title: Units of paper quantity

text: Certain types of specialist papers such as tissue paper, greaseproof paper, handmade paper, and blotting paper are still sold (especially in the UK) in 'short' reams of 480 sheets (20 quires of 24 sheets). However, the commercial use of the word 'ream' for quantities of paper other than 500 is now deprecated by such standards as ISO 4046. In Europe, the DIN 6730 standard for Paper and Board includes a definition of 1 ream of A4 80gsm (80 g/m) paper equals 500 sheets.


title: Units of paper quantity

text: The word 'ream' derives from Old French , from Spanish , from Arabic 'bundle' (of paper), from , 'collect into a bundle'. (The Moors brought manufacture of cotton paper to Spain.) The early variant "rym" (late 15c.) suggests a Dutch influence. (cf. Dutch ), probably during the time of Spanish Habsburg control of the Netherlands.


title: Units of paper quantity

text: The number of sheets in a ream has varied locally over the centuries, often according to the size and type of paper being sold. Reams of 500 sheets (20 quires of 25 sheets) were known in England in c. 1594; in 1706 a ream was defined as 20 quires, either 24 or 25 sheets to the quire. In 18th- and 19th-century Europe, the size of the ream varied widely. In Lombardy a ream of music paper was 450 or 480 sheets; in Britain, Holland and Germany a ream of 480 sheets was common; in the Veneto it was more frequently 500. Some paper manufacturers counted 546 sheets (21 quires of 26 sheets). J. S. Bach's manuscript paper at Weimar was ordered by the ream of 480 sheets. In 1840, a ream in Lisbon was 17 quires and three sheets = 428 sheets, and a double ream was 18 quires and two sheets = 434 sheets; and in Bremen, blotting or packing paper was sold in reams of 300 (20 quires of 15 sheets). A mid-19th century Milanese-Italian dictionary has an example for a (ream) as being either 450 or 480 sheets.


title: Units of paper quantity

text: Reams of 500 sheets were mostly used only for newsprint. Since the late 20th century, the 500-sheet ream has become the de facto international standard.


title: Units of paper quantity

text: A paper bundle is a quantity of sheets of paper, currently standardized as 1,000 sheets. A bundle consists of two reams or 40 quires. As an old UK and US measure, it was previously equal to 960 sheets.


title: Units of paper quantity

text: When referring to chipboard, there are two standards in the US. In general, a package of approximately 50 pounds of chipboard is called a bundle. Thus, a bundle of 22 point chipboard (0.022" thick) 24" × 38", with each sheet weighing 0.556 pounds, contains 90 sheets. However, chipboard sold in size 11" × 17" and smaller is packaged and sold as bundles of 25 pounds.


title: Units of paper quantity

text: A paper bale is a quantity of sheets of paper, currently standardized as 5,000 sheets. A bale consists of five bundles, ten reams or 200 quires. As an old UK and US measure, it was previously equal to 4800 sheets.


title: Lucy Foley

text: Lucy Foley is a British author of contemporary, historical fiction and mystery novels. Her novels "The Paris Apartment" and "The Guest List" are "New York Times" best sellers.


title: Lucy Foley

text: Foley worked as an editor at Headline Publishing Group and Hodder & Stoughton before writing full-time.


title: Lucy Foley

text: "The Guest List" is a thriller novel published June 2, 2020 by William Morrow. The book is a "New York Times" and "Washington Post" best seller.


title: Lucy Foley

text: "The Guest List" received a starred review from "Library Journal," as well as positive reviews from "Booklist", "The New York Times Book Review," "Good Housekeeping," "Marie Claire," "The Washington Post," "Buzzfeed," "Harper's Bazaar," "Shelf Awareness," and "PopSugar". "Publishers Weekly" provided a mixed review.


title: Lucy Foley

text: "The Paris Apartment" was published February 22, 2022. It is a mystery/thriller novel. The book was named one of the most anticipated books of the year by Goodreads and "Good Housekeeping".


title: Alfa Romeo 147

text: The Alfa Romeo 147 (Type 937) is a small family car produced by the Italian automaker Alfa Romeo from 2000 to 2010. The 147 was voted European Car of the Year in 2001.


title: Alfa Romeo 147

text: The 147 was launched at the Turin Motor Show in June 2000 as a replacement for the Alfa Romeo 145 and 146 hatchbacks and is based on the running gear of the larger 156 saloon. It was sold with 1.6, 2.0, and 3.2-liter petrol engines, and a 1.9-liter diesel engine. A paddle-operated "Selespeed" automatic transmission was available from launch.


title: Alfa Romeo 147

text: Two trim levels, Turismo and Lusso were available, and the 147 was the first Alfa Romeo to have dual-zone climate control and electronic traction control. In production for ten years, the 147 was one of the oldest small family cars on sale in Europe at the time of its replacement, reaching a production figure of 651,823.


title: Alfa Romeo 147

text: The 147 was designed by Walter de Silva and Wolfgang Egger. The 147 received praise for its styling on launch, later it won styling awards. The 147 range was revamped in 2004, with the exterior styling changed to resemble the new 159 and Brera models, and Alfa Romeo Visconti concept car. The 147 had a drag coefficient ("C") of 0.32.


title: Alfa Romeo 147

text: In 1999, Alfa Romeo confirmed that it would replace its 145/146 hatchbacks with an all-new model, which was unveiled as the 147 at the Turin Motor Show in June 2000. The first deliveries were in October 2000 in left-hand drive markets, and the right-hand-drive UK versions shortly thereafter. It received the 2001 European Car of the Year award.


title: Alfa Romeo 147

text: The 147 was facelifted at the end of 2004: new front grille, new headlights, new rear lights, and the interior was changed on all models besides the GTA version. A more powerful diesel engine arrived and the suspension was also tweaked.


title: Alfa Romeo 147

text: In 2006, the 147 1.9 JTD Q2 version was launched, with a front Torsen limited slip differential. Alfa Romeo presented a new limited edition 147 called "Ducati Corse" at the 2007 Bologna Motor Show. The car had a JTD diesel engine and Q2, a front Torsen limited slip differential.


title: Alfa Romeo 147

text: The hot hatch 147 GTA model was launched in 2002. The GTA used a 3.2 V6 engine, produced and had a top speed of . It has a widened body (15 mm at each side) to accommodate the 225/45R17 tyres.


title: Alfa Romeo 147

text: Most models have six-speed manual transmissions; whilst a smaller number of other models use the Selespeed automated manual system. In total, 5,029 147 GTAs were built, 1004 of which were Selespeeds.


title: Alfa Romeo 147

text: London-based after market tuner Autodelta has produced a "bored out" version of the GTA, sporting a 3.7 litre V6, producing , and a split axle differential gear for the front wheels. Autodelta has also made a Rotrex supercharged version, producing .


title: Alfa Romeo 147

text: Connect is an onboard information system: an onboard telematics system located in the central console that via its monitor gave access to satellite navigation and hands free GSM phone as well as allowing the user to adjust radio and CD player settings.


title: Alfa Romeo 147

text: The handling of 147 was praised in some reviews, in spite of criticism regarding the light (sensitive) steering, which makes some drivers feel less involved. However, light steering does help during parking maneuvers. Other criticisms of the 147 included a cumbersome gearshift, unsupportive seats, and the lack of interior space compared to its rivals.


title: Alfa Romeo 147

text: The car was noted for its pleasant engine note. The 147 suffers from fairly poor resale value in Great Britain.


title: Alfa Romeo 147

text: The 147 GTA and 147 Autodelta GTA have been road tested by Jeremy Clarkson, and featured on television show "Top Gear", with a power lap around the track by The Stig. In his review of Autodelta 147 GTA car for "The Sunday Times," Clarkson described the acceleration as "Ferrari throttle? Forget it. When you stamp on the accelerator it's like you've hit the Millennium Falcon's hyperdrive.


title: Alfa Romeo 147

text: In Europe, there was a one-car racing series, European Alfa 147 Challenge for Alfa 147 Cup race cars starting from 2003. In 2005, this series ran alongside the World Touring Car Championship, winner of the season of 2005 was Irish driver Eoin Murray. The car used on the series was the Alfa 147 Cup producing from its straight-4 1970 cc Twin Spark engine.


title: Alfa Romeo 147

text: An 147 2.0 TS (200 bhp) was used by Czech rally driver Martin Rada, finishing second in N3 group (21st overall) on Rally Monte Carlo in 2009, and later finishing first in group 8 on Rally Monte Carlo 2012 (42nd overall)


title: Alfa Romeo 147

text: The 147 also competed briefly in the British Touring Car Championship in 2001 with the JSM team, with a best finish of 3rd at Oulton Park, thanks to driver/team owner Tim Harvey. The car won the 2003 and 2004 Italian Superturismo Championship and won the Super Production class of the 2005 European Touring Car Cup with driver Lorenzo Falessi.


title: Kanojo × Kanojo × Kanojo

text: "Kanojo × Kanojo × Kanojo" premiered as the sixth best selling visual novel in the month and year of its release on "Getchu.com". The gameplay in "Kanojo × Kanojo × Kanojo" follows a branching plot line which offers pre-determined scenarios with courses of interaction, and focuses on the appeal of the three female main characters by the player character. A hentai original video animation (OVA) series was produced, containing three episodes. Other media such as art books, and various merchandise were also released.


title: Kanojo × Kanojo × Kanojo

text: "Kanojo × Kanojo × Kanojo" is an erotic visual novel in which the player assumes the role of Shiki Haruomi. Much of its gameplay is spent reading the text that appears on the screen, which represents the story's narrative and dialogue. The text is accompanied by character sprites, which represent who Kyōtarō is talking to, over background art. Throughout the game, the player encounters CG artwork at certain points in the story, which take the place of the background art and character sprites. "Kanojo × Kanojo × Kanojo" follows a branching plot line with multiple endings, and depending on the decisions that the player makes during the game, the plot will progress in a specific direction.


title: Kanojo × Kanojo × Kanojo

text: Throughout gameplay, the player is given multiple options to choose from, and text progression pauses at these points until a choice is made. Some decisions can lead the game to end prematurely and offer an alternative ending to the plot. To view all plot lines in their entirety, the player will have to replay the game multiple times and choose different choices to further the plot to an alternate direction. Throughout gameplay, there are scenes depicting Shiki and a given heroine having sex. Scenes of this kind depict a varying combination of masturbation, oral sex and intercourse.


title: Kanojo × Kanojo × Kanojo

text: The main protagonist is , a handsome boy who is considerably strong, due to his fishing experience on the island. He is generally calm and collected. Shiki moves into a relative's house after a volcanic eruption occurs on his home island, and in the relative's house, there are three beautiful sisters who happen to be his childhood friends, one of them being . Akina is the second eldest of the sisters, and out of the three, is the most loving towards Shiki. She is popular at school, being a perfectionist and honor student. Whilst Akina is usually sweet and kind, she does have a jealous side. Though not being the eldest, Akina excels at studies, sports, and housework.


title: Kanojo × Kanojo × Kanojo

text: The eldest sister is , who became the manager of Min-Min Ice Creamery after the sisters' parents died. Natsumi has a hard time resisting alcohol, and can become tipsy just with its scent. She is gentle, unfussy, and has a polite-manner way of speaking, however, when she drinks, she becomes aggressive. Natsumi's hobbies include fortune telling, she loves to tell other people's fortune, as well as her own. She likes to call Shiki "Haru-chan", due to her thinking it's more friendly. The youngest sister is , who is two grades below Shiki. Mafuyu has a quiet, and stoic personality, and because of this, her mood can be hard to read. Despite this, Mafuyu is sexually curious, and likes to read erotic novels. Shiki accidentally sees her masturbating a few times.


title: Kanojo × Kanojo × Kanojo

text: Shiki also becomes enrolled at Akina's school, where he gets acquainted with three other characters, among them being his class president . Midori, for some reason, holds a grudge against Shiki. She is somewhat stern, and very intelligent, often quoting famous sayings, and proverbs. Midori has a best friend called , a shy, bespectacled girl who is also Shiki's classmate. She fell in love with Shiki upon first sight, causing her to stalk him regularly. Suzuran rarely ever talks, but instead communicates by floriography. Shiki befriends boy in his class called , who, despite being good-looking, is unpopular with girls. This is due to his cowardly and immature nature. Tsukasa dislikes this fact about himself, and wishes to be more popular with girls. He feels that Shiki has outclassed him in this respect, but still treasures Shiki as a friend.


title: Kanojo × Kanojo × Kanojo

text: "Kanojo × Kanojo × Kanojo" is the eighth visual novel Crossnet has developed, after Crossnet's previous visual novel "Ayakashi", which spawned a TV anime and manga series. The characters of "Kanojo × Kanojo × Kanojo" are designed by Jin Happoubi, who is known for his character designs in the "Boin" series. Neko Kosume and Izumi Banya are the visual novel's scenario writers, whilst music is provided by a Japanese music production company called Angel Note. The opening of the game, , is sung by Mami Nakayama. "Full Throttle!", "Kanojo × Kanojo × Kanojo"s sequel, is set a year after the events of the first game, and a yaoi ending with Tsukasa becomes available.


title: Kanojo × Kanojo × Kanojo

text: Omega Star first released "Kanojo × Kanojo × Kanojo" for Windows PCs as a DVD ROM on May 30, 2008. The visual novel was later ported to a PlayStation Portable console on June 11, 2010, by PalaceGame, a UMD publisher. "Kanojo × Kanojo × Kanojo" was released as a DVD TV game on October 19, 2012, by Mints. A sequel visual novel titled was released for Windows PCs as a DVD ROM on February 27, 2009. On December 17, 2010, PalaceGame released a PSP port for "Full Throttle!", it was also released as a DVD TV game by Mints on December 16, 2012. Both games, "Kanojo × Kanojo × Kanojo", and "Full Throttle!", were bundled together and released as a pack on December 18, 2012.


title: Kanojo × Kanojo × Kanojo

text: Merchandise has been produced based on the game. PVC character figures that depict the sisters of "Kanojo × Kanojo × Kanojo" were produced by Milk Pot. The first of these was of Akina, released on March 31, 2012. A limited edition of the Akina figure was released the same day, sporting the same design, but a different colored uniform. Another figure of Akina was released by Milk Pot on April 22, 2014. PVC figures for Mafuyu and Natsumi were released November 30, 2012 and May 31, 2013. Another version of the Mafuyu figure was released on May 31, 2014. A painted polystone figure depicting Natsumi lying down is to be released by Blackberry on March 31, 2015. Dakimakura cases were produced, each featuring a different sister, various tapestry, and masturbation toys were also released.


title: Kanojo × Kanojo × Kanojo

text: A 176-page art book, titled , was published by Core Magazine on June 30, 2010. The book contains illustrations from the game, and interviews from staff. Oaks published a mook on September 25, 2010, titled , which features content from "Boin", "Resort Boin", and "Kanojo × Kanojo × Kanojo", with the addition of its sequel "Full Throttle!".


title: Kanojo × Kanojo × Kanojo

text: A three-episode hentai original video animation (OVA) series directed by Kōsuke Murayama, was produced by Studio Eromatick, and distributed by MS Pictures under its Platinum Milky label. All three episodes were released as both a Blu-ray Disc (BD) and DVD. The first episode was released on December 25, 2009, and the limited edition DVD of the first episode comes bundled with character artwork and a CD. "Kanojo × Kanojo × Kanojo"s second episode was released on June 18, 2010. Lastly, the third and final episode was released on May 20, 2011. All three episodes were later compiled into one 90-minute-long OVA titled "Kanojo × Kanojo × Kanojo Full Version", which was released as a BD and DVD on April 19, 2013. Additional scenes are added into the full version. The three episodes were licensed and released on DVD and Blu-ray by Kitty Media in 2016 with an English dub.


title: Kanojo × Kanojo × Kanojo

text: On "Getchu.com", a major redistributor of visual novel and domestic anime products, "Kanojo × Kanojo × Kanojo" ranked as the sixth best selling visual novel in the month of its release, behind Moonstone's visual novel "Clear", which ranked fifth. The game charted further the next month, ranking at No. 20. According to "Getchu.com", during the first half of 2008, "Kanojo × Kanojo × Kanojo" was the 20th most widely sold PC game. Furthermore, it was the 38th most widely sold PC game in that year.


title: Kanojo × Kanojo × Kanojo

text: "Full Throttle!" ranked as the fourth best selling PC game during the month of its release on "Getchu.com", whilst August's visual novel "Yoake Mae yori Ruriiro na" ranked No. 1 that month. However, the game failed to chart further in March. "Full Throttle!" was the 17th most widely sold PC game during the first half of 2009, and the 37th most highly sold visual novel of the year.


title: Kanojo × Kanojo × Kanojo

text: An eroge called "Paizuri Cheerleader VS Sakunyuu Ouendan!" was released by Marine for Windows PCs on September 24, 2010. It was reported on "New-akiba.com", a Chiyoda based online magazine for Akihabara, that "Paizuri Cheerleader" allegedly plagiarized one of the CG (computer graphics) samples from "Kanojo × Kanojo × Kanojo", which was released about two and a half years before "Paizuri Cheerleader", the visual novel in question.


title: Philipp Mainländer

text: Philipp Mainländer (5 October 1841 – 1 April 1876) was a German philosopher and poet. Born Philipp Batz, he later changed his name to "Mainländer" in homage to his hometown, Offenbach am Main.


title: Philipp Mainländer

text: In his central work ("The Philosophy of Redemption" or "The Philosophy of Salvation") — according to Theodor Lessing, "perhaps the most radical system of pessimism known to philosophical literature" — Mainländer proclaims that life is worthless, and that "the will, ignited by the knowledge that non-being is better than being, is the supreme principle of morality."


title: Philipp Mainländer

text: Born in Offenbach am Main, on October 5, 1841 "as a child of marital rape", Philipp Mainländer grew up the youngest of six siblings. One of his brothers was mentally ill, according to Cesare Lombroso in "The Man of Genius", as had been one of his grandfathers who had died at the age of 33.


title: Philipp Mainländer

text: Mainländer attended the Realschule in Offenbach from 1848 to 1856. In 1856, at his father's instruction, he entered the commercial school of Dresden to become a merchant. Two years later, he was employed in a trading house in Naples, Italy, where he learned Italian and acquainted himself with the works of Dante, Petrarca, Boccaccio, and – most notably – Leopardi. Mainländer would later describe his five Neapolitan years as the happiest ones of his life.


title: Philipp Mainländer

text: During this critical period of his life, Mainländer discovered Arthur Schopenhauer's central work "The World as Will and Representation". Nineteen years old at the time, he would later describe the event as a penetrating revelation, referring to February 1860 as the "most important of [his] life". Indeed, Schopenhauer would remain the most important influence on Mainländer's later philosophical work.


title: Philipp Mainländer

text: In 1863, Mainländer returned to Germany to work in his father's business. In the same year, he also penned the three-part poem ("The Last Hohenstaufens"). Two years later, on 5 October, Mainländer's 24th birthday, his mother died. Deeply affected by this experience of loss, Mainländer began an ongoing turn away from poetry and towards philosophy. During the following years, he studied Schopenhauer, Kant – ("not poisoned through Fichte, Schelling and Hegel, but rather critically strengthened through Schopenhauer"), Eschenbach's "Parzival", and the classics of philosophy from Heraclitus to Condillac.


title: Philipp Mainländer

text: In March 1869, Mainländer worked in the banking house J. Mart. Magnus in Berlin with the declared goal of amassing a small fortune within a few years and then leading a decent life from the interest earnings. However, the stock market crash at the on 8 May 1873 (), totally ruined Mainländer and caused a sudden end to these plans. In 1873, Mainländer resigned from his post at the bank without really knowing what he would do afterwards.


title: Philipp Mainländer

text: Although his wealthy parents had bought off his military service in 1861, Mainländer – according to an autobiographic note – expressed the desire "to be absolutely in all things submitted to another one once, to do the lowermost work, to have to obey blindly" and sedulously undertook numerous attempts to serve with weapons. On 6 April 1874, Mainländer, already 32 years old, submitted a request directly to the emperor Wilhelm I of Germany which was granted; this resulted in his appointment to the Cuirassiers in Halberstadt, beginning 28 September. During the four months leading up to his conscription, Mainländer, obsessed with work, composed the first volume of his main work "Die Philosophie der Erlösung". Describing this time, he later wrote:And now an enchanting life began, a spiritual blossoming full of bliss and blissful shivers. […] This life lasted four full months; it filled June, July, August and September. Completely clear, consistent, and well-rounded was my system in my mind, and a creative frenzy revived me that did not need the whip of the thought that I must be finished by 28 September; for on 1 October I "had" to put on the king's coat - this date could not be postponed. If I hadn't finished by then, it would take "three" years for me to put the finishing touches on my work, i.e. I would have seen myself thrown into an abyss into which the furies of a broken existence would inevitably have thrown me.Mainländer handed the completed manuscript to his sister Minna, asking her to find a publisher while he completed his military service. The author composed a letter to the as yet unknown publisher, requesting the omission of his birth name and substitution of the pen name "Philipp Mainländer", and stating that he would abhor nothing more than "being exposed to the eyes of the world".


title: Philipp Mainländer

text: On 1 November 1875, Mainländer – originally committed for three years, but in the meantime, as he noted in a letter to Minna, "exhausted, "worked-out", ... at completely ... healthy body ineffably tired" – was prematurely released from military service, and traveled back to his hometown of Offenbach, where he – again having become obsessed with work – within a mere two months, corrected the unbound sheets of "Die Philosophie der Erlösung", composed his memoirs, wrote the novella "Rupertine del Fino", and completed the 650-page second volume of his "magnum opus".


title: Philipp Mainländer

text: Around the beginning of 1876, Mainländer began to doubt whether his life still had value for humanity. He wondered whether he had already completed the duties of life, or whether he should employ it to strengthen the social democratic movement. Despite writing down addresses to the German workers, these plans did not materialize. Very shortly after the publication of the first volume of his main work, he ended his life by hanging himself. Mainländer was buried in Offenbach cemetery.


title: Philipp Mainländer

text: Working in the metaphysical framework of Schopenhauer, Mainländer sees the "will" as the innermost core of being, the ontological arche. However, he deviates from Schopenhauer in important respects. With Schopenhauer the will is singular, unified and beyond time and space. Schopenhauer's transcendental idealism leads him to conclude that we only have access to a certain aspect of the thing-in-itself by introspective observation of our own bodies. What we observe as will is all there is to observe, nothing more. There are no hidden aspects. Furthermore, via introspection we can only observe our "individual" will. This also leads Mainländer to the philosophical position of pluralism. The goals he set for himself and for his system are reminiscent of ancient Greek philosophy: what is the relation between the undivided existence of the "One" and the everchanging world of becoming that we experience.


title: Philipp Mainländer

text: Additionally, Mainländer accentuates on the idea of salvation for all of creation. This is yet another respect in which he differentiates his philosophy from that of Schopenhauer. With Schopenhauer, the silencing of the will is a rare event. The artistic genius can achieve this state temporarily, while only a few saints have achieved total cessation throughout history. For Mainländer, the entirety of the cosmos is slowly but surely moving towards the silencing of the will to live and to (as he calls it) "redemption".


title: Philipp Mainländer

text: Mainländer theorized that an initial singularity dispersed and expanded into the known universe. This dispersion from a singular unity to a multitude of things offered a smooth transition between monism and pluralism. Mainländer thought that with the regression of time, all kinds of pluralism and multiplicity would revert to monism and he believed that, with his philosophy, he had managed to explain this transition from oneness to multiplicity and becoming.


title: Philipp Mainländer

text: Despite his scientific means of explanation, Mainländer was not afraid to philosophize in allegorical terms. Formulating his own "myth of creation", Mainländer equated this initial singularity with God.


title: Philipp Mainländer

text: Mainländer reinterprets Schopenhauer's metaphysics in two important aspects. Primarily, in Mainländer's system there is no "singular will". The basic unity has broken apart into individual wills and each subject in existence possesses an individual will of his own. Because of this, Mainländer can claim that once an "individual will" is silenced and dies, it achieves absolute nothingness and not the relative nothingness we find in Schopenhauer. By recognizing death as salvation and by giving nothingness an absolute quality, Mainländer's system manages to offer "wider" means for redemption. Secondarily, Mainländer reinterprets the Schopenhauerian will-to-live as an underlying will-to-die, i.e. the will-to-live is the means towards the will-to-die.


title: Philipp Mainländer

text: Mainländer's philosophy also carefully inverts other doctrines. For instance, Epicurus sees happiness only in pleasure and since there is nothing after death, there is nothing to fear and/or desire from death. Yet Mainländer, being a philosophical pessimist, sees no desirable pleasure in this life and praises the sublime nothingness of death, recognizing precisely this state of non-existence as desirable.


title: Philipp Mainländer

text: Mainländer espouses an ethics of egoism. That is to say that what is best for an individual is what makes one happiest. Yet all pursuits and cravings lead to pain. Thus, Mainländer concludes that a will-to-death is best for the happiness of all and knowledge of this transforms one's will-to-life (an illusory existence unable to attain happiness) into the proper (sought by God) will-to-death. Ultimately, the subject (individual will) is one with the universe, in harmony with it and with its originating will, if one wills nothingness. Based on these premises, Mainländer makes the distinction between the "ignorant" and the "enlightened" type of self-interest. Ignorant self-interest seeks to promote itself and capitalize on its will-to-live. In contrast, enlightened self-interest humbles the individual and leads him to asceticism, as that aligns him properly with the elevating will-towards-death.


title: Philipp Mainländer

text: It was noted by critics that his work reveals a gentle and warmhearted personality. Lucien Arréat expressed that many pages feel warm due to the "generosity of his soul", and as a more general characterization that "Mainländer had a delicate and sincere nature, a truly remarkable individuality."


title: Philipp Mainländer

text: Frederick C. Beiser also notes "Mainländer's humanity": "He had the deepest sympathy for the suffering of the common man and much of his thinking was preoccupied with the poverty of the mass of people and the workers. … It is not the least token of Mainländer's humanity that he was sympathetic to the Jews, whose charity and sagacity he much admired."


title: Philipp Mainländer

text: Nietzsche immediately read "Die Philosophie der Erlösung" in the year it was published, before any review had appeared. The work contributed to his final separation from Schopenhauer's philosophy. In his own works, Nietzsche gave no attention to Mainländer until a decade later, that is, in the second, expanded edition of "The Gay Science", the same book in which he had introduced the phrase "God is dead" in the first edition five years prior: "Could one count such dilettantes and old maids as the sickeningly sentimental apostle of virginity, Mainländer, as a genuine German? After all he was probably a Jew – (all Jews become sentimental when they moralize)." It has been suggested that Mainländer was more than a mere influence, and was instead plagiarized.


title: Philipp Mainländer

text: Nietzsche also mentions in one of his letters that he met an adherent of Mainländer's philosophy, "a quiet and modest man, a "Buddhist" […], passionate vegetarian." The "modest man" told Nietzsche that Mainländer was, in fact, not a Jew.


title: Philipp Mainländer

text: In the same period, Max Seiling wrote that he believed Mainländer to be one of the few wise heroes to have walked on this earth.


title: Philipp Mainländer

text: Mainländer's work was not well received by authorities. In Imperial Russia, Mainländer's essay on the esoteric meaning of the Trinity was banned. In the German Reichstag, "Die Philosophie der Erlösung" was brought up to the rostrum on occasion of the Anti-Socialist Laws. Prominent socialists however took interest in his work. The socialist leader August Bebel refers to and uses the arguments of the pessimistic philosopher in his feminist work "Woman and Socialism". Bebel mentions Mainländer's sister in his autobiography. Also Eduard Bernstein wrote that he was "very interested" in Mainländer. Ferdinand Domela Nieuwenhuis (1846–1919), the first prominent Dutch socialist, considered Mainländer's work a "great contribution" for socialism.


title: Philipp Mainländer

text: Alfred Kubin, one of the founders of Der Blaue Reiter, wrote about "Die Philosophie der Erlösung", "this work – which expresses my actual thoughts and steels and strengthens me – this philosophy, forms the consolation of my life and death."


title: Philipp Mainländer

text: The Japanese writer Akutagawa wrote in "A Note to a Certain Old Friend", "I read Mainländer, whose work has become deeply ingrained in my consciousness." He also refers to Mainländer in his novel "Kappa".


title: Philipp Mainländer

text: Emil Cioran was very impressed by the work of Mainländer. When he discovered that Jorge Luis Borges had written about Mainländer, he started a correspondence with Borges on Mainländer.


title: Gold medal

text: A gold medal is a medal awarded for highest achievement in a non-military field. Its name derives from the use of at least a fraction of gold in form of plating or alloying in its manufacture.


title: Gold medal

text: Since the eighteenth century, gold medals have been awarded in the arts, for example, by the Royal Danish Academy of Fine Arts, usually as a symbol of an award to give an outstanding student some financial freedom. Others offer only the prestige of the award. Many organizations now award gold medals either annually or extraordinarily, including various academic societies.


title: Gold medal

text: While some gold medals are solid gold, others are gold-plated or silver-gilt, like those of the Olympic Games, the Lorentz Medal, the United States Congressional Gold Medal and the Nobel Prize medal. Nobel Prize medals consist of 18 karat green gold plated with 24 karat gold. Before 1980 they were struck in 23 karat gold.


title: Gold medal

text: Before the establishment of standard military awards, e.g., the Medal of Honor, it was common practice to have a medal specially created to provide national recognition for a significant military or naval victory or accomplishment. In the United States, Congress would enact a resolution asking the President to reward those responsible. The commanding officer would receive a gold medal and his officers silver medals.


title: Gold medal

text: Medals have historically been given as prizes in various types of competitive activities, especially athletics.


title: Gold medal

text: These metals designate the first three Ages of Man in Greek mythology: the Golden Age, when men lived among the gods, the Silver Age, where youth lasted a hundred years, and the Bronze Age, the era of heroes.


title: Gold medal

text: The custom of awarding the sequence of gold, silver, and bronze medals for the first three highest achievers dates from at least the 19th century, with the National Association of Amateur Athletes in the United States awarding such medals as early as 1884.


title: Gold medal

text: This standard was adopted for Olympic competition at the 1904 Summer Olympics. At the 1896 event, silver was awarded to winners and bronze to runners-up, while at 1900 other prizes were given, not medals.


title: Gold medal

text: At the modern Olympic Games, winners of a sporting discipline receive a gold medal in recognition of their achievement.


title: Gold medal

text: At the Ancient Olympic Games, only one winner per event received an award, which was a kotinos, an olive wreath made of wild olive leaves from a sacred tree near the temple of Zeus at Olympia. Aristophanes in Plutus makes a remark why victorious athletes are crowned with wreaths made of wild olive instead of gold.


title: Gold medal

text: Herodotus describes a story that explains why there were only a few Greek men at the Battle of Thermopylae since "all other men were participating in the Olympic Games" and that the prize for the winner was "an olive-wreath". When Tigranes, an Armenian general, learned this, he uttered to his leader: "Good heavens! What kind of men are these against whom you have brought us to fight? Men who do not compete for possessions, but for honour".


title: Gold medal

text: At the 1896 Summer Olympics, winners received a silver medal and the second-place finisher received a bronze medal. In 1900, most winners received cups or trophies instead of medals. The next three Olympics (1904, 1908, 1912) awarded the winners solid gold medals, but the medals themselves were smaller. The use of gold rapidly declined with the onset of the First World War and also with the onset of the Second World War. The last series of Olympic medals to be made of solid gold were awarded at the 1912 Summer Olympics in Stockholm, Sweden.


title: Gold medal

text: Olympic gold medals are required to be made from at least 92.5% silver, and must contain a minimum of 6 grams of gold. All Olympic medals must be at least 60mm in diameter and 3mm thick. Minting the medals is the responsibility of the Olympic host. From 1928 through 1968 the design was always the same: the obverse showed a generic design by Florentine artist Giuseppe Cassioli of Greek goddess Nike with Rome's Colosseum in the background and text naming the host city; the reverse showed another generic design of Nike saluting an Olympic champion.


title: Gold medal

text: From the 1972 Summer Olympics through 2000, Cassioli's design (or a slight modification) remained on the obverse with a custom design by the host city on the reverse. Noting that Cassioli's design showed a Roman amphitheater for what originally were Greek games, a new obverse design was commissioned for the 2004 Summer Olympics in Athens. For the 2008 Beijing Olympics medals had a diameter of 70mm and were 6mm thick, with the front displaying a winged figure of victory and the back showed a Beijing Olympics symbol surrounded by an inset jade circle.


title: Gold medal

text: Winter Olympics medals have been of more varied design. The silver and bronze medals have always borne the same designs.


title: Gold medal

text: The award of a gold medal, often coupled with the award of silver and bronze medals to the next place finishers, has been adopted in other sports competitions and in other competitive fields, such as music and writing, as well as some competitive games. Typically bronze medals are awarded only to third place, but in some contests there is some variety, such as International barbershop music contests where bronze medals are awarded for third, fourth, and fifth place.


title: Hanif

text: In Islam, a (; plural: , ), meaning "renunciate", is someone who maintains the pure monotheism of the patriarch Abraham. More specifically, in Islamic thought, renunciates were the people who, during the pre-Islamic period or , were seen to have renounced idolatry and retained some or all of the tenets of the religion of Abraham (, ), which was submission to God in its purest form. The word is found twelve times in the Quran (ten times in its singular form and twice in the plural form) and Islamic tradition tells of a number of individuals who were . According to Muslim tradition, Muhammad himself was a and a descendant of Ishmael, son of Abraham.


title: Hanif

text: The term comes from the Arabic root meaning "to incline, to decline" or "to turn or bend sideways" from the Syriac root of the same meaning. It is defined as "true believer, orthodox; one who scorns the false creeds surrounding him/her and profess the true religion" by The Arabic-English "Dictionary of Modern Written Arabic".


title: Hanif

text: According to Francis Edward Peters, in verse of the Quran it has been translated as "upright person" and outside the Quran as "to incline towards a right state or tendency". According to W. Montgomery Watt, it appears to have been used earlier by Jews and Christians in reference to "pagans" and applied to followers of an old Hellenized Syrian and Arabian religion and used to taunt early Muslims.


title: Hanif

text: Michael Cook states "its exact sense is obscure" but the Quran "uses it in contexts suggestive of a pristine monotheism, which it tends to contrast with (latter-day) Judaism and Christianity". In the Quran is associated "strongly with Abraham, but never with Moses or Jesus".


title: Hanif

text: Oxford Islamic Studies online defines as "one who is utterly upright in all of his or her affairs, as exemplified by the model of Abraham"; and that prior to the arrival of Islam "the term was used [...] to designate pious people who accepted monotheism but did not join the Jewish or Christian communities."


title: Hanif

text: Others translate as the law of Ibrahim; the verb as "to turn away from [idolatry]". Others maintain that the followed the "religion of Ibrahim, the , the Muslim[.]" It has been theorized by Watt that the verbal term "Islam", arising from the participle form of "Muslim" (meaning "surrendered to God"), may have only arisen as an identifying descriptor for the religion in the late Medinan period.


title: Hanif

text: According to the Encyclopædia Britannica, "some of Muḥammad's relatives, contemporaries, and early supporters were called " – examples including Waraqah ibn Nawfal, "a cousin of the Prophet’s first wife, Khadija bint Khuwaylid, and Umayyah ibn Abī aṣ-Ṣalt, "an early 7th-century Arab poet".


title: Hanif

text: According to the website "In the Name of Allah", the term is used "twelve times in the Quran", but Abraham/Ibrahim is "the only person to have been explicitly identified with the term." He is mentioned "in reference to" eight times in the Quran.


title: Hanif

text: According to the Encyclopædia Britannica, "there is no evidence that a true cult existed in pre-Islāmic Arabia".


title: Hanif

text: A Greek source from the fifth century CE, The Ecclesiastical History of Sozomen, speaks of how "Abraham had bequeathed a monotheist religion" to Arabs, that the Arabs descended "from Ishmael and Hagar" and followed Jewish practices such as not eating pork. No archaeological evidence has been found to support the idea that Abraham was a real person, and most scholars do not consider the Book of Genesis to be an accurate history.


title: Hanif

text: Sozomen was a historian of the Christian Church who is thought to have been a native of Gaza whose native tongue was Arabic and who lived from about 400-450 CE. Thus according to Ibn Rawandi, he provides a "reliable source" that Arabs – at least in northwest Arabia – were familiar with the idea there were pre-Islamic "Abrahamic monotheists () [...] whether this was true of Arabs throughout the [Arabian] peninsula it is impossible to say".


title: The Crusaders (jazz fusion group)

text: The Crusaders (formerly known as The Jazz Crusaders) were an American jazz group that was successful from the 1960s to the 1990s. The group was known as the Jazz Crusaders from their formation in 1960 until shortening their name in 1971. The Crusaders were comfortable playing a wide assortment of genres, from straight ahead jazz, to urban R&B, to R&B-based jazz, to even blues. The band reached a commercial apex in 1979 with their hit single "Street Life", featuring lead vocals by Randy Crawford, and their accompanying album of the same name.


title: The Crusaders (jazz fusion group)

text: High school friends Joe Sample (piano), Wilton Felder (tenor saxophone) and Nesbert "Stix" Hooper (drums) formed their first band together, the Swingsters, in Houston, Texas in 1954. They played a mixture of jazz and R&B, and were joined by Wayne Henderson (trombone), Hubert Laws (flute), and Henry Wilson (bass). The group soon turned more to hard bop, and renamed themselves the Modern Jazz Sextet, but also recorded in a more R&B vein as the Nighthawks (or Nite Hawks).


title: The Crusaders (jazz fusion group)

text: In 1960, Sample, Felder, Hooper and Henderson moved to Los Angeles and formed the Jazz Crusaders as a quintet with a succession of different bass players. Influenced by musicians such as Cannonball Adderley, Art Blakey and John Coltrane, the band signed to the Pacific Jazz label in 1961, and released 16 albums on the label over the subsequent eight years. With a front-line horn section of Felder and Henderson, the group's sound was rooted in hard bop, but with a slant towards R&B and soul music.


title: The Crusaders (jazz fusion group)

text: Their first two albums, with Jimmy Bond on bass, were "Freedom Sound" (1961), and "Lookin' Ahead" (1962), followed by the live album "At the Lighthouse" (1962) and "Tough Talk", the first of several albums with bassist Bobby Haynes. In all, the group recorded five live albums in the 1960s, four of which were recorded at the Lighthouse Café in Hermosa Beach. They also had their first chart entry, their treatment of Stevie Wonder's "Uptight (Everything's Alright)" reaching No. 95 on the Hot 100 in 1966. The group's 1969 album, "Powerhouse", was their first to reach the "Billboard" 200 album chart, reaching No. 184, and was also their last studio album for Pacific Jazz.


title: The Crusaders (jazz fusion group)

text: The group then signed with the Chisa label, co-owned by trumpeter Hugh Masekela and producer Stewart Levine. Their 1970 album "Old Socks, New Shoes" reached No. 90 on the album chart, and was their last as the Jazz Crusaders. The decision was taken to call the group simply the Crusaders, so as not to limit their scope and potential audience. After a second album with Chisa, ("Pass the Plate", 1971), and one album for the MoWest label ("Hollywood", 1972) they signed with Blue Thumb Records, where they remained until the late 1970s. Their recordings increasingly adopted a jazz-funk style. They incorporated electric guitar and bass into their shows and recordings, as well as using Sample's electric piano and clavinet. Guitarist Larry Carlton joined and featured on their albums in the early part of the decade. Bass duties were often handled by Felder, with Max Bennett contributing in the early/mid-70's and Robert "Pops" Popwell joining later in the decade.


title: The Crusaders (jazz fusion group)

text: According to jazz critic Scott Yanow at AllMusic, however, "after a few excellent albums during the early part of the decade... the group began to decline in quality." Sample later commented that the group was under commercial pressure from record companies to record jazzed-up versions of contemporary popular songs. Henderson left to become a record producer in 1975, and the other musicians regularly and increasingly worked as session musicians with artists such as the Jackson 5, Marvin Gaye, Joni Mitchell, Steely Dan, and Randy Newman. With a growing crossover appeal, the group's most commercially successful recordings included the single "Put It Where You Want It" (No. 52 pop, 1972), and the albums "The 2nd Crusade" (No. 45 album, 1973), "Southern Comfort" (No. 31 album, 1974), "Chain Reaction" (No. 26 album, 1975), "Those Southern Knights" (No. 38 album, 1976), and "Images" (No. 34 album, 1978).


title: The Crusaders (jazz fusion group)

text: The peak of the group's commercial success came with 1979's "Street Life", with Randy Crawford as featured singer. The album peaked at No. 18 on the pop album charts and the title track made the top 10 on the R&B chart, No. 36 on "Billboard"′s Hot 100 chart, and No. 5 in the UK. Later albums by the group featured singers Bill Withers and Joe Cocker. The live 1982 album "Royal Jam" featured guitarist B. B. King, bassist James Jamerson, and the Royal Philharmonic Orchestra. Hooper left in 1983, and though Felder and Sample kept the group operating through the 1980s, the group's commercial success diminished.


title: The Crusaders (jazz fusion group)

text: Felder and Henderson reunited in the mid-1990s as the Crusaders. Henderson later led a band called the Jazz Crusaders, in which Felder and Carlton also played, and Felder and Sample reunited as the Crusaders in 2003.


title: The Crusaders (jazz fusion group)

text: Wayne Henderson died in Culver City, California on April 5, 2014; Joe Sample died in Houston, Texas on September 12, 2014; and Wilton Felder died in Whittier, California on September 27, 2015.


title: Jeff Wilbusch

text: Wilbusch was born on 14 November 1987 in Haifa, Israel. He grew up in the Hasidic Jewish Satmar community of Mea Shearim, Jerusalem. Yiddish is his native language, and he is the eldest of 14 siblings.


title: Jeff Wilbusch

text: He studied economics, and, in 2011, obtained a master's degree in international economics from the University of Amsterdam. After finishing his graduate degree, he moved to Munich and studied theatre at the Otto Falckenberg School of the Performing Arts until 2015.


title: Jeff Wilbusch

text: In 2018, he played the role of Anton Mesterbein in the BBC - AMC miniseries "The Little Drummer Girl", and Noah Weisz in the German-Luxembourgian television series "Bad Banks". In 2020, he portrayed Moishe Lefkovitch in the German-American Netflix original miniseries "Unorthodox". In 2021, he portrayed Uri Savir in the HBO motion picture "Oslo".


title: Plain text

text: In computing, plain text is a loose term for data (e.g. file contents) that represent only characters of readable material but not its graphical representation nor other objects (floating-point numbers, images, etc.). It may also include a limited number of "whitespace" characters that affect simple arrangement of text, such as spaces, line breaks, or tabulation characters (although tab characters can "mean" many different things, so are hardly "plain"). Plain text is different from formatted text, where style information is included; from structured text, where structural parts of the document such as paragraphs, sections, and the like are identified; and from binary files in which some portions must be interpreted as binary objects (encoded integers, real numbers, images, etc.).


title: Plain text

text: The term is sometimes used quite loosely, to mean files that contain "only" "readable" content (or just files with nothing that the speaker doesn't prefer). For example, that could exclude any indication of fonts or layout (such as markup, markdown, or even tabs); characters such as curly quotes, non-breaking spaces, soft hyphens, em dashes, and/or ligatures; or other things.


title: Plain text

text: In principle, plain text can be in any encoding, but occasionally the term is taken to imply ASCII. As Unicode-based encodings such as UTF-8 and UTF-16 become more common, that usage may be shrinking.


title: Plain text

text: Plain text is also sometimes used only to exclude "binary" files: those in which at least some parts of the file cannot be correctly interpreted via the character encoding in effect. For example, a file or string consisting of "hello" (in whatever encoding), following by 4 bytes that express a binary integer that is "not" just a character(s), is a binary file, not plain text by even the loosest common usages. Put another way, translating a plain text file to a character encoding that uses entirely different numbers to represent characters does not change the meaning (so long as you know what encoding is in use), but for binary files such a conversion "does" change the meaning of at least some parts of the file.


title: Plain text

text: According to other definitions, however, files that contain markup or other meta-data are generally considered plain text, so long as the markup is also in a directly human-readable form (as in HTML, XML, and so on). Thus, representations such as SGML, RTF, HTML, XML, wiki markup, and TeX, as well as nearly all programming language source code files, are considered plain text. The particular content is irrelevant to whether a file is plain text. For example, an SVG file can express drawings or even bitmapped graphics, but is still plain text.


title: Plain text

text: The use of plain text rather than binary files enables files to survive much better "in the wild", in part by making them largely immune to computer architecture incompatibilities. For example, all the problems of Endianness can be avoided (with encodings such as UCS-2 rather than UTF-8, endianness matters, but uniformly for every character, rather than for potentially-unknown subsets of it).


title: Plain text

text: The purpose of using plain text today is primarily independence from programs that require their very own special encoding or formatting or file format. Plain text files can be opened, read, and edited with ubiquitous text editors and utilities.


title: Plain text

text: A command-line interface allows people to give commands in plain text and get a response, also typically in plain text.


title: Plain text

text: Many other computer programs are also capable of processing or creating plain text, such as countless programs in DOS, Windows, classic Mac OS, and Unix and its kin; as well as web browsers (a few browsers such as Lynx and the Line Mode Browser produce only plain text for display) and other e-text readers.


title: Plain text

text: Plain text files are almost universal in programming; a source code file containing instructions in a programming language is almost always a plain text file. Plain text is also commonly used for configuration files, which are read for saved settings at the startup of a program.


title: Plain text

text: A comment, a ".txt" file, or a TXT Record generally contains only plain text (without formatting) intended for humans to read.


title: Plain text

text: Before the early 1960s, computers were mainly used for number-crunching rather than for text, and memory was extremely expensive. Computers often allocated only 6 bits for each character, permitting only 64 characters—assigning codes for A-Z, a-z, and 0-9 would leave only 2 codes: nowhere near enough. Most computers opted not to support lower-case letters. Thus, early text projects such as Roberto Busa's Index Thomisticus, the Brown Corpus, and others had to resort to conventions such as keying an asterisk preceding letters actually intended to be upper-case.


title: Plain text

text: Fred Brooks of IBM argued strongly for going to 8-bit bytes, because someday people might want to process text; and won. Although IBM used EBCDIC, most text from then on came to be encoded in ASCII, using values from 0 to 31 for (non-printing) control characters, and values from 32 to 127 for graphic characters such as letters, digits, and punctuation. Most machines stored characters in 8 bits rather than 7, ignoring the remaining bit or using it as a checksum.


title: Plain text

text: The near-ubiquity of ASCII was a great help, but failed to address international and linguistic concerns. The dollar-sign ("$") was not as useful in England, and the accented characters used in Spanish, French, German, Portuguese, and many other languages were entirely unavailable in ASCII (not to mention characters used in Greek, Russian, and most Eastern languages). Many individuals, companies, and countries defined extra characters as needed—often reassigning control characters, or using values in the range from 128 to 255. Using values above 128 conflicts with using the 8th bit as a checksum, but the checksum usage gradually died out.


title: Plain text

text: These additional characters were encoded differently in different countries, making texts impossible to decode without figuring out the originator's rules. For instance, a browser might display ¬A rather than ` if it tried to interpret one character set as another. The International Organization for Standardization (ISO) eventually developed several code pages under ISO 8859, to accommodate various languages. The first of these (ISO 8859-1) is also known as "Latin-1", and covers the needs of most (not all) European languages that use Latin-based characters (there was not quite enough room to cover them all). ISO 2022 then provided conventions for "switching" between different character sets in mid-file. Many other organisations developed variations on these, and for many years Windows and Macintosh computers used incompatible variations.


title: Plain text

text: The text-encoding situation became more and more complex, leading to efforts by ISO and by the Unicode Consortium to develop a single, unified character encoding that could cover all known (or at least all currently known) languages. After some conflict, these efforts were unified. Unicode currently allows for 1,114,112 code values, and assigns codes covering nearly all modern text writing systems, as well as many historical ones, and for many non-linguistic characters such as printer's dingbats, mathematical symbols, etc.


title: Plain text

text: Text is considered plain text regardless of its encoding. To properly understand or process it the recipient must know (or be able to figure out) what encoding was used; however, they need not know anything about the computer architecture that was used, or about the binary structures defined by whatever program (if any) created the data.


title: Plain text

text: Perhaps the most common way of explicitly stating the specific encoding of plain text is with a MIME type.


title: Plain text

text: Another MIME type often used in both email and HTTP is "text/html; charset=UTF-8" -- plain text represented using the UTF-8 character encoding with HTML markup.


title: Plain text

text: Another common MIME type is "application/json" -- plain text represented using the UTF-8 character encoding with JSON markup.


title: Plain text

text: When a document is received without any explicit indication of the character encoding, some applications use charset detection to attempt to guess what encoding was used.


title: Plain text

text: ASCII reserves the first 32 codes (numbers 0–31 decimal) for control characters known as the "C0 set": codes originally intended not to represent printable information, but rather to control devices (such as printers) that make use of ASCII, or to provide meta-information about data streams such as those stored on magnetic tape. They include common characters like the newline and the tab character.


title: Plain text

text: In 8-bit character sets such as Latin-1 and the other ISO 8859 sets, the first 32 characters of the "upper half" (128 to 159) are also control codes, known as the "C1 set". They are rarely used directly; when they turn up in documents which are ostensibly in an ISO 8859 encoding, their code positions generally refer instead to the characters at that position in a proprietary, system-specific encoding, such as Windows-1252 or Mac OS Roman, that use the codes to instead provide additional graphic characters.


title: Plain text

text: Unicode defines additional control characters, including bi-directional text direction override characters (used to explicitly mark right-to-left writing inside left-to-right writing and the other way around) and variation selectors to select alternate forms of CJK ideographs, emoji and other characters.


title: The Black and White Minstrel Show

text: The Black and White Minstrel Show was a British light entertainment show that ran for twenty years on BBC prime-time television. Running from 1958 to 1978, it was a weekly variety show that presented traditional American minstrel and country songs, as well as show tunes and music hall numbers, lavishly costumed. It was also a successful stage show that ran for ten years from 1962 to 1972 at the Victoria Palace Theatre, London. This was followed by tours of UK seaside resorts, together with Australia and New Zealand.


title: The Black and White Minstrel Show

text: Minstrel shows had become a long-established feature of British music halls and seaside entertainment since the success of acts such as the Virginia Minstrels in Liverpool in the 1840s and Christy's Minstrels in London in the 1850s. These led directly to many British imitators such as Hamilton's Black and White Minstrels in the 1880s and many others, with Uncle Mac's Minstrels becoming such a popular mainstay in Broadstairs from the 1890s to the 1940s, that a plaque was erected to honour their memory. Though any development in the performance of such acts may have ended before the First World war, the "old-time" minstrel theme remained a consistently popular form of entertainment well into the 1950s.


title: The Black and White Minstrel Show

text: "The Black and White Minstrel Show" was created by BBC producer George Inns working with George Mitchell. It began as a one-off special in 1957 called "The 1957 Television Minstrels" featuring the male Mitchell Minstrels (Mitchell was the musical director) and the female Television Toppers dancers. The show was first broadcast on the BBC on 14 June 1958. It developed into a regular 45-minute show on Saturday evening prime-time television in a sing-along format with both solo and minstrel pieces (often with extended segueing), some country and western and music derived from other foreign folk cultures. The male minstrels performed in blackface; the female dancers and other supporting artists did not. The show included comedy interludes performed by Leslie Crowther, George Chisholm and Stan Stennett. It was initially produced by George Inns with George Mitchell. The minstrels' main soloists were baritone Dai Francis, tenor John Boulter, and bass Tony Mercer. During the nine years that the show was broadcast in black and white, the blackface makeup was actually red, as black did not register as well.


title: The Black and White Minstrel Show

text: Prior to the creation of the Television Minstrels Show in 1957, the BBC Television Toppers had performed on air since February 1953. Originally the Television Toppers were dancers who performed weekly on a television show every Saturday night alongside different celebrities each week, such as Judy Garland. They also performed at Royal Command Performances. They were newspaper entertainment mini celebrities, and headlined as earning £1,000 a year in 1953.


title: The Black and White Minstrel Show

text: The BBC Television Toppers were loaned for one day by the BBC under contract and appear in the film "The Dam Busters" (1955) in the spotlight theatre dancing scene. The filming of this scene was at the Lyric Theatre, Hammersmith. No credits are shown on this film as to who the dancers were or the location of the theatre.


title: The Black and White Minstrel Show

text: By 1964, the show was achieving audience figures of 21 million. The Minstrels also had a theatrical show at the Victoria Palace Theatre produced by Robert Luff which ran for 6,477 performances from 1962 to 1972 and established itself in "The Guinness Book of Records" as the stage show seen by the largest number of people. At this time, the creation gained considerable international regard and was sold to over thirty countries; in 1961 the show won a Golden Rose at Montreux for best light entertainment programme and the first three albums of songs (1960–1962) were all hits, the first two being long-running number 1 albums in the UK Albums Chart. The first of these became the first album in UK album sales history to pass 100,000 sales.


title: The Black and White Minstrel Show

text: In the spring of 1962, the BBC musical variety show, "The Black and White Minstrel Show", was to open at the Victoria Palace Theatre. While the three lead singers, Tony Mercer, John Boulter and Dai Francis, would be in the theatrical version of the show and also in the BBC TV version, both the chorus singers and dancers would be different groups in the theatre and on BBC TV.


title: The Black and White Minstrel Show

text: Opening in Melbourne in 1962, the show secured full houses for all evening and matinee performances, so they were held over. This happened in both countries, and every box-office record was broken. The show continued for three years, and the Australian and New Zealand box office records it set have never been broken.


title: The Black and White Minstrel Show

text: While it started off being broadcast in black and white, the show was first shown in colour on BBC2 in 1967. Several personalities guested on the show, whilst others started their careers there. Comedian Lenny Henry, then in his teens, being the first black performer to appear on it in 1975. In July 2009, Henry explained that he was contractually obliged to perform and regretted his part in the show, telling "The Times" in 2015 that his appearance on the show led to a profound "wormhole of depression", and that he regretted his family not intervening to prevent him from continuing in the show.


title: The Black and White Minstrel Show

text: Within five years of the show's premiere on UK television, its portrayal of blacked-up characters behaving with stereotypical African American manners was already being observed as being offensive and racist. After the murder in Alabama in 1963 of 35-year-old white postal worker William Lewis Moore, who marched from Chattanooga, Tennessee, to Jackson, Mississippi, to protest against segregation in the American South, the satirical show "That Was the Week That Was" parodied the "Black and White Minstrels" trivialisation of the systemic racism in the Southern American states with a sketch in which Millicent Martin dressed as Uncle Sam and sang a parody of "I Wanna Go Back to Mississippi" ("Where the Mississippi mud / Kind of mingles with the blood / Of the niggers that are hanging from the branches of the trees"). accompanied by minstrel singers in blackface ("Mississippi, it's the state you've gotta choose / Where we hate all the darkies and the Catholics and the Jews / Where we welcome any man / Who is strong and white and belongs to the Ku Klux Klan").


title: The Black and White Minstrel Show

text: David Hendy, Professor of Media and Cultural History at Sussex University, comments that Barrie Thorne, the corporation's chief accountant, described the series in an internal memo to Director of Television Kenneth Adam in 1962 as being "a disgrace and an insult to coloured people". He continued: "If black faces are to be shown, for heaven’s sake let coloured artists be employed and with dignity". Thorne raised the issue again in 1967 with Oliver Whitley, Chief Assistant to the BBC's director general Sir Hugh Greene. Whitley responded: "The best advice that could be given to coloured people by their friends would be: 'On this issue, we can see your point, but in your own best interests, for heaven's sake, shut up.


title: The Black and White Minstrel Show

text: In 1967, the Campaign Against Racial Discrimination presented a petition to the BBC calling for the show to be cancelled. In 1968, the BBC experimented with a version of the show called "Masquerade", where the main singers appeared without blackface and the black singers wore whiteface. In 1969, due to continuing accusations of racism, "Music Music Music", a spin-off series in which the minstrels appeared without their blackface make-up, replaced "The Black and White Minstrel Show". However, after one series, "The Black and White Minstrel Show" returned.


title: The Black and White Minstrel Show

text: Since its cancellation in 1978, "The Black and White Minstrel Show" has come to be seen widely as a disgrace. BBC writer Kate Broome states, "That an innocently-intentioned show could, in just a generation, become such a screen pariah is one of the most extraordinary episodes in television history".


title: The Black and White Minstrel Show

text: The BBC1 TV show was cancelled in 1978 as part of a reduction in variety programming (by this point the blackface element had been reduced), while the stage show continued. A touring version toured continuously from 1960 until 1987, with a second company touring Australia and New Zealand from 1962 to 1965, 1969 to 1971, and 1978 to 1979. Having left the Victoria Palace Theatre, where the stage show played from 1962 to 1972, a second show toured almost every year to various big city and seaside resort theatres around the UK, including The Futurist in Scarborough, The Winter Gardens in Morecambe, The Festival Theatre in Paignton, The Congress Theatre in Eastbourne and The Pavilion Theatre in Bournemouth. This continued every year until 1989, when a final tour of three Butlins resorts (Minehead, Bognor Regis, and Barry Island) saw the last official "Black and White Minstrel Show" staged.


title: The Black and White Minstrel Show

text: In a 1971 episode of "The Two Ronnies", a musical sketch, "The Short and Fat Minstrel Show", was performed as a parody of "The Black and White Minstrel Show", featuring spoofs of various songs. An episode of the BBC comedy series "The Goodies" ("Alternative Roots"), spoofed the positive reception of "The Black and White Minstrel Show", suggesting that any programme could double its viewing figures by being performed in blackface, and mentioning that a series of "The Black and White Minstrel Show" had been tried without make up.


title: The Black and White Minstrel Show

text: The "Are You Being Served?" episode "Roots" featured a storyline in which Mr. Grace's lineage was traced in order to perform an appropriate song and dance for his 90th birthday. The end result was a number that parodied "The Black and White Minstrel Show" by having the male performers in blackface while the females (excluding Mrs. Slocombe) were not.


title: Love Island (2015 TV series, series 1)

text: The first series of "Love Island" began on 7 June 2015 with a live special of the show hosted by Caroline Flack on ITV2, and ended on 15 July 2015. It is the first from the revived series, but third overall. The series was narrated by Iain Stirling. The series aired every night of the week except Friday, however the Saturday episode was used as a weekly catch-up entitled "Love Island: The Weekly Hot List" rather than a nightly highlights episode. The average viewers for this series was 570,000.


title: Love Island (2015 TV series, series 1)

text: On 15 July 2015 the series was won by Jess Hayes and Max Morley, with Hannah Elizabeth and Jon Clark as runners-up.


title: Love Island (2015 TV series, series 1)

text: Islander Jon Clark later went onto appear as a cast member in "The Only Way Is Essex", whilst both Josh Ritchie and Max Morley made appearances in "Ex on the Beach". After finishing in fourth place, Cally and Luis became the first couple to have a baby as they welcomed their first child in May 2017.


title: Love Island (2015 TV series, series 1)

text: The first one-minute trailer for the series aired on 12 May 2015, confirming that the series would begin in June. Pictures of the villa were unveiled on 5 June 2015. The villa is located in Mallorca with 69 cameras watching the Islander's every move. It only includes double beds forcing them to share with each other, but has a special Hideaway bedroom for couples to spend the night away from the others.


title: Love Island (2015 TV series, series 1)

text: The Islanders for the first series were revealed on 2 June 2015, just days before the launch. However, throughout the series, more Islanders entered the villa to find love. Some Islanders were dumped from the island for either failing to couple up, some were voted off by their fellow Islanders, and others for receiving the fewest votes in public eliminations. The series was won by Jess and Max on 15 July 2015 after receiving 42% of the final vote, beating Hannah and Jon who received 36%, Lauren and Josh with 12%, and finally Cally and Luis who just received 10%.


title: Love Island (2015 TV series, series 1)

text: The couples were chosen shortly after the Islanders entered the villa. After all of the boys entered, the girls were asked to choose a boy to pair up with. Jon was paired with Hannah, Chris was paired with Danielle, Omar and Rachel paired up, Josh and Lauren coupled up, whilst Jess paired herself with Jordan and Luis got with Zoe. They were competing in their pairs for £50,000. However, throughout the series the couples swapped and changed as the islanders re-coupled.


title: Love Island (2015 TV series, series 1)

text: Official ratings are taken from BARB but do not include +1. Because the Saturday episodes are weekly catch-up episodes rather than nightly highlights, these are not included in the overall averages.


title: Fama–French three-factor model

text: In asset pricing and portfolio management the Fama–French three-factor model is a statistical model designed in 1992 by Eugene Fama and Kenneth French to describe stock returns. Fama and French were colleagues at the University of Chicago Booth School of Business, where Fama still works. In 2013, Fama shared the Nobel Memorial Prize in Economic Sciences for his empirical analysis of asset prices. The three factors are (1) market excess return, (2) the outperformance of small versus big companies, and (3) the outperformance of high book/market versus low book/market companies. There is academic debate about the last two factors.


title: Fama–French three-factor model

text: Factor models are statistical models that attempt to explain complex phenomena using a small number of underlying causes or factors. The traditional asset pricing model, known formally as the capital asset pricing model (CAPM) uses only one variable to describe the returns of a portfolio or stock with the returns of the market as a whole. In contrast, the Fama–French model uses three variables. Fama and French started with the observation that two classes of stocks have tended to do better than the market as a whole: (i) small caps and (ii) stocks with a high book-to-market ratio (B/P, customarily called value stocks, contrasted with growth stocks).


title: Fama–French three-factor model

text: Here r is the portfolio's expected rate of return, "R" is the risk-free return rate, and "R" is the return of the market portfolio. The "three factor" "β" is analogous to the classical "β" but not equal to it, since there are now two additional factors to do some of the work. "SMB" stands for "Small [market capitalization] Minus Big" and "HML" for "High [book-to-market ratio] Minus Low"; they measure the historic excess returns of small caps over big caps and of value stocks over growth stocks.


title: Fama–French three-factor model

text: These factors are calculated with combinations of portfolios composed by ranked stocks (BtM ranking, Cap ranking) and available historical market data. Historical values may be accessed on Kenneth French's web page. Moreover, once SMB and HML are defined, the corresponding coefficients "b" and "b" are determined by linear regressions and can take negative values as well as positive values.


title: Fama–French three-factor model

text: The Fama–French three-factor model explains over 90% of the diversified portfolios returns, compared with the average 70% given by the CAPM (within sample). They find positive returns from small size as well as value factors, high book-to-market ratio and related ratios. Examining β and size, they find that higher returns, small size, and higher β are all correlated. They then test returns for β, controlling for size, and find no relationship. Assuming stocks are first partitioned by size the predictive power of β then disappears. They discuss whether β can be saved and the Sharpe-Lintner-Black model resuscitated by mistakes in their analysis, and find it unlikely.


title: Fama–French three-factor model

text: Griffin shows that the Fama and French factors are country-specific (Canada, Japan, the U.K., and the U.S.) and concludes that the local factors provide a better explanation of time-series variation in stock returns than the global factors. Therefore, updated risk factors are available for other stock markets in the world, including the United Kingdom, Germany and Switzerland. Eugene Fama and Kenneth French also analysed models with local and global risk factors for four developed market regions (North America, Europe, Japan and Asia Pacific) and conclude that local factors work better than global developed factors for regional portfolios. The global and local risk factors may also be accessed on Kenneth French's web page. Finally, recent studies confirm the developed market results also hold for emerging markets.


title: Fama–French three-factor model

text: A number of studies have reported that when the Fama–French model is applied to emerging markets the book-to-market factor retains its explanatory ability but the market value of equity factor performs poorly. In a recent paper, Foye, Mramor and Pahor (2013) propose an alternative three factor model that replaces the market value of equity component with a term that acts as a proxy for accounting manipulation.


title: Fama–French three-factor model

text: In 2015, Fama and French extended the model, adding a further two factors — profitability and investment. Defined analogously to the HML factor, the profitability factor (RMW) is the difference between the returns of firms with robust (high) and weak (low) operating profitability; and the investment factor (CMA) is the difference between the returns of firms that invest conservatively and firms that invest aggressively. In the US (1963-2013), adding these two factors makes the HML factors redundant since the time series of HML returns are completely explained by the other four factors (most notably CMA which has a 0.7 correlation with HML).


title: Fama–French three-factor model

text: Whilst the model still fails the Gibbons, Ross & Shanken (1989) test, which tests whether the factors fully explain the expected returns of various portfolios, the test suggests that the five-factor model improves the explanatory power of the returns of stocks relative to the three-factor model. The failure to fully explain all portfolios tested is driven by the particularly poor performance (i.e. large negative five-factor alpha) of portfolios made up of small firms that invest a lot despite low profitability (i.e. portfolios whose returns covary positively with SMB and negatively with RMW and CMA). If the model fully explains stock returns, the estimated alpha should be statistically indistinguishable from zero.


title: Fama–French three-factor model

text: Whilst a momentum factor wasn't included in the model since few portfolios had statistically significant loading on it, Cliff Asness, former PhD student of Eugene Fama and co-founder of AQR Capital has made the case for its inclusion. Foye (2018) tested the five-factor model in the UK and raises some serious concerns. Firstly, he questions the way in which Fama and French measure profitability. Furthermore, he shows that the five-factor model is unable to offer a convincing asset pricing model for the UK. Besides the lack of momentum more concerns with the five-factor model have been raised and the debate on the best asset pricing model has not been settled yet.


title: Kathy Beale

text: Kathy Beale (also Mitchell and Sullivan) is a fictional character from the BBC soap opera "EastEnders", played by Gillian Taylforth. Portrayed as "an attractive, bright, caring and highly moral woman", Kathy is one of the serial's original characters, appearing in the first episode of "EastEnders" on 19 February 1985. Taylforth was originally dismissed for the role of Kathy due to her young age, but was reconsidered when she impressed show bosses. Kathy remained in a prominent role throughout her original stint on the serial, featuring in high-profiled storylines involving her rape at the hands of James Willmott-Brown (William Boyde) and the discovery of a long-lost daughter, Donna Ludlow (Matilda Ziegler), after she was sexually assaulted as a teenager.


title: Kathy Beale

text: In 1993, after the character's marriage with her husband Pete (Peter Dean) ended with the latter's departure from the square, Kathy developed a romance with Phil Mitchell (Steve McFadden) and they later had a son - Ben, who caused Kathy turmoil when he contracted a rare form of meningitis. The relationship between alcohol abuse and domestic violence was explored through Kathy and Phil in 1997, which led to their separation. Taylforth opted to leave the serial in 1997 and Kathy departed on 10 April 1998 after deciding to move to South Africa with Ben. The character returned for two separate guest stints in 1999, making her departure on 6 January 2000. Despite reports that Taylforth would be returning to the serial, Kathy was supposedly killed off-screen in a road collision in 2006 to facilitate Ben's reintroduction to the serial.


title: Kathy Beale

text: Taylforth reprised the role for a charity special in 2014. In the episode broadcast on 19 February 2015 to celebrate the show's 30th anniversary, the character made a surprise return to the serial - despite being presumed dead. It was confirmed that the character would be making a permanent return, and - after a guest appearance on 19 May 2015 - Kathy returned permanently on 17 August 2015. Taylforth was initially hesitant about her reintroduction storyline, which was inspired by the John Darwin disappearance case. Kathy's husband, Gavin Sullivan (Paul Nicholas), was also introduced following her return and their turbulent marriage was explored. The character later had an affair with Buster Briggs (Karl Howman), and became critical in the events surrounding Max Branning's (Jake Wood) revenge campaign Albert Square - in light of the "Who Killed Lucy Beale?" saga - when Willmott-Brown returned in his plan to recoup his relationship with Kathy by taking control of the square for her. Additionally, Kathy has had relationships and flings with Masood Ahmed (Nitin Ganatra), Harvey Monroe (Ross Boatman) and Tom "Rocky" Cotton (Brian Conley) and feuds with both Max and Rainie Cross (Tanya Franks) over the custody of her adoptive grandson Steven's (Aaron Sidwell) daughter, Abi, with Sharon Watts (Letitia Dean) over her relationship with Ian, and Dotty Cotton (Milly Zero) who attempts to con her with Rocky.


title: Kathy Beale

text: Kathy Beale and her husband Pete (Peter Dean) are financially stable. Kathy works as a barmaid in The Queen Victoria pub with her best friend, Angie Watts (Anita Dobson), whilst helping Pete on their fruit and veg stall. Kathy feels she has put her troubled past behind her but Nick Cotton (John Altman) breaks into Dr Harold Legg's (Leonard Fenton) surgery and reads Kathy's medical records. He discovers that she gave a child, Donna Ludlow (Matilda Ziegler), the product of rape when Kathy was 14, up for adoption. Nick uses this to blackmail her, which eventually forces her to tell Pete her secret and he reacts badly.


title: Kathy Beale

text: She later starts a knitting business. Mehmet Osman (Haluk Bilginer) asks Kathy to knit a batch of jumpers for him. Kathy finds out from Ali Osman (Nejdet Salih) that she was conned when Mehmet disappears with the jumpers and money.


title: Kathy Beale

text: Kathy learns that Donna, now an adult, wants to meet her but she refuses. Undeterred, Donna moves to Walford, keeping her identity secret. To get closer to Kathy, Donna calls her workplace at The Samaritans and grows close to Kathy's son Ian Beale (Adam Woodyatt), who becomes attracted to his half-sister. When Kathy tells Donna to stay away from Ian, Donna reveals that she is her daughter. Donna thinks Kathy will be pleased but Kathy is horrified and demands she leave Walford. Donna stays and causes various problems for Kathy. Finally Kathy tells Donna that she is actually the product of rape; Kathy gave her up at birth and wants nothing to do with her now. Donna spends the rest of the year in a downward spiral.


title: Kathy Beale

text: James Willmott-Brown (William Boyde) employs Kathy at The Dagmar wine bar, angering Pete, and the rift worsens when it becomes clear that James is romantically interested in Kathy. After work, James invites Kathy upstairs to his flat, but when he attempts to seduce her, Kathy tries to leave. James refuses to let her leave and his attempted seduction becomes rape. James is arrested and formally charged with rape. In the aftermath, Kathy becomes depressed and isolated from Pete, who never believes she is blameless so Kathy leaves him. James stands trial but tries bribing Kathy to withdraw her statement. Kathy pretends to take his hush money but tells the police so a listening DI tapes the conversation. She is forced to relive the rape for the trial, where a skillful barrister presents a good case for James. For a time it seems James could be acquitted, but to Kathy's relief, he is convicted and imprisoned for three years. During this time, Kathy finds unexpected support from Pete's first wife, Pat (Pam St Clement), whom she had initially despised and they become close friends.


title: Kathy Beale

text: Donna, whom Kathy still refuses to accept, sinks into depression and overdoses on heroin and dies, leaving Kathy wrestling with guilt. Kathy attempts to move on and begins a relationship with market trader Laurie Bates (Gary Powell). Their relationship manages to survive the interference of Julie Cooper (Louise Plowright), who tries but fails to claim Laurie for herself. However, when Laurie begins buying Kathy extravagant clothing and jewellery, she questions his motives, thinking he's trying to make her look like his late wife, and loses interest. Laurie takes her rejection badly and some tactless comments regarding her sexual abstinence makes Kathy believe he has deceived her of his true nature. She ends the relationship. Later in the year, Kathy begins dating Eddie Royle (Michael Melia). He patiently pursues her, but after a few dates, she becomes hesitant and after she sees him kissing Eibhlin O'Donnell (Mary Conlon) - his former girlfriend visiting from Ireland - their lukewarm romance ends.


title: Kathy Beale

text: Kathy persuades The Samaritans to take her back as a volunteer, on the condition she is shadowed following her previous stint. Disa O'Brien (Jan Graveson) phones The Samaritans and tells Kathy her baby, Billie O'Brien, is the product of rape and fathered by her stepfather, Ken Raynor (Ian Redford). Willmott-Brown is released from prison. He sends Kathy a tape telling her that he wants to meet her and that he has changed. Kathy pleads with him to leave and never return but he moves to the Square and continues to pester her, until Kathy relays the hurt and anger he had caused her, gaining some closure. James threatens suicide but Kathy stops him, refusing to let him take the easy way out. After a heated conversation in which James pleads for forgiveness, Kathy convinces him to leave Walford. She also convinces Pete — who has been hoping for reconciliation — that their marriage is over. Later, Kathy begins a relationship with market inspector Richard Cole (Ian Reddington), which sours when she discovers that he is taking a cash bribe and allowing a mobile hot dog van to trade in direct competition with her café.


title: Kathy Beale

text: After admitting his feelings for her whilst in France, Kathy begins a romance with mechanic Phil Mitchell (Steve McFadden), which manages to survive various revelations about Phil's criminal activity, as well as interference from Phil's wife Nadia (Anna Barkan), who tries to split them up. Phil proposes to Kathy and she accepts, but during their engagement party, Kathy learns that Phil had resumed an affair with his sister-in-law Sharon Mitchell (Letitia Dean) after Grant (Ross Kemp) obtained a tape of a drunken Sharon and Michelle Fowler (Susan Tully), Kathy's niece, discuss the affair. After Grant plays the tape, the revelation ends Kathy's friendship with Sharon, leads to Phil being beaten by his brother Grant, and almost ends Kathy and Phil's relationship. It also causes a strain between Kathy and Michelle and Kathy is hurt about Michelle taking Sharon's side, believing that as family, Michelle should have told her. Kathy is cold towards Michelle's initial efforts to make amends, but they soon make up.


title: Kathy Beale

text: Phil and Kathy sort out their differences and get married in secret in early 1995. Kathy keeps fainting and refuses to see Harold Legg (Leonard Fenton), she relents and is told she is pregnant. Phil is overjoyed about becoming a father, as is Phil's mother, Peggy Mitchell (Barbara Windsor). Kathy goes into labour with Pat helping her and Phil meets their son shortly after he is born. Kathy is opposed to Peggy's name suggestion of Eric and names him Ben. Kathy's niece, Sarah Hills (Daniela Denby-Ashe), and Sarah's boyfriend, Robbie Jackson (Dean Gaffney), look after Ben when he becomes ill and at hospital, he is diagnosed with meningitis. Phil's brother, Grant Mitchell (Ross Kemp), reveals that Mark Fowler (Todd Carty), the husband of Ben's childminder Ruth Fowler (Caroline Paterson) and Kathy's nephew, has AIDS. Despite Kathy panicking that the AIDS caused the meningitis, she is reassured the conditions are not linked. Kathy and Phil are told that Ben has been left partially deaf in one ear. Kathy is devoted to Ben; feeling neglected, Phil turns to alcohol. By the end of the year his drinking has developed into alcoholism and he becomes violent toward Kathy. After he snatches Ben and leaves him near a fire while he passes out drunk, Kathy leaves him. Realising what he has lost, Phil tries to stop drinking and rebuild his marriage. Kathy takes him back but when Phil attends counselling, he begins an affair with a fellow alcoholic, Lorna Cartwright (Janet Dibley), who starts stalking him and makes herself known to Kathy. Phil takes Kathy to Paris, hoping that it will bring them closer. However, Phil confesses to his affair with Lorna and Kathy responds by throwing her wedding ring into the Seine, stating their marriage is "the biggest mistake" of her life. Phil begins sleeping rough and blames Kathy for his decline. Despite momentarily contemplating suicide, Kathy hardens herself towards her husband's abuse.


title: Kathy Beale

text: Kathy starts a relationship with vicar Alex Healy (Richard Driscoll). Alex's Bishop discovers their affair and offers Alex a choice: Kathy or his job. Alex is prepared to give up his job to be with Kathy but she has second thoughts and considers moving to Cape Town, South Africa to live with her brother Ted Hills (Brian Croucher). Her upcoming departure spurs proposals from not only Alex but Phil's brother Grant, who asks her to elope, and Phil, who tries to reunite with her. Kathy grows confused by so many options but eventually tells Phil she is open to a reunion with him. However, he fails to meet her on the day of her planned departure, so Kathy leaves Walford with Ben.


title: Kathy Beale

text: Kathy returns to meet Ian's fiancée Melanie Healy (Tamzin Outhwaite) and has a fling with Grant. Just before she is due to return home to South Africa, Kathy asks Phil to leave with her. However, Grant has planned a robbery that same day and Phil cannot bring himself to let his brother do the job alone. Infuriated by Phil's loyalty to Grant, Kathy reveals their recent tryst, moments before she leaves. This results in a violent showdown between the brothers. Grant confesses that he only had sex with Kathy as revenge for Phil's affair with his wife Sharon. Phil responds by threatening to shoot Grant, devastated that he lost Ben and Kathy again. This leads to Grant crashing their car into the River Thames but both survive. When Kathy returns again for Ian's short-lived wedding to Melanie, after Ian lied to Melanie about his daughter Lucy Beale having cancer, and Melanie revealing she had a one night stand with Steve Owen (Martin Kemp), she is met with hostility from Phil's mother, Peggy (Barbara Windsor). Phil tries to persuade Kathy to reconcile one last time but they both agree their relationship is over and Kathy leaves Walford alone.


title: Kathy Beale

text: In 2001, Kathy marries a friend of Ted's called Gavin Sullivan (Paul Nicholas) in South Africa. Years later, Ian hears that Kathy and Gavin have been killed in a traffic collision. Ian travels to South Africa and returns with Ben; eventually Phil gains custody of Ben.


title: Kathy Beale

text: After being released from a short stint in prison, Phil attempts to tell Ian privately on his wedding day that Kathy is alive, but cannot go through with it when Ben (Harry Reid) walks in on their conversation. Phil later meets Kathy in secret and tells her that, despite her wishes, he cannot allow her to return home, concerned about the effect on Ben and Ian. A few months later, Phil meets her in a café, and hands her an envelope of cash, with the promise this is the last payment he has for her. Seemingly out of the blue, months on, Kathy visits Phil at his garage in Walford, begging for fake documentation for her controlling husband Gavin Sullivan (Paul Nicholas), so she can reveal that she faked her death, without implicating him. Phil agrees to help her leave London and meets her at St Pancras International, but Sharon, who is now married to Phil, arrives, suspecting he is meeting someone he is having an affair with. Ian accompanies her and Kathy disappears, having spotted Ian for the first time in 10 years. As she leaves, she runs into Gavin, who has been aware of her plan all along. Phil's cousin Ronnie Mitchell (Samantha Womack) discovers Kathy is alive, and Phil has been aware for three years, since Ben went to prison for murdering Heather Trott (Cheryl Fergison).


title: Kathy Beale

text: Several weeks later, Kathy has escaped Gavin, and she contacts her old friend Tracey (Jane Slaughter), at The Queen Vic, giving her an address to pass on to Phil. Gavin follows Phil to a small hotel. He reaches Kathy first and takes her to a small airfield, with the intent of flying away from England. Phil and Ronnie intercept them and convince Kathy to come back to Walford with them. While Phil arranges a hotel for her to stay in, she hides in The Arches, where she comes face to face with Sharon, who is stunned to find she is alive. They have an angry confrontation which leads to a physical fight, before Phil moves Kathy to a nearby hotel. Within a week, Kathy is revealed to have Gavin hidden in her bathroom, with him controlling her again. After Ian's wife Jane Beale (Laurie Brett) talks him out of suicide, Ian is shocked to see Kathy is alive and has witnessed the event. As Ian crosses the road to meet Kathy, he is hit by an oncoming car and rushed to hospital. Ian eventually regains consciousness and breaks down in happiness when he realises that Kathy is alive, but reveals he wants answers for her faking her death. As Ian is leaving hospital, Jane threatens Kathy to stay away from Walford in a bid to protect Ian. Ian demands to see Kathy and she explains to him that Gavin forced her to go on the run with him as part of an insurance scam and he had controlled her for years and she felt she had no choice. Ian persuades her to go to the police and she agrees, however, she lies about why she is there when she enters the station by claiming her handbag is stolen and later tells Ian that she told them everything and they are looking for Gavin. She then secretly meets Gavin who reminds her of their plan.


title: Kathy Beale

text: Kathy returns a few days later and meets with Ben, who is furious to see her again after several years of believing she was dead. He angrily declares that her absence is to blame for the current state of his life, declaring that he is the reason Phil has left due to his homosexuality, but Kathy tells him that she and Phil knew that he was gay before he even started school, and that they have always loved him. Ian later decides to rebuild his relationship with his mother and allows Kathy to move into his house. Gavin meets Kathy in Walford and reveals that he has kidnapped Phil and threatens to kill him if she does not follow his instructions and give him money. Kathy and Ben reluctantly agree to give into Gavin's demands, but after trying to steal Ian's safe, Kathy decides not to do so. Ian later tells Kathy that her grandson Bobby Beale (Elliot Carrington) killed Lucy. Kathy, after seeing Ben drunk and angry at her, confesses to Ian that she is still on the run and she and Ben were planning to con him as Gavin has kidnapped Phil, so Ian throws her out, thinking she cares more about Phil than him. Jane is horrified that he told Kathy about Bobby, but Ian is confident she will not say anything to the police. Kathy then goes to the police station to report the kidnapping, while Ben tells Ian what Gavin has done. Ian contacts Gavin, telling him he knows what he has been doing. It soon turns out that he has been keeping Phil locked in his closet, but by the time Kathy and the police come to his house looking for him, he is not there although a fresh blood stain is found in the kitchen. Kathy later tells the Beales what she has done, and Sharon is incensed when she finds out the truth, insisting none of it would have happened if Kathy had not returned. Phil returns home severely injured and Ian allows Kathy to move back into his house. Gavin later holds Kathy, Ben and Phil hostage in their house and when Sharon confronts him, he reveals himself as her father before fleeing. Kathy is given a suspended sentence after pleading guilty to fraud.


title: Kathy Beale

text: When Bobby pushes Jane down the stairs during a scuffle, Jane lies to Kathy that she tripped, but Bobby tells Kathy the truth. Kathy confesses her fears to Jane that Bobby may have anger management problems, and after Bobby later smashes a plate in anger, Jane tells Kathy that she is right. Bobby's feud with Sharon's son Dennis Rickman Jnr (Bleu Landau) escalates when Bobby kills Dennis' pet spider. Sharon tells Kathy he is evil and needs help, and Kathy then tells Sharon that Bobby pushed Jane down the stairs, so Sharon tells the Beales she will go to the police about Lucy's killing. Bobby finds out the truth from Dennis, who is later severely injured in a car crash. When the family discover that Phil has been rushed to hospital with a damaged liver, Sharon and Kathy join Phil's ex-wife Shirley Carter (Linda Henry) in visiting him at to the hospital - only to learn upon arrival that Phil discharged himself. They later find Phil drunk at the pub, where he insults his family and inadvertently hits Kathy when she tries to help him leave.