title: Negation

text: In computer science there is also "bitwise negation". This takes the value given and switches all the binary 1s to 0s and 0s to 1s. See bitwise operation. This is often used to create ones' complement or "codice_6" in C or C++ and two's complement (just simplified to "codice_7" or the negative sign since this is equivalent to taking the arithmetic negative value of the number) as it basically creates the opposite (negative value equivalent) or mathematical complement of the value (where both values are added together they create a whole).


title: Negation

text: To get the absolute (positive equivalent) value of a given integer the following would work as the "codice_7" changes it from negative to positive (it is negative because "codice_9" yields true)


title: Negation

text: Inverting the condition and reversing the outcomes produces code that is logically equivalent to the original code, i.e. will have identical results for any input (note that depending on the compiler used, the actual instructions performed by the computer may differ).


title: Negation

text: This convention occasionally surfaces in ordinary written speech, as computer-related slang for "not". For example, the phrase codice_10 means "not voting". Another example is the phrase codice_11 which is used as a synonym for "no-clue" or "clueless".


title: Negation

text: In Kripke semantics where the semantic values of formulae are sets of possible worlds, negation can be taken to mean set-theoretic complementation (see also possible world semantics for more).


title: Kindle Direct Publishing

text: Kindle Direct Publishing is Amazon.com's e-book self-publishing platform launched in November 2007, concurrently with the first Amazon Kindle device. Amazon launched Kindle Direct Publishing (KDP), originally called Digital Text Platform, for authors and publishers to independently publish their books directly to the Kindle Store.


title: Kindle Direct Publishing

text: Authors can upload documents in several formats for delivery via KDP website and charge between $0.99 and $200.00 for their works. These documents may be written in 44 languages.


title: Kindle Direct Publishing

text: In 2016, Amazon also added a paperback option, which uses print-on-demand technology with the goal of offering digital and print to self-publishers. Amazon has been promoting to its authors the capability of publishing both e-books and paperbacks through the same platform.


title: Kindle Direct Publishing

text: Kindle Direct Publishing (KDP) was in open beta testing in late 2007 and the platform was promoted to established authors by e-mail and by advertisements at Amazon.com. In a December 5, 2009 interview with "The New York Times", Amazon CEO Jeff Bezos revealed that Amazon keeps 65% of the revenue from all e-book sales for the Kindle. The remaining 35% is split between the author and publisher. After numerous commentators observed that Apple's popular App Store offers 70% of royalties to the publisher, Amazon began a program that offers 70% royalties to Kindle publishers who agree to certain conditions.


title: Kindle Direct Publishing

text: Amazon has the KDP "Select" publishing option that requires 100 percent exclusivity — e-book publishing under this option cannot be sold anywhere else, until the enrollment in KDP Select expires. While under KDP Select, an author can offer the book free for selective five days or discount it for up to seven days through a countdown deal, while still earning 70% royalties. The author can opt out from KDP select ninety days after enrollment. If no action is taken, it will auto-renew the book for another ninety days. Outside of limited deals, e-books permanently priced below $2.99 only get 35% royalties. All KDP Select books are included in Kindle Unlimited, which is a monthly subscription that allows unlimited reading of e-books.


title: Kindle Direct Publishing

text: Amazon has reported the Kindle version of "Fifty Shades of Grey" sold more than double that of Amazon's print sales of the book, and, in June 2012, the Kindle edition became the first ebook to sell more than one million copies on Amazon.


title: Kindle Direct Publishing

text: Amazon initially paid authors in its KDP Select program a set fee per book, provided a reader to read at least 10 percent of the book. This drew criticism from authors of longer works because a reader would have to read more of their books in order for the authors to receive any payment, while those who wrote shorter books could receive the fees more easily. In July 2015, the company changed its Kindle Select payment structure to a per-page model. Every time an author's e-book is borrowed and pages are read, the author earns a share of a monthly fund, which was $1.2 million in April 2014, $11 million in July 2015, and currently $28.5 million, for a per-page rate of about half a cent.


title: Kindle Direct Publishing

text: During 2016, Amazon released four million e-books and 40% of those titles were self-published under KDP.


title: Kindle Direct Publishing

text: In April 2017, Amazon released "Kindle Create", an application for converting Word and PDF files into Kindle-compatible files; before this release there were multiple Amazon apps to convert various types of files.


title: Kindle Direct Publishing

text: Total royalties paid out to self-publishers on Amazon KDP were over $260 million in 2018, increasing to over $300 million in 2019.


title: Kindle Direct Publishing

text: In 2014, Amazon released the Kindle Scout platform that allows readers to nominate e-books to be published by Kindle Press; as of November 2016, 197 books have been published through this program.


title: Kindle Direct Publishing

text: Readers nominate works they would like to see published by looking through categories, such as romance, fantasy, science fiction or mystery and picking an excerpt of a work to read. The reader is able to read up to 5,000 words of any e-book listed, and can nominate up to three e-books at any time. Nominations can be changed at will. After the book's 30-day campaign ends, Kindle Press editors decide within fifteen days whether to give it a contract. Readers who nominated the book on the final day of its campaign are given a free copy of the e-book when it is published.


title: Kindle Direct Publishing

text: Submitted manuscripts must be non-published works of 50,000 or more words. Genres accepted are science fiction, fantasy, mystery, and romance. Once a book has been accepted for a campaign on Kindle Scout, a page for the book is created and the author's 30-day campaign begins. The author submits their work with the title, cover, tag and blurb, plus the entire text of the book. Throughout the 30-day campaign, the author can promote their novel to attract nominations, and books with the most nominations feature in the Hot & Trending chart - although books with many views and hours in the Hot & Trending chart have been rejected, and books with few of either have been selected. If the book is chosen the author is paid a $1,500 advance and 50% royalties. When the book has earned out, Amazon pays royalties monthly. Chosen books are given a professional edit, with the author free to accept or reject changes. Amazon takes all rights except print rights. If the e-book does not make $25,000 in the first five years, the author can request the rights back. Amazon actively promotes Kindle Press e-books.


title: Kindle Direct Publishing

text: In April 2018, Amazon stopped taking new submissions to Kindle Scout, indicating that the service would be shut down in the near future. At that time, 293 titles had been selected for publication during the program.


title: Kindle Direct Publishing

text: Blogs published by popular media, such as Ars Technica and TechCrunch, have been available on Kindle since early 2008. In May 2009, the program was opened to all. In December 2015, the status for Kindle Publishing for Blogs was listed as beta.


title: Kindle Direct Publishing

text: Amazon, not the content publisher, set the monthly subscription rate for each blog between $0.99 - $1.99. Amazon retained 70% of the revenue from blog sales and gave the remaining 30% to be shared between the publisher and author.


title: Kindle Direct Publishing

text: Amazon announced via email that it was discontinuing support for blogs on Kindle due to low usage as of August 19, 2019, and has renamed the service Kindle Publishing for Periodicals.


title: Kindle Direct Publishing

text: Kindle Worlds was established on May 22, 2013 as part of Amazon Publishing devoted to providing a commercial venue for fan fiction creations of specific licensed media properties. Amazon shut down the Kindle Worlds In August 2018.


title: Kindle Direct Publishing

text: Kindle Direct Publishing began offering printed paperbacks in 2016, and took over Amazon's print self-publishing platform after CreateSpace, another Amazon subsidiary specializing in print books, was amalgamated into Kindle Direct in 2018-2019.


title: Kindle Direct Publishing

text: In 2021, Kindle Direct Publishing began offering the option for account-holders to publish and sell a hardcover print version of a book. This was offered only in case laminate (no dust jacket) style, which can be either matte or glossy in finish and published in 5 different offered trim sizes.


title: Kindle Direct Publishing

text: Kindle Vella is a serial publication platform, introduced in 2021 and owned by Kindle Direct Publishing, in turn owned by Amazon. Introduced as a competitor to Wattpad and Radish, platforms independent of Amazon which also publish serial fiction, Kindle Vella failed to attract as much popularity as its predecessors, although initially it was applauded by technology magazines such as "GeekWire" for "bringing books into the TikTok era". "Publishers Weekly" argued that Kindle Vella's partiality to smartphone interfaces and short clips of stories would attract younger readers to genre fiction. "Android Central", in contrast, criticized Vella for its lack of appeal to authors, owing largely to its "token system" and its connection with Amazon as a parent company. "Android Central", despite its criticism, agreed that there was an incentive for Amazon to add Vella to its Kindle Direct Publishing platform, stating, "the idea of serialized fiction is not a new one, and this exact format and platform have been in use for many years at this point. The most commonly known example is from a Canadian company called Wattpad. Founded in 2006, Wattpad offers a platform for writers and cross-platform apps to experience and enjoy serialized storytelling. Webtoon is a comic platform built on the same concept, allowing creators to build followings and even monetize their comics by having Fast Pass episodes you can unlock with Coins for X days before they become free to read. Supporting creators directly has also been an idea that has been gaining a lot of traction over the past few years, popularized by Patreon and Substack, and even extended into other content areas by sites like OnlyFans. Large media companies like Apple and Spotify are also trying to get a piece of this action, with new creator tools and monetization options in their podcast platforms. Given this growing trend and the fact that our attention is as short and divided as ever, it certainly makes sense that Amazon wants to find additional ways to attract and retain readers to its dominant Kindle platform."


title: Kindle Direct Publishing

text: The revenue sharing condition and the inability to opt out of the lendability feature, that was abused in the former Lendink service, have caused some controversy. Other criticisms involve the business model behind Amazon's implementation and distribution of e-books. Amazon introduced a software application allowing Kindle books to be read on an iPhone or iPod Touch, and soon followed with an application called "Kindle for PCs" that can be run on a Windows PC. Due to the book publishers' DRM policies, Amazon claims there is no right of first sale with e-books and states that, since e-books are licensed, not purchased (unlike paper books), buyers do not actually own their e-books. This claim has never been tested in court, and the outcome of any action by Amazon is uncertain. The law on these matters is in a state of flux in jurisdictions around the world.


title: Kindle Direct Publishing

text: It has also been pointed out that Kindle Direct's authors and account-holders have no ability to completely delete retired files reverted to "draft" status from Kindle Direct's databases, a similar practice that CreateSpace followed, whereby a book can be unpublished for further new printing, but will indefinitely be stored on one or more of Amazon's digital servers, even if this version is considered inferior (outdated, typos and grammatical errors, formatting problems, wrong author name or deadname, etc.) This was investigated by self-publishing help website Just Publishing Advice, which ultimately agreed, stating, "if you have self-published a book and now want to delete it, all you can do is unpublish it. The same applies if you are managing the books of a deceased self-published author. This will remove it from sale and distribution. However, it will not stop possible sales by third parties on mass-market distribution." This is confirmed by Kindle Direct Publishing itself, which not only has the account-holder click a digital box confirming agreement with its Terms & Conditions, which mentions the indefinite storage of any uploaded files on its servers, but also on Kindle Direct Publishing's Frequently Asked Questions section, where it states, "You can delete books in "Draft" status from your Bookshelf. If your book was previously published and available for sale, it can't be deleted. Also, paperbacks that were assigned an ISBN can't be deleted." Kindle Direct Publishing has never publicly disclosed why it retains unpublished files on its servers. Additionally, there is no legal protection or exceptions for minors or mentally ill and disabled individuals who happen to sign the Terms & Conditions agreement. Authors who delete their accounts, or who have their accounts deleted, continue to have any uploaded files retained by Kindle Direct Publishing, although in cases where it appears that a book has been plagiarized by another account using Kindle Direct's services, authors are prompted to contact Amazon's Legal Department, which more broadly deals with any form of copyright infringement.


title: Kindle Direct Publishing

text: There have been growing concerns that the minimalist approach Kindle Direct Publishing takes to quality control has led to the platform being turned into a popular vessel for offensive and potentially illegal content, including hate propaganda, neo-Nazi material, autism misinformation, illegal sex-based material (books promoting paedophilia or bestiality), plagiarized titles or books containing material that violates copyright, and books using another author's name and/or likeness. The platform has become infamous on social forums Reddit and 4Chan for "publishing anything" with little to no legal recourse or evaluation. Some titles released through Amazon's self-publishing platforms Kindle Direct Publishing and CreateSpace have since been removed by Amazon itself after numerous legal complaints. These titles include "The Pedophile's Guide to Love and Pleasure: a Child-lover's Code of Conduct" by Phillip R. Greaves, "Is Greta Thunberg Just A Puppet? The truth about the the" [sic] "youngest ambientalist" by Markus Jorgenssen, and "A MAD World Order" by Paul Bernardo. In an experiment to test the lack of Amazon's quality control in the known area of autism-themed books, "Wired" journalist Matthew "Matt" Reynolds penned a self-published Kindle eBook titled "How To Cure Autism: A guide to using chlorine dioxide to cure autism". As he explained, "to test the system, we uploaded a fake Kindle book titled "How To Cure Autism: A guide to using chlorine dioxide to cure autism". The listing was approved within two hours. When creating the book, Amazon's Kindle publishing service suggested a stock cover image that made it appear as though the book had been approved by the FDA." He pointed out that a number of other real Kindle titles promoting bleach cures and other misinformation were already prevalent on Amazon.


title: Kindle Direct Publishing

text: Authors like Nora Roberts, Rebecca Maye Holiday and Stephen King have had their work plagiarized and copied by users on Kindle Direct Publishing. Plagiarism, both of traditionally-published and self-published titles, has been a growing problem on Kindle Direct Publishing. These stolen titles may retain a permanent metadata record on Google Books, Goodreads and Ingram if assigned an ISBN (Kindle Direct Publishing offers authors of print books a "free KDP ISBN" option which immediately places any assigned title into Bowker and Ingram's databases), although many plagiarized titles also occur in the form of Kindle eBooks with only an ASIN and no ISBN, as this allows a higher quantity of the plagiarized title to be sold off in a short amount of time, leaving almost no trace if the plagiarist does get caught. The legal recourse affecting the plagiarist, who may use a pseudonym to publish under, is limited, moreover because Amazon's data is almost immediately imported into Ingram and Goodreads, this runs the risk of the plagiarized book's metadata overriding or superseding the original author's metadata. Having plagiarized book metadata removed from the internet is challenging; Goodreads considers plagiarized books with metadata to be valid book records and typically will not remove them, instead merging them into the author's metadata so that the plagiarist's name appears on the author's records, while Google Books requires a notice from Ingram before it will actually take down metadata for a plagiarized book imported by Ingram's data. According to author David Gaughran, who has long been campaigning against the ease of plagiarism through self-publishing platforms, "Amazon said don't worry, we have robust systems in place to prevent fraud, and it was all bullshit... it hurts authors much more than Amazon. They might see it as only affecting 0.2% of books or whatever, but the top scammers are making over $100,000 a month – money that comes from the author fund, not Amazon's end. These people gaming the system will roll a huge chunk of that back into advertising too, which either brings readers to the website, or goes directly back into Amazon's pocket via Amazon Ads." Nora Roberts, meanwhile, described Kindle Direct's system as "absurdly weak" and "enraging" to her. "This culture, this ugly underbelly of legitimate self-publishing is all about content. More, more, more, fast, fast, fast".


title: Kindle Direct Publishing

text: Amazon, in turn, has defended its minimalist approach to quality control with the argument that self-publishing companies regularly run plagiarism checks on books being uploaded, typically against other content that they already have access to. "The Urban Writers" argued, on Amazon's behalf, that "Amazon is extremely sensitive about plagiarized work and, if flagged, your account could be deactivated." "Plagiarism Today" noted that cases such as the "Cristiane Serruya Plagiarism Scandal" (a case in which a prolific Kindle Direct author was caught pulling fictional content into her books from various third-party sources) reflect a need for Amazon to be stricter in its approach to copyright infringement. The publication was critical of Amazon's lack of agency in relation to plagiarism, pointing out, "though Amazon will, sometimes, remove works that violates [sic] their terms of service after they get complaints, they’re happy to sell the books and reap the profits until they get such a notice. And, from Amazon’s perspective, this is completely legal. They are protected by the Digital Millennium Copyright Act (DMCA) as well as other laws, in particular Section 230 of the Communications Decency Act, that basically mean they are under no obligation to vet or check the works they publish. They are legally free to produce and sell books, physical and digital, regardless of whether they are plagiarized, copyright infringing or otherwise illegal." The phenomenon of plagiarized versions of books appearing on self-publishing platforms is also not totally unique to Amazon, although, as "Plagiarism Today" argues, Amazon's approach to plagiarism on subsidiaries Kindle Direct and Goodreads has led to an inability for authors to protect their names and reputations on the internet, not merely their financial control over their own books, due to the way in which plagiarism can impact the display and retention of book metadata.


title: Thomas Malory

text: Sir Thomas Malory was an English writer, the author of "Le Morte d'Arthur", the classic English-language chronicle of the Arthurian legend, compiled and in most cases translated from French sources. The most popular version of "Le Morte d'Arthur" was published by the famed London printer William Caxton in 1485. Much of Malory's life history is obscure, but he identified himself as a "knight prisoner", apparently reflecting that he was either a criminal or a prisoner-of-war. Malory's identity has never been confirmed. However, since modern scholars began researching his identity the most widely accepted candidate has been Sir Thomas Malory of Newbold Revel in Warwickshire, who was imprisoned at various times for criminal acts and possibly also for political reasons during the Wars of the Roses.


title: Thomas Malory

text: Most of what is known about Malory stems from the accounts describing him in the prayers found in the Winchester Manuscript of "Le Morte d'Arthur". He is described as a "", distinguishing him from several other candidates also bearing the name Thomas Malory in the 15th century when "Le Morte d'Arthur" was written.


title: Thomas Malory

text: At the end of the "Tale of King Arthur" (Books I–IV in the printing by William Caxton) is written: "For this was written by a knight prisoner Thomas Malleorre, that God send him good recovery." At the end of "The Tale of Sir Gareth" (Caxton's Book VII): "And I pray you all that readeth this tale to pray for him that this wrote, that God send him good deliverance soon and hastily." At the conclusion of the "Tale of Sir Tristram" (Caxton's VIII–XII): "Here endeth the second book of Sir Tristram de Lyones, which was drawn out of the French by Sir Thomas Malleorre, knight, as Jesu be his help." Finally, at the conclusion of the whole book: "The Most Piteous Tale of the Morte Arthure Sanz Gwerdon par le shyvalere Sir Thomas Malleorre, knight, Jesu aide ly pur votre bon mercy.", a mix of English and French roughly meaning: "The most pitiable tale of the Death of [King] Arthur, without reward for/by the knight Sir Thomas Malory; Jesus aid him by your good mercy."


title: Thomas Malory

text: However, all these are replaced by Caxton with a final colophon reading: "I pray you all gentlemen and gentlewomen that readeth this book of Arthur and his knights, from the beginning to the ending, pray for me while I am alive, that God send me good deliverance and when I am dead, I pray you all pray for my soul. For this book was ended the ninth year of the reign of King Edward the Fourth by Sir Thomas Maleore, knight, as Jesu help him for his great might, as he is the servant of Jesu both day and night."


title: Thomas Malory

text: With the exception of the first sentence of the final colophon, all the above references to Thomas Malory as a knight are, grammatically speaking, in the third person singular, which leaves open the possibility that they were added by a copyist, either in Caxton's workshop or elsewhere. However, scholarly consensus, as has been previously mentioned in this article, is that these references to knighthood refer to a real person and that that person is the author of "Le Morte d'Arthur".


title: Thomas Malory

text: The author was educated, as some of his material "was drawn out of the French," which suggests a degree of French fluency indicating that he might have been from a wealthy family. A claimant's age must also fit the time of writing.


title: Thomas Malory

text: Since the late 19th century there has been a great deal of scholarly research into the identity of Sir Thomas Malory, author of "Le Morte d'Arthur". As detailed below, the earliest modern investigations suggested that Sir Thomas Malory of Newbold Revel was the only Thomas Malory living in 15th century England who was a knight. However, the apparently great age of this candidate at the time of the work's completion has always been a source of contention. In the early 20th century, scholarly revelations of this candidate's extensive criminal record and multiple imprisonments threw further doubt on the matter because of a perceived discordance with the chivalric ideals espoused in "Le Morte d'Arthur". The discovery of the Winchester Manuscript in 1934 revealed that the author was in prison at the time of writing; this has generally been taken to support the candidate from Newbold Revel, though the support is ambiguous because that candidate's extensive prison record does not actually include the time of writing.


title: Thomas Malory

text: These tensions have inspired scholars to propose alternative identities; most notably, Thomas Malory of Papworth St. Agnes and Thomas Malory of Hutton Conyers. Both are much less attested in the documentary record than the candidate from Newbold Revel. As described in detail below: neither is clearly recorded as having been a knight, but both come from knightly families and could plausibly have been knighted. Both seem to have been of a more appropriate age at the time of writing, but neither is known to have been imprisoned at any time.


title: Thomas Malory

text: To date, no candidate for authorship has ever been found to continuously command widespread support other than Malory of Newbold Revel. However, despite the evidence for other candidates being "no more than circumstantial", eminent scholars suggest that the question of the author's identity is both critically important and yet unresolved.


title: Thomas Malory

text: Since George Lyman Kittredge, a professor at Harvard, published the first significant investigation into Malory's identity in 1894, the primary candidate for authorship has been Thomas Malory of Newbold Revel in Warwickshire. Kittredge discovered a record of this Malory’s service under Richard Beauchamp, Earl of Warwick in William Dugdale’s "Antiquities of Warwickshire" (1656), stating of Sir Thomas:


title: Thomas Malory

text: Dugdale's history also revealed that this Malory had served as a Member of Parliament, and recorded the date of his death, the location of his tomb, and many other details of his life and family. As Dugdale lived in Warwickshire and apparently had access to Malory's home and direct descendants during a time when "Le Morte" remained very popular and was still being printed, scholars have noted that any mention of his authoring "Le Morte" is conspicuously absent in Dugdale's record. To date, however, this candidate for authorship remains the only Thomas Malory known to be living at the time of writing who was clearly recorded as having been a knight.


title: Thomas Malory

text: Kittredge accepted the details of Dugdale's history at face value: specifically, that he was commissioned to serve at Calais under Henry V; a campaign which took place in 1414–15. Under this view, Malory would have been a junior officer in Henry V's famous Battle of Agincourt – a member of what William Shakespeare cemented in popular memory as the Band of Brothers in the famous St. Crispin's Day Speech. However, subsequent scholars have questioned this interpretation, suggesting that Dugdale's record was erroneous and that Malory instead served under Henry VI, at an action in Calais in 1436 – a brief mobilization which was disbanded without combat and which Dugdale, in their view, erroneously called a siege. P.J.C. Field suggests that the first public record of this Malory in 1439 is an indication of when he reached the date of his majority (at the age of 21).


title: Thomas Malory

text: Scholars consider the question of this timeline to be important in determining authorship, as the original timeline would place Malory's birth in the early to mid 1390s. He would therefore have been at least 75 when "Le Morte" was completed, as he must have been at least in his late teens or early 20s at the time of his commission: his peers of the same rank in Dugdale's record were in their mid- to late-twenties. According to the alternate timeline, his birth would have been around 1415-1418 and his age when "Le Morte" was completed would have been a much more reasonable 55-58.


title: Thomas Malory

text: William Matthews emphasizes the importance of Malory's age thus: "There is considerable evidence that the medieval view was that by sixty a man was bean fodder and forage, ready for nothing but death's pit... it might be best to find out how old the Warwickshire knight really was in 1469." Researching the question, Matthews made an original discovery: Sir William Dugdale’s surviving 15th century notes and papers in the Bodleian Library on the Agincourt campaign contain a lengthy military roster (apparently in Dugdale’s own hand) with the following detail:


title: Thomas Malory

text: Because this original French note perfectly matches the English translation in Dugdale’s published work, and because a number of the other knights listed on the same commission roster are known to have died long before 1436, Matthews concludes that these commissions cannot refer to the 1436 campaign; and therefore Thomas Malory of Newbold Revel must have been commissioned into Henry V’s Agincourt campaign around 1414 or 1415, confirming Kittredge's original timeline and making this Malory in his mid-70s to early 80s at the time the book was completed. Matthews asserts, “seventy-five is no age at all to be writing Le Morte Darthur in prison.”


title: Thomas Malory

text: Much more detail was added to Thomas Malory of Newbold Revel's biography by Edward Hicks in 1928, revealing that this Thomas Malory had been imprisoned as a thief, bandit, kidnapper, attempted murderer, and rapist; which hardly seemed in keeping with the high chivalric standards of his book. Helen Cooper referred to his life as one that "reads more like an account of exemplary thuggery than chivalry". Shortly before his death, C.S. Lewis stated that this issue was a grave one for readers of "Le Morte D'arthur".


title: Thomas Malory

text: Chambers comments, "Surely the Sir Thomas of Monks Kirby [the parish in which he lived] could not have written this without a twinge."


title: Thomas Malory

text: Sir Thomas Malory of Newbold Revel was born to Sir John Malory of Winwick, Northamptonshire, who had served as a Justice of the Peace in Warwickshire and as a Member of Parliament, and Lady Phillipa Malory, heiress of Newbold. He was knighted before 8 October 1441, became a professional soldier, and served under Henry Beauchamp, 1st Duke of Warwick. While it is not recorded how he became distinguished, he acted as an elector in Northamptonshire. However, in 1443 he and accomplice Eustace Barnaby were accused of attacking, kidnapping, and stealing 40 pounds' worth of goods from Thomas Smythe, though nothing came of this charge. He married a woman named Elizabeth Walsh, with whom he had at least one son, named Robert, and possibly one or two other children. Despite the criminal charges against him, he seems to have remained in good standing with his peers because in that same year, Malory was elected by the men of Warwickshire to Parliament to serve as a knight of the shire for the rest of 1443, and was appointed to a royal commission charged with the distribution of money to impoverished towns in Warwickshire. In 1449–50, he was returned as member of Parliament for Great Bedwyn, a seat controlled by the Duke of Buckingham.


title: Thomas Malory

text: Malory's status changed abruptly in 1451 when he was accused of ambushing the Duke of Buckingham, Humphrey Stafford, a prominent Lancastrian in the Wars of the Roses, along with 26 other men sometime in 1450. The accusation was never proved. Later in 1451, he was accused of extorting 100 shillings from Margaret King and William Hales of Monks Kirby, and then of committing the same crime against John Mylner for 20 shillings. He was also accused of breaking into the house of Hugh Smyth of Monks Kirby in 1450, stealing 40 pounds' worth of goods and raping Smyth's wife, and with attacking her again in Coventry eight weeks later. At this period, a charge of rape could also apply to some acts of consensual sex and some nonsexual crimes; several scholars have suggested that the accusation did not refer to rape as it is now defined. However, P.J.C. Field's analysis of the specific Latin terminology of the charges concludes that they were intended to refer to actual rapes.


title: Thomas Malory

text: On 15 March 1451, Malory and 19 others were ordered to be arrested. Nothing came of this and, in the following months, Malory and his cohorts were charged with a series of crimes, especially violent robberies. At one point, he was arrested and imprisoned in Maxstoke Castle, but he escaped, swam the moat, and returned to Newbold Revel. Nellie Slayton Aurner points out that most of these crimes seem to have been targeted at the property and followers of the Duke of Buckingham; and that as Malory was a supporter of the family of Buckingham's former rival, the Duke of Warwick, there may have been a political motive behind either Malory's attacks or Buckingham and others bringing charges against him. Aurner suggests that Malory's enemies tried to slander him, giving evidence that the Duke of Buckingham was Malory's long-time enemy.


title: Thomas Malory

text: Malory finally came to trial on 23 August 1451, in Nuneaton, a town in the heartland of Buckingham's power and a place where Malory found little favour as a supporter of the Beauchamps. Those accused included Malory and several others; there were numerous charges. Malory was convicted and sent to the Marshalsea Prison in London, where he remained for a year. He demanded a retrial with a jury of men from his own county. Although this never took place, he was released. By March 1452, he was back in the Marshalsea, from which he escaped two months later, possibly by bribing the guards and gaolers. After a month, he was back in prison yet again, and this time he was held until the following May, when he was released on bail of 200 pounds, paid by a number of his fellow magnates from Warwickshire. Malory later ended up in custody in Colchester, accused of still more crimes, involving robbery and the stealing of horses. Once again, he escaped and once again was apprehended and returned to Marshalsea Prison.


title: Thomas Malory

text: From Malory's first criminal charge in 1443 through his eighth charge in 1451 after several escapes from captivity, little was done to contain his actions. In 1451 a royal arrest order was issued, followed by increasing fines on the lords overseeing his imprisonment in case of his escape, culminating in a maximum fine of 2000 lbs set by the King's Bench in June of 1455. As Malory aged through several subsequent imprisonments, fines for his escape decreased to 1000 lbs and then 450 lbs in January and October of 1457, and then 100 lbs if not captured when he was somehow at large again despite no formal release in 1458. Malory was released as part of a general pardon at the accession of King Edward IV in 1461.


title: Thomas Malory

text: After 1461, few records survive which scholars agree refer to Malory of Newbold Revel. In 1468-1470 King Edward issued four more general pardons which specifically excluded a Thomas Malory. The first of these names Malory a knight; and applied to participants in a siege in the North of England by members of the Lancastrian faction. P.J.C. Field interprets these pardon-exclusions to refer to Malory of Newbold Revel, suggesting that this shows Malory changed his allegiance from York to Lancaster, and that he was involved in a conspiracy with Richard Neville to overthrow King Edward Matthews and others interpret these records as referring to one of the other candidates for authorship.


title: Thomas Malory

text: No record survives of Malory of Newbold Revel (or any other Thomas Malory) being in prison at the time "Le Morte" was completed. As Field describes, "Repeated scholarly searches of legal records have found no trace of arrest, charge, trial, or verdict" that would place any Thomas Malory in prison at the time documented by the author in the Winchester manuscript. Field suggests that Malory's political rivals "simply put him in prison without formal charge." and that he could have been released from prison in October 1470, at the collapse of the Yorkist regime and the temporary return to the throne of Henry VI.


title: Thomas Malory

text: In 1462, Malory settled his estate on his son Robert and, in 1466 or 1467, Robert fathered a son named Nicholas, Malory's grandson and ultimate heir. Malory died on 14 March 1471 and was buried in Christ Church Greyfriars, near Newgate Prison. His interment there suggests that his misdeeds had been forgiven and that he possessed some wealth. However, it was certified at the granting of probate that he owned little wealth of his own, having settled his estate on his son in 1462. The inscription on Malory's tomb read: "HIC JACET DOMINUS THOMAS MALLERE, VALENS MILES OB 14 MAR 1470 DE PAROCHIA DE MONKENKIRBY IN COM WARICINI," meaning: "Here lies Lord Thomas Mallere, Valiant Soldier. Died 14 March 1470 [new calendar 1471], in the parish of Monkenkirby in the county of Warwick." The tomb was lost when Greyfriars was destroyed in 1538 under King Henry VIII in the Dissolution of the Monasteries. Malory's grandson Nicholas eventually inherited his lands and was appointed High Sheriff of Warwickshire in 1502.


title: Thomas Malory

text: Shortly after Kittredge's original article on Malory of Newbold Revel, a second candidate was presented in an article in the Athenaeum in September 1897 by A.T. Martin, who proposed that the author was Thomas Malory of Papworth St Agnes on the Huntingdonshire-Cambridgeshire border. Martin's argument was based on a will made at Papworth on 16 September 1469 and proved at Lambeth on 27 October the same year. This identification was taken seriously for some time by editors of Malory, including Alfred W. Pollard, the noted bibliographer, who included it in his edition of Malory published in 1903.


title: Thomas Malory

text: This Thomas Malory was born on 6 December 1425 at Moreton Corbet Castle, Shropshire, the eldest son of Sir William Mallory, member of Parliament for Cambridgeshire, who had married Margaret, the widow of Robert Corbet of Moreton Corbet. Thomas inherited his father's estates in 1425 and was placed in the wardship of the King, initially as a minor, but later (for reasons unknown) remaining there until within four months of his death in 1469.


title: Thomas Malory

text: Richard R. Griffin later provided further support for this candidate in "The Authorship Question Reconsidered". Published after Matthews's book promoting the Hutton Conyers candidate (as described below), Griffin makes several arguments; most notably that the Papworth candidate's dialect would match that of "Le Morte" more closely than either of the other candidates. As detailed below, a leading dialect expert identified the language of "Le Morte" as being most characteristic of Lincolnshire. Griffith points out that while the current candidate lived in Shropshire as a child and on the Cambridgeshire-Huntingdonshire border in adulthood, both his father and grandfather were from Lincolnshire; and that neither of the other two major candidates had any known connection to Lincolnshire.


title: Thomas Malory

text: Little else is known of this Malory, apart from one peculiar incident discovered by William Matthews. A collection of Chancery proceedings includes a petition brought against Malory by Richard Kyd, parson of Papworth, claiming that Malory ambushed him on a November evening and took him from Papworth to Huntingdon, and then to Bedford and on to Northampton, all the while threatening his life and demanding that he either forfeit his church to Malory or give him 100 pounds. The outcome of this case is unknown, but it seems to indicate that this Malory was something other than an ordinary country gentleman. However, while this candidate's father and several other close family members were knights, no clear evidence survives showing that this Malory was ever actually knighted.


title: Thomas Malory

text: The third contender emerged in the late 20th century: Thomas Malory of Hutton Conyers and Studley Royal in Yorkshire. This claim was put forward in 1966 in "The Ill-Framed Knight: A Skeptical Inquiry into the Identity of Sir Thomas Malory" by William Matthews, a British professor who taught at UCLA (and also transcribed the diary of Samuel Pepys).


title: Thomas Malory

text: Matthews makes many arguments for this candidate, with his main focus on linguistic clues both in the Winchester manuscript and the Caxton edition of "Le Morte d'Arthur"; including distinctive dialectal and stylistic elements such as alliteration that are characteristic of northerly writing. His claim drew scholarly attention including a review co-written by eminent medievalist E. F. Jacob and the famed linguist Angus McIntosh. Neither reviewer accepted Matthews’s claims entirely. Jacob agrees that the dialect of "Le Morte" is not that of Warwickshire, deferring to McIntosh for a more detailed dialectal analysis while noting that Matthews makes a good case for reopening the question of Malory’s identity.


title: Thomas Malory

text: McIntosh’s dialectal analysis states that: “To put the matter simply, the original "Le Morte Darthur" contained various forms which are too northerly for the everyday language of Newbold Revel”, “i.e. characteristic of anywhere roughly speaking north of a line from Chester to the Wash.” However, he ultimately concludes that the language does not specifically support Matthews’ claim of an origin in the Hutton Conyers / Studley Royal area of Yorkshire, but would rather be “most at home” in Lincolnshire. McIntosh concludes that such northerly influences suggest that Malory “simply had access to, and was deeply steeped in, far more northerly romance material than the specific texts … to which he owed a more or less direct debt.”


title: Thomas Malory

text: Other important elements of Matthews's argument for the Hutton Conyers candidate include his evidence of the advanced age of the Newbold Revel candidate at the time of writing, described in that section above; and his analysis of the exclusion of a "Sir" Thomas Malory from the general pardon in 1468. The pardon applied to a group of Lancastrians in a military campaign in the North. Matthews shows that Thomas Malory of Hutton Conyers was closely related to the knight listed next to him in the short list of those excluded, concluding that the document referred to the Northern Thomas Malory of Hutton Conyers, a probable Lancastrian - and not the Midlands Malory of Newbold Revel, who was a Yorkist and would have been far too old to have taken part in this Northern military campaign. Matthews therefore promotes this document as evidence that Malory of Hutton Conyers was indeed a knight after all.


title: Thomas Malory

text: Matthews's interpretation is not universally accepted. P.J.C. Field argues that the 1468 exclusion from pardon refers to Malory of Newbold Revel and instead shows that that candidate changed his lifelong Yorkist loyalty to become a Lancastrian. Other than this document, Malory of Hutton Conyers is not recorded as having been knighted. However, his elder brother John and most of his recent forefathers were knights.


title: Thomas Malory

text: Even only a few years after the original publication of "Le Morte", there was speculation as to Malory's identity. The earliest identification was made by John Bale, a 16th-century antiquarian, who declared that Malory was Welsh, hailing from "Mailoria" on the River Dee. This theory received further support from Sir John Rhys, who proclaimed in 1893 that the alternative spelling indicated an area straddling the border between England and North Wales, Maleore in Flintshire and Maleor in Denbighshire. On this theory, Malory may have been related to Edward Rhys Maelor, a 15th-century Welsh poet. It was also suggested by antiquary John Leland that he was Welsh, identifying "Malory" with "Maelor". However, most modern scholars have disregarded this early work on the basis that no such place as "Mailoria" has ever been identified on the Dee or elsewhere; no Welsh Thomas Malory appears in the surviving historical record; and Malory identified himself as English rather than Welsh.


title: Thomas Malory

text: Malory's "Le Morte d'Arthur" ("The Death of Arthur") is the source of the modern form of most Arthurian mythology, and is the only major major work of English literature between Geoffrey Chaucer, around a century earlier, and William Shakespeare, around a century later. It has been called the first English novel. Malory's main sources for his work included Arthurian French prose romances, mainly the Vulgate ("Lancelot-Grail") and Post-Vulgate cycles, Geoffrey of Monmouth's Historia Regum Britanniae ("History of the Kings of Britain"), and two anonymous English works called the Alliterative "Morte Arthure" and the Stanzaic "Morte Arthur".


title: Thomas Malory

text: The entire work is eight romances that span twenty-one books with 507 chapters, which was said to be considerably shorter than the original French sources, despite its vast size. Malory was responsible for organizing these diverse sources and consolidating them into a cohesive whole. The work was originally titled "The Whole Book of King Arthur and of His Noble Knights of the Round Table", but printer William Caxton changed it to "Le Morte d'Arthur" (originally "Le Morte Darthur") before he printed it in 1485, as well as making several other editorial changes. According to one theory, the eight romances were originally intended to be separate, but Caxton altered them to be more unified.


title: Thomas Malory

text: There has been some argument among critics that Malory's "Le Morte d'Arthur" was primarily intended as a political commentary of Malory's own era. Malory portrays an initially idyllic past under the strong leadership of King Arthur and his knights, but as intrigue and infighting develop, the utopic kingdom collapses, which may have been intended as a parallel and a warning against the infighting taking place during the Wars of the Roses. The seemingly contradictory changes in King Arthur's character throughout the work have been argued to support the theory that Arthur represents different eras and reigns throughout the tales. This argument has also been used to attempt to reconcile Malory's doubtful reputation as a person who continually changed sides with the unexpected idealism of "Le Morte d'Arthur". It remains a matter of some debate whether this was a deliberate commentary or an imaginative fiction influenced by the political climate.


title: Thomas Malory

text: The sources of the romances that make up "Le Morte d'Arthur", and Malory's treatment of those sources, correspond to some degree with those of a poem called "The Wedding of Sir Gawain and Dame Ragnelle"; they also both end with a similarly worded prayer to be released from imprisonment. This has led some scholars in recent years to believe that Malory may have been the author of the poem.


title: Thomas Malory

text: A young Malory appears as a character at the end of T. H. White's book "The Once and Future King" (1958), which was based on "Le Morte d'Arthur". This cameo is included in the Broadway musical "Camelot" (1960), and in its film adaptation (1967), where his name is given as "Tom of Warwick"; reflecting the general acceptance of Malory of Newbold Revel (in Warwickshire) as the author through most of the 20th Century, despite the criminal history of that candidate in his later life.


title: Thomas Malory

text: In addition to White's treatment, many other modern versions of the Arthurian legend have their roots in Malory, including John Boorman's film "Excalibur" (1981). The discovery of Malory's book and its acquisition by William Caxton form key elements in "The Load of Unicorn" (1959), a novel for children by Cynthia Harnett.


title: Tim (Avicii album)

text: Tim is the third and final studio album by Swedish DJ and producer Tim Bergling, known by the stage name Avicii, released on 6 June 2019. It is his sole posthomous album release following his death a year earlier. It includes the single "SOS", which was released on 10 April 2019. All profits from sales of the album go towards the Tim Bergling Foundation, set up following Avicii's suicide, for mental health awareness.


title: Tim (Avicii album)

text: Avicii's third album was first mentioned in late 2016 after he signed with Universal Sweden, when it was said that his next album would be released in 2017. From 13 July to 2 August, Avicii began sharing teasers for new music and later released "Avīci (01)" on 11 August 2017 with a total of six tracks. In an interview, he stated that "(01)" was the first of three EPs, with his full third album to be released alongside the third EP. Recording for the album resumed in late 2017. During March 2018, Avicii continued to share updates via Instagram and other streaming sites of different IDs and demos being put together for the album, including what would become "Hold the Line", "Bad Reputation", "Tough Love", "Ain't a Thing", and "Fades Away", amongst other demos. According to Kristoffer Fogelmark, the track "Never Leave Me" was the last track Avicii worked on, finished only two days before he left for Oman.


title: Tim (Avicii album)

text: Following Avicii's death in April 2018, a representative said the following month that there were "no plans" to release any new material in the immediate future. In April 2019, it was announced that collaborators were enlisted to help finish the work on the album. A team of writers and producers made an album described as containing elements of "psychedelia, Arabian music, sounds of the Caribbean and more". The album's track listing was chosen from 16 possible songs. On 1 and 2 June 2019, fans were given a chance to listen to the album 4–5 days early by going to music cubes in various locations around the world.


title: Tim (Avicii album)

text: The first single to promote the album, "SOS", was released on 10 April 2019. A "Fan Memories" video for "SOS", showing quotes from fans about the impact Avicii had on them, was released the same day. "SOS" debuted at number one on the singles chart in Sweden on two days of sales.


title: Tim (Avicii album)

text: "Tough Love" was released as the second single for the album on 9 May 2019. The music video came out on 14 May 2019. "Tough Love" samples A.R. Rahman's track "Banarasiya" from the movie "Raanjhanaa" (2013).


title: Tim (Avicii album)

text: "Heaven" was released as the third single for the album on 6 June 2019. The music video, called a "tribute video", which used clips of Avicii in Madagascar (following his final concert), was released on 24 June 2019.


title: Tim (Avicii album)

text: "Fades Away" was released as the fourth single on 5 December 2019. While the album version features vocals from Noonie Bao, the single version features vocals from Costa Rican singer MishCatt to coincide with the Avicii Tribute Concert for Mental Health Awareness where she performed it live.


title: Tim (Avicii album)

text: The album received mixed reviews. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 58, based on four reviews, which indicates "mixed or average reviews".


title: Dhaam Dhoom

text: Dhaam Dhoom is a 2008 Indian Tamil-language action thriller film based on the 1997 American film "Red Corner". Written, filmed and directed by Jeeva shortly before his death and produced by Sunanda Murali Manohar, it stars Jayam Ravi, Kangana Ranaut, Lakshmi Rai and Jayaram.


title: Dhaam Dhoom

text: The film revolves around a Tamil Indian doctor who, two weeks prior to his wedding, goes to Russia for a conference pertaining to his occupation, that of a doctor. While in Russia, he struggles to cope with the language because of the Russian reluctance to speak English, and eventually, due to the gruesome murder of a local woman, he gets imprisoned. How the doctor manages to get himself out of jail with the help of an Indian female lawyer, forms the crux of the story.


title: Dhaam Dhoom

text: "Dhaam Dhoom" was released worldwide, after a long delay, on 29 August 2008. It was the posthumous film that cinematographer Jeeva undertook before his death which occurred halfway through the production. The film, released as a tribute to Jeeva, was completed by his assistant G.K.Manikandan, and his wife Anees, and was overseen by cinematographer P. C. Sriram.


title: Dhaam Dhoom

text: Gautham Subramaniam (Jayam Ravi) is a doctor from an Indian family who lives in Chennai. Since his father (Nizhagal Ravi) and mother are doctors, he wanted to become a doctor. Gautham gets an opportunity from the Government of India to go to Russia to represent India in a week long medical conference, along with five other young doctors. Gautham is delighted to receive this offer and packs his bags to fly to Russia. Meanwhile, his beloved is introduced on the frame, which happens to be Shenba (Kangana Ranaut). She happens to be the same village girl in which Gautham's sister Sarasu (Anu Haasan) resides with her husband (Chetan). So, the two meet and fall in love but keep it a secret. However, Sarasu's husband finds their love when he sees Gautham pinching Shenba's waist so hard that she screams. Despite initial frictions between her father (Mahadevan) and uncle (Bose Venkat) with Gautham, they eventually agree to get the pair married. Gautham's parents agree to the marriage, and as a happy man, Gautham is ready to marry Shenba after his return to India from his Russia trip.


title: Dhaam Dhoom

text: Finally, the journey to Russia happens. Gautham reaches Moscow and completes his immigration procedures. Incidentally, Gautham meets Anna (Maria Kozhevnikova), and unknowingly, Anna drops her jacket, which is seen by Gautham. He has no time to return the jacket and exits from the Moscow airport accompanied by his medical team. Gautham is flabbergasted by the roads and buildings of the city and is surprised to see the city of Moscow from his hotel view. Gautham learns that the only hiccup with Russians is that the people are ignorant about the English language and the whole conversation with them must be made in Russian.


title: Dhaam Dhoom

text: Soon after, Gautham discovers Anna and takes the prospect to return her coat. The two get together well and part ways. Meanwhile, Gautham's medical conference takes place successfully, and in order to celebrate its success, the whole team heads to a nightclub. Gautham bumps into Anna in the nightclub, and the two have an enjoyable time in the club. Anna, due to heavy consumption of liquor, intoxicates, and Gautham has no other choice than to accompany her to her room. When the two reach Anna's apartment in, they settle down and sleep. Gautham is brutally dragged onto the floor by a Russian police officer the next day morning, and the reason is that Anna is murdered on her sofa.


title: Dhaam Dhoom

text: Consequently, Gautham's situation changes; he gets abused, accused, and imprisoned by the Russian police. The language, people, and surroundings are totally new and confusing to him. Fortunately, Aarthi Chinnappa (Lakshmi Rai) is appointed as a defendant lawyer to Gautham. The Indian consulate sends Raghavan Nambiar (Jayaram) to Gautham's rescue. When Gautham tries to run away from the Russian police, he gets drowned in a lake, and Aarthi finds him at the shore. Aarthi kisses Gautham to rescue him, and she realises that she has fallen in love with Gautham, but she suppresses her feelings when she learns about Shenba. Gautham escapes from the police and is running around St. Petersburg with Aarthi, trying to figure out who murdered Anna and why he was caught up in the scandal. Whilst fleeing from the police, Gautham gets shot by the mob and manages to escape narrowly. After taking care of his wounds, Aarthi and Gautham decide to seek down those who misled them. The eventual villainous figure is revealed to be Raghavan.


title: Dhaam Dhoom

text: Before a shoot out, Raghavan reveals that Anna was a drug trafficker from Chennai to Russia, and by dropping her coat, consisting of drugs, off at the airport, she manages to evade being caught. Soon after, Anna had changed her ways and was ready to tell the police about Raghavan's drug dealing, but before that happened, Raghavan, along with the mob, had her killed off. In the final scene, Raghavan is killed by the police, and Gautham is set free to reunite with Shenba for their wedding.


title: Dhaam Dhoom

text: The film was launched initially with Jayam Ravi paired opposite Genelia D'Souza, however she opted out of the project due to fully booked dates for her Telugu film, "Dhee". After Genelia's removal from the project other leading actresses such as Asin and Mamta Mohandas were approached for a key role in the film, but they also rejected the offer, citing commitments to other projects. The film marked as Kangana Ranaut's debut in the Tamil film industry.


title: Dhaam Dhoom

text: Reema Sen was chosen for a significant role in the film; however, 14 days after her confirmation, she pulled out of the project, citing differences with the director, Jeeva. The role offered to Reema Sen, that of a lawyer, had no songs and was the second heroine role. Reema Sen confirmed later to "Kumudham magazine" that she did not want to play the second lead in the film, and opted out of the project. On 19 February 2007, the producers confirmed the choice of Lakshmi Rai to essay the role dropped by Reema Sen. The project was also Lakshmi Rai's biggest film of her career till then, despite being the second female lead in the project. Jayaram was later selected to portray the villain in the film, appearing in such a role for the first time in his career.


title: Dhaam Dhoom

text: As per Jeeva's previous films, Jeeva himself took charge of the cinematography, though, after his death, P. C. Sriram took charge. Although Jeeva had been reworking his final draft during filming, S. Ramakrishnan was brought in after his death to find a way to connect the climax with the previous draft to the final one; the two would not come together properly, otherwise.


title: Dhaam Dhoom

text: The film started in January 2007 in India, with the initial shoot taking place in Chennai, consisting of Jayam Ravi surrounded by duplicate snow. The first schedule was shot in February 2007, in and around Pollachi, featuring the countryside backdrop, with scenes involving actors Jayam Ravi and Kangana Ranaut, among others. The film's crew originally had problems maintaining a visa to film in St. Petersburg, Russia, and decided to relocate the scenes to Prague in the Czech Republic; however, they eventually obtained visas to shoot in Russia. While shooting their schedule in Russia, on 26 June 2007, director Jeeva died after suffering cardiac arrest. The film was suspended indefinitely following the director's demise.


title: Dhaam Dhoom

text: In early July 2007, it was announced that M. Raja, the elder brother of Jayam Ravi, would complete the project, but subsequently, veteran director P. C. Sriram signed to complete the project with Jeeva's widow Anees. Finally, Anees announced that the film would be completed by her and Jeeva's assistant G.K. Manikandan, whilst Sriram would overlook their efforts. Eventually, the team returned to Russia and canned the remaining scenes within 40 days.


title: Dhaam Dhoom

text: The film opened in Chennai strongly, with advance bookings full for the opening weekend at Inox and Sathyam Cinemas, while at Mayajaal, there were 22 shows daily of the film, leading to a successful opening of 92% full attendance. Rs. 49,29,778 was grossed on the first weekend in Chennai multiplexes, which had a total of 166 shows over three days. After the first week the film, maintained its place at top spot, despite the entry of "Saroja", gaining Rs. 37,31,124, with a total attendance percentage in Chennai of 70%.


title: Dhaam Dhoom

text: Overseas, in the United Kingdom box office, the film opened at number 22, earning £21,634 during the first weekend, after opening across four Cineworld screens. After the second week the cumulative gross increased to £37,050, retaining the number of screens, but slipping to 34th in the weekly rankings.


title: Dhaam Dhoom

text: The film has six songs composed by Harris Jayaraj with the lyrics primarily penned by Na. Muthukumar and Pa. Vijay. The audio of the film released worldwide on 19 March 2008, five months prior to the release. The soundtrack received praise from music critics, with Indiaglitz.com labelling the album as "delightful". Behindwoods gave the soundtrack 4 out 5 and mentioned that, "Clearly a master craftsman is at work here. A nice sophistication prevails through the whole album. No sound hurts your ears. If the film wins good reviews, the songs may play a big part in it."


title: Bag

text: A bag (also known regionally as a sack) is a common tool in the form of a non-rigid container. The use of bags predates recorded history, with the earliest bags being lengths of animal skin, cotton, or woven plant fibers, folded up at the edges and secured in that shape with strings of the same material.


title: Bag

text: Despite their simplicity, bags have been fundamental for the development of human civilization, as they allow people to easily collect loose materials such as berries or food grains, and to transport more items than could readily be carried in the hands. The word probably has its origins in the Norse word "baggi", from the reconstructed Proto-Indo-European bʰak, but is also comparable to the Welsh baich (load, bundle), and the Greek Τσιαντουλίτσα ("Chandulícha", load).


title: Bag

text: Cheap disposable paper bags and plastic shopping bags are very common varying in size and strength in the retail trade as a convenience for shoppers, and are often supplied by the shop for free or for a small fee. Customers may also take their own shopping bags to use in shops, these are more commonly known as tote bags or shoppers tote. Although, paper had been used for purposes of wrapping and padding in ancient China since the 2nd century BC, the first use of paper bags (for preserving the flavor of tea) in China came during the later Tang Dynasty (618–907 AD).


title: Bag

text: Bags have been attested for thousands of years and have been used by both men and women. Bags have been prevalent as far back as ancient Egypt. Many hieroglyphs depict males with bags tied around their waist. The Bible mentions pouches, especially with regard to Judas Iscariot carrying one around, holding his personal items. In the 14th century, wary of pickpockets and thieves, many people used drawstring bags, in which to carry their money. These bags were attached to "girdles" via a long cord fastened to the waist.


title: Bag

text: The Australian dillybag is a traditional Australian Aboriginal bag generally woven from plant fibres. Dillybags were and are mainly designed and used by women to gather and transport food, and are most commonly found in the northern parts of Australia.


title: Bag

text: Women also wore more ornate drawstring bags, typically called "hamondeys" or "tasques", to display their social status. The 14th-century handbags evolved into wedding gifts from groom to bride. These medieval pouches were embroidered, often with depictions of love stories or songs. Eventually, these pouches evolved into what is known as a "chaneries", which were used for gaming or food for falcons. During the Renaissance, Elizabethan England's fashions were more ornate than ever before. Women's wore their pouches underneath the vast array of petticoats and men wore leather pockets or "bagges" inside their breeches. Aristocrats began carrying "swete bagges" filled with sweet-smelling material to make up for poor hygiene.


title: Bag

text: In the modern world, bags are ubiquitous, with many people routinely carrying a wide variety of them in the form of cloth or leather briefcases, handbags, and backpacks, and with bags made from more disposable materials such as paper or plastic being used for shopping, and to carry home groceries. A bag may be closable by a zipper, snap fastener, etc., or simply by folding (e.g. in the case of a paper bag). Sometimes a money bag or travel bags has a lock. The bag likely predates the inflexible variant, the basket, and bags usually have the additional advantage over baskets of being foldable or otherwise compressible to smaller sizes. On the other hand, baskets, being made of a more rigid material, may better protect their contents.


title: Bag

text: An empty bag may or may not be very light and foldable to a small size. If it is, this is convenient for carrying it to the place where it is needed, such as a shop, and for storage of empty bags. Bags vary from small ones, like purses, to large ones for use in traveling like a suitcase. The pockets of clothing are also a kind of bag, built into the clothing for the carrying of suitably small objects.


title: Bag

text: There are environmental concerns regarding use and disposal of plastic shopping and trash bags. Efforts are being taken to control and reduce their use in some European Union countries, including Ireland and the Netherlands. In some cases the cheap bags are taxed so the customer must pay a fee where they may not have done previously. Sometimes heavy duty reusable plastic and fabric bags are sold, typically costing €0.50 to €1, and these may replace disposable bags entirely. Sometimes free replacements are offered when the bag wears out. The UK has charged 5p per plastic carrier bag in larger shops since 2015. This trend has spread to some cities in the United States. Recently many countries have banned the use of plastic bags. Paper bags emerge as a great replacement for plastic bags; however paper bags tend to be expensive compared to plastic bags.


title: Bag

text: A bag may or may not be disposable; however, even a disposable bag can often be used many times, for economic and environmental reasons. On the other hand, there may be logistic or hygienic reasons to use a bag only once. For example, a garbage bag is often disposed of with its content. A bag for packaging a disposable product is often disposed of when it is empty. Similarly, bags used as receptacles in medical procedures, such as the colostomy bag used to collect waste from a surgically diverted biological system, are typically disposed of as medical waste. Many snack foods, such as pretzels, cookies, and potato chips, are available in disposable single-use sealed bags. There are many fashionable designer bags from luxury ones Hermès, Louis Vuitton, Balenciaga to more independent designers Jil Sander, A.P.C.


title: Yakety Sax

text: "Yakety Sax" is a pop novelty instrumental jointly composed by James Q. "Spider" Rich and Boots Randolph. Saxophonist Randolph popularized the selection in his 1963 recording, which reached number 35 on the pop charts. Comedian Benny Hill later made it more widely known as the closing theme music of "The Benny Hill Show". The piece is considered Randolph's signature work.


title: Yakety Sax

text: The selection includes pieces of assorted fiddle tunes and was originally composed by Rich for a performance at a venue called The Armory in Hopkinsville, Kentucky. The piece also quotes two bars each of "Entrance of the Gladiators" and "The Girl I Left Behind".


title: Yakety Sax

text: Randolph's take on the piece was inspired by the saxophone solo played by King Curtis on The Coasters' 1958 recording of the Leiber and Stoller song "Yakety Yak". The tunes are similar, and both feature the "yakety" saxophone sound. Randolph first recorded "Yakety Sax" that year for RCA Victor, but it did not become a hit until he re-recorded it for Monument Records in 1963; this version reached number 35 on the "Billboard" Hot 100 chart.


title: Yakety Sax

text: "Yakety Sax" is often used in television and film as a soundtrack for outlandishly humorous situations. It was frequently used to accompany comedic sketches, particularly the time-lapse, rapidly-paced silent chase skit that came at the end of almost every episode of "The Benny Hill Show". Because of this, "Yakety Sax" is so closely linked to the series that it is also known as "The Benny Hill Theme". From 1983 on, the music was performed by Ronnie Aldrich and his orchestra.


title: Yakety Sax

text: This use of the piece, and the chase scenes themselves, have been parodied in many other films and TV shows, including "Get a Life", the 2006 film "V for Vendetta", in the 2015 "Doctor Who" episode "The Girl Who Died" (with a character referring to the song as the "Benny Hill Theme") and the animated TV shows "The Simpsons", "Family Guy", "South Park", multiple episodes of "", and "The Prime Minister Has No Clothes" episode of "Time Squad". The stop motion animated sketch comedy series "Robot Chicken" featured a brief sketch depicting Benny Hill's funeral (using dolls) where the attendees have a Benny Hill Show-type chase scene with many of the usual gags and a song similar to "Yakety Sax". The theme was used during the 2012 Olympics beach volleyball event between sets (where rakers must rush to smooth out the court).


title: Yakety Sax

text: On 7 July 2022, the tune was played outside the Houses of Parliament, by anti-Brexit campaigner Steve Bray, upon the announcement by Boris Johnson that he was resigning as Prime Minister. This was suggested by actor Hugh Grant.


title: Raków Częstochowa

text: Robotniczy Klub Sportowy Raków Częstochowa Spółka Akcyjna (commonly referred to as Raków Częstochowa, or simply Raków) is a Polish professional football club, based in Częstochowa, that competes in the Ekstraklasa, the top tier of national football league system.


title: Raków Częstochowa

text: Sports club "Racovia" was established in 1921 in the village of Raków. The club dissolved in 1925 due to lack of registration. In 1927, the club was reactivated under the name of the Robotniczy Klub Sportowy (Workers Sports Club) Raków. A year later, the village became a district of Częstochowa. The club operated under the patronage of the Polish Socialist Party and was financially supported by the Częstochowa steelworks. In 1937 the club was promoted to class A. During the German occupation (World War II), the club did not function. In the years 1951-1955 a football stadium with an athletics track was built. In the years 1962-1966 the football team played in the second league. On July 9, 1967, Raków lost 0-2 with Wisła Kraków in the Polish Cup final. In 1972, Raków's players reached the semi-finals of the Polish Cup, which they lost to Legia Warsaw. In the years 1978-1980, 1981-1984 and 1990-1994 the club played in the second league. In 1993, the junior team took 2nd place in the Football Junior Championships of Poland. In 1994, for the first time in club history, Raków were promoted to the first league. It played in the top-flight for four seasons until being relegated in 1997–98. The club suffered back-to-back relegations in 1999–2000 and 2000–01, dropping down to the IV liga. The club finally made it to back to the Polish second division, I liga, in 2016.


title: Raków Częstochowa

text: The club won the I liga in 2018–19, earning promotion to the Ekstraklasa in advance of the 2019–20 season for the first time in 21 years. In the same season, they impressed in the 2018-19 Polish Cup, reaching the semi finals of the competition by beating the likes of Lech Poznań in the round of 32 and Legia Warsaw in the quarter finals. They finished in 10th place in the 2019-20 season.


title: Raków Częstochowa

text: In the 2020–21 season, Raków Częstochowa finished in second place in the league. This was their highest ever league position in their history, and it secured their place in the newly formed UEFA Europa Conference League qualifiers for the 2021–22 season, their maiden appearance in European football. Further success followed when Raków won its first major trophy on 2 May 2021, defeating I liga side Arka Gdynia in the final of the Polish Cup by a score of 2–1. On 17 July 2021, Raków Częstochowa defeated reigning Ekstraklasa title holders Legia Warsaw in penalties in the Polish Super Cup.


title: Raków Częstochowa

text: Their first ever appearance in European football was in the second qualifying round of the 2021–22 UEFA Europa Conference League, facing Lithuanian team Sūduva, with the game finishing 0–0 (3–4 pens) after both legs. They faced Russian Premier League side Rubin Kazan in the third qualifying round, beating them 1–0 on aggregate score. In the final qualifying round, they faced Belgian side Gent, which they beat 1–0 in the first leg, but lost 0–3 in the second leg, losing 1–3 on aggregate, eliminating them from the competition.


title: Raków Częstochowa

text: On 2 May 2022, Raków defeated Lech Poznań 3–1 and secured its second consecutive Polish Cup. In the race for the league title that season, Raków lost out to the same opponents by just five points, with the champions being decided on the penultimate day of the season. On 9 July 2022, Raków won their second consecutive Polish Super Cup with a 2–0 win over Lech Poznań.


title: Raków Częstochowa

text: The club's pupils are Jakub Błaszczykowski, Jerzy Brzęczek and Jacek Magiera. The players were, among others, Jacek Krzynówek and Tomasz Kiełbowicz.


title: Radio drama

text: Radio drama (or audio drama, audio play, radio play, radio theatre, or audio theatre) is a dramatized, purely acoustic performance. With no visual component, radio drama depends on dialogue, music and sound effects to help the listener imagine the characters and story: "It is auditory in the physical dimension but equally powerful as a visual force in the psychological dimension." Radio drama includes plays specifically written for radio, docudrama, dramatized works of fiction, as well as plays originally written for the theatre, including musical theatre, and opera.


title: Radio drama

text: Radio drama achieved widespread popularity within a decade of its initial development in the 1920s. By the 1940s, it was a leading international popular entertainment. With the advent of television in the 1950s radio drama began losing its audience. However, it remains popular in much of the world.


title: Radio drama

text: Recordings of OTR (old-time radio) survive today in the audio archives of collectors, libraries and museums, as well as several online sites such as Internet Archive.


title: Radio drama

text: By the 21st century, radio drama had a minimal presence on terrestrial radio in the United States, with much American radio drama being restricted to rebroadcasts of programmes from previous decades. However, other nations still have thriving traditions of radio drama. In the United Kingdom, for example, the BBC produces and broadcasts hundreds of new radio plays each year on Radio 3, Radio 4, and Radio 4 Extra. Like the US, Australia ABC has abandoned broadcasting drama but in New Zealand RNZ continues to promote and broadcast a variety of drama over its airwaves.


title: Radio drama

text: Thanks to advances in digital recording and Internet distribution, radio drama experienced a revival around 2010. Podcasting offered the means of inexpensively creating new radio dramas, in addition to the distribution of vintage programs.


title: Radio drama

text: The terms "audio drama" or "audio theatre" are sometimes used synonymously with "radio drama"; however, audio drama or audio theatre may not necessarily be intended specifically for broadcast on radio. Audio drama can also be found on CDs, cassette tapes, podcasts, webcasts, or other digital downloads as well as broadcast radio.


title: Radio drama

text: The Roman playwright Seneca has claim as a forerunner of radio drama because "his plays were performed by readers as sound plays, not by actors as stage plays... [I]n this respect Seneca had no significant successors until 20th-century technology made possible the widespread dissemination of sound plays."


title: Radio drama

text: Radio drama traces its roots back to the 1880s: "In 1881 French engineer Clement Ader had filed a patent for 'improvements of Telephone Equipment in Theatres (Théâtrophone). English-language radio drama seems to have started in the United States. "A Rural Line on Education", a brief sketch specifically written for radio, aired on Pittsburgh's KDKA in 1921, according to historian Bill Jaker. Newspaper accounts of the era report on a number of other drama experiments by America's commercial radio stations: KYW broadcast a season of complete operas from Chicago starting in November 1921. In February 1922, entire Broadway musical comedies with the original casts aired from WJZ's Newark studios. Actors Grace George and Herbert Hayes performed an entire play from a San Francisco station in the summer of 1922.


title: Radio drama

text: An important turning point in radio drama came when Schenectady, New York's WGY, after a successful tryout on August 3, 1922, began weekly studio broadcasts of full-length stage plays in September 1922, using music, sound effects and a regular troupe of actors, The WGY Players. Aware of this series, the director of Cincinnati's WLW began regularly broadcasting one-acts (as well as excerpts from longer works) in November. The success of these projects led to imitators at other stations. By early 1923, original dramatic pieces written specially for radio were airing on stations in Cincinnati ("When Love Wakens" by WLW's Fred Smith), Philadelphia ("The Secret Wave" by Clyde A. Criswell) and Los Angeles ("At Home" over KHJ). That same year, WLW (in May) and WGY (in September) sponsored scripting contests, inviting listeners to create original plays to be performed by those stations' dramatic troupes.


title: Radio drama

text: Listings in "The New York Times" and other sources for May 1923 reveal at least 20 dramatic offerings were scheduled (including one-acts, excerpts from longer dramas, complete three- and four-act plays, operettas and a Molière adaptation), either as in-studio productions or by remote broadcast from local theaters and opera houses. An early British drama broadcast was of Shakespeare's "A Midsummer Night's Dream" on 2LO on 25 July 1923.


title: Radio drama

text: Serious study of American radio drama of the 1920s and early 1930s is, at best, very limited. Unsung pioneers of the art include: WLW's Fred Smith; Freeman Gosden and Charles Correll (who popularized the dramatic serial); "The Eveready Hour" creative team (which began with one-act plays but was soon experimenting with hour-long combinations of drama and music on its weekly variety program); the various acting troupes at stations like WLW, WGY, KGO and a number of others, frequently run by women like Helen Schuster Martin and Wilda Wilson Church; early network continuity writers like Henry Fisk Carlton, William Ford Manley and Don Clark; producers and directors like Clarence Menser and Gerald Stopp; and a long list of others who were credited at the time with any number of innovations but who are largely forgotten or undiscussed today. Elizabeth McLeod's 2005 book on Gosden and Correll's early work is a major exception, as is Richard J. Hand's 2006 study of horror radio, which examines some programs from the late 1920s and early 1930s.


title: Radio drama

text: Another notable early radio drama, one of the first specially written for the medium in the UK, was "A Comedy of Danger" by Richard Hughes, broadcast by the BBC on January 15, 1924, about a group of people trapped in a Welsh coal mine. One of the earliest and most influential French radio plays was the prize-winning "Marémoto" ('Seaquake'), by Gabriel Germinet and Pierre Cusy, which presents a realistic account of a sinking ship before revealing that the characters are actually actors rehearsing for a broadcast. Translated and broadcast in Germany and England by 1925, the play was originally scheduled by Radio-Paris to air on October 23, 1924, but was instead banned from French radio until 1937 because the government feared that the dramatic SOS messages would be mistaken for genuine distress signals.


title: Radio drama

text: In 1951, American writer and producer Arch Oboler suggested that Wyllis Cooper's "Lights Out" (1934–47) was the first true radio drama to make use of the unique qualities of radio:


title: Radio drama

text: Though the series is often remembered solely for its gruesome stories and sound effects, Cooper's scripts for "Lights Out" were later recognized as well written and offered innovations seldom heard in early radio dramas, including multiple first-person narrators, stream of consciousness monologues and scripts that contrasted a duplicitous character's internal monologue and his spoken words.


title: Radio drama

text: The question of who was the first to write stream-of-consciousness drama for radio is a difficult one to answer. By 1930, Tyrone Guthrie had written plays for the BBC like "Matrimonial News" (which consists entirely of the thoughts of a shopgirl awaiting a blind date) and "The Flowers Are Not for You to Pick" (which takes place inside the mind of a drowning man). After they were published in 1931, Guthrie's plays aired on the American networks. Around the same time, Guthrie himself also worked for the Canadian National Railway radio network, producing plays written by Merrill Denison that used similar techniques. A 1940 article in "Variety" credited a 1932 NBC play, "Drink Deep" by Don Johnson, as the first stream-of-consciousness play written for American radio. The climax of Lawrence Holcomb's 1931 NBC play "Skyscraper" also uses a variation of the technique (so that the listener can hear the final thoughts and relived memories of a man falling to his death from the title building).


title: Radio drama

text: There were probably earlier examples of stream-of-consciousness drama on the radio. For example, in December 1924, actor Paul Robeson, then appearing in a revival of Eugene O'Neill's "The Emperor Jones", performed a scene from the play over New York's WGBS to critical acclaim. Some of the many storytellers and monologists on early 1920s American radio might be able to claim even earlier dates.


title: Radio drama

text: Perhaps America's most famous radio drama broadcast is Orson Welles' "The War of the Worlds" (a 1938 version of H. G. Wells' novel), which inspired stories of a mass panic that, though greatly exaggerated, signaled the power of the form.


title: Radio drama

text: By the late 1930s, radio drama was widely popular in the United States (and also in other parts of the world). There were dozens of programs in many different genres, from mysteries and thrillers, to soap operas and comedies. Among American playwrights, screenwriters and novelists who got their start in radio drama are Rod Serling and Irwin Shaw.


title: Radio drama

text: In Britain, however, during the 1930s BBC programming, tended to be more high brow, including the works of Shakespeare, Classical Greek drama, as well as the works of major modern playwrights, such as Chekhov, Ibsen, Strindberg, and so forth. Novels and short stories were also frequently dramatised. In addition the plays of contemporary writers and original plays were produced, with, for example, a broadcast of T. S. Eliot's famous verse play "Murder in the Cathedral" in 1936. By 1930, the BBC was producing "twice as many plays as London's West End" and were producing over 400 plays a year by the mid-1940s.


title: Radio drama

text: Producers of radio drama soon became aware that adapting stage plays for radio did not always work, and that there was a need for plays specifically written for radio, which recognized its potential as a distinct and different medium from the theatre. George Bernard Shaw's plays, for example, were seen as readily adaptable. However, in a lead article in the BBC literary journal "The Listener", of 14 August 1929, which discussed the broadcasting of 12 great plays, it was suggested that while the theatrical literature of the past should not be neglected the future lay mainly with plays written specifically for the microphone.


title: Radio drama

text: In 1939–40, the BBC founded its own Drama Repertory Company which made a stock of actors readily available. After the war, the number was around 50. They performed in the great number of plays broadcast in the heyday of BBC radio drama of the 40s–60s.


title: Radio drama

text: Initially the BBC resisted American-style 'soap opera', but eventually highly popular serials, like "Dick Barton, Special Agent" (1946–51), "Mrs Dale's Diary" (1948–69) and "The Archers" (1950–), were produced. "The Archers" is still running () and is the world's longest-running soap opera with a total of over 18,400 episodes. There had been some earlier serialized drama including, the six episode "The Shadow of the Swastika" (1939), Dorothy L. Sayers's "The Man Born To Be King", in twelve episodes (1941), and "Front Line Family" (1941–48), which was broadcast to America as part of the effort to encourage the US to enter the war. The show's storylines depicted the trials and tribulations of a British family, the Robinsons, living through the war. This featured plots about rationing, family members missing in action and the Blitz. After the war in 1946 it was moved to the BBC Light Programme.


title: Radio drama

text: The BBC continued producing various kinds of drama, including docu-drama, throughout World War II; amongst the writers they employed were the novelist James Hanley and poet Louis MacNeice, who in 1941 became an employee of the BBC's. MacNeice's work for the BBC initially involved writing and producing radio programmes intended to build support for the US, and later Russia, through cultural programmes emphasising links between the countries rather than outright propaganda. By the end of the war MacNeice had written well over 60 scripts for the BBC, including "Christopher Columbus" (1942), which starred Laurence Olivier, "The Dark Tower" (1946), and a six-part radio adaptation of Goethe's "Faust" (1949).


title: Radio drama

text: Following World War II the BBC reorganized its radio provision, introducing two new channels to supplement the BBC Home Service (itself the result of the fusion in September 1939 of the pre-war National and Regional Programmes). These were the BBC Light Programme (dating from 29 July 1945 and a direct successor to the wartime General Forces Programme) and the BBC Third Programme (launched on 29 September 1946).


title: Radio drama

text: The BBC Light Programme, while principally devoted to light entertainment and music, carried a fair share of drama, both single plays (generally, as the name of the station indicated, of a lighter nature) and serials. In contrast, the BBC Third Programme, destined to become one of the leading cultural and intellectual forces in post-war Britain, specialized in heavier drama (as well as the serious music, talks, and other features which made up its content): long-form productions of both classical and modern/experimental dramatic works sometimes occupied the major part of its output on any given evening. The Home Service, meanwhile, continued to broadcast more "middle-brow" drama (one-off plays and serializations) daily.


title: Radio drama

text: The high-water mark for BBC radio drama was the 1950s and 1960s, and during this period many major British playwrights either effectively began their careers with the BBC, or had works adapted for radio. Most of playwright Caryl Churchill's early experiences with professional drama production were as a radio playwright and, starting in 1962 with "The Ants", she wrote nine productions with BBC radio drama up until 1973, when her stage work began to be recognised at the Royal Court Theatre. Joe Orton's dramatic debut in 1963 was the radio play "The Ruffian on the Stair", which was broadcast on 31 August 1964.


title: Radio drama

text: Tom Stoppard's "first professional production was in the 15-minute "Just Before Midnight" programme on BBC Radio, which showcased new dramatists". John Mortimer made his radio debut as a dramatist in 1955, with his adaptation of his own novel "Like Men Betrayed" for the BBC Light Programme. However, he made his debut as an original playwright with "The Dock Brief", starring Michael Hordern as a hapless barrister, first broadcast in 1957 on BBC Third Programme, later televised with the same cast and subsequently presented in a double bill with "What Shall We Tell Caroline?" at the Lyric Hammersmith in April 1958, before transferring to the Garrick Theatre. Mortimer is most famous for "Rumpole of the Bailey", a British television series which starred Leo McKern as Horace Rumpole, an aging London barrister who defends any and all clients. It has been spun off into a series of short stories, novels, and radio programmes.


title: Radio drama

text: Giles Cooper was a pioneer in writing for radio, becoming prolific in both radio and television drama. His early successes included radio dramatisations of Charles Dickens's "Oliver Twist", William Golding's "Lord of the Flies", and John Wyndham's classic science fiction novel "Day of the Triffids". He was also successful in the theatre. The first of his radio plays to make his reputation was "Mathry Beacon" (1956), about a small detachment of men and women still guarding a Top Secret "missile deflector" somewhere in Wales, years after the war has ended. Bill Naughton's radio play "Alfie Elkins and his Little Life" (1962) was first broadcast on the BBC Third Programme on 7 January 1962. In it Alfie, "[w]ith sublime amorality... swaggers and philosophises his way through" life. The action spans about two decades, from the beginning of World War II to the late 1950s. In 1964, Bill Naughton turned it into a stage play which was put on at London's Mermaid Theatre. Later, he wrote the screenplay for a film version, "Alfie" (1966), starring Michael Caine.


title: Radio drama

text: Other notable radio dramatists included Henry Reed, Brendan Behan, Rhys Adrian, Alan Plater; Anthony Minghella, Alan Bleasdale, and novelist Angela Carter. Novelist Susan Hill also wrote for BBC Radio, from the early 1970s. Henry Reed was especially successful with the Hilda Tablet plays. Irish playwright Brendan Behan, author of "The Quare Fellow" (1954), was commissioned by the BBC to write a radio play "The Big House" (1956); prior to this he had written two plays for Irish radio: "Moving Out" and "A Garden Party".


title: Radio drama

text: Among the most famous works created for radio, are Dylan Thomas's "Under Milk Wood" (1954), Samuel Beckett's "All That Fall" (1957), Harold Pinter's "A Slight Ache" (1959), and Robert Bolt's "A Man for All Seasons" (1954). Beckett wrote a number of short radio plays in the 1950s and 1960s, and later for television; his radio play "Embers" was first broadcast on the BBC Third Programme on 24 June 1959 and won the RAI prize at the Prix Italia awards later that year.


title: Radio drama

text: Robert Bolt's writing career began with scripts for "Children's Hour". "A Man for All Seasons" was subsequently produced on television in 1957. Then in 1960, there was a highly successful stage production in London's West End and on New York's Broadway from late 1961. In addition there have been two film versions: in 1966 starring Paul Scofield and 1988 for television, starring Charlton Heston.


title: Radio drama

text: While Alan Ayckbourn did not write for radio many of his stage plays were subsequently adapted for radio. Other significant adaptations included, dramatised readings of poet David Jones's "In Parenthesis" in 1946 and "The Anathemata" in 1953, for the BBC Third Programme, and novelist Wyndham Lewis's "The Human Age" (1955). Among contemporary novels that were dramatised were the 1964 radio adaptation of Stan Barstow's "A Kind of Loving" (1960); there had also been a 1962 film adaption.


title: Radio drama

text: After the advent of television, radio drama never recovered its popularity in the United States. Most remaining CBS and NBC radio dramas were cancelled in 1960. The last network radio dramas to originate during American radio's "Golden Age", "Suspense" and "Yours Truly, Johnny Dollar", ended on September 30, 1962.


title: Radio drama

text: There have been some efforts at radio drama since then. In the 1960s, Dick Orkin created the popular syndicated comic adventure series "Chicken Man". ABC Radio aired a daily dramatic anthology program, "Theater Five", in 1964–65. Inspired by "The Goon Show", "the four or five crazy guys" of the Firesign Theatre built a large following with their satirical plays on recordings exploring the dramatic possibilities inherent in stereo. A brief resurgence of production beginning in the early 1970s yielded Rod Serling's "The Zero Hour" for Mutual, National Public Radio's "Earplay", and veteran Himan Brown's "CBS Radio Mystery Theater" and "General Mills Radio Adventure Theater". These productions were later followed by the "Sears/Mutual Radio Theater", "The National Radio Theater of Chicago", "NPR Playhouse", and a newly produced episode of the former 1950s series "X Minus One". Works by a new generation of dramatists also emerged at this time, notably Yuri Rasovsky, Thomas Lopez of ZBS and the dramatic sketches heard on humorist Garrison Keillor's "A Prairie Home Companion". Brian Daley's 1981 adaptation of the blockbuster space opera film "Star Wars" for "NPR Playhouse" was a notable success. Production costs on this serial were mitigated by the support of Lucasfilm, who sold the rights to NPR for a nominal $1 fee, and by the participation of the BBC in an international co-production deal. "Star Wars" was credited with generating a 40% rise in NPR's ratings and quadrupling the network's youth audience overnight. Radio adaptations of the sequels followed with "The Empire Strikes Back" in 1983 and "Return of the Jedi" in 1996.


title: Radio drama

text: Thanks in large part to the National Endowments for the Arts and Humanities, public radio continued to air a smattering of audio drama until the mid-1980s. From 1986 to 2002, NPR's most consistent producer of radio drama was the idiosyncratic Joe Frank, working out of KCRW in Santa Monica. The Sci Fi Channel presented an audio drama series, "Seeing Ear Theatre", on its website from 1997 to 2001. Also, the dramatic serial "It's Your World" aired twice daily on the nationally syndicated "Tom Joyner Morning Show" from 1994 to 2008, continuing online through 2010.


title: Radio drama

text: Radio drama remains popular in much of the world, though most material is now available through Internet download rather than heard over terrestrial or satellite radio. Stations producing radio drama often commission a large number of scripts. The relatively low cost of producing a radio play enables them to take chances with works by unknown writers. Radio can be a good training ground for beginning drama writers as the words written form a much greater part of the finished product; bad lines cannot be obscured with stagecraft.


title: Radio drama

text: The BBC's sole surviving radio soap is "The Archers" on BBC Radio 4: it is, with over 18,700 episodes to date, the world's longest-running such programme. Other radio soaps ("ongoing serials") produced by the BBC but no longer on air include:


title: Radio drama

text: In September, 2010 Radio New Zealand began airing its first ongoing soap opera, "You Me Now", which won the Best New Drama Award in the 2011 New Zealand Radio Awards.


title: Radio drama

text: On KDVS radio in Davis, California there are two radio theater shows, "Evening Shadows", a horror/fantasy show paying tribute to classic old-time radio horror, and "KDVS Radio Theater" which commonly features dramas about social and political themes.


title: Radio drama

text: The audio drama format exists side by side with books presented on radio, read by actors or by the author. In Britain and other countries there is also quite a bit of radio comedy (both stand-up and sitcom). Together, these programs provide entertainment where television is either not wanted or would be distracting (such as while driving or operating machinery). "Selected Shorts", a long-running NPR program broadcast in front of a live audience at Symphony Space in New York, originated the "driveway moment" for over 300,000 people listeners each week during readings of contemporary and classic short stories by well-known professional actors.


title: Radio drama

text: The lack of visuals also enable fantastical settings and effects to be used in radio plays where the cost would be prohibitive for movies or television. "The Hitchhiker's Guide to the Galaxy" was first produced as radio drama, and was not adapted for television until much later, when its popularity would ensure an appropriate return for the high cost of the futuristic setting.


title: Radio drama

text: On occasion television series can be revived as radio series. For example, a long-running but no longer popular television series can be continued as a radio series because the reduced production costs make it cost-effective with a much smaller audience. When an organization owns both television and radio channels, such as the BBC, the fact that no royalties have to be paid makes this even more attractive. Radio revivals can also use actors reprising their television roles even after decades as they still sound roughly the same. Series that have had this treatment include "Doctor Who", "Dad's Army", "Thunderbirds" and "The Tomorrow People". In 2013 BBC Radio 4 released a radio adaptation of "Neverwhere" by Neil Gaiman, featuring a cast of well known television and film actors. Neil Gaiman has said he was excited about the radio drama adaptation as it allowed the work to be presented with a greater deal of special effects than was possible on television. In the United States, an adaptation of "The Twilight Zone" aired to modest success in the 2000s (decade) as a syndicated program.