title: Zhao Xintong

text: After whitewashing Wang Yuchen 4–0 at the English Open, Zhao met Ronnie O'Sullivan in the second round. Breaks of 130, 107 and 80 saw him lead 3–2, but he missed chances to take the win and was defeated 4–3. O'Sullivan said afterwards that Zhao's attacking style of play had reminded him of Stephen Hendry when he was a similar age. He qualified for the German Masters by beating Li Hang 5–3 and John Higgins 5–1 and a 5–0 thrashing of Akani Songsermsawad saw Zhao reach the last 16 of a ranking event for the first time. He held a narrow 4–3 advantage over Ali Carter, but lost the last two frames. Zhao was also edged out in the third round Gibraltar Open 4–3 by Mark Williams.


title: Zhao Xintong

text: He dropped off the tour at the end of the 2017–18 season but entered Q School in a bid to win back his place. He subsequently won back his place by beating Dechawat Poomjaeng in the second Event final of Q School.


title: Zhao Xintong

text: Zhao bounced back after a difficult 2017–18 season, reaching his first semi-final at the China Championship early in the season, beating Matthew Stevens, Anthony McGill, Fergal O'Brien, Mark Williams, and Barry Hawkins, before losing 4–6 to Mark Selby. He also reached the quarter-finals of the Welsh Open, losing 2–5 to eventual finalist Stuart Bingham. Perhaps the biggest achievement of the season for Zhao was reaching the final stages of the World Championship for the first time, but he lost 7–10 to Selby in the first round.


title: Zhao Xintong

text: Zhao maintained his form from the previous season, reaching another quarter-final in the German Masters and progressing to the last 16 in at least four other tournaments. This consistent performance elevated his world ranking to 29th by the end of the season. Ronnie O'Sullivan, Stephen Hendry, and Alan McManus have all once suggested that Zhao would become a leading player in world snooker due to his enormous potential.


title: Zhao Xintong

text: In the 2021 UK Championship, Zhao claimed his first Triple Crown title, and first ranking title overall, by beating Belgian Luca Brecel 10–5, in the final. Due to this, he climbed into the Top 16 of the rankings, at number 9, becoming the Chinese number 1 player. He also qualified for the 2022 Masters, and became number 1 on the one-year ranking list. At the Masters, he played John Higgins in the first round in a repeat of prior meetings in both the World Grand Prix and the UK Championship, however, he lost 2–6.


title: Zhao Xintong

text: In 2022, he reached the final of the 2022 German Masters, having defeated seasoned professionals such as Mark Williams, Tom Ford, the defending champion Judd Trump and Ricky Walden. There, he met fellow professional and countryman Yan Bingtao, whom he defeated by a whitewash of 9-0 to claim the second ranking title of his career in the space of just two months. By doing so, he became only the third player in history to whitewash a player in the final of a ranking event: the last two who did this were Steve Davis and Neil Robertson.


title: Shiplap

text: Shiplap is a type of wooden board used commonly as exterior siding in the construction of residences, barns, sheds, and outbuildings.


title: Shiplap

text: Shiplap is either rough-sawn or milled pine or similarly inexpensive wood between wide with a rabbet on opposite sides of each edge. The rabbet allows the boards to overlap in this area. The profile of each board partially overlaps that of the board next to it creating a channel that gives shadow line effects, provides excellent weather protection and allows for dimensional movement.


title: Shiplap

text: Useful for its strength as a supporting member, and its ability to form a relatively tight seal when lapped, shiplap is usually used as a type of siding for buildings that do not require extensive maintenance and must withstand cold and aggressive climates. Rough-sawn shiplap is attached vertically in post and beam construction, usually with 51–65 mm (6d–8d) common nails, while milled versions, providing a tighter seal, are more commonly placed horizontally, more suited to two-by-four frame construction.


title: Shiplap

text: Small doors and shutters such as those found in barns and sheds are often constructed of shiplap cut directly from the walls, with only thin members framing or crossing the back for support. Shiplap is also used indoors for the rough or rustic look that it creates when used as paneling or a covering for a wall or ceiling. Shiplap is often used to describe any rabbeted siding material that overlaps in a similar fashion.


title: Shiplap

text: In interior design, shiplap is a style of wooden wall siding characterized by long planks, normally painted white, that are mounted horizontally with a slight gap between them in a manner that evokes exterior shiplap walls. A disadvantage of the style is that the gaps are prone to accumulating dust.


title: Shiplap

text: Installing shiplap horizontally in a room can help carry the eye around the space, making it feel larger. Installing it vertically helps emphasize the height of the room, making it feel taller. It can also be installed on the ceiling, to draw the eye upwards.


title: Maria Anna Mozart

text: Maria Anna Walburga Ignatia Mozart (30 July 1751 – 29 October 1829), called "Marianne" and nicknamed Nannerl, was a musician, the older sister of Wolfgang Amadeus Mozart (1756–1791) and daughter of Leopold (1719–1787) and Anna Maria Mozart (1720–1778).


title: Maria Anna Mozart

text: Maria Anna (Marianne) Mozart was born in Salzburg. When she was seven years old, her father Leopold Mozart started teaching her to play the harpsichord. Leopold took her and Wolfgang on tours of many cities, such as Vienna and Paris, to showcase their talents. In the early days, she sometimes received top billing, and she was noted as an excellent harpsichord player and fortepianist.


title: Maria Anna Mozart

text: However, given the views of her parents, prevalent in her society at the time, it became impossible as she grew older for her to continue her career any further. According to "New Grove", "from 1769 onwards she was no longer permitted to show her artistic talent on travels with her brother, as she had reached a marriageable age." Wolfgang went on during the 1770s to many artistic triumphs while traveling in Italy with Leopold, but Marianne stayed at home in Salzburg with her mother. She likewise stayed home with Leopold when Wolfgang visited Paris and other cities (1777–1779) accompanied by his mother. From 1772 on she taught the piano in Salzburg and through her work added greatly to Leopold Mozart's reputation as a teacher.


title: Maria Anna Mozart

text: There is evidence that Marianne wrote musical compositions, as there are letters from Wolfgang praising her work, but the voluminous correspondence of her father never mentions any of her compositions, and none have survived.


title: Maria Anna Mozart

text: In contrast to her brother, who quarreled with their father and eventually disobeyed his wishes concerning career path and choice of spouse, Marianne remained on good terms with her father. Around the summer of 1783, she seems to have developed a relationship with Franz d'Ippold, who was a captain and private tutor. Why this relationship did not evolve into a marriage is not known. Wolfgang attempted, in vain, to get Marianne to stand up for her own preference.


title: Maria Anna Mozart

text: Eventually, Marianne married a magistrate, Johann Baptist Franz von Berchtold zu Sonnenburg (23 August 1784), and settled with him in St. Gilgen, a village in Austria about 29 km east of the Mozart family home in Salzburg. Berchtold was twice a widower and had five children from his two previous marriages, whom Marianne helped raise. She also bore three children of her own: Leopold Alois Pantaleon (1785–1840), Jeanette (1789–1805) and Marie Babette (1790–1791).


title: Maria Anna Mozart

text: However, she continued to see herself as a pianist, practicing three hours a day and continuing to teach the piano.


title: Maria Anna Mozart

text: An unusual episode in Marianne's life occurred when she gave birth (27 July 1785) to her first child, a son who was named Leopold after his grandfather. Marianne had traveled from her home in St. Gilgen to Salzburg for the birth. When she returned to St. Gilgen, she left her infant in the care of her father and his servants. The elder Leopold stated (by a letter that preceded Marianne back to St. Gilgen) that he would prefer to raise the child for the first few months himself. In 1786, he extended the arrangement to an indefinite term. Leopold continued to care for his grandson, taking delight in his progress (toilet training, speech, and so on), and commencing with the very beginnings of musical training. Marianne saw her son on occasional visits, but in general, was not involved in his care. The arrangement continued until the death of her father, on 28 May 1787.


title: Maria Anna Mozart

text: Biographers differ on the reasons for this arrangement. Little Leopold was ill in his infancy, and perhaps needed to be kept in Salzburg for this reason, but this does not explain why he was still kept there after his recovery. Another possibility attributes the arrangement to Marianne's delicate health or her need to take care of her stepchildren. Biographer Maynard Solomon attributes the arrangement to Leopold's wish to revive his skills in training a musical genius, as he had done with Wolfgang. He also suggests that giving up her son was indicative of Marianne's total subordination to her father's wishes.


title: Maria Anna Mozart

text: When Wolfgang was a toddler, Nannerl (four and a half years older) was his idol. According to Maynard Solomon, "at three, Mozart was inspired to study music by observing his father's instruction of Marianne; he wanted to be like her." The two children were very close, and they invented a secret language and an imaginary "Kingdom of Back" of which they were king and queen. Wolfgang's early correspondence with Marianne is affectionate and includes some of the scatological and sexual wordplay in which Wolfgang indulged with intimates. Occasionally Wolfgang wrote entries in Marianne's diary, referring to himself in the third person.


title: Maria Anna Mozart

text: Wolfgang wrote several works for Marianne to perform, including the Prelude and Fugue in C, K. 394 (1782) and the four Preludes K. 395/300g (1777.). Until 1785, he sent her copies of his piano concertos (up to No. 21) in St. Gilgen.


title: Maria Anna Mozart

text: Concerning the relationship between Wolfgang and Marianne in adulthood, authorities differ. According to "New Grove", Wolfgang "remained closely attached to her." In contrast, Maynard Solomon contends that in later life Wolfgang and Marianne drifted apart completely. He notes, for instance, that after Wolfgang's visit to Salzburg in 1783 (with his new wife Constanze), Wolfgang and Marianne never visited each other again, that they never saw each other's children, and that their correspondence diminished to a trickle, ceasing entirely in 1788.


title: Maria Anna Mozart

text: Wolfgang died on 5 December 1791. Sometime around 1800, Marianne encountered Franz Xaver Niemetschek's 1798 biography of Wolfgang. Since this biography had been written from the perspective of Vienna and of Constanze, much of its content was new to Marianne. In an 1800 letter, she wrote:


title: Maria Anna Mozart

text: Herr Prof. Niemetschek's biography so completely reanimated my sisterly feelings toward my so ardently beloved brother that I was often dissolved in tears since it is only now that I became acquainted with the sad condition in which my brother found himself.


title: Maria Anna Mozart

text: Marianne's husband died in 1801. She returned to Salzburg, at first accompanied by her two living children. Financially well provided for she still gave piano lessons and was a highly esteemed piano soloist in the concerts at Prince Ernst von Schwarzenberg's. Her students during this time included Anna Sick, who later became the court pianist at Stuttgart.


title: Maria Anna Mozart

text: In her old age, Marianne had her first encounter in person with Wolfgang's widow Constanze since the visit of 1783. In 1824, Constanze and her second husband Georg Nikolaus von Nissen moved to Salzburg. Although Marianne had not even known that Constanze was still alive, the encounter was apparently "cordial", though not warm. Eventually, Marianne did the Nissens a great favor: to help them write a biography of Wolfgang, Marianne lent the Nissens her collection of family letters, including Wolfgang and Leopold's correspondence up to 1781.


title: Maria Anna Mozart

text: In 1821, Marianne enjoyed a visit from Wolfgang's son, Franz Xaver Mozart, whom she had never met during her brother's lifetime. The son had come from his home in Lemberg to conduct a performance of his father's Requiem in remembrance of the recently deceased Nissen.


title: Maria Anna Mozart

text: In her last years, Marianne's health declined, and she became blind in 1825. Mary Novello, visiting in 1829, recorded her impression that Mrs. Berchtold was "blind, languid, exhausted, feeble and nearly speechless", as well as lonely. She mistakenly took Marianne to be impoverished, though in fact she was frugal and left a large fortune (7,837 florins).


title: Kodomo no Jikan

text: A 12-episode anime adaptation of the series aired in Japan between October and December 2007. While content of the broadcast version was sometimes heavily censored, the DVD releases of the individual episodes remain unedited. A second anime season was released as four original video animation episodes between January and July 2009. A third original anime DVD was released in January 2011.


title: Kodomo no Jikan

text: "Kodomo no Jikan" is centered around 23-year-old Daisuke Aoki, who has just landed his first teaching job as a grade school instructor at . He is placed in charge of Class 3-1, where one of his students, a mischievously precocious nine-year-old girl by the name of Rin Kokonoe, develops a crush on him and proclaims herself as Aoki's girlfriend. At first he dismisses it as harmless, but she aggressively pursues her efforts to be with him. Aoki is in shock when she makes sexual advances towards him, thus leading him to believe that Rin comes from a troubled family. Aoki finds out that Rin's mother had died and she is living with a cousin whose flashbacks lead to violent outbursts.


title: Kodomo no Jikan

text: The first chapter of a two-part "pilot" for "Kodomo no Jikan" appeared in the premiere issue of Futabasha's seinen manga magazine "Comic High!" on March 2, 2004. The successful reception of the pilot prompted the creator, Kaworu Watashiya, to rework the title into a full-fledged manga. Serialization began a little over a year later in "Comic High!" on May 22, 2005 and ran until April 22, 2013. Futabasha published 13 "tankōbon" volumes between December 12, 2005 and June 12, 2013. While the aforementioned pilot is not considered part of the ongoing series' canon in spite of the shared name, largely identical main cast, and common central theme, many situations and ideas initially introduced there were revisited in the eventual manga series—and thus incorporated into official continuity—albeit in (slightly) altered or expanded form.


title: Kodomo no Jikan

text: Digital Manga has licensed the series for publication in North America, and originally planned to publish it in omnibus format under its Project-H imprint. Digital Manga later launched a Kickstarter to publish the series in five omnibus volumes and one additional volume under its newly launched PeCChi imprint. The project reached its US$157,000 goal on July 3, 2016, however retail release dates for the series were yet to be determined. In all the project raised a total of US$185,725 making it the most funded graphic novel project ever on Kickstarter at the time. Digital Manga president Hikaru Sasahara later stated in March 2018 that the company had run into a "weakened" financial situation. Sasahara apologized for the delays which included the "Kodomo no Jikan" manga still not being fulfilled. The series has since been released in English via e-book format with print editions still on a TBA date.


title: Kodomo no Jikan

text: An Internet radio show called , hosted by Lantis Web Radio, Beat Net Radio!, and "Kodomo no Jikan"'s official website, originally had a pre-broadcast on August 31, 2007, but began regular weekly broadcasts every Friday starting on September 7, 2007. It has three hosts—Eri Kitamura, Kei Shindō, and Mai Kadowaki, who played Rin Kokonoe, Kuro Kagami, and Mimi Usa in the anime, respectively—and was produced by Bandai Visual and Lantis. There are three corners on the show, which is used mainly to promote the anime version. A CD entitled was released by Lantis on November 21, 2007. It contained an opening and ending talk as well as seven more tracks from the Internet radio show. A drama CD was released on January 9, 2008, by Lantis.


title: Kodomo no Jikan

text: A thirty-minute, uncensored, single-episode original video animation (OVA) was released on September 12, 2007, available both on the anime's official website and in a limited edition version bundled with the fourth volume of the manga. The anime series, directed by Eiji Suganuma, written by Mari Okada, and produced by the animation studio Studio Barcelona, was originally scheduled to premiere in Japan on October 11, 2007, but two television stations—TV Saitama and Mie TV—removed it from their broadcast schedules. In an official press release, TV Saitama stated that their decision was heavily influenced by the then-recent capture of Takayuki Hosoda, a notorious Japanese child pornographer who was revealed to be an elementary school vice principal. Plans for Chiba TV and KBS Kyoto to air the series remained unchanged, and the anime premiered on Japanese television on October 12, 2007, running for twelve episodes until December 28, 2007. However, some of its content suffered censorship to varying degrees, from animated panels obscuring parts of the screen and sound effects being used to "bleep" out dialogue in some instances to full suppression of both audio and video in others. The uncensored version of the anime series is available on DVD in six volumes containing two episodes each. The DVD volumes were released between December 21, 2007 and May 23, 2008.


title: Kodomo no Jikan

text: A second anime season was announced, and a promotional video of this season was included with a special edition of the fifth manga volume released on July 11, 2008. This season was released in original video animation format over four episodes between January 21 and July 24, 2009. A third anime adaptation was announced on the cover of the manga's eighth volume in May 2010, and was released on January 21, 2011.


title: Kodomo no Jikan

text: Four pieces of theme music are used for the anime television series: one opening theme and three ending ones. The opening theme, used in all episodes except the twelfth, which did not have an opening theme, is by Eri Kitamura, Kei Shindō, and Mai Kadowaki, the voice actresses for Rin Kokonoe, Kuro Kagami, and Mimi Usa, respectively. The first ending theme, used for all but two episodes, is by Little Non; the second ending theme, used only for episode six, is by Chata; the third and final ending theme, used only in episode twelve and which was also the opening theme for the OVA, is , once again sung by the trio of Kitamura, Shindō, and Kadowaki. The maxi single for the opening theme was released on October 24, 2007, by Lantis, and the one for the first ending theme was released on October 12, 2007, also by Lantis. The anime's original soundtrack was released on January 23, 2008.


title: Kodomo no Jikan

text: The OVA's opening theme, the previously mentioned and was included on the same maxi single as "Rettsu! Ohime-sama Dakko" as a B-side track. The ending theme, by Little Non, appeared on the same maxi single as "Hanamaru Sensation" as a B-side track. Three character song albums were released by Lantis on December 26, 2007 for the characters Rin Kokonoe, Kuro Kagami, and Mimi Usa, featuring singing and voicework by their respective voice actresses.


title: Kodomo no Jikan

text: The second season's opening theme is "Guilty Future" by Kitamura. The ending theme for all but episode three is "1,2,3 Day" by Little Non. The ending theme for episode three is by Kitamura, Shindō, and Kadowaki. An album was released by Lantis on January 27, 2010 containing all the music used in the anime.


title: Kodomo no Jikan

text: "Kodomo no Jikan" was originally licensed for distribution in North America in 2006 by the Los Angeles–based company Seven Seas Entertainment, the first volume of the manga having been slated for an early 2007 release. According to Futabasha, the title of "Nymphet" was selected for the English language version at the suggestion—and later insistence—of the original creator, Kaworu Watashiya. The manga, however, soon became the target of controversy after questions were raised about its appropriateness for North American audiences. In a written statement, the president of Seven Seas Entertainment, Jason DeAngelis, observed that "those who are speaking out against "Nymphet" seem to be disturbed by the relationship between two characters in the story, namely an elementary school student and her adult teacher" and decided to delay the release of the manga so that he could "have an open dialogue with the large book chains and other vendors." The title was subsequently dropped as a result of these concerns, with DeAngelis saying that it was "not appropriate for Seven Seas to publish "Nymphet"," and that it would cancel its release of the manga.


title: Kodomo no Jikan

text: In a second statement regarding "Nymphet", DeAngelis explained some of the reasoning behind the decision to cancel the series. He stated that, "my primary reason for canceling "Nymphet" is due to my recent realization that later volumes in the series can not be considered appropriate for the US market by any reasonable standard." He also cited the fact that, "[the vendors] began dropping their orders left and right, so their opinion on this matter became pretty clear cut." Specifically, DeAngelis stated that, during his re-review of later "Kodomo no Jikan" anthologies, he discovered content that he regarded as highly unsuitable for publication. The pages cited were of a scene of the main characters, Rin Kokonoe and Daisuke Aoki, stuck in a room with freezing temperatures. The two embrace in an effort to stay warm by sharing body heat, and Rin takes the opportunity to rub her crotch against Aoki's, almost causing him to get an erection.


title: Kodomo no Jikan

text: On June 7, 2007, Kaworu Watashiya posted a blog entry on the "Kodomo no Jikan" controversy in the United States. She commented that, "what I heard about 'issues in volume 2 and later' made me realize the differences in the cultures between the countries." The author went on to cite instances in later volumes that showed intimate relationships between cousins and a bath scene with a child and adult, going on to say that, "my honest feeling is, 'It's unfortunate, but what can I do?


title: Kodomo no Jikan

text: Former manga translator Toren Smith commented on the issue in favor of its content, accusing people who support the reverse gender scenario in series such as "Negima! Magister Negi Magi" of being hypocritical. Anime News Network writer Zac Bertschy expressed complete disapproval of the content present in "Kodomo no Jikan", categorizing it as lolicon and "comic book kiddie porn". He expressed dismay over Seven Seas Entertainment's decision in licensing the manga, and hoped that nobody would buy it once it is out for sale.


title: Sikandar Lodi

text: Sikandar Khan Lodi (died 21 November 1517), born Nizam Khan, was a Pashtun Sultan of the Delhi Sultanate between 1489 and 1517. He became ruler of the Lodi dynasty after the death of his father Bahlul Khan Lodi in July 1489. The second and most successful ruler of the Lodi dynasty of the Delhi sultanate, he was also a poet of the Persian language and prepared a diwan of 9000 verses.He made an effort to recover the lost territories which once were a part of the Delhi Sultanate and was able to expand the territory controlled by the Lodi Dynasty.


title: Sikandar Lodi

text: Sikandar was the second son of Sultan Bahlul Lodi, who had founded the Lodi ruling dynasty of the Delhi Sultanate.


title: Sikandar Lodi

text: Sikandar was a capable ruler who encouraged trade across his territory. He expanded Lodi rule into the regions of Gwalior and Bihar. He made a treaty with Alauddin Hussain Shah and his kingdom of Bengal. In 1503, he commissioned the building of the present-day city of Agra.


title: Sikandar Lodi

text: King Sikandar Lodhi had some connections with Kabir Sahib ji too. Sikandar Lodhi once received a complaint from some people of his religion that Kabir speaks wrong about Muslim religion. So, King Sikandar Lodhi tried to kill Kabir ji many times like Kabir ji was tried to be killed by a bloodthirsty elephant but it is said that due to the miracle of Kabir ji, the elephant started seeing a lion and the elephant retreated from fear and after that King Sikandar Lodhi apologized to Kabir Sahib ji.


title: Sikandar Lodi

text: In 1496, Kabir Sahib ji sat on an elephant with an initiated woman (who was a prostitute before) in front of him to test his disciples and roamed around the whole Kashi, in which many people criticized him and when King Bir Singh Baghel of Kashi came to know that Kabir was taking the test, then he bowed down to Kabir Ji along with King Sikandar Lodhi and apologized.


title: Sikandar Lodi

text: The newly crowned Raja Man Singh Tomar was not prepared for an invasion from Delhi, and decided to avoid a war by paying Bahlul Lodi a tribute of 800,000 "tanka"s (coins). In 1489, Sikandar Lodi succeeded Bahlul Lodi as the Sultan of Delhi. In 1500, Manasimha provided asylum to some rebels from Delhi, who had been involved in a plot to overthrow Sikandar Lodi. The Sultan, wanting to punish Raja Man Singh Tomar, and to expand his territory, launched a punitive expedition against Gwalior. In 1501, he captured Dholpur, a dependency of Gwalior, whose ruler Vinayaka-deva fled to Gwalior.


title: Sikandar Lodi

text: Sikandar Lodi then marched towards Gwalior, but after crossing the Chambal River, an epidemic outbreak in his camp forced him to halt his march. Raja Man Singh Tomar used this opportunity to reconcile with Lodi, and sent his son Kunwar Vikramaditya to the Lodi camp with gifts for the Sultan. He promised to expel the rebels from Delhi, on the condition that Dholpur be restored to Vinayaka-deva. Sikandar Lodi agreed to these terms, and left. Historian Kishori Saran Lal theorizes that Vinayaka Deva hadn't lost Dholpur at all: this narrative was created by the Delhi chroniclers to flatter the Sultan.


title: Sikandar Lodi

text: In 1504, Sikandar Lodi resumed his war against the Tomar King's of Gwalior. First, he captured the Mandrayal fort, located to the east of Gwalior. He ransacked the area around Mandrayal, but many of his soldiers lost their lives in a subsequent epidemic outbreak, forcing him to return to Delhi. Sometime later, Lodi moved his base to the newly established city of Agra, which was located closer to Gwalior. He captured Dholpur, and then marched against Gwalior, characterizing the expedition as a "jihad". From September 1505 to May 1506, Lodi managed to ransack the rural areas around Gwalior, but was unable to capture the Gwalior fort because of Raja Man Singh Tomar's hit-and-run tactics. A scarcity of food resulting from Lodi's destruction of crops forced Lodi to give up the siege. During his return to Agra, Raja Man Singh Tomar ambushed his army near Jatwar, inflicting heavy casualties on the invaders.


title: Sikandar Lodi

text: Having failed to capture the Gwalior fort, Lodi decided to capture the smaller forts surrounding Gwalior. Dholpur and Mandrayal were already in his control by this time. In February 1507, he captured the Uditnagar (Utgir or Avantgarh) fort lying on the Narwar-Gwalior route. In September 1507, he marched against Narwar, whose ruler (a member of the Tomara clan) fluctuated his allegiance between the Tomaras of Gwalior and the Malwa Sultanate. He captured the fort after a year-long siege. In December 1508, Lodi placed Narwar in charge of Raj Singh Kachchwaha, and marched to Lahar (Lahayer) located to the south-east of Gwalior. He stayed at Lahar for a few months, during which he cleared its neighbourhood of rebels. Over the next few years, Lodi remained busy in other conflicts. In 1516, he made a plan to capture Gwalior, but an illness prevented him from doing so. Raja Man Singh Tomar died in 1516, and Sikandar Lodi's illness also led to his death in November 1517.


title: Sikandar Lodi

text: The Lodi Sultans were Muslims, and like their predecessors, acknowledged the authority of the Abbasid Caliphate over the Muslim World. Because Sikandar's mother was a Hindu, he tried to prove his Islamic credentials by resorting to strong Sunni orthodoxy as a political expediency. He destroyed Hindu temples, and under the pressure from the ulama, allowed the execution of a Brahmin who declared Hinduism to be as veracious as Islam. He also banned women from visiting the mazars (mausoleums) of Muslim saints, and banned the annual procession of the spear of the legendary Muslim martyr Salar Masud.


title: Sikandar Lodi

text: Before Sikandar's time, the judicial duties in smaller villages and towns were performed by local administrators, while the Sultan himself consulted the scholars of the Islamic law (sharia). Sikandar established sharia courts in several towns, enabling the qazis to administer the sharia law to a larger population. Although such courts were established in areas with significant Muslim population, they were also open to the non-Muslim population, including for non-religious matters such as property disputes.


title: Tintern Abbey

text: Tintern Abbey ( ) was founded on 9 May 1131 by Walter de Clare, Lord of Chepstow. It is situated adjacent to the village of Tintern in Monmouthshire, on the Welsh bank of the River Wye, which at this location forms the border between Monmouthshire in Wales and Gloucestershire in England. It was the first Cistercian foundation in Wales, and only the second in Britain (after Waverley Abbey).


title: Tintern Abbey

text: The abbey fell into ruin after the Dissolution of the Monasteries in the 16th century. Its remains have been celebrated in poetry and painting from the 18th century onwards. In 1984, Cadw took over responsibility for managing the site. Tintern Abbey is visited by approximately 70,000 people every year.


title: Tintern Abbey

text: The Monmouthshire writer Fred Hando records the tradition of Tewdrig, King of Glywysing who retired to a hermitage above the river at Tintern. He then emerged to lead his son's army to victory against the Saxons at Pont-y-Saeson, a battle in which he was killed.


title: Tintern Abbey

text: The Cistercian Order was founded in 1098 at the abbey of Cîteaux. A breakaway faction of the Benedictines, the Cistercians sought to re-establish observance of the Rule of Saint Benedict. Considered the strictest of the monastic orders, they laid down requirements for the construction of their abbeys, stipulating that "none of our houses is to be built in cities, in castles or villages; but in places remote from the conversation of men. Let there be no towers of stone for bells, nor of wood of an immoderate height, which are unsuited to the simplicity of the order". The Cistercians also developed an approach to the Benedictine requirement for a dual commitment to pray and work that saw the evolving of a dual community, the monks and the lay brothers, illiterate workers who contributed to the life of the abbey and to the worship of God through manual labour. The order proved exceptionally successful and by 1151, five hundred Cistercian houses had been founded in Europe. The "Carta Caritatis" (Charter of Love) laid out their basic principles, of obedience, poverty, chastity, silence, prayer, and work. With this austere way of life, the Cistercians were one of the most successful orders in the 12th and 13th centuries. The lands of the Abbey were divided into agricultural units or granges, on which local people worked and provided services such as smithies to the Abbey.


title: Tintern Abbey

text: William Giffard, Bishop of Winchester introduced the first colony of Cistercian monks to England at Waverley, Surrey, in 1128. His first cousin, Walter de Clare, of the powerful family of Clare, established the second Cistercian house in Britain, and the first in Wales, at Tintern in 1131. The Tintern monks came from a daughter house of Cîteaux, L'Aumône Abbey, in the diocese of Chartres in France. In time, Tintern established two daughter houses, Kingswood in Gloucestershire (1139) and Tintern Parva, west of Wexford in southeast Ireland (1203).


title: Tintern Abbey

text: The present-day remains of Tintern are a mixture of building works covering a 400-year period between 1131 and 1536. Very little of the first buildings still survives today; a few sections of walling are incorporated into later buildings and the two recessed cupboards for books on the east of the cloisters are from this period. The church of that time was smaller than the present building, and slightly to the north.


title: Tintern Abbey

text: The Abbey was mostly rebuilt during the 13th century, starting with the cloisters and domestic ranges, and finally the great church between 1269 and 1301. The first mass in the rebuilt presbytery was recorded to have taken place in 1288, and the building was consecrated in 1301, although building work continued for several decades. Roger Bigod, 5th Earl of Norfolk, the then lord of Chepstow, was a generous benefactor; his monumental undertaking was the rebuilding of the church. The earl's coat of arms was included in the glasswork of the Abbey's east window in recognition of his contribution.


title: Tintern Abbey

text: It is this great Decorated Gothic abbey church that can be seen today, representing the architectural developments of its period; it has a cruciform plan with an aisled nave, two chapels in each transept, and a square-ended aisled chancel. The abbey is built of Old Red Sandstone, with colours varying from purple to buff and grey. Its total length from east to west is 228 feet, while the transept is 150 feet in length.


title: Tintern Abbey

text: King Edward II stayed at Tintern for two nights in 1326. When the Black Death swept the country in 1349, it became impossible to attract new recruits for the lay brotherhood; during this period, the granges were more likely to be tenanted out than worked by lay brothers, evidence of Tintern's labour shortage. In the early 15th century, Tintern was short of money, due in part to the effects of the Welsh uprising under Owain Glyndŵr against the English kings, when abbey properties were destroyed by the Welsh. The closest battle to Tintern Abbey was at Craig-y-dorth near Monmouth, between Trellech and Mitchel Troy.


title: Tintern Abbey

text: In the reign of Henry VIII, the Dissolution of the Monasteries ended monastic life in England, Wales and Ireland. On 3 September 1536, Abbot Wych surrendered Tintern Abbey and all its estates to the King's visitors and ended a way of life that had lasted 400 years. Valuables from the Abbey were sent to the royal Treasury and Abbot Wych was pensioned off. The building was granted to the then lord of Chepstow, Henry Somerset, 2nd Earl of Worcester. Lead from the roof was sold and the decay of the buildings began.


title: Tintern Abbey

text: The presbytery is of four bays, with a great east window, originally of eight lights. Almost all of the tracery is gone, with the exception of the central column and the mullion above.


title: Tintern Abbey

text: The cloister retains its original width, but its length was extended in the 13th century rebuilding, creating a near square.


title: Tintern Abbey

text: The book room parallels the sacristy and both were created at the very end of the construction period of the second abbey, around 1300.


title: Tintern Abbey

text: The chapter house was the place for daily gatherings of the monks, to discuss non-religious abbey business, make confession and listen to a reading from the Book of Rules.


title: Tintern Abbey

text: The monks' dormitory occupied almost the entirety of the upper storey of the east range. The latrines were double-storeyed, with access both from the dormitory and from the day-room below.


title: Tintern Abbey

text: Little of the kitchen, which served both the monks' refectory, and the lay brothers' dining hall, remains.


title: Tintern Abbey

text: The infirmary, 107 ft long and 54 ft wide, housed both sick and elderly monks in cubicles in the aisles. The cubicles were originally open to the hall but were enclosed in the 15th century when each recess was provided with a fireplace.


title: Tintern Abbey

text: The abbot's lodgings date from two periods, its origins in the early 13th century, and with a major expansion in the late 14th century.


title: Tintern Abbey

text: Following the Abbey's dissolution, the adjacent area became industrialised with the setting-up of the first wireworks by the Company of Mineral and Battery Works in 1568 and the later expansion of factories and furnaces up the Angidy valley. Charcoal was made in the woods to feed these operations and, in addition, the hillside above was quarried for the making of lime at a kiln in constant operation for some two centuries. The Abbey site was in consequence subject to a degree of pollution and the ruins themselves were inhabited by the local workers. J.T.Barber, for example, remarked on "passing the works of an iron foundry and a train of miserable cottages engrafted on the offices of the Abbey" on his approach.


title: Tintern Abbey

text: Not all visitors to the Abbey ruins were shocked by the intrusion of industry, however. Joseph Cottle and Robert Southey set out to view the ironworks at midnight on their 1795 tour, while others painted or sketched them during the following years. A 1799 print of the Abbey by Edward Dayes includes the boat landing near the ruins with the square-sailed local cargo vessel known as a trow drawn up there. On the bank is some of the encroaching housing, while in the background above are the cliffs of a lime quarry and smoke rising from the kiln. Though Philip James de Loutherbourg's 1805 painting of the ruins does not include the intrusive buildings commented on by others, it makes their inhabitants and animals a prominent feature. Even William Havell's panorama of the valley from the south pictures smoke rising in the distance (see Gallery), much as Wordsworth had noted five years before "wreathes of smoke sent up in silence from among the trees" in his description of the scene.


title: Tintern Abbey

text: By the mid-18th century it became fashionable to visit "wilder" parts of the country. The Wye Valley in particular was well known for its romantic and picturesque qualities and the ivy-clad Abbey was frequented by tourists. One of the earliest prints of the Abbey had been in the series of engravings of historical sites made in 1732 by Samuel and Nathaniel Buck. Their sets of views, however, catered to antiquarian interests and often were a means to flatter the landowners involved and so gain orders for their publications. Tourism as such developed in the following decades. The "Wye Tour" is claimed to have had its beginning after Dr John Egerton began taking friends on trips down the valley in a specially constructed boat from his rectory at Ross-on-Wye and continued doing so for a number of years. Rev. Dr. Sneyd Davies' short verse epistle, "Describing a Voyage to Tintern Abbey, in Monmouthshire, from Whitminster in Gloucestershire", was published in 1745, the year Egerton took possession of his benefice. But that journey was made in the opposite direction, sailing from the Gloucestershire shore across the River Severn to Chepstow and then ascending the Wye.


title: Tintern Abbey

text: Among subsequent visitors was Francis Grose, who included the Abbey in his "Antiquities of England and Wales", begun in 1772 and supplemented with more illustrations from 1783. In his description he noted how the ruins were being tidied for the benefit of tourists: "The fragments of its once sculptured roof, and other remains of its fallen decorations, are piled up with more regularity than taste on each side of the grand aisle." There they remained for the next century and more, as is evident from the watercolours of J. M. W. Turner (1794), the prints of Francis Calvert (1815) and the photographs of Roger Fenton (1858). Grose further complained that the site was too well tended and lacked "that gloomy solemnity so essential to religious ruins".


title: Tintern Abbey

text: Another visitor during the 1770s was the Rev. William Gilpin, who later published a record of his tour in "Observations on the River Wye" (1782), devoting several pages to the Abbey as well as including his own sketches of both a near and a far view of the ruins. Though he too noted the same points as had Grose, and despite also the presence of the impoverished residents and their desolate dwellings, he found the Abbey nevertheless "a very inchanting piece of ruin". Gilpin's book helped increase the popularity of the already established Wye tour and gave travellers the aesthetic tools by which to interpret their experience. It also encouraged "its associated activities of amateur sketching and painting" and the writing of other travel journals of such tours. Initially Gilpin's book was associated with his theory of the Picturesque, but later some of this was modified by another editor so that, as Thomas Dudley Fosbroke’s "Gilpin on the Wye" (1818), the account of the tour could function as the standard guidebook for much of the new century.


title: Tintern Abbey

text: Meanwhile, other more focussed works aimed at the tourist were available by now. They included Charles Heath’s "Descriptive Accounts of Tintern Abbey", first published in 1793, which was sold at the Abbey itself and in nearby towns. This grew into an evolving project that ran through eleven editions until 1828 and, as well as keeping abreast of the latest travel information, was also a collection of historical and literary materials descriptive of the building. Later there appeared "Taylor's Illustrated Guide to the Banks of the Wye", published from Chepstow in 1854 and often reprinted. The work of local bookseller Robert Taylor, it was aimed at arriving tourists and also available eventually at the Abbey. Much the same information as in that work appeared later as the 8-page digest, "An Hour at Tintern Abbey" (1870, 1891), by John Taylor.


title: Tintern Abbey

text: Until the early 19th century, the local roads were rough and dangerous and the easiest access to the site was by boat. Samuel Taylor Coleridge, while trying to reach Tintern from Chepstow on a tour with friends in 1795, almost rode his horse over the edge of a quarry when they became lost in the dark. It was not until 1829 that the new Wye Valley turnpike was completed, cutting through the abbey precinct. In 1876 the Wye Valley Railway opened a station for Tintern. Although the line itself crossed the river before reaching the village, a branch was built from it to the wireworks, obstructing the view of the Abbey on the road approach from the north.


title: Tintern Abbey

text: In 1901, Tintern Abbey was bought by the Crown from the Duke of Beaufort for £15,000 and the site was acknowledged as a monument of national importance. Although there had been some repair work done in the ruins as a result of the 18th-century growth of tourism, it was not until now that archaeological investigation began and informed maintenance work was carried out on the Abbey. In 1914, responsibility for the ruins was passed to the Office of Works, who undertook major structural repairs and partial reconstructions (including removal of the ivy considered so romantic by the early tourists). In 1984, Cadw took over responsibility for the site, which was Grade I listed from 29 September 2000. The arch of the Abbey's watergate, which led from the Abbey to the River Wye, was Grade II listed from the same date.


title: Tintern Abbey

text: Evidence of the growth of interest in the Abbey and the visitors attracted to it is provided by the number of painters who arrived to record aspects of the site. The painters Francis Towne (1777), Thomas Gainsborough (1782), Thomas Girtin (1793), and J.M.W. Turner in the 1794–95 series now at the Tate and the British Museum, depicted details of the Abbey's stonework. So did Samuel Palmer (see Gallery) and Thomas Creswick in the 19th century, as well as amateurs such as the father and daughter named Ellis who made a watercolour study of the refectory windows in the second half of the century (see Gallery). About that period too, the former painter turned photographer, Roger Fenton, applied this new art not only to detailing a later stage in the decay of the building, but used the quality of light to emphasise it.


title: Tintern Abbey

text: Visiting artists also focused on the effects of light and atmospheric conditions. Charles Heath, in his 1806 guide to the abbey, had commented on the "inimitable" effect of the harvest moon shining through the main window. Other moonlit depictions of the abbey include John Warwick Smith’s earlier 1779 scene of the ruins from across the river and Peter van Lerberghe’s interior of 1812, with its tourist guides carrying burning torches, which shows the abbey interior lit both by these and by moonlight. Once the railway had arrived in the vicinity, steam excursions were organised in the 1880s to Tintern station so as to view the harvest moon through the rose window.


title: Tintern Abbey

text: Earlier in the century, the light effects made possible by transparencies (a forerunner of the modern photographic negative) had been deployed to underline such aspects of the picturesque. Among those described in the novel "Mansfield Park" (1814) as decorating its heroine’s sitting room, one was of Tintern Abbey. The function of the transparencies was to reproduce light effects, such as “fire light, moon light, and other glowing illusions”, created by painting areas of colour on the back of a commercial engraving and adding varnish to make specific areas translucent when suspended in front of a light source. Since the Abbey was one of the buildings recommended for viewing by moonlight, it is possible that this was the subject of the one in Fanny's room. In fact, a tinted print of the period such as those used for creating transparencies already existed in "Ibbetson's Picturesque Guide to Bath, Bristol &c", in which the full moon is featured as seen through an arch of the east wing.


title: Tintern Abbey

text: Different light effects appear in the work of other painters, such as the sunsets by Samuel Palmer and Benjamin Williams Leader, and the colour study by Turner in which the distant building appears as a "dark shape at the centre" beneath slanting sunlight (see Gallery).


title: Tintern Abbey

text: Prints of historical buildings along the Wye increased during the fourth quarter of the 18th century, with interior views and details of the Abbey's stonework among them. Two later sets of these were distinguished by including a selection of unattributed verses. First came four tinted prints that mixed both distant and interior views of the building, published by Frederick Calvert in 1815. The other was an anonymous set of views, with the same verses printed below. These were published by the London firm of Rock & Co. and later pasted on pages of an album in the King's Library.


title: Tintern Abbey

text: One set of verses hails the Abbey's survival, in despite of Henry VIII's dissolution, "Where thou in gothic grandeur reign’st alone". The phrase "gothic grandeur" derives from John Cunningham’s "An elegy on a pile of ruins”" (1761), an excerpt from which was published by Grose at the end of his description of Tintern Abbey. At that period the adjective was used as a synonym for "mediaeval" and was so applied by Grose when describing the Abbey as being "of that stile of architecture called gothic". Cunningham's poem was a melancholy contemplation of the ravages of time that spoke in general terms without naming a specific building. But the verses on the print are more positive in feeling; in celebrating the Abbey's historical persistence, they do not see ruin as necessarily a cause for regret. The scenes below which the verses appear are also quite different from each other. Calvert's view is across the river from the opposite bank of the Wye, while the Rock print is close up to the ruins with the river in the background.


title: Tintern Abbey

text: Tintern is not specifically named in the verses mentioned above, although it is in two other sets and their poetic form overall is consistent: paired quatrains with pentameter lines rhymed alternately. One set begins "Yes, sacred Tintern, since thy earliest age," and King Henry is again represented as being foiled in his intention, but this time by no "earthly king". The Abbey's roof is now "of Heaven’s all glorious blue" and its pillars "foliaged… in vivid hue". Here Calvert's interior view looks past the ivy-grown pillars to the south window. The Rock view that these lines accompany is of that same window, surrounded by ivy and viewed from the exterior. Another set of verses begins "Thee! venerable Tintern, thee I hail", and celebrates the Abbey's setting. An appeal to Classical standards of beauty is made by calling the Wye by its Latin name of Vaga and referring to the serenading nightingale as Philomel. Naturally the river features in both prints, but where Calvert's is the south-east view from the high ground behind the Abbey, with the Wye flowing past it to the right, the Rock view is from across the river, looking up to the high ground.


title: Tintern Abbey

text: The remaining print by Calvert is another view of the interior in which a small figure in the foreground points down to a heap of masonry there, while the Rock print corresponds to Calvert's view of the south window. The accompanying stanzas deal with the transient nature of fame. Beginning “Proud man! Stop here, survey yon fallen stone”, their emotional tone is a melancholy at odds with the buoyant message of the other verses. It is uncertain whether all eight stanzas were originally from the same poem on the subject of the Abbey and what the relationship was between poet and artist.


title: Tintern Abbey

text: J. M. W. Turner had been accompanying his work with poetical extracts from 1798, but it was not a widespread practice. However, the appearance of the title "A Series of Sonnets Written Expressly to Accompany Some Recently-Published Views of Tintern Abbey", dating from 1816, the year after the appearance of Calvert's portfolio, suggests another contemporary marriage between literary and artistic responses to the ruins. But while the main focus in Calvert's "Four Coloured Engravings" is the pictures, in a later hybrid work combining verse and illustration it is the text. Louisa Anne Meredith’s "Tintern Abbey in four sonnets" appeared in the 1835 volume of her "Poems", prefaced by the reproduction of the author's own sketch of the ivy-covered north transept. This supplements in particular the description in the third sonnet:


title: Tintern Abbey

text: A dedicatory letter at the start of Gilpin's "Observations on the river Wye" is addressed to the poet William Mason and mentions a similar tour made in 1771 by the poet Thomas Gray. Neither of those dedicated a poem to the Abbey, but the place was soon to appear in topographical works in verse. Among the earliest was the 1784 six-canto "Chepstow; or, A new guide to gentlemen and ladies whose curiosity leads them to visit Chepstow: Piercefield-walks, Tintern-abbey, and the beautiful romantic banks of the Wye, from Tintern to Chepstow by water" by the Rev. Edward Davies (1719–89). Furnished with many historical and topical discursions, the poem included a description of the method of iron-making in the passage devoted to Tintern, which was later to be included in two guide books, the most popular of which was successive editions of Charles Heath's. Then in 1825 it was followed by yet another long poem, annotated and in four books, by Edward Collins: "Tintern Abbey or the Beauties of Piercefield" (Chepstow, 1825).


title: Tintern Abbey

text: The Abbey also featured in poems arising from the Wye tour, such as the already mentioned account of his voyage by Rev. Sneyd Davies, in which the ruins are briefly reflected on at its end. It is that element of personal response that largely distinguishes such poems from verse documentaries of the sort written by Edward Davies and Edward Collins. For example, the gap between the ideal and the actual is what Thomas Warwick noted, looking upstream to the ruins of Tintern Abbey and downstream to those of Chepstow Castle, in a sonnet written at nearby Piercefield House. Edward Jerningham's short lyric, "Tintern Abbey", written in 1796, commented on the lamentable lesson of the past, appealing to Gilpin's observations as his point of reference. Fosbroke's later adaptation of that work is likewise recommended as a supplement to Arthur St John's more voluminous description in the account of his own tour along the river in 1819, "The Weft of the Wye".


title: Tintern Abbey

text: Contemplation of the past reminded the Rev. Luke Booker of his personal mortality in an "Original sonnet composed on leaving Tintern Abbey and proceeding with a party of friends down the River Wye to Chepstow"; inspired by his journey, he hopes to sail as peacefully at death to the "eternal Ocean". And Edmund Gardner (1752?–1798), with his own death imminent, similarly concluded in his "Sonnet Written in Tintern Abbey", that "Man’s but a temple of a shorter date". William Wordsworth’s different reflections followed a tour on foot that he made along the river in 1798, although he does not actually mention the ruins in his "Lines written a few miles above Tintern Abbey". Instead, he recalls an earlier visit five years before and comments on the beneficial internalisation of that memory. Later Robert Bloomfield made his own tour of the area with friends, recording the experience in a journal and in his long poem, "The Banks of the Wye" (1811). However, since the timetable of the boat-trip downstream was constrained by the necessity of the tide, the Abbey was only given brief attention as one of many items on the way.


title: Tintern Abbey

text: Aspects of the building's past were treated at much greater length in two more poems. George Richards' ode, "Tintern Abbey; or the Wandering Minstrel", was probably written near the end of the 18th century. It opens with a description of the site as it used to be, seen from outside; then a minstrel arrives, celebrating the holy building in his song as a place of loving nurture, of grace and healing. The other work, "The Legend of Tintern Abbey", is claimed as having been "written on the Banks of the Wye" by Edwin Paxton Hood, who quotes it in his historical work, "Old England". An 11-stanza poem in rolling anapaestic metre, it relates how Walter de Clare had murdered his wife and built the Abbey in penitence. Closing on an evocation of the ruins by moonlight, the work was later reprinted in successive editions of "Taylor's Illustrated Guide" over the following decades.


title: Tintern Abbey

text: Louisa Anne Meredith used the occasion of her visit to reimagine the past in a series of linked sonnets that allowed her to pass backwards from the present-day remains, beautified by the mantling vegetation, to bygone scenes, "Calling them back to life from darkness and decay". For Henrietta F. Vallé, "Seeing a lily of the valley blooming among the ruins of Tintern" was sufficient to mediate the pious sentiments of a former devotee there. As she noted, "it must ever awaken mental reflection to see beauty blossoming among decay".


title: Tintern Abbey

text: But the religious strife of the following decades forbade such a sympathetic response and made a new battleground of the ruins. "Tintern Abbey: a Poem" (1854) was, according to its author, Frederick Bolingbroke Ribbans (1800–1883), "occasioned by a smart retort given to certain Romish priests who expressed the hope of soon recovering their ecclesiastical tenure of it". He prefers to see the building in its present decay than return to the time of its flourishing, "when thou wast with falsehood fill’d". Martin Tupper too, in his sonnet "Tintern Abbey" (1858), exhorts his readers to "Look on these ruins in a spirit of praise", insofar as they represent "Emancipation for the Soul" from superstition.


title: Tintern Abbey

text: Only a few years earlier, in his 1840 sonnet on the Abbey, Richard Monckton Milnes had deplored the religious philistinism which had "wreckt this noble argosy of faith". He concluded, as had Louisa Anne Meredith's sonnets and the verses accompanying Calvert's prints, that the ruin's natural beautification signified divine intervention, "Masking with good that ill which cannot be undone". In the wake of the Protestant backlash since then, Hardwicke Drummond Rawnsley was constrained to allow, in the three sonnets he devoted to the Abbey, that after "Men cramped the truth" the building's subsequent ruin had followed as a judgment. However, its renewed, melodic blossoming now stands as a reproach to Tupper's brand of pietism too: "Man, fretful with the Bible on his knee,/ Has need of such sweet musicker as thee!"


title: Tintern Abbey

text: In the 20th century two American poets returned to Wordsworth's evocation of the landscape as the launching pad for their personal visions. John Gould Fletcher’s "Elegy on Tintern Abbey" answered the Romantic poet's optimism with a denunciation of subsequent industrialisation and its ultimate outcome in the social and material destructiveness of World War I. Following a visit some thirty years later, Allen Ginsberg took lysergic acid near there on 29 July 1967 and afterwards wrote his poem "Wales Visitation" as a result. By way of "the silent thought of Wordsworth in eld Stillness" he beholds "clouds passing through skeleton arches of Tintern Abbey" and from that focus goes on to experience oneness with valleyed Wales.


title: Tintern Abbey

text: In 1816, the abbey was made the backdrop to Sophia Ziegenhirt's three-volume novel of Gothic horror, "The Orphan of Tintern Abbey", which begins with a description of the Abbey as seen on a sailing tour down the Wye from Ross to Chepstow. Her work was dismissed by "The Monthly Review" as "of the most ordinary class, in which the construction of the sentences and that of the story are equally confused".


title: Tintern Abbey

text: During the 20th century the genre switched to supernatural fiction. "The Troubled Spirit of Tintern Abbey" was a story privately printed in 1910 under the initials 'E. B', which was later included in "Lord Halifax’s Ghost Book" (1936). There an Anglican cleric and his wife are on a cycling tour in the Wye valley and are contacted by a ghost from Purgatory who persuades them to have masses said for his soul. The tale was followed in 1984 by Henry Gardner's novella, "The Ghost of Tintern Abbey" 1984.


title: Tintern Abbey

text: The more recent novel, Gordon Master's "The Secrets of Tintern Abbey" (2008), covers the building's mediaeval history as the author dramatises the turbulent 400 years of the Cistercian community up to the monastery's dissolution.


title: Goblet cell

text: Goblet cells are simple columnar epithelial cells that secrete gel-forming mucins, like mucin 5AC. The goblet cells mainly use the merocrine method of secretion, secreting vesicles into a duct, but may use apocrine methods, budding off their secretions, when under stress. The term "goblet" refers to the cell's goblet-like shape. The apical portion is shaped like a cup, as it is distended by abundant mucus laden granules; its basal portion lacks these granules and is shaped like a stem.


title: Goblet cell

text: The goblet cell is highly polarized with the nucleus and other organelles concentrated at the base of the cell and secretory granules containing mucin, at the apical surface. The apical plasma membrane projects short microvilli to give an increased surface area for secretion.


title: Goblet cell

text: Goblet cells are typically found in the respiratory, reproductive and gastrointestinal tracts and are surrounded by other columnar cells. Biased differentiation of airway basal cells in the respiratory epithelium, into goblet cells plays a key role in the excessive mucus production, known as mucus hypersecretion seen in many respiratory diseases, including chronic bronchitis, and asthma.


title: Goblet cell

text: Goblet cells are found scattered among the epithelial lining of organs, such as the intestinal and respiratory tracts. They are found inside the trachea, bronchi, and larger bronchioles in the respiratory tract, small intestines, the large intestine, and conjunctiva in the upper eyelid. In the conjunctiva goblet cells are a source of mucin in tears and they also secrete different types of mucins onto the ocular surface. In the lacrimal glands, mucus is synthesized by acinar cells instead.


title: Goblet cell

text: Goblet cells are simple columnar epithelial cells, having a height of four times that of their width. The cytoplasm of goblet cells tends to be displaced toward the basal end of the cell body by the large mucin granules, which accumulate near the apical surface of the cell along the Golgi apparatus, which lies between the granules and the nucleus. This gives the basal part of the cell a basophilic staining because of nucleic acids within the nucleus and rough endoplasmic reticulum staining with hematoxylin. Mucin within the granules stains pale in routine histology sections, primarily because these carbohydrate-rich proteins are washed out in the preparation of microscopy samples. However, they stain easily with the PAS staining method, which colours them magenta.


title: Goblet cell

text: In mucicarmine stains, deep red mucin is found within goblet cell bodies. Goblet cells can be seen in the examples below as the larger, more pale cells.


title: Goblet cell

text: The main role of goblet cells is to secrete mucus in order to protect the mucous membranes where they are found. Goblet cells accomplish this by secreting mucins, large glycoproteins formed mostly by carbohydrates. The gel-like properties of mucins are given by its glycans (bound carbohydrates) attracting relatively large quantities of water. On the inner surface of the human intestine, it forms a 200 µm thick layer (less in other animals) that lubricates and protects the wall of the organ.


title: Goblet cell

text: Distinct forms of mucin are produced in different organs: while MUC2 is prevalent in the intestine, MUC5AC and MUC5B are the main forms found in the human airway. In the airway, mucus is swept by the cilia of the respiratory epithelium, in a process called mucociliary clearance, and propelled out of the lungs and into the pharynx, which results in the removal of debris and pathogens from the airway. MUC5AC is overexpressed in allergic lung inflammation.


title: Goblet cell

text: Mucins are continuously made and secreted by goblet cells in order to repair and replace the existing mucus layer. Mucins are stored in granules inside the goblet cells before being released to the lumen of the organ. Mucin secretion in the airway may occur via regulated secretion. Secretion may be stimulated by irritants such as dust and smoke, especially in the airway. Other stimuli are microbes such as viruses and bacteria.


title: Goblet cell

text: Anomalies in the number of goblet cells are associated with changes in the secretion of mucins, which can result in many of the abnormalities seen in asthma patients, such as clogged airways due to mucus hypersecretion, and eventual loss of lung function. Overexpression of MUC5AC alone does not result in the pathophysiology seen in asthma patients; it is the excessive production along with the speed of secretion that leads to the formation of thick mucus that cannot be removed by cilia or coughing action. This, in addition to airway narrowing leads to the clogging of the airways, which can be detrimental to health if not treated.


title: Goblet cell

text: There are other cells that secrete mucus (such as the foveolar cells of the stomach) but these are distinguished histologically from goblet cells.


title: Goblet cell

text: Oral tolerance is the process by which the immune system is prevented from responding to antigen derived from food products, as peptides from food may pass into the bloodstream via the gut, which would in theory lead to an immune response. A paper published in "Nature" in 2012 has shed some light on the process and implicated goblet cells as having a role in the process. It was known that CD103-expressing dendritic cells of the lamina propria had a role to play in the induction of oral tolerance (potentially by inducing the differentiation of regulatory T cells), and this paper suggests that the goblet cells act to preferentially deliver antigen to these CD103 dendritic cells.


title: Goblet cell

text: The excessive mucus production seen in allergic asthma patients is due to goblet cell metaplasia, the differentiation of airway epithelial cells into mucin producing goblet cells. These cells produce the thick mucins MUC5AC and MUC5B, which clog the airway, leading to the airflow obstruction characteristic of asthma.


title: Goblet cell

text: Goblet cell metaplasia in allergic asthma is due to the action of the cytokine IL-13. IL-13 binds to the IL-4Rα receptor and initiates a STAT6 signalling response. Binding of IL-13 causes phosphorylation of tyrosine residues at the IL-4Rα. This results in docking of STAT6 monomers, which themselves are phosphorylated and then subsequently leave the receptor and congregate form STAT6 homodimers in the cytoplasm. These homodimers then enter the nucleus, where they bind to regulatory elements in the DNA, which affects the transcription of certain genes involved in mucus production.


title: Goblet cell

text: Induction of STAT6 signaling by IL-13 leads to increased of expression of 15-lipoxygenase (15-LO-1), which is an enzyme involved in the breakdown of unsaturated fatty acids. 15-lipoxygenase acts by binding to phospholipids and yields hydroperoxy and epoxy metabolites. One such metabolite, 15-hydroxyeicosatetranoic acid (15-HETE), is released intracellularly, where it conjugates to phosphatidylethanolamine, a phospholipid component. 15-HETE-PE induces expression of the mucin MUC5AC.


title: Goblet cell

text: Goblet cell carcinoids are a class of rare tumors that form as a result of an excessive proliferation of both goblet and neuroendocrine cells. The majority of these tumors arise in the appendix and may present symptoms similar to the much more common acute appendicitis. The main treatment for localized goblet cells tumors is removal of the appendix, and sometimes removal of the right hemicolon is also performed. Disseminated tumors may require treatment with chemotherapy in addition to surgery.


title: Goblet cell

text: Barrett's esophagus is a metaplasia of the esophagus into intestinal epithelium, characterized by the presence of goblet cells.


title: Goblet cell

text: Studies of mice given monoclonal antibodies for IL-13 results in decreased expression of goblet cells in asthma patients. Some treatments that use anti-IL-13 monoclonal antibodies include tralokinumab, and lebrikizumab. These treatments have shown improvements in asthma patients, yet there are still limitations to the use of anti-IL-13 monoclonal antibodies. Dupilumab is a newer drug that targets the shared receptor of IL-4 and IL-13, IL4Rα. Since IL-4 and IL-13 have interrelated biological activities, Dupilumab is a more effective form of treatment as it targets both interleukins.


title: Goblet cell

text: The cells were first noted by Henle in 1837 when studying the lining of the small intestine, seen to be mucus producing by Leydig in 1857 (who was examining the epidermis of fish), and were given their name by Schulze in 1867, Schulze chose the descriptive name "goblet" because of the shape of the cell, rather than a functional name, as he remained uncertain as to the mucous-producing function of the cell.


title: Goblet cell

text: Nowadays these cells are used in the laboratories to evaluate the intestinal absorption of drug targets with different kits, such as the CacoGoblet.


title: 19th Congress of the Philippines

text: The 19th Congress of the Philippines (), composed of the Philippine Senate and House of Representatives, convened on July 25, 2022. The 19th Congress is meeting during the first three years of Bongbong Marcos's presidency, and will end on June 4, 2025. The convening of the 19th Congress followed the 2022 general elections, which replaced half of the Senate membership and the entire membership of the House of Representatives.


title: 19th Congress of the Philippines

text: The House of Representatives continues to meet in the Batasang Pambansa Complex. The Senate currently meets in the GSIS Building, with a scheduled move in 2024 to its new building in Navy Village, Taguig. The 19th Congress is also the first since the 10th Congress that no senator is from the Liberal Party.


title: 19th Congress of the Philippines

text: Terms of members of the House of Representatives started on June 30, 2022, took office on July 25, and will end on June 30, 2025, unless stated otherwise.


title: Zuni people

text: The Zuni (; formerly spelled "Zuñi") are Native American Pueblo peoples native to the Zuni River valley. The Zuni are a Federally recognized tribe and most live in the Pueblo of Zuni on the Zuni River, a tributary of the Little Colorado River, in western New Mexico, United States. The Pueblo of Zuni is south of Gallup, New Mexico. The Zuni tribe lived in multi level adobe houses. In addition to the reservation, the tribe owns trust lands in Catron County, New Mexico, and Apache County, Arizona. The Zuni call their homeland "Halona Idiwan’a "or Middle Place. The word "Zuni" is believed to derive from the Western Keres language (Acoma) word "sɨ̂‧ni", or a cognate thereof.


title: Zuni people

text: Archaeology suggests that the Zuni have been farmers in their present location for 3,000 to 4,000 years. It is now thought that the Ancestral Zuni people have inhabited the Zuni River valley since the last millennium B.C., when they began using irrigation to farm maize on at least household-sized plots.


title: Zuni people

text: Zuni culture was preceded by Mogollon and Ancestral Pueblo peoples cultures, who lived in the deserts of New Mexico, Arizona, Utah, and southern Colorado for over two millennia. White Mound was one such settlement of pit houses, farming, and storerooms, built around 700 A.D., followed by the village of Kiatuthlanna around 800 A.D., and Allantown around 1000 A.D. These Mogollon villages included kivas. Likewise, Zuni ancestors were in contact with the Ancestral Puebloans at Chaco Canyon around 1100. The Zuni settlement called Village of the Great Kivas, was built around 1100, and included nine kivas. The Zuni region, however, was probably only sparsely populated by small agricultural settlements until the 12th century when the population and the size of the settlements began to increase. The large villages of Heshot Ula, Betatakin, and Kiet Siel were established by 1275. By the 13th century villages were built on top of mesas, including Atsinna on Inscription Rock. In the 14th century, the Zuni inhabited a dozen pueblos containing between 180 and 1,400 rooms, while the Anasazi abandoned larger settlements for smaller ones, or established new ones along the Rio Grande. The Zuni did move from the eastern portion of their territory to the western side, and built six new villages, Halona, Hawikuh, Kiakima, Matsaki, Kwakina, and Kechipaun. Halona was located 97 km north Zuni Salt Lake, and the Zuni traded in salt, corn and turquoise. Hawikuh was claimed by Niza to be one of the Seven Cities of Cibola, a legendary 16th century wealthy empire.


title: Zuni people

text: In 1539, Moorish slave Estevanico led an advance party of Fray Marcos de Niza's Spanish expedition. Sponsored by Antonio de Mendoza who wanted Niza to "explain to the natives of the land that there is only one God in heaven, and the Emperor on earth to rule and govern it, whose subjects they all must become and whom they must serve." The Zuni reportedly killed Estevanico as a spy, or for being "greedy, voracious and bold". This was Spain's first contact with any of the Pueblo peoples. Francisco Vásquez de Coronado expedition followed in the wake of Niza's Seven Cities of Cibola claim. Sponsored once again by Mendoza, Coronado led 230 soldiers on horseback, 70 foot soldiers, several Franciscan priests and Mexican natives. The Spanish met 600 Zuni warriors near Hawikuh in July 1540, inflicting several casualties, and capturing the village. Coronado continued to the Rio Grande, but several priests and soldiers stayed an additional 2 years. The Chamuscado and Rodríguez Expedition followed in 1581, and Antonio de Espejo in 1583. Juan de Oñate visited Zuni territory in 1598 and 1604 looking for copper mines, but without success. Francisco Manuel de Silva Nieto established a mission at Hawikuh in 1629 with 2 Franciscan priests. They completed a church compound in 1632, and established a second mission in Halona. Shortly afterwards, the Zuni destroyed the missions, killing two priests, and then retreated to Dowa Yalanne, where they remained for the next three years. The Spanish built another mission in Halona in 1643.


title: Zuni people

text: Before the Pueblo Revolt of 1680, the Zuni lived in six villages. After the revolt, until 1692, they took refuge in a defensible position atop "Dowa Yalanne", a steep mesa 5 km (3.1 miles) southeast of the present Pueblo of Zuni; "Dowa" means "corn", and "yalanne" means "mountain". After the establishment of peace and the return of the Spanish, the Zuni relocated to their present location, returning to the mesa top only briefly in 1703. By the end of the 17th century, only Halona was still inhabited of the original six villages. Yet, satellite villages were settled around Halona, and included Nutria, Ojo Caliente, and Pescado.


title: Zuni people

text: Of the three Zuni missions, only the church at Halona was rebuilt after the reconquest. According to Nancy Bonvillain, "Indeed, by the late eighteenth century, Spanish authorities had given up hope of dominating the Zuni and other western Pueblo Indians, and in 1799 only seven Spanish people were recorded as living among the Zuni.". In 1821, the Franciscans ended their missionary efforts.


title: Zuni people

text: In 1848, U.S. Army Lt. Col. Henderson P. Boyakin signed a treaty with Zuni and Navajo leaders stating the Zuni "shall be protected in the full management of all their rights of Private Property and Religion...[by] the authorities, civil and military, of New Mexico and the United States." Observing the Zuni in the 1850s, Balduin Möllhausen noted "In all directions, fields of wheat and maize, as well as gourds and melons, bore testimony to their industry."


title: Zuni people

text: The Zuni Reservation was created by the United States federal government in 1877, and enlarged by a second Executive order in 1883.


title: Zuni people

text: Frank Hamilton Cushing, an anthropologist associated with the Smithsonian Institution, lived with the Zuni from 1879 to 1884. He was one of the first non-native participant-observers and ethnologists at Zuni. In 1979, it was reported that some members of the Pueblo consider he had wrongfully documented the Zuni way of life, exploiting them by photographing and revealing sacred traditions and ceremonies.


title: Zuni people

text: During the early 2000s, the Zuni opposed the development of a coal mine near the Zuni Salt Lake, a site sacred to the Zuni and under Zuni control. The mine would have extracted water from the aquifer below the lake and would also have involved construction between the lake and the Zuni. The plan was abandoned in 2003 after several lawsuits.


title: Zuni people

text: The Zuni traditionally speak the Zuni language, a language isolate that has no known relationship to any other Native American language. Linguists believe that the Zuni have maintained the integrity of their language for 6,000-to-7,000 years. The Zuni do, however, share a number of words from Keresan, Hopi, and Pima pertaining to religion. The Zuni continue to practice their traditional religion with its regular ceremonies and dances, and an independent and unique belief system.


title: Zuni people

text: The Zuni were and are a traditional people who live by irrigated agriculture and raising livestock. Gradually the Zuni farmed less and turned to sheep and cattle herding as a means of economic development. Their success as a desert agri-economy is due to careful management and conservation of resources, as well as a complex system of community support. Many contemporary Zuni also rely on the sale of traditional arts and crafts. Some Zuni still live in the old-style Pueblos, while others live in modern houses. Their location is relatively isolated, but they welcome respectful tourists.


title: Zuni people

text: The Zuni Tribal Fair and rodeo is held the third weekend in August. The Zuni also participate in the Gallup Inter-Tribal Ceremonial, usually held in early or mid-August. The is a tribal museum that showcases Zuni history, culture, and arts.


title: Zuni people

text: The Zuni utilize many local plants in their culture. For an extensive list, see the main article, "Zuni ethnobotany". Zuni have developed knowledge of local plants that are used for medical practices and religious rites.


title: Zuni people

text: Traditionally, Zuni women made pottery for storing food and water. They used symbols of their clans for designs. Clay for the pottery is sourced locally. Prior to its extraction, the women give thanks to the Earth Mother ("Awidelin Tsitda") according to ritual. The clay is ground, sifted, mixed with water, rolled into a coil, shaped into a vessel or other design, and scraped smooth with a scraper. A thin layer of finer clay, called slip, is applied to the surface for extra smoothness and color. The vessel is polished with a stone after it dries. It is painted with home-made organic dyes, using a traditional yucca brush. The shape and painted images depend on the intended purpose of the pottery. To fire the pottery, the Zuni used animal dung in traditional kilns. Today, Zuni potters might use electric kilns. While the firing was usually a community enterprise, silence or communication in low voices was considered essential in order to maintain the original "voice" of the "being" of the clay, and the purpose of the end product. Sales of pottery and traditional arts provide a major source of income for many Zuni people today. An artisan may be the sole financial support for her immediate family as well as others. Many women make pottery or, more rarely, clothing or baskets. Brown, black and red ornamentation can be found on traditional Zuni pots that are first covered with white slip. Common motifs are spiral scrolls edged with triangles, deer, as well as frogs, dragonflies and other symbols associated with rain and water. In addition to pots, Zuni produce owl figurines that are covered with white slip and painted with black and red motifs before firing.


title: Zuni people

text: Zuni also make fetishes and necklaces for the purpose of rituals and trade, and more recently for sale to collectors.


title: Zuni people

text: The Zuni are known for their fine lapidary work. Zuni jewelers set hand-cut turquoise and other stones in silver. Today jewelry-making thrives as an art form among the Zuni. Many Zuni have become master stone-cutters. Techniques used include mosaic and channel inlay to create intricate designs and unique patterns.


title: Zuni people

text: Two specialties of Zuni jewelers are needlepoint and petit point. In making needlepoint, small, slightly oval-shaped stones with pointed ends are set in silver bezels, close to one another and side by side to create a pattern. The technique is normally used with turquoise, sometimes with coral and occasionally with other stones in creating necklaces, bracelets, earrings and rings. Petit point is made in the same fashion as needlepoint, except that one end of each stone is pointed, and the other end is rounded.


title: Zuni people

text: Religion is central to Zuni life. Their traditional religious beliefs are centered on the three most powerful of their deities: Earth Mother, Sun Father, and Moonlight-Giving Mother. The religion is katsina-based, and ceremonies occur during winter solstice, summer, harvest, and again in winter.


title: Zuni people

text: Priesthood includes three priests (north, above and below), and Pekwin (the above priest) determines the religious calendar. A religious society is associated with each of the six kivas, and each boy is initiated into one of these societies.


title: Zuni people

text: Shalako is a series of ceremonial dances that take place throughout the night on or around the winter solstice. They are closed to non-native individuals unless there is a personal invitation by a tribal member. The ceremony also blesses the houses that were built during the year. The blessing takes the form of singing that accompanies six dancers who are dressed in Shalako outfits. These outfits can be as high as eight feet; the dancers wearing them represent "couriers of the rain deities come to bless new homes". The dancers move from house to house throughout the night; at dawn Saiyatasha performs a final prayer and the ceremony is complete.


title: Zuni people

text: In the novel "Brave New World", a Zuni native named John comes to grip with sexual realities in the New State and how they differ from his own culture.


title: Big Willie Style

text: Big Willie Style is the debut solo album by American rapper and actor Will Smith. It was released on November 25, 1997, by Columbia Records. The album was primarily produced by Poke & Tone, with other contributors including L.E.S. and Smith's former collaborator DJ Jazzy Jeff. The album was the first to be released by Smith since 1993's "Code Red", the last by the duo DJ Jazzy Jeff & the Fresh Prince. Five singles were released, including Smith's first US "Billboard" Hot 100 number one, "Gettin' Jiggy wit It".


title: Big Willie Style

text: After releasing five albums with DJ Jazzy Jeff, Smith turned his focus to acting and appeared in such films as "Bad Boys" and "Independence Day" before returning to the studio in 1996. The following year he starred in "Men in Black", for which he recorded the song of the same name and topped the singles charts in several countries. "Big Willie Style" was released later in the year, reaching the top ten of the US "Billboard" 200, the UK Albums Chart and several other international charts.


title: Big Willie Style

text: Recording for "Big Willie Style" took place mainly in New York City with producers Poke & Tone and L.E.S. – four tracks each were recorded at The Hit Factory ("Y'all Know", "Chasing Forever", "Miami" and "Just Cruisin'") and Right Track Studios ("Gettin' Jiggy wit It", "Candy", "Yes Yes Y'all" and "Big Willie Style"). Three tracks ("Don't Say Nothin'", "I Loved You" and "It's All Good") were recorded at DJ Jazzy Jeff's A Touch of Jazz Studios in Smith's hometown of Philadelphia, Pennsylvania, and "Just the Two of Us" was recorded at Pacifique Recording Studios in Los Angeles, California with producer Curtis "Sauce" Wilson. Other contributing producers were Keith Pelzer, Ryan Toby (both on "Don't Say Nothin'" and "I Love You"), Andreao Heard ("Y'all Know") and Valvin Roane ("I Loved You").


title: Big Willie Style

text: The songs on the album are broken up by a number of interludes featuring exchanges between Smith and the fictional character Keith B-Real, a "hilarious" magazine editor and motivational-tape artist. B-Real is voiced by actor Jamie Foxx. All four of the "Keith B-Real" skits (including "Intro") were recorded by Jean-Claude Olivier – Poke of Poke & Tone – at The Hacienda in Los Angeles, California, and were co-produced by Smith.


title: Big Willie Style

text: As with Smith's previous releases with DJ Jazzy Jeff, "Big Willie Style" showcases a radio-friendly pop-rap sound with non-explicit lyrics. Speaking about the lyrics on "Big Willie Style", Jamie Hunter of "Rolling Stone" identified themes including multiculturalism and monogamy, commenting that Smith tells "the larger story of rap values tweaking the American dream, of how he's come to terms with the conflict between the neighborhood and the global cineplex". The musical production on "Big Willie Style" is focused largely around samples of disco and soul music acts from the 1980s. Artists sampled include Sister Sledge ("He's the Greatest Dancer" on "Gettin' Jiggy wit It"), Stevie Wonder ("Ribbon in the Sky" on "Chasing Forever") and The Whispers ("And the Beat Goes On" on "Miami").


title: Big Willie Style

text: The release of "Big Willie Style" was preceded by the release of the single "Men in Black" on June 3, 1997, originally released on "". The title track to the film of the same name was a commercial success, topping singles charts in Australia, Belgium, France, Germany, New Zealand, Switzerland and the United Kingdom, where it remained atop the chart for four weeks. "Just Cruisin'" was released as the album's second single on November 25, 1997, charting at number 23 on the UK Singles Chart. On January 26, 1998, "Gettin' Jiggy wit It" was released as the third single from the album to great commercial success – it became the first single by Smith to top the US "Billboard" Hot 100 singles chart, and also reached the top ten in numerous other regions. "Just the Two of Us" and "Miami" were released as the final two singles from the album in July and November 1998, respectively, and both enjoyed mild commercial success in the US by reaching the top 20 of the "Billboard" Hot 100; the singles were more successful in the UK, however, where they reached number two and number three on the UK Singles Chart, respectively.


title: Big Willie Style

text: "Big Willie Style" was a commercial success. Reaching a peak position of number eight on the US "Billboard" 200 chart, it remained on the chart for a total of 99 weeks. On the UK Albums Chart, the record entered at number 63 in December 1997, remaining in the top 100 for 29 weeks; in July the following year the album returned to the top 100, and by January 1999 it had reached its peak position of number nine. In total, the album spent 87 weeks in the UK top 100, during three separate periods. Other regions in which the album peaked in the top ten include France (#5), Norway (#8) and the Netherlands (#9). In 1999, "Billboard" reported that "Big Willie Style" had been the 39th best-selling pop album of the period between 1990 and 1999.


title: Big Willie Style

text: By July 2000, "Big Willie Style" had been certified nine times platinum by the Recording Industry Association of America, indicating nine million shipped units in United States. According to Nielsen, US sales stand at six million sold copies, as of 2013. The album is also certified gold by the Australian Recording Industry Association, indicating Australian sales of over 35,000 units, double platinum by the British Phonographic Industry, indicating sales in the UK of over 600,000 units, and six times platinum by Music Canada, indicating Canadian sales of over 600,000 units.


title: Big Willie Style

text: Media response to "Big Willie Style" was mixed. Stephen Thomas Erlewine of website AllMusic awarded the album four out of five stars, praising Smith's "trademark ... friendly, humorous pop-rap" style, which he pointed out had been modernised since his releases with DJ Jazzy Jeff. In particular, Erlewine highlighted the songs "Gettin' Jiggy wit It", "Candy", "I Loved You" and "Men in Black" as "among his best" songs. "Rolling Stone" writer James Hunter was similarly positive, describing the album as "wickedly well-conceived", praising the album's "delicious party jams" and noting "Gettin' Jiggy wit It" and "Yes Yes Y'All" as particular highlights. He concludes by praising the lyrical themes of the album, dubbing "Big Willie Style" "an exceptional megacelebrity album".


title: Big Willie Style

text: "Entertainment Weekly" writer Jim Farber, however, slated the album, describing it as being full of "nonstop pop-rap clichés" and claiming that "The musical world suffered no great loss when Will Smith ditched rapping for acting". "Village Voice" critic Robert Christgau categorised the singles "Gettin' Jiggy wit It", "Just the Two of Us" and "Miami" as "good [songs] on an album that isn't worth your time or money". "NME" writer Andy Crysell also gave the album a negative review, calling Will Smith "the Cliff Richard of rap", as well as saying that the album was "explicitly awful" with "nary a redeeming feature on show".


title: Big Willie Style

text: "Big Willie Style" earned Smith recognition at a number of music industry awards ceremonies. At the 1997 MTV Video Music Awards, the music video for "Men in Black" won the award for Best Video from a Film, and received nominations for Best Male Video, Best Choreography and Best Special Effects. Smith won again at the 1998 MTV Video Music Awards, receiving awards for Best Male Video and Best Rap Video for "Just the Two of Us" and "Gettin' Jiggy wit It", respectively, as well as nominations for Video of the Year, Best Dance Video, Best Choreography and Viewer's Choice, all for "Gettin' Jiggy wit It". "Miami" won the award for Best Male Video and received nominations for Best Special Effects and Best Cinematography at the 1999 MTV Video Music Awards.


title: Big Willie Style

text: Smith won his third and fourth Grammy Awards for his work on "Big Willie Style" – "Men in Black" won the Grammy Award for Best Rap Solo Performance at the 40th Grammy Awards in February 1998, and Smith retained the award the following year at the 41st Grammy Awards, when he won for "Gettin' Jiggy wit It". At the 26th American Music Awards in January 1999, he was nominated in the categories of Favorite Pop/Rock Male Artist (which he lost to Eric Clapton) and Favorite Soul/R&B Male Artist (which he won), while the album was nominated for Favorite Pop/Rock Album and Favorite Soul/R&B Album, both of which it won. Also in 1999, Smith received three NAACP Image Awards – Entertainer of the Year, Outstanding Music Video (for "Just the Two of Us") and Outstanding Rap Artist, and was named Favorite Singer at the 1999 Kids' Choice Awards.


title: Big Willie Style

text: In 2000, music television network VH1 compiled their 100 Greatest Dance Songs list, including Smith's "Big Willie Style" single "Gettin' Jiggy wit It" at number 100.


title: Steve Downes

text: Steven Downes (born June 28, 1950) is an American DJ and voice actor. He is best known for his work as the voice of the Master Chief in the "Halo" video game series. He worked as a disc jockey at Los Angeles, California Album-oriented Rock radio stations KWST (1978-1981), KEZY-AM (1981-1982) and KLSX (1994), but is best remembered working evening drive at KLOS from 1982 to 1991. He frequently hosted the live call-in talk show, Rockline in the early 1990s. Most recently, he worked as the morning show host for 97.1 WDRV "The Drive" in Chicago, Illinois. Downes also hosts the nationally syndicated radio show "The Classics". He is married to fellow voice actress Liz Zweifler.


title: Steve Downes

text: On February 6, 2015, Downes announced that after 44 years in radio he would retire to spend more time with his family; his final show on WDRV was March 9, 2015. He was succeeded by veteran sports/talk radio hosts Dan McNeil and Pete McMurray.


title: Steve Downes

text: Downes started in commercial voice since 1990. He has provided voices for several video games. His first experience in voice acting for video games came in 1999 when he played the role of Gunnar in the video game "Septerra Core: Legacy of the Creator" by Valkyrie Studios. Despite the relatively minor role, his performance caught the attention of the voice acting director and music composer of the game, Martin O'Donnell. When O'Donnell began working on the video game "" at Bungie, he invited Downes to voice the game's main protagonist, Master Chief, a role he has voiced ever since.


title: Persebaya Surabaya

text: Persatuan Sepakbola Surabaya ( 'Football Association of Surabaya'), commonly known as Persebaya Surabaya or simply Persebaya, is an Indonesian professional football club based in Surabaya, East Java. It currently plays in the Liga 1, the top flight of Indonesian football. It is regarded as one of the most iconic and successful teams in the country, winning numerous Indonesian League titles and tournaments.


title: Persebaya Surabaya

text: The club was founded on June 18, 1927 under the name Soerabhaisasche Indonesische Voetbal Bond (SIVB). The founders, Paijo and M. Pamoedji, established the club with the intent of housing Indonesian players.


title: Persebaya Surabaya

text: Previously, in 1910, stood Sorabaiasche Voetbal Bond (SVB), but, this club was established to be a representation of the Dutch community living in Surabaya. This club also had close ties with the Dutch East Indies government.


title: Persebaya Surabaya

text: Both of them clearly have different policies. SIVB, which consists of Indonesians, was actively involved in the Indonesian independence movement.


title: Persebaya Surabaya

text: Together with VIJ Jakarta (now Persija), BIVB Bandung (now Persib), MIVB Magelang (now PPSM), MVB Madiun (now PSM), VVB Solo (now Persis), and PSIM, SIVB initiated the formation of the Football Association of Indonesia (PSSI) on April 19, 1930 in Yogyakarta.


title: Persebaya Surabaya

text: PSSI then held Perserikatan, a memberial national football competition, but, the competition was halted in 1943 after the Japanese occupied Indonesia and limited the movement of sports activities and organizations. In 1943, SIVB also changed its name to Persibaya.


title: Persebaya Surabaya

text: Persibaya's sister club, SVB, went on to compete in a competition held by the Nederlandsch Indische Voetbal Bond (NIVB)/Dutch East Indies Football Association. NIVB (later renamed the Netherlands Indische Voetball Unie) did this because the colonial government thought NIVB was no longer able to match the PSSI.


title: Persebaya Surabaya

text: After Indonesia's independence, the map of football also changed. PSSI is not necessarily the only football federation in the country at the time, after Sukarno plotted Indonesian independence.


title: Persebaya Surabaya

text: During the United Republic of Indonesia (RIS) period, NIVU was still operating. They held the Indonesia State Football Association / Voetbal Union Verenigde Staten van Indonesie competition (ISNIS / VUVSI). The participants were clubs that existed during the Dutch East Indies administration, including VBO Jakarta (VIJ Jakarta / now Persija), VBBO Bandung (now Persib), VSO Semarang (now PSIS) and SVB (Persibaya).


title: Persebaya Surabaya

text: SVB won the competition two times in a row in 1949 and 1950. SVB was one of the strong teams in the ISNIS competition, winning the championship eleven times, only behind VBO Jakarta (now Persija), who won 13 titles.


title: Persebaya Surabaya

text: PSSI then was revitalized after the RIS period ended, which ended on August 17, 1950. Through the PSSI congress on September 2–4, 1950 in Semarang, the federation stated that it would hold the PSSI National Championship.


title: Persebaya Surabaya

text: After the congress PSSI became the sole football federation in Indonesia. This forced the NIVU member clubs to join PSSI. The pattern of the NIVU club is a member of a club affiliated with PSSI. For example, VBO joined as a member of the Persija internal club, then VBBO, UNI Bandung, and Sidolig joined Persib, and this happened at other clubs.


title: Persebaya Surabaya

text: There are special cases for Surabaya. SVB did not directly become an internal member of Persibaya, but merged into it and embraced that the birth date of Persibaya was June 18, 1927, which was the date of the establishment of SIVB. Later, in 1959, Persibaya changed their name to Persebaya.


title: Persebaya Surabaya

text: Post-smelting, Persebaya appeared in the PSSI National Championship which later became known as the Perserikatan. The immediate impact was felt. Persebaya managed to become the champion in the first edition in 1951 after being able to overcome the resistance of PSM, Persija, and PSIM.


title: Persebaya Surabaya

text: The following year they managed to retain the title. This time Bajul Ijo was able to win the competition with Persija, Persis, Persib, PSMS, Persema, and Persipro.


title: Persebaya Surabaya

text: In the 1978 edition of the Perserikatan, the format of the competition changed into a tournament with the champion being determined through the final match. Persebaya was able to bend Persija with a 4-3 score through goals scored by Hadi Ismanto (two goals), Rudy W. Keltjes, and Joko Malis at the Gelora Bung Karno Stadium in Jakarta.


title: Persebaya Surabaya

text: Persebaya again managed to win the final against Persija in the 1988 season, with a final score of 3-2. The match lasted until the extra time round.


title: Persebaya Surabaya

text: Great achievements were kept awake when PSSI merged Perserikatan and Galatama clubs into a professional league named Liga Indonesia in 1994. Persebaya won the Liga Indonesia Premier Division title in 1996–97. Even Persebaya managed to make history as the first team to win the Liga Indonesia Premier Division twice when in 2004 Green Force won the title again. Although predicated as a classic team laden with titles, Green Force also briefly felt the bitterness of being relegated in 2002. Bitter pills are immediately redeemed with the titles of First Division and Premier Division titles in the next two seasons.


title: Persebaya Surabaya

text: The four Perserikatan titles and two Liga Indonesia titles made Persebaya collect a total of six National titles at the top-tier division of the Indonesian football league system. That number only lost to Persija with a total of eleven championship titles, Persis and Persib with seven titles.