence in a national referendum. As a part of that country, constituently, Montenegro had unofficially been using the .cg.yu second-level domain; Montenegrin Authorities used .mn.yu subdomain, while the .cs top-level domain (TLD) had been assigned to Serbia and Montenegro in 2003 following the breakup of Yugoslavia, but remained unused. Montenegro was assigned the ISO 3166-1 two-letter code "ME", which was allocated by the International Organization for Standardization (ISO) in September 2006 (most other possible abbreviations of Montenegro (MO, MN, MT, MG and MR) and its Montenegrin name Crna Gora (CG) having already been taken).


title: .me

text: In September 2007, ICANN delegated the .me domain to the Government of Montenegro, with the former .yu domain to be operated temporarily by the .rs domain registry (Serbian National Register of Internet Domain Names) until its eventual abolition on or before 30 September 2009. Delegation of root name servers was approved by IANA, establishing .me. The ".me" domain became active on 24 September 2007, and a "Public Invitation for selection of the Agent for domain registration under the national Internet domain of Montenegro" was posted on 14 November. doMEn d.o.o., as a Montenegro-based joint venture whose partners are Afilias, GoDaddy.com, and ME-net d.o.o., was selected as the new registry operator.


title: .me

text: On 6 May 2008, the General Sunrise period for the .me registry began for all eligible trademark holders worldwide, and on 16 July 2008, registration was made available to everyone for all .me domains at various registrars.


title: .me

text: The domain .me was assigned to Montenegro as a country code after it became an independent nation in June 2006. However, the Montenegro government decided .me would be operated as a generic name after considering the potential worldwide appeal for the domain.


title: .me

text: Third-level registrations are available to Montenegrin citizens and companies in the following zones:


title: .me

text: On 6 May 2008, the .me registry opened the sunrise period for all eligible trademark holders anywhere in the world.


title: .me

text: Throughout June and July 2008, multiple land rush applications were received, which resulted in more than 2,500 land rush auctions that were held during July and August 2008. Go Live was opened on 17 July 2008 when registrations were made available for all unreserved .me domains via various registrars.


title: .me

text: During the .me land rush auction period, more than US$2,000,000 was generated with names like insure.me and sync.me going to the highest bidder.


title: .me

text: At the beginning of August 2008, 100,000 .me domain names were registered. Sources say part of the worldwide appeal for the .me domain is the marketing aspect.


title: .me

text: In 2008 in terms of the number of Web pages indexed by Google among all TLDs, .me sites have enjoyed the fastest growth with more than 50% a month. In the same year, .me topped its potential rivals .mobi and .asia in Alexa Internet top one million websites with 341 .me sites versus 233 .mobi sites and 86 .asia sites. Extra potential of .me is revealed considering the fact that .mobi was launched two years before .me and .asia four months before .me.


title: .me

text: In less than a year .me became more popular than .asia, .jobs, .coop, .aero, .int, .mil, .museum, .name, .pro, .tel, .travel, and 200 other country code top-level domains.


title: .me

text: By 2010, over 320,000 .me domains had been purchased, making it the fastest-selling top-level domain in history.


title: .me

text: Most .me domain names were purchased as domain hacks in English and, to a lesser extent, Dutch; 71% of names were applied for by applicants in the United States. Because of the possibility of owning pure verb and noun combinations, their prices have stayed high: during the sunrise period, insure.me went for $68,005, and judge.me sold for $8000 in 2011.


title: .me

text: .me has been used as an abbreviation for the Middle East, for Maine, and for the accusative case of "ja" ("I" in South Slavic languages). Other examples of domain hacks include deviantArt (fav.me), WordPress (wp.me), the "Despicable Me" website, and MeetMe.


title: .me

text: Me subdomain names must be between 3 and 63 characters in length, but a few exceptions have been granted, mainly for URL shortening purposes. Examples of shortened domain names include:


title: .me

text: Yahoo! was using me.me for its project Yahoo! Meme, but the domain name was taken back by the .me registry when the company closed down the portal.


title: .me

text: In 2008 three trademark cases were filed with the World Intellectual Property Organization Arbitration and Mediation Center. All three domain names (creditmutuel.me, porsche.me, and exxonmobil.me) were transferred to the complainants.


title: .me

text: Prior to the introduction of .me, the most used domain in Montenegro was the second-level domain .cg.yu under .yu, the Internet domain name of Montenegrin Internet service provider T-Crnogorski Telekom, which was allowed to such organisations. The acronym "CG" was used because of the native name for Montenegro, . When .yu TLD was phased out, all e-mail addresses ending with @cg.yu were replaced with @t-com.me, and the Web sites moved, variously, mostly under .me.


title: Jordan North

text: Jordan North (born 14 February 1990) is an English radio DJ, known for hosting shows on BBC Radio 1. In 2020, he was announced as the runner-up of the twentieth series of "I'm a Celebrity...Get Me Out of Here!".


title: Jordan North

text: North was born in York to Graham and Wendy North. He grew up in Burnley, Lancashire, living in Harle Syke and attending St James' Lanehead Primary School until the age of 11. Then moving to the Preston area, North continued his education at Penwortham Priory Academy and then Preston's College. He was born into a military family, his father Graham who served in the Queen's Lancashire Regiment from 1982 to 2006, and his brother Ryan who serves in 2 PARA are among nine close family members who have worked in the army.


title: Jordan North

text: North is an alumnus of the University of Sunderland where he graduated in 2011 with a First Class degree in B. A. Media Production. Working at Spark FM while at the university, during the last year of his degree, Jordan entered a Bauer Radio competition to find new talent, winning a Sunday show on The Hits Radio. He has also worked at the in-house radio station at Blackpool Pleasure Beach and community station Preston FM.


title: Jordan North

text: After leaving Spark and graduating from university, Jordan worked as a researcher and producer at BBC Radio 5 Live. After recording a “pilot” show for Capital North East, he began presenting shows on Capital Manchester. He then spent 18 months working part-time at Rock FM before leaving the BBC when he was appointed as the Lancashire station's drive time presenter in May 2014.


title: Jordan North

text: After appearing as a freelance cover presenter in a number of BBC Radio 1 shows from 2014, he was one of a number of new voices picked to stand-in for Matt Edmondson during September 2017 and in early 2018 he was announced as the new host for the station's Greatest Hits show on Sunday mornings. From September 2020, he was announced as the new regular 11am-1pm weekend host on BBC Radio 1. North was also the main cover presenter for Scott Mills and Nick Grimshaw, occasionally known as Radio 1's "supply teacher".


title: Jordan North

text: Since March 2018, North has co-presented the comedy agony-aunt podcast "Help I Sexted My Boss" with friend and etiquette expert William Hanson. The show aims to offer advice to listeners who have encountered modern day problems. The podcast is currently in its ninth series and was nominated for 'Best Entertainment Podcast' at the British Podcast Awards 2020. On 5 February 2020, North appeared on children's singing competition "Got What It Takes?" as a guest mentor during the programmes annual Radio 1 interview challenge. In November 2020, it was announced that North would take part in the twentieth series of "I'm a Celebrity...Get Me Out of Here!". He finished second on 4 December 2020 with Giovanna Fletcher crowned the Queen of the Castle.


title: Jordan North

text: Since 6 September 2021, North has presented the BBC Radio 1 drivetime show with Vick Hope, taking over from Nick Grimshaw.


title: Jordan North

text: On 1 December 2021, it was announced that North would be the new co-presenter of the "Top of the Pops" festive specials.


title: Jordan North

text: In February 2022, North joined "Ant & Dec's Saturday Night Takeaway", appearing during the "Happiest Minute Of The Week" segment surprising someone live with a "Gift on the Shift" in where they win a "Takeaway Getaway".


title: Jordan North

text: North is a keen supporter of Burnley Football Club and was reported to be a season ticket holder in early 2018.