title: Ebolavirus

text: Rates of genetic change are 8*10 per site per year and are thus one fourth as fast as influenza A in humans. Extrapolating backwards, Ebolavirus and Marburgvirus probably diverged several thousand years ago. A study done in 1995 and 1996 found that the genes of Ebolavirus and Marburgvirus differed by about 55% at the nucleotide level, and at least 67% at the amino acid level. The same study found that the strains of Ebolavirus differed by about 37–41% across the nucleotide level and 34–43% across the amino acid level. The EBOV strain was found to have an almost 2% change in the nucleotide level from the original 1976 strain from the Yambuki outbreak and the strain from the 1995 Kikwit outbreak. However, paleoviruses of filoviruses found in mammals indicate that the family itself is at least tens of millions of years old.


title: Ebolavirus

text: The genus "Ebolavirus" has been organized into six species; however, the nomenclature has proven somewhat controversial, with many authors continuing to use common names rather than species names when referring to these viruses. In particular, the generic term "Ebola virus" is widely used to refer specifically to members of the species "Zaire ebolavirus". Consequently, in 2010, a group of researchers recommended that the name "Ebola virus" be adopted for a subclassification within the species "Zaire ebolavirus" and that similar common names be formally adopted for other "Ebolavirus" species. In 2011, the International Committee on Taxonomy of Viruses (ICTV) rejected a proposal (2010.010bV) to formally recognize these names, as they do not designate names for subtypes, variants, strains, or other subspecies level groupings. As such, the widely used common names are not formally recognized as part of the taxonomic nomenclature. In particular, "Ebola virus" does not have an official meaning recognized by ICTV, and rather they continue to use and recommend only the species designation "Zaire ebolavirus".


title: Ebolavirus

text: The threshold for putting isolates into different species is usually a difference of more than 30% at the nucleotide level, compared to the type strain. If a virus is in a given species but differs from the type strain by more than 10% at the nucleotide level, it is proposed that it be named as a new virus. , none of the "Ebolavirus" species contain members divergent enough to receive more than one "virus" designation.


title: Ebolavirus

text: A 2013 study isolated antibodies from fruit bats in Bangladesh, against Ebola Zaire and Reston viruses, thus identifying potential virus hosts and signs of the filoviruses in Asia.


title: Ebolavirus

text: A recent alignment-free analysis of Ebola virus genomes from the current outbreak reveals the presence of three short DNA sequences that appear nowhere in the human genome, suggesting that the identification of specific species sequences may prove to be useful for the development of both diagnosis and therapeutics.


title: Kawanishi H8K

text: The Kawanishi H8K was a flying boat used by the Imperial Japanese Navy Air Service during World War II for maritime patrol duties. The Allied reporting name for the type was "Emily".


title: Kawanishi H8K

text: The Kawanishi H8K was a large, four-engine aircraft designed for long range and extended endurance on patrols or bombing missions typically flown alone over the ocean. The prototype first flew in January 1941, and H8K1s made their first combat sortie in March 1942. The robust H8K2 "Emily" flying boat was also fitted with powerful defensive armament, which Allied pilots had substantial respect for wherever this aircraft was encountered in the Pacific theater. Aircraft historian René Francillon called the H8K "the most outstanding water-based combat aircraft of the Second World War."


title: Kawanishi H8K

text: At the same time the type's predecessor, the Kawanishi H6K, was entering service in 1938 the Navy ordered the development of a larger, longer-ranged patrol aircraft under the designation Navy Experimental 13-"Shi" Large-size Flying Boat. The result was a large, shoulder-winged design that is widely regarded as the best flying boat of the war. Despite this, initial development was troublesome, with the prototype displaying terrible handling on the water. Deepening of the hull, redesigning of the planing bottom and the addition of spray strips under the nose rectified the water handling problems. Two further prototypes — actually pre-production aircraft — joined the development program in December 1941.


title: Kawanishi H8K

text: The IJNAS accepted the first production version as the H8K1, Navy Type 2 Flying Boat, Model 11, of which 14 would be built.


title: Kawanishi H8K

text: The improved H8K2 variant soon appeared, and its extremely heavy defensive armament earned it deep respect among Allied aircrews. The H8K2 was an upgrade over the H8K1 with more powerful engines, slightly revised armament, and an increase in fuel capacity. This was to be the definitive variant, with 112 produced.


title: Kawanishi H8K

text: 36 examples of a dedicated transport version, the H8K2-L, were also built, capable of carrying 62 troops. This aircraft was also known as "Seikū" (晴空, "Clear Sky"). The side defensive blisters, ventral defensive hatch, and dorsal turret were discarded. To increase the available space within the aircraft its hull tanks were removed, thus reducing its range.


title: Kawanishi H8K

text: The H8K entered production in 1941 and first saw operational use on the night of 4 March 1942 in a second raid on Pearl Harbor. Since the target lay out of range for the flying boats, this audacious plan involved a refuelling by submarine at French Frigate Shoals, some north-west of Hawaii, "en route". Two planes from the Yokohama Kōkūtai (Naval Air Corps) attempted to bomb Pearl Harbor but, due to poor visibility, did not accomplish any significant damage.


title: Kawanishi H8K

text: Six days after the second Pearl Harbor raid, one of the Emilys was sent on a daylight photo-reconnaissance mission of Midway Atoll. It was intercepted by radar-directed Brewster F2A Buffalo fighters of Marine Fighting Squadron 221 (VMF-221) and shot down. All aboard were killed, including Lt. Hashizume Hisao, the lead pilot of the second Pearl Harbor raid.


title: Kawanishi H8K

text: H8K2s were used on a wide range of patrol, reconnaissance, bombing, and transport missions throughout the Pacific War. The H8K2 was given the Allied code name "Emily".


title: Kawanishi H8K

text: Four aircraft survived until the end of the war. One of these, an H8K2 (work number 426), was captured by U.S. forces at the end of the war and was evaluated before being eventually returned to Japan in 1979. It was on display at Tokyo's Museum of Maritime Science until 2004, when it was moved to Kanoya Air Base Museum at Kanoya Air Field in Kagoshima.


title: Kawanishi H8K

text: The submerged remains of an H8K can be found off the west coast of Saipan, where it is a popular scuba diving attraction known erroneously as the "B-29", or the "Emily". Another wrecked H8K lies in Chuuk Lagoon, Chuuk, in Micronesia. This aircraft is located off the south-western end of Dublon Island.


title: Peggy Fleming

text: Peggy Gale Fleming (born July 27, 1948) is an American former figure skater and the only American in the 1968 Winter Olympics in Grenoble, France to bring home a Gold Medal. She is the 1968 Olympic Champion in Ladies' singles and a three-time World Champion (1966–1968). Fleming has been a television commentator in figure skating for over 20 years, including several Winter Olympic Games.


title: Peggy Fleming

text: Fleming was born in San Jose, California, the daughter of Doris Elizabeth (née Deal) and Albert Eugene Fleming, a newspaper journalist and former U.S. Marine. She began skating at age nine when her father took Peggy and her three sisters skating. In 1961, when Peggy was twelve years old, her coach William Kipp was killed in the crash of Sabena Flight 548 along with the rest of the United States figure skating team while en route to the 1961 World Figure Skating Championships. Fleming was subsequently coached by Carlo Fassi. Her unusual style led to five U.S. titles, three World titles and the gold medal in the 1968 Olympics in Grenoble, France.


title: Peggy Fleming

text: Fleming's mother selected a color for her Grenoble skating costume, chartreuse, named after the liqueur of that color produced by neighboring Carthusians in their founding monastery, which also gives the name "chartreuse" to the region, thereby perhaps inspiring local French audience support for Peggy's virtually flawless performance. Her award in Grenoble was singularly important for the American athletes and the nation as a whole, for this was the only gold medal that the U.S. Olympic team won in the 1968 Winter Olympics. It signaled a return to American dominance in the sport of women's figure skating following the unprecedented tragedy of the 1961 Sabena plane crash.


title: Peggy Fleming

text: After becoming an Olympic champion, Fleming turned professional, performed on TV shows including five NBC specials of her own and toured with many skating shows, like Ice Capades. During the Cold War, Fleming had filmed a TV show in USSR and skated to "Butterfly Lovers' Violin Concerto" in China. Since 1981, she has been a skating commentator for ABC Sports. In 1993, the Associated Press released results of a national sports study that ranked Fleming as the third most popular athlete in America, behind fellow Olympians Mary Lou Retton and Dorothy Hamill.


title: Peggy Fleming

text: On June 13, 1970, Fleming married her teenage sweetheart Greg Jenkins, a dermatologist and a former amateur figure skater. The couple have two sons, Andy (born in 1977) and Todd (born in 1988), and three grandchildren. They currently reside in Denver, Colorado.


title: Peggy Fleming

text: Peggy Fleming was diagnosed with breast cancer in 1998. The cancer was detected in its early stages, and surgery was successful. She became a breast cancer activist who recommends not procrastinating and advocates for early detection.


title: Peggy Fleming

text: Fleming and her husband owned and operated Fleming Jenkins Vineyards & Winery in California. The winery produced close to 2,000 cases of wine a year with names as "Choreography" a bordeaux-style blend from Napa Valley and a "Victories Rose" from the San Francisco Bay Syrah. Profits from the "Victories Rosé" went towards charities that supported research towards breast cancer. The winery closed in 2011.


title: Peggy Fleming

text: In 2010, Art of the Olympians produced a 30-minute documentary. She is also an artist with works on display with the Art of the Olympians.


title: Peggy Fleming

text: Along with former Olympian Vonetta Flowers, Fleming was injured and briefly hospitalized after a traffic accident while riding in U.S. Vice President Joe Biden's motorcade at the 2010 Winter Olympics in Vancouver.


title: Anna Karenina principle

text: The Anna Karenina principle states that a deficiency in any one of a number of factors dooms an endeavor to failure. Consequently, a successful endeavor (subject to this principle) is one for which every possible deficiency has been avoided.


title: Anna Karenina principle

text: In other words: happy families share a common set of attributes which lead to happiness, while any of a variety of attributes can cause an unhappy family. This concept has been generalized to apply to several fields of study.


title: Anna Karenina principle

text: In statistics, the term "Anna Karenina principle" is used to describe significance tests: there are any number of ways in which a dataset may violate the null hypothesis and only one in which all the assumptions are satisfied.


title: Anna Karenina principle

text: The Anna Karenina principle was popularized by Jared Diamond in his 1997 book "Guns, Germs and Steel". Diamond uses this principle to illustrate why so few wild animals have been successfully domesticated throughout history, as a deficiency in any one of a great number of factors can render a species undomesticable. Therefore, all successfully domesticated species are not so because of a particular positive trait, but because of a lack of any number of possible negative traits. In chapter 9, six groups of reasons for failed domestication of animals are defined:


title: Anna Karenina principle

text: Many experiments and observations of groups of humans, animals, trees, grassy plants, stockmarket prices, and changes in the banking sector proved the modified Anna Karenina principle.


title: Anna Karenina principle

text: This effect is proved for many systems: from the adaptation of healthy people to a change in climate conditions to the analysis of fatal outcomes in oncological and cardiological clinics. The same effect is found in the stock market. The applicability of these two statistical indicators of stress, simultaneous increase of variance and correlations, for diagnosis of social stress in large groups was examined in the prolonged stress period preceding the 2014 Ukrainian economic and political crisis. There was a simultaneous increase in the total correlation between the 19 major public fears in the Ukrainian society (by about 64%) and also in their statistical dispersion (by 29%) during the pre-crisis years.


title: Anna Karenina principle

text: Vladimir Arnold in his book "Catastrophe Theory" describes "The Principle of Fragility of Good Things" which in a sense supplements the Principle of Anna Karenina: good systems must meet simultaneously a number of requirements; therefore, they are more fragile:


title: Palais des Papes

text: The Palais des Papes (English: Palace of the Popes; "lo Palais dei Papas" in Occitan) is a historical palace located in Avignon, Southern France. It is one of the largest and most important medieval Gothic buildings in Europe. Once a fortress and palace, the papal residence was a seat of Western Christianity during the 14th century. Six papal conclaves were held in the Palais, leading to the elections of Benedict XII in 1334, Clement VI in 1342, Innocent VI in 1352, Urban V in 1362, Gregory XI in 1370 and Benedict XIII in 1394. Since 1995, the Palais des Papes has been classified, along with the historic center of Avignon, as a UNESCO World Heritage Site, for its outstanding architecture and historical importance for the Papacy.


title: Palais des Papes

text: The Palais is actually two joined buildings: the old palais of Benedict XII, which sits on the impregnable rock of Doms, and the new palais of Clement VI, the most extravagant of the Avignon popes. Together they form the largest Gothic building of the Middle Ages. It is also one of the best examples of the International Gothic architectural style. The construction design was the work of two of France's best architects, Pierre Peysson and Jean de Louvres, and the lavish ornamentation was the work of two of the best students of the School of Siena (Italy), Simone Martini and Matteo Giovanetti.


title: Palais des Papes

text: In addition, the papal library housed in the Palais (the largest in Europe at the time with over 2,000 volumes), attracted a group of clerics passionate in the study of "belles-lettres", amongst them the founder of humanism, Petrarch. At the same time, composers, singers and musicians were drawn to the Great Chapel of the Palais. It was there that Clement VI used the "Mass of Notre-Dame" of Guillaume de Machaut, there that Philippe de Vitry at the pope's invitation presented his "Ars Nova," and there that Johannes Ciconia came to study.


title: Palais des Papes

text: Due to its immense size, the Palais was also the place where the general organisation of the Church began to change. It facilitated the centralisation of services and the adaptation of operations in order to suit the needs of the papacy, creating a truly central administration for the Church. The manpower of the Curia (Church administration), while 200 at the end of the 13th century, surpassed 300 at the beginning of the 14th century and reached 500 people in 1316. To this were added over 1,000 lay officials working within the Palais.


title: Palais des Papes

text: Despite this, the Palais became obsolete when the papacy found it necessary to return to Rome. The hope of reuniting Latin and Orthodox Christians, along with the achievement of peace in the Papal States in Italy, made the case of returning stronger. Added to that was the strong conviction of both Urban V and Gregory XI that the seat of the papacy could only be the tomb of St Peter. Despite strong opposition from the Court of France and the College of Cardinals, both popes found the means to return to Rome, the first, on 30 April 1362, the second on 13 September 1370. This time, the return was absolute.


title: Palais des Papes

text: In the following centuries, the Palais lost all of its former glory, despite serving as the seat of two anti-popes and many cardinals. It retained, however, a “work of destruction” aspect that French poets and writers such as Charles Forbes René de Montalembert have referred to over the centuries, with its powerful sense of beauty, simplicity, grandeur and immortality.


title: Palais des Papes

text: The Palais construction began in AD 1252. Avignon became the residence of the Popes in 1309, when the Gascon Bertrand de Goth, as Pope Clement V, unwilling to face the violent chaos of Rome after his election (1305), moved the Papal Curia to Avignon during the "Avignon Papacy". Clement lived as a guest in the Dominican monastery at Avignon, and his successor Pope John XXII set up a magnificent establishment there, but the reconstruction of the old bishops' palace was begun in earnest by Pope Benedict XII (1334–42) and continued by his successors to 1364. The site, on a natural rocky outcrop at the northern edge of Avignon, overlooking the river Rhône, was that of the old episcopal palace of the bishops of Avignon. The Palais was built in two principal phases with two distinct segments, known as the "Palais Vieux" (Old Palace) and "Palais Neuf" (New Palace). By the time of its completion, it occupied an area of . The building was enormously expensive, consuming much of the papacy's income during its construction.


title: Palais des Papes

text: The Palais Vieux was constructed by the architect Pierre Poisson of Mirepoix at the instruction of Pope Benedict XII. The austere Benedict had the original episcopal palace razed and replaced with a much larger building centred on a cloister, heavily fortified against attackers. Its four wings are flanked with high towers.


title: Palais des Papes

text: Under Popes Clement VI, Innocent VI and Urban V, the building was expanded to form what is now known as the Palais Neuf. An architect, Jean de Louvres, was commissioned by Clement VI to build a new tower and adjoining buildings, including a 52 m long Grand Chapel to serve as the location for papal acts of worship. Two more towers and a bridge were built under Innocent VI. Urban V completed the main courtyard (known as the Court of Honor) with further buildings enclosing it. The interior of the building was sumptuously decorated with frescos, tapestries, paintings, sculptures, and wooden ceilings.


title: Palais des Papes

text: The popes departed Avignon in 1377, returning to Rome, but this prompted the Papal Schism during which time the antipopes Clement VII and Benedict XIII made Avignon their home until 1403. The latter was imprisoned in the Palais for five years after being besieged in 1398 when the army of Geoffrey Boucicaut occupied Avignon. The building remained in the hands of antipapal forces for some years – it was besieged from 1410 to 1411 – but was returned to the authority of papal legates in 1433.


title: Palais des Papes

text: Although the Palais remained under papal control (along with the surrounding city and Comtat Venaissin) for over 350 years afterward, it gradually deteriorated despite a restoration in 1516. When the French Revolution broke out in 1789 it was already in a bad state when it was seized and sacked by revolutionary forces. In 1791 it became the scene of a massacre of counter-revolutionaries, whose bodies were thrown into the Tour des Latrines in the Palais Vieux.


title: Palais des Papes

text: The Palais was subsequently taken over by the Napoleonic French state for use as a military barracks and prison. Although it was further damaged by the military occupation, especially under the anti-clerical Third Republic when the remaining interior woodwork was cleared away for use of the structure as a stables – the frescos were covered over and largely destroyed – this ensured the shell of the building's physical survival. It was vacated in only 1906, when it became a national museum. It has been under virtually constant restoration ever since.


title: Palais des Papes

text: Charles Dickens describes a tour around this building in his book: Pictures from Italy. His guide he describes as a she-devil with flashing black eyes who glories in the gory past when the building was used as a torture chamber.


title: Palais des Papes

text: The Palais is today a historical and architectural landmark and primarily a tourist attraction, attracting around 650,000 visitors per annum, putting it regularly in the top ten most visited attractions in France. It also houses a large convention centre and the archives of the "département" of Vaucluse, which include a research centre on the papacy of Avignon, organised jointly by the École française de Rome and the "institut de recherche et d'histoire des textes".


title: Palais des Papes

text: The Palais regularly serves as an exhibition centre. The first major exhibition was initiated by René Char, in the Grand Chapel between 27 and 30 June 1947. Entitled "Exposition de peintures et sculptures contemporaines" (Exposition of contemporary painters and sculptors), it was the starting point for what would later become the Festival d'Avignon.


title: Palais des Papes

text: The courtyard of the Palais des Papes is a central performance location during the Festival d'Avignon, which is held every year in July. It is also the site of many cultural and economic events including exhibitions, shows, and conventions.


title: Palais des Papes

text: The Palais is also home to the International Congress Centre, which was established in 1976 and today hosts a large number of events annually. These include congresses, parliaments, symposia, reunions and other gatherings, with the largest room, the 'Grande Audience', able to hold up to 700 guests.


title: Palais des Papes

text: With of floor space, the Palais is the largest Gothic palace in all of Europe and, due to its many architectural merits, one of the most important in the world. These merits were highlighted by Viollet-le-Duc, author of “Dictionnaire raisonné de l’architecture française du XI au XVI siècle” (Dictionary of French architecture from the 11th to the 16th century), who referred extensively to the Palais, including the thickness and height of its towers, the strength of its crenelated walls, the use of arches for support on its façades and its ability to withstand heavy and drawn-out sieges.


title: Palais des Papes

text: The studium, or private study of Clement VI, is commonly called the "chambre du cerf" (room of the deer), on account of the justly-celebrated 14th-century frescoes, depicting courtly hunting scenes, that decorate the walls and vaults. The subject matter, while common in contemporary secular art, is as unexpected in a room supposedly dedicated to study as it is for a room in a papal apartment. The frescoes were probably painted by French artists, who were either highly influenced by Sienese art or assisted by Simone Martini and/or Matteo Giovanetti, both of whom served as Clement's court painter.


title: Palais des Papes

text: This room was used primarily as a reception room. Covered with tapestries on starry blue background, there is actually nothing left of these decorations. Indeed, a fire destroyed the palace in the 14th century: many parts have been restored or rebuilt.


title: Palais des Papes

text: During conclaves, it was in this room that the cardinals met to elect a new pope. For the occasion, the room was walled and only a small aperture was left open to provide all the necessary food. After each conclave, the temporary walls were destroyed, revealing a vaulted room opening to the rest of the palace.


title: Palais des Papes

text: Located on the second level of the Saint-Jean tower, the "Saint-Martial chapel" relates through painting the main parts of Saint Martial's life. Matteo Giovanetti worked there in 1344 and 1345. The reading direction of the painting should be made from top to bottom.


title: Palais des Papes

text: From 1347 to 1348, Matteo Giovannetti was in charge of the Saint-Jean chapel, located under the Saint-Martial chapel.


title: Palais des Papes

text: The Palais des Papes regularly hosts art exhibitions. The tradition began in 1947, when the art critic Christian Zervos and the poet René Char organised an exhibition of the likes of Matisse, Picasso, Braque and Mondrian. The exhibitions shown since then include two exhibitions of Picasso (in 1970 and 1973), the comprehensive 2000 exhibition “La beauté in fabula” and, more recently, the exhibition “Les Papesses” (2013) and single exhibitions of Miquel Barceló (2010) and Stefan Szczesny (2014).


title: LADbible Group

text: LADbible Group part of LBG Media is a British digital publisher. Its headquarters are in Manchester and it has offices in London, Dublin, Sydney, Melbourne and Auckland.


title: LADbible Group

text: Founded in 2012 by Alexander "Solly" Solomou and Arian Kalantari, LADbible Group has grown to become one of Britain's most prominent digital content publishers aimed at young adults claiming to reach two-thirds of 18–34-year-olds in the UK.


title: LADbible Group

text: LADbible Group's media brands have an audience approaching a billion, with 262 million followers worldwide across the major social media platforms and its five websites attract almost 69 million unique visitors every month.<ref name="Woods https://www.telegraph.co.uk/business/2021/12/12/ladbible-aims-beat-buzzfeed-viral-media-battle"></ref> Its brands include LADbible, UNILAD, GAMINGbible, SPORTbible and Tyla among many others and generate more than 28bn content views globally every year


title: LADbible Group

text: It has its own in-house creative team, Joyride, set up in 2016, who work with clients to help them reach LADbible Group's younger audience of 18-34 year olds through creative campaigns and in 2021, launched its own in-house production arm, LADstudios, which focuses on factual entertainment programming as well as documentary content.


title: LADbible Group

text: Solomou developed the idea for a social media publishing business while at the University of Leeds, where he studied business management from 2009 to 2012. The Lad Bible Limited was founded on 3 April 2012 and developed into the LADbible project when director Arian Kalantari joined.


title: LADbible Group

text: LADbible Group parent company was originally called The Lad Bible Limited, and changed its name to The Global Social Media Group Limited on 18 November 2013. On 19 June 2014, the parent company changed its name to 65TWENTY LTD then to Ladbible Group Limited on 16 November 2015.


title: LADbible Group

text: The LADbible project started in January 2012 when the channel published their first Facebook post which achieved over 75,000 interactions. In 2014, LADbible's Facebook page had almost 2 million likes and was attracting over 5 million unique users every month. By November 2015 this number had increased more than 400% to 10.6 million followers on Facebook. This has continued to grow to more than 24.3 million followers in May 2017.


title: LADbible Group

text: In 2016, LADbible Group, launched an in-house creative agency, Joyride, to offer advertising on their online platforms.


title: LADbible Group

text: In July 2017, Tubular Labs ranked LADbible as the No. 1 'Media & Entertainment Creator' in the world. In the same month, LADbible also achieved No. 3 globally in the Top Media & Entertainment Properties, ahead of Time Warner, Comcast and Sony.


title: LADbible Group

text: In October 2018, LADbible Group took over social media rival, UNILAD, making it the largest social video publisher ever


title: LADbible Group

text: In 2019, LADbible Group launched LADbible Australia, followed by SPORTbible Australia. In the same year, they launched LADbible Ireland, claiming to reach almost half of all Irish people each month, and were opening an office in Dublin to better service that audience


title: LADbible Group

text: LADbible Group publishes original and acquired content, including editorial, video, and documentary material, some of which is broadcast live. Their content covers entertainment and celebrity interviews, as well as news and current affairs. They also run campaigns on subjects intended to interest a young market, such as mental health, the environment and political matters.


title: LADbible Group

text: LADbible Group have their own in-house production studios called LADstudios where they produce premium original content, including original show formats including 'Minutes with' and celebrity content, with A-list stars such as Will Smith and Tom Holland, like entertainment productions 'Snack Wars' and 'Shocking Answers". They have also recently began making content for partners, including the UNHEARD six-part documentary series for Amazon Prime Video which focuses on critical issues of racial discrimination in Australia, including Indigenous deaths in custody, the targeting of Indigenous youth, attacks towards Asians during the COVID-19 pandemic, Islamophobia, the vilification of the African community and the treatment of asylum seekers and refugees


title: LADbible Group

text: In the run up to the 2016 United Kingdom European Union membership referendum, LADbible launched an awareness campaign to encourage their youth audience to exercise the vote. The publisher spent three months producing stories and short explainers on the vote which linked directly to the government's register-to-vote page. The 45,000 clicks attracted by the campaign accounted for 20% of all traffic to their sites during this period.


title: LADbible Group

text: LADbible first launched their mental health campaign in 2016 with a dedicated UOKM8? website hub. Supported by charities including CALM, the campaign included a video series called 'Everyday Heroes' that featured a number of high-profile men including Olympian Louis Smith, and addressed their struggles with anxiety and depression. UOKM8? was recognised by the industry by winning awards including: Drum DADI, Masters of Marketing, Lovies and Webby. The campaign as a whole, reached in excess of 36 million and received over 4.8 million video views. UOKM8? was relaunched in 2018 with a shifted focus towards helping others suffering with mental health problems.


title: LADbible Group

text: In 2020, LADbible Group relaunched UOKM8? across its five major brands, LADbible, UNILAD, GAMINGbible, SPORTbible and Tyla during the UK's third lockdown as the company recognised readers were “suffering” under continued restrictive measures and in particular after the government's reversal of relaxation of rules for the Christmas period.


title: LADbible Group

text: LADbible's biggest awareness campaign to date, 'Trash Isles', was designed to highlight the global problem of plastic pollution in oceans. Featuring high-profile climate activists including Sir David Attenborough, Dame Judi Dench and Al Gore, the publisher approached the United Nations to declare an accumulation of plastic in the Pacific Ocean, as an official country, encouraging people to sign up to be a citizen. Trash Isles was identified by The Drum as one of the most awarded media campaigns of 2018, picking up accolades across the industry including eight Cannes Lions awards including two Grand Prix.


title: LADbible Group

text: UNILAD launched 'Blood Without Bias' in November 2019 to campaign for a fairer blood donation system, and raise awareness for the fact that gay and bisexual men were still prohibited from donating blood by UK law unless they are willing to abstain from sex for three months. The campaign included the launch of the world's first blood bank for gay and bisexual men called 'The Illegal Blood Bank', where qualified medical professionals were on hand to assess donors, based on their broader sexual behaviour, and test the blood, in an effort to underline how much blood was potentially going to waste due to the law. UNILAD also shared content across its channels and started a petition on Change.org to demand that risk be assessed based on individual sexual behaviour, not sexual orientation alone.


title: LADbible Group

text: The campaign has nearly 1 million video views worldwide, achieved 10.8 million impressions online and in June 2021 the NHS revised its guidelines, opening blood donation up to anyone who has had the same sexual partner for three months or more. The campaign also won three awards at Cannes Lions 2021.


title: LADbible Group

text: In November 2015, LADbible featured in Manchester Evening News for winning two awards at the Digital Entrepreneur Awards ceremony. LADbible won the Social Media Campaign of the Year (medium/large) and founder, Alexander Solomou, won the Young Digital Entrepreneur of The Year award.


title: LADbible Group

text: In June 2018, LADbible's "Trash Isles" campaign won eight Cannes Lions Awards at the Cannes Lions International Festival of Creativity. The campaign won two Grand Prix awards as well as a further two Gold, one Silver and three Bronze


title: Blues for Allah

text: Blues for Allah is the eighth studio album by the Grateful Dead. It was recorded February 27  May 7, 1975, and released September 1, 1975. It was the band's third album on their own Grateful Dead Records label and their third studio album in a row. "Blues for Allah" was the group's highest-charting album until 1987's "In the Dark", reaching  12 during a thirteen-week stay on the "Billboard" Album Chart.


title: Blues for Allah

text: "Blues for Allah" was recorded after the Dead began a band hiatus in October 1974. Conscious of needing a new album release for their independent label, the band initiated the project in January 1975. In contrast to the commercial studios employed for their previous studio albums, the band used the studio that rhythm guitarist Bob Weir had built at his new home in Mill Valley, California. Rather than their usual approach of recording studio versions of songs that had matured on stage, the tracks were developed in the studio setting. According to manager Rock Scully, this was in part an attempt by lead guitarist Jerry Garcia to ensure more involvement in the writing process from other band members. In creating material from scratch, the band were able to progress beyond the previous genres in which they had played. Garcia explained "We're working on "creating" styles, rather than just being eclectic or synthesizing other styles. Thus, it's a little bit more difficult, and considerably more experimental." The main riff of "Franklin's Tower" was partly inspired by the chorus of Lou Reed's 1973 hit "Walk on the Wild Side."


title: Blues for Allah

text: A discernable Middle Eastern theme emerged, supported by Robert Hunter's lyrics. Non-Western time signatures on some of the material added to the concept, as well as experiments with instrumentation, such as flute on the Bach-inspired "Sage & Spirit" (named for Scully's daughters). Garcia said he was "creating scales that generated their own harmony in ways that weren't symmetrical in regular, classical major-minor relationships."


title: Blues for Allah

text: Bassist Phil Lesh recalled "Jerry brought in a strange, almost atonal melodic entity that would evolve into the title song and sequence for the album, and I had sketched out a little Latin-flavored, seven-beat instrumental number inspired by Shelley's poem 'Ozymandias' called 'King Solomon's Marbles'. Besides 'Crazy Fingers,' his marvelous essay in smoky ambiguity, Jerry also contributed a triptych of already written tunes ("Help on the Way", "Slipknot", and "Franklin's Tower") that would become, in live performance, one of our finest exploratory vehicles. Bob had a beautiful guitar instrumental, 'Sage and Spirit', and one of his stompin-est self-congratulatory rockers, 'Music Never Stopped', to round out the album."


title: Blues for Allah

text: "Crazy Fingers" sets music to Hunter's series of haiku. "The Music Never Stopped" began life as "Hollywood Cantata", a Weir-Hunter composition. Weir later used lyrics composed by his main writing partner, John Barlow. Original credits list "King Solomon's Marbles" and "Stronger than Dirt or Milkin' the Turkey" as individual songs. However, later credits list "Stronger than Dirt" and "Milkin' the Turkey" as composed in two parts and combined to make "King Solomon's Marbles". The first section was so-named by Lesh because, like the end of the Doors' "Touch Me", a four-note cadence was reminiscent of a contemporary advertisement jingle (unlike the Doors track, the Dead did not vocalize the slogan).


title: Blues for Allah

text: Describing the atmosphere, Lesh said "Bob's home studio was just large enough to hold all of us … with various guests, notably Mickey [Hart], David Crosby, and John Cipollina, coming and going. We managed to finish the recording of "Allah" to our satisfaction, and took the tapes into [Artisan Sound Recorders, San Francisco] for the final mix." Band soundman Dan Healy engineered the project, assisted by Robbie Taylor.


title: Blues for Allah

text: Percussionist Mickey Hart, who had sat in at the band's "farewell" concert on October 20, 1974, was invited to the sessions by Garcia and Lesh. Hart had left the band in February 1971. He contributed to the songwriting of "King Solomon's Marbles" and played occasional percussion parts (including the recording of crickets heard on the three-part title suite). Following the release of the album, he was officially reinstated as a band member shortly before the group resumed touring in 1976. Along with contributing as a background singer, Donna Godchaux emerged as a co-vocalist on "The Music Never Stopped" and the vocal sections of the title suite ("Blues for Allah" and the two-pieced "Unusual Occurrences in the Desert"). The guest flutist was Steve Schuster, a former equipment manager for Quicksilver Messenger Service who also played saxophone in the contemporaneous Keith & Donna Band.


title: Blues for Allah

text: Though they had not toured since September 1974, the Grateful Dead performed intermittently in San Francisco during the recording period. Testing the main suite from the album, they performed (as "Jerry Garcia & Friends") at the Bill Graham-produced SF SNACK Benefit (Students Need Athletics, Culture and Kicks) at Kezar Stadium in Golden Gate Park, San Francisco, California on March 23, 1975. The set, which also featured Merl Saunders (organ) and Ned Lagin (electric piano), was subsequently released on the bonus disc of "Beyond Description").


title: Blues for Allah

text: Consideration was given to naming the album after King Faisal of Saudi Arabia, who was assassinated after recording began. The band had been told that he was a fan of the Grateful Dead. Ultimately, Hunter considered his lyrics for the title track a requiem for the ruler. The song also references "One Thousand and One Nights".


title: Blues for Allah

text: The front cover artwork features an iconic image of a frizzy-haired, fiddling skeleton, wearing a crimson thawb and sunglasses, sitting in the window of an ancient rock wall. The work, titled "The Fiddler", was painted in the summer of 1974 by Phillip Garris, and was awarded both the gold medal and the Award of Merit, from the Society of Illustrators. For the cover of the contemporaneous debut album by Kingfish, Garris painted an image with similar elements. (During the Dead's hiatus, Kingfish featured Bob Weir). The back cover art features a similar background with a group portrait of band members, illustrated in relief. Original pressings had a single-sheet insert with lyrics in both English and Arabic.


title: Blues for Allah

text: Unusual for a Grateful Dead album are the number of instrumentals: "Slipknot!", both parts of "King Solomon's Marbles", Weir's "Sage & Spirit" and the "Sand Castles and Glass Camels" section of "Blues for Allah". The nearly structureless title suite that closes the album was performed three times in 1975 and then retired, while several other songs written for the album were performed regularly for the rest of the Dead's career; specifically "Crazy Fingers", "The Music Never Stopped" and the "Help on the Way->Slipknot!->Franklin's Tower" sequence (the last section of which was often played separately).


title: Blues for Allah

text: Drummer Bill Kreutzmann recalled, "Once we started performing them live … we turned a corner and it was a whole other ball game. Those songs are among our very best and they lived up to their potential. We had to play them live in front of an audience in order for that to happen. Once we let them outside and started taking them for walks, they each had a growth spurt during which they really discovered themselves. The album also contained a group of really experimental songs ("Stronger than Dirt", "Unusual Occurrences in the Desert") that bordered on acid jazz composition. Wild stuff. Deep cuts."


title: Blues for Allah

text: To celebrate the release of the album, the band played a small concert at the Great American Music Hall, featuring the album in its entirety. The performance was recorded on 16-track and released in 1991 as "One from the Vault". This was the first complete show ever released by the Grateful Dead and the first of an ongoing stream of releases from the band's vault.


title: Blues for Allah

text: Two singles were released from the album, "The Music Never Stopped" and "Franklin's Tower", both backed with "Help on the Way". "The Music Never Stopped" is shorter than the album version, with a differently-recorded ending. "Franklin's Tower" is an edited version and "Help on the Way" fades out before the segue to "Slipknot!" (though fading later on the second single).


title: Blues for Allah

text: "Blues for Allah" was the final studio album on the Grateful Dead's original independent label. Grateful Dead Records' distribution partner United Artists Records had greater involvement in the rights and publication for this album than previously (e.g. releasing the album in foreign markets on the United Artists (UA) label). This was an attempt to combat counterfeiting and because UA was helping fund the completion of "The Grateful Dead Movie" in return for further distribution rights and the completion of a soundtrack album. "Blues for Allah" was in and out of print after the band's move to Arista Records. It was re-pressed in 1979 by UA's Liberty imprint. The album was first released on CD in 1987, after which it has remained in print. It was remastered and expanded for the "Beyond Description" box set, in October 2004. This version was released separately in 2006, by Rhino Records.


title: Blues for Allah

text: Reviewing in 1975 for "Rolling Stone", Billy Altman wrote that the LP's first side "works beautifully" for the most part, but side two is "total washout". "Gramophone" magazine's reviewer said the band has "discarded their blues approach and opted for semi-country and jazz-rock. But there seems to be no real direction on "Blues for Allah"." "Village Voice" critic Robert Christgau, who had been a strong supporter of the band's music, was also disappointed by the record: "This time I find the arch aimlessness of their musical approach neurasthenic and their general muddleheadedness worthy of Yes or the Strawbs."


title: Death to America

text: Death to America (; ) is an anti-American political slogan. It is used in Iran, Afghanistan, Lebanon, Yemen, Iraq, and Pakistan. It has been used in Iran since the inception of the Iranian Revolution in 1979. Ruhollah Khomeini, the first Supreme Leader of the Islamic Republic of Iran, popularized the term. He opposed the chant for radio and television, but not for protests and other occasions.


title: Death to America

text: In most official Iranian translations, the phrase is translated into English as the less crude "Down with America". The chant "Death to America" has come to be employed by various anti-American groups and protesters worldwide.


title: Death to America

text: Iranian officials generally explain that the slogan in its historical context has been provoked by U.S. government's hostile policies towards Iran and expresses outrage at those policies, and does not wish for literal death for American people themselves. In a speech to university students, Iran's Supreme Leader, Khamenei, interpreted the slogan as "death to the U.S.'s policies, death to arrogance". Following a meeting with Army and Air Force commanders, Khamenei declared that the Iranian people are not against American people, but that "Death to America" means down with American leaders, in this case Donald Trump, John Bolton, and Mike Pompeo.


title: Death to America

text: Following the fall of the pro-American Pahlavi dynasty in early 1979, Iranian protesters regularly shouted "Death to America" and "Death to the Shah" outside the U.S. embassy in Tehran, including the day the embassy was seized on November 4, 1979, which commenced the Iran hostage crisis. Throughout the crisis, Iranians surrounding the embassy chanted "Death to America" and "Death to Carter." When Iran released the remaining 52 American hostages on January 20, 1981, they were led through a gauntlet of students forming parallel lines that shouted "Death to America" as they boarded the airplane that would fly them out of Tehran. "Death to the Soviet Union" and "Death to England" also became popular. A similar slogan "Death to Israel" () is also used, and regularly chanted in Iranian and Pakistani political rallies. It is the best-known variation.


title: Death to America

text: Throughout the existence of the Islamic Republic of Iran, the slogan has formed a pillar of its revolutionary values. It is regularly chanted at Friday prayers and other public events, which is often accompanied by a burning of the flag of the United States. These events include the November 4 anniversary of the U.S. embassy seizure, which Iranian leaders declared in 1987 as a national holiday, called "Death to America Day." State-sponsored murals that feature the slogan "Death to America" are common in Iranian cities, particularly Tehran.


title: Death to America

text: However, according to Hashemi Rafsanjani, Khomeini agreed in principle to drop the usage of the slogan in 1984. Rafsanjani's statement was rejected by his hard line opponents who said that "The Imam throughout his life called America 'the Great Satan'. He believed that all the Muslims' problems were caused by America."


title: Death to America

text: According to "Politico" magazine, following the September 11 attacks, Sayyed Ali Khamenei, the Supreme Leader of Iran, "suspended the usual 'Death to America' chants at Friday prayers" temporarily.


title: Death to America

text: On March 21, 2015, Iran's Supreme Leader Ali Khamenei backed and shouted the phrase 'Death to America' while addressing a public gathering in Iran, during the holiday of Nowruz, the Persian New Year. In a statement published on his website on November 3, 2015, Khamenei said: "It goes without saying that the slogan does not mean death to the American nation; this slogan means death to the U.S.'s policies, death to arrogance."


title: Death to America

text: On June 23, 2017, during Quds Day, protestors chanted "Death to America" and "Death to Israel". On April 25, 2018, Iran announced that a "Death to America" emoji would be included in a domestically produced messaging app. On May 9, 2018, an American flag was burned in the Iranian Parliament amidst chants of 'Death to America' after President Donald Trump withdrew from the nuclear deal with Iran. On November 4, 2018, Louis Farrakhan, the leader of the religious group Nation of Islam, led a "Death to America" chant during a solidarity trip to Iran, ahead of sanctions expected to be imposed by the Trump administration.


title: Death to America

text: Many anti-Iranian government protesters, both within Iran and abroad, used similar phrases to demonstrate against the theocratic government. Slogans such as "Death to Khamenei", "Death to the Dictator" and "Death to Islamic Republic" have been chanted in those occasions, the latest being the Mahsa Amini protests, which began in September 2022. Protesters also refused to trample over giant U.S. and Israeli flags that had been painted on the ground of the universities, which was praised by President Donald Trump. At the funeral of Qasem Soleimani, the chant "Death to America" could be heard from many mourners across Baghdad, Islamabad, Karachi and many other cities.


title: Death to America

text: Supporters of Hezbollah, the Shi'a Islamic militant group based in Lebanon that is closely aligned to Iran, regularly chant "Death to America" in street demonstrations. A week before the March 20, 2003 U.S. invasion of Iraq, Hezbollah Secretary General Hassan Nasrallah declared, "In the past, when the Marines were in Beirut, we screamed, 'Death to America!' Today, when the region is being filled with hundreds of thousands of American soldiers, 'Death to America!' was, is and will stay our slogan."


title: Death to America

text: The slogan of the Houthis, a Shiite rebel group in Yemen also supported by Iran, is "God is Great, Death to America, Death to Israel, A curse upon the Jews, Victory to Islam."


title: Death to America

text: "Regarding the words 'Death to America', we mean American politics, not the American people", says Hussein al Hamran, head of Foreign Relations for Ansar Allah (Houthis). Ali al-Bukhayti, a former spokesperson and official media face of the Houthis, has said: "We do not really want death to anyone. The slogan is simply against the interference of those governments [i.e. US, and Israel]".


title: Death to America

text: Iranian president Hassan Rouhani has also dismissed the literal interpretation of the slogan, stating that the slogan is to express opposition to US intrusive policies rather than hatred against American people.


title: Death to America

text: On 8 February 2019, Ali Khamenei stated "Death to America means death to Trump, Bolton and Pompeo. We criticize American politicians who are managing that country. Iranian nation are not against American people."


title: Death to America

text: Travel writer Rick Steves recorded a taxi driver in Tehran exclaiming "Death to traffic!" in English, explaining that "when something frustrates us and we have no control over it, this is what we say". Steves compares the phrase to non-literal use of the word "damn" in American English.


title: In Search of the Lost Chord

text: In Search of the Lost Chord is the third album by The Moody Blues, released in July 1968 on the Deram label.


title: In Search of the Lost Chord

text: "In Search of the Lost Chord" is a concept album around a broad theme of quest and discovery, including world exploration ("Dr. Livingstone, I Presume"), music and philosophy through the ages ("House of Four Doors"), lost love ("The Actor"), spiritual development ("Voices in the Sky"), knowledge in a changing world ("Ride My See-Saw"), higher consciousness ("Legend of a Mind"), imagination ("The Best Way to Travel"), and space exploration ("Departure"). Space exploration would go on to become the theme of the group's 1969 album "To Our Children's Children's Children", inspired by and dedicated to the Apollo 11 mission. The mysterious "lost chord" of the title is revealed to be the mantra "Om" (in the last stanza of Graeme Edge's poem "The Word"). According to keyboardist Mike Pinder, the title was inspired by Jimmy Durante's humorous song "I'm the Guy that Found the Lost Chord", itself a reference to "The Lost Chord" by Sir Arthur Sullivan.


title: In Search of the Lost Chord

text: Sessions for the album commenced in January 1968 with the recording of Thomas's "Legend of a Mind". Whereas the London Festival Orchestra had supplemented the group on "Days of Future Passed", the Moody Blues played all instruments themselves (approximately 33) on "In Search of the Lost Chord". Indian instruments such as the sitar (played by guitarist Justin Hayward), the tambura (played by Mike Pinder) and the tabla (played by drummer and percussionist Graeme Edge) made audio appearances on several tracks (notably "Departure", "Visions of Paradise" and "Om"). Other instruments unusual for this group were also used, notably the oboe (played by percussionist/flute player Ray Thomas) and the cello (played by bassist John Lodge, who tuned it as a bass guitar). The mellotron, played by Pinder, produced many string and horn embellishments.


title: In Search of the Lost Chord

text: Having already experimented with spoken word interludes on "Morning Glory" and "Late Lament" on "Days of Future Passed", the group tried the practice again on the Graeme Edge-penned pieces "Departure" and "The Word". The latter was recited by Pinder, who was the primary reciter of Edge's poems on this and other Moody Blues albums. "Departure", which escalates from mumbling to hysterical laughter obscuring the final words (presumably "to find the lost chord"), is a rare studio example of Edge reciting his own words.


title: In Search of the Lost Chord

text: "In Search of the Lost Chord" was released on 26 July 1968. It peaked at number 5 in the UK Albums Chart and reached number 23 on the Billboard 200. Neither of the two singles from the album, "Ride My See-Saw" and "Voices in the Sky", charted in the top 40 on the "Billboard" charts, although the latter reached number 27 on the UK singles chart.


title: In Search of the Lost Chord

text: "In Search of the Lost Chord" was remastered into SACD in March 2006 and repackaged into a 2-CD Deluxe Edition. Although the other Moody Blues albums released in Deluxe Editions in 2006 featured their original quadrophonic mix (encoded as 5.1 surround sound), "In Search of the Lost Chord" had never been released in this format, and a new mix was not released until 2018 when a 5.1 mix was released as part of the 50th anniversary box set. In 2008, a remaster for single standard audio CD was issued with the nine bonus tracks.


title: In Search of the Lost Chord

text: In November 2018, the album was reissued as a five-disc "In Search of the Lost Chord - 50th Anniversary Box Deluxe Edition" set.


title: In Search of the Lost Chord

text: In the "Q" and "Mojo" Classic Special Edition "Pink Floyd & The Story of Prog Rock", the album was placed at number 37 in its list of "40 Cosmic Rock Albums".


title: Koi-Koi

text: The object of the game is to form special card combinations (or sets) called "yaku" () from cards accumulated in a point pile. Players can gain cards in their point piles by matching cards in their hands, or drawn from the draw pile, with cards on the table. Once a "yaku" has been made, a player can stop to cash in points, or keep going (referred to as ""koi-koi"", hence the name of the game) to form additional "yaku" for more points. The point values assigned to individual cards have no effect on the score, but they are helpful to judge their value in forming "yaku".


title: Koi-Koi

text: An initial dealer called the "oya" ( "parent") is decided upon when the game starts. This can be done with any method the players agree upon (e.g. rock-paper-scissors, dice roll). A hanafuda-specific method involves drawing a random card: each player draws a single card — the player who draws a card from the earliest month is the "oya". If both players draw a card from the same month, the player with the higher value card becomes the "oya". The other player is called the "ko" ().


title: Koi-Koi

text: To deal, the "oya" deals eight cards to the "ko" (face down), then to the table (face up), and then to themselves (face down), though this is normally done with two or four cards at a time. The rest of the cards are set aside as a draw pile, and then the game begins starting with the "oya".


title: Koi-Koi

text: On a player's turn, they may match by suit (that is, by month/flower) any one card in their hand with one on the table and take both into their point pile. If they cannot match a card from their hand, they must discard a card face up to the table. After matching or discarding a card, they then draw one card from the draw pile and place it face up on the playing area. If this card matches any card now on the table, they must match that card and take both for their point pile; otherwise, it becomes part of the table. If the played card matches two cards on the table, the player gets the choice as to which card to match and therefore keep in addition to the played card. In the event that three cards of a same suit are on the table and a player plays the fourth one, they collect all cards of that suit and take them into their point pile.


title: Koi-Koi

text: After a player's turn ends, if they made at least one "yaku" that turn, that player must then make a choice. They may end the hand and add the value of their "yaku" to their point total, or they can choose to continue playing (calling "koi-koi") in an effort to gain more points. In some versions, a player may only call "koi-koi" once per hand; in others, a player may call "koi-koi" on multiple "yaku"-forming turns. Calling "koi-koi" leaves the player vulnerable, as if their opponent is able to form a yaku before the caller forms another, the opponent gains double their score and the caller earns nothing. If a player has "yaku" totaling 7 or more points when the hand ends, that player earns twice that value. If a player hits 7 or more points "and" their opponent had called "koi-koi", they get both doubling bonuses for a total of four times their score.


title: Koi-Koi

text: The player who won the last hand becomes the new "oya", and a new hand is dealt. Should both players ever run out of cards to play without having formed a "yaku" on the last play, the "oya" gains one point, and the next hand begins with the same "oya" (this is called "Oya-Ken", meaning "Dealer's Privilege"). Generally, play continues for 12 hands, with each hand representing a month in the year, but the players can decide to play for a different number of rounds before the game starts.


title: Koi-Koi

text: Some groups, when gambling, will require the player whose score was multiplied to pay a proportionately larger amount of the winnings (i.e. a player who continued play twice would pay twice as much as the other player, since their score would have been doubled).


title: Koi-Koi

text: Sake is unique in that, though technically classified as a 10-point card, it counts as both a 10-point card and a 1-point card at the same time. Some rules allow the Sake to count as a 10-point card and two 1-point cards at the same time.


title: Koi-Koi

text: Additionally, November's 1-point card, Lightning, is sometimes used as a wild card that can match any card in some games.


title: Koi-Koi

text: If certain combinations of cards are won during play, extra points apply. Sometimes, players will be paired across the table when this rule is used (in multi-player Koi-Koi) to increase the chance of getting combos. Below is a list of special combinations with example point values. Different rulesets give different point values and some do not include the "tsukimi-zake" and "hanami-zake" "yaku".


title: Koi-Koi

text: Some "yaku" can be considered extensions of others. For example, one may qualify for both "Akatan" and "Tanzaku" by having the "Akatan" combination as well as two additional five-point cards. In these cases, players are awarded points for both "Akatan" and "Tanzaku" (unless players decide only the single highest-scoring "yaku" counts).


title: Koi-Koi

text: There are two special "yaku" such that, if a player is dealt them before play begins, they are immediately awarded points. Play then ends before it starts, and the game continues to the next hand. If either of these combinations are dealt to the table, however, the hand is declared void and a redeal occurs. These two combinations are as follows.


title: Koi-Koi

text: It is also one of the featured games in "Clubhouse Games", as well as its sequel "". Other video games which include Koi-Koi include the "Yakuza" series, "Way of the Samurai 4", and "Sakura Wars".


title: Koi-Koi

text: In the anime series Naruto, three characters (Yamanaka Ino, Akimichi Choji, and Nara Shikamaru) form Team 10. Their formation name when attacking opponents is "Ino-Shika-Cho".


title: Simon Neil

text: Born in Irvine, North Ayrshire, Scotland, Simon Neil formed Biffy Clyro in 1995 at 15 years old recruiting Kilmarnock-born Ben Johnston and someone known only as Barry on drums and bass respectively, calling themselves Skrewfish. Barry was soon replaced by James Johnston, Ben's twin brother, and Biffy Clyro was effectively formed. In 1997, the trio moved to Glasgow, where Neil studied Electronics with Music at the University of Glasgow. He also Studied Film and TV for a year before leaving to pursue music full-time. By then, Simon's musical tastes had expanded; In 2000, the band were spotted at the Unsigned Bands stage at T in the Park by a Beggars Banquet representative. Soon after, the band was signed to the independent Beggar's Banquet.


title: Simon Neil

text: Biffy Clyro have since released nine albums, signed to a major record label, and toured relentlessly. Neil has stated that Biffy Clyro lyrics often come from phrases he writes down in a notebook he keeps by his bed.


title: Simon Neil

text: Neil plays with JP Reid of fellow Ayrshire group Sucioperro in Marmaduke Duke, under the pseudonym "The Atmosphere", which released their first album, "The Magnificent Duke", in 2005.


title: Simon Neil

text: It was announced in late 2008 that the Duke was to make a return in 2009 with the follow-up album and second in the trilogy, "Duke Pandemonium". The first single from the second album, "Kid Gloves" was released on 9 February 2009.


title: Simon Neil

text: Neil performs under the name ZZC. His debut single, "To the Bone", was used in the BBC's ‘Radio 1 Rescores: Drive (curated by Zane Lowe)’ project. In 2017, Neil released a 7-minute instrumental track entitled "The Myth" under the ZZC moniker. Two tracks from an unreleased ZZC solo album, "Plead" and "Fever Dream" were released on the 2019 Biffy Clyro soundtrack album Balance, Not Symmetry.


title: Simon Neil

text: Neil lives in Ayr with his wife Francesca, whom he married at St. Columba Church in Ayr on 5 January 2008. The song "God Only Knows" by The Beach Boys was used for their first dance, and Neil has the song's chorus, "God only knows what I'd be without you", tattooed on his chest.


title: Ferrari 512

text: Ferrari 512 S is the designation for 25 sports cars built in 1969–70, with five-litre 12-cylinder ("512") engines, related to the Ferrari P sports prototypes. The V12-powered cars were entered in the 1970 International Championship for Makes by the factory Scuderia Ferrari and private teams. Later that year, modified versions resembling their main competitor, the Porsche 917, were called Ferrari 512 M (for "modificata"). In the 1971 International Championship for Makes, the factory focused on the new Ferrari 312 PB and abandoned the 512 which was only entered by privateers. From 1972 onwards, the 512 (as the 917) was withdrawn from the world championship following a change in the regulations, and some 512s in private hands were entered in CanAm and Interserie races.


title: Ferrari 512

text: The Ferrari 512 is named for its engine displacement, five litres, and the number of cylinders, 12 (in this case in a V12 configuration).


title: Ferrari 512

text: Until 1967, Ferrari raced four-litre prototypes (see Ferrari P), but due to the high speeds it achieved in Le Mans, also by the seven-litre V8 Ford GT40, the rules were changed for 1968 limiting Group 6 prototypes to a maximum engine capacity of three litres, as in Formula One. Despite having a suitable engine, Ferrari sat out the 1968 season, to return in 1969 with the Ferrari 312 P. In that year, Porsche had taken full advantage of a loop hole with the Porsche 917, making the risky investment of building 25 examples of a five-litre car to allow homologation into the FIA's Group 5 sports car category. Selling half of his business to Fiat, Enzo Ferrari raised the funds to match that investment. Surplus cars were intended to be sold to racing customers, which meant that several dozen high powered sports cars were available, and with each requiring two drivers in an endurance race, there was a shortage of experienced pilots.


title: Ferrari 512

text: The engine of the 512 S was a completely new 60° V12 with 560 PS (404 kW) output. Compared to Porsche's air-cooled flat-12, it needed a maze of cooling pipes and a heavy radiator. Since the chassis was of sturded steel, reinforced with aluminium sheet, weight was 100 kg more than that of the alloy-framed 917. Notwithstanding the weight difference and higher center of gravity, the Ferrari 512 S and Porsche 917 seemed fairly evenly matched.


title: Ferrari 512

text: At the beginning of 1970 the Ferrari 512s were hampered by predictable early problems, including a weak suspension and transmission problems, but the fact that Porsche already had six months of equally mixed experiences with its 917 in 1969 would be decisive for the rest of the season.


title: Ferrari 512

text: Contrary to Porsche, Ferrari did not organise an intramural competition. At Porsche, JWA Gulf, KG Porsche Salzburg and later Martini Racing, all received direct factory support. Thus, at least four cars were real works cars, without putting strain on the factory itself, as personnel and funds were provided by these professional teams. And even the privateers like AAW Shell Racing and David Piper Racing received much better support than Ferrari's clients. Ferrari did not adopt this modern scheme, but entered cars themselves in the traditional manner, as "Spa Ferrari SEFAC". Having only a few Formula One drivers under contract in the previous years, with the sports car aces driving for Porsche, Ferrari could barely find qualified drivers for its entries. Besides the factory cars, there were the private cars of Scuderia Filipinetti, NART, Écurie Francorchamps, Scuderia Picchio Rosso, Gelo Racing Team and Escuderia Montjuich. Those private cars never received the same support from the factory. They were considered as field fillers, never as candidates for a win.


title: Ferrari 512

text: At the end of the 1970 season, Ferrari had won the 12 hours of Sebring, while the Porsche 917 and 908 took the remaining nine wins of the championship season. At Le Mans, the Ferrari suffered from reliability problems, although it was considered to be equally fast to the 917. Four 512s were entered by Ferrari for that race, but the Vaccarella/Giunti car was out after seven laps, the Merzario/Regazzoni car was out after 38 laps and the Bell/Peterson car was out a lap later, and about five hours later the Ickx/Schetty car was out after 142 laps. For speed tracks such as Le Mans, Spa, Monza and the Osterrichring, an extra rear body panel designed to suit the 512 better was fitted on the car. The modified 512 M had proven to be fast at the end of the season, and Ickx/Giunti also won the Kyalami non-championship Springbok nine-hours race. As the loop hole for the five litre sports cars became obsolete after 1971, Ferrari decided to abandon factory entries of the 512 in favor of developing a new three litre prototype, the 312 PB. In 1971, Penske entered an improved 512 M (No. 1040) in Sunoco livery which was able to challenge the 917, taking pole position several times.


title: Ferrari 512

text: Just in time for the 24h of Daytona, Ferrari in January 1970 presented the required number of 25 512 S, as 17 complete cars and eight assembly kits, to the homologation authorities. Of those cars, fitted with the traditional even chassis numbers, ranging from 1002 to 1050, 19 were raced in 1970, five of them being spyders. Unlike Porsche, which has built over 50 917s in total, Ferrari could not sell off all surplus cars.


title: Ferrari 512

text: Of the 25 cars manufactured for the 1970 season, but not raced that year, the No. 1020 was converted at the end of the season as a 512 M and sold to NART, which entered it in competition in 1971. The No. 1024 remained unsold in 1970, was transformed into a 512 M and sold one year later to the Scuderia Brescia Corse. The No. 1036 was used as test car by the racing division of Ferrari. Later it was sold to Solar Productions for Steve McQueen's "Le Mans", also known as "French Kiss with Death". Later the no.1036 was converted to an open-top version and raced at Can-Am in 1974.


title: Ferrari 512

text: The 1040, sold to Chris Cord and Steve Earle, was entered in 1971 by Penske at Daytona, Sebring, Le Mans and Watkins Glen, setting the pole positions at the American tracks. The 1048 was sold as a test car to Scuderia Filipinetti but not raced in 1970. The 1050 was sold to Corrado Manfredini (but only as chassis plus body), combined with parts of Nos. 1022 and 1032, transformed into a 512 M and raced in 1971.


title: Ferrari 512

text: Eventually the factory team used nine cars for international endurance racing. The Scuderia Filipinetti (Switzerland, Herbert Müller) and NART raced two cars each. Écurie Francorchamps (Belgian importer of Ferrari), Escuderia Montjuich (Spain), Gelo Racing Team (Germany) and Picchio Rosso raced one car each. After the 1022, bought by the last team, was destroyed at the 24 Hours of Daytona, they would use the 1032.


title: Ferrari 512

text: During the 1970 race season several other Ferraris 512 Ss were destroyed. That was the case with the 1012 spyder after its crash at practice for the ADAC 1000km Nürburgring. The 1026, having been raced as factory car No. 7 by Derek Bell and Ronnie Peterson at the 1970 Le Mans 24 hours, was destroyed during the "Le Mans" film, by Derek Bell. The 1032 chassis number was subject of controversy in the 1980s, and even Christie's was involved. On the reconversion of the 1032 into a 512 M parts were used to rebuild it on the 1050 chassis.


title: Ferrari 512

text: Compared to Porsche which since the mid-1960s strived to align the top sports car drivers of that era, Ferrari's Mauro Forghieri could not count exclusively on top racers in their quest to win the 1970 International Championship for Makes, as Ferrari had abandoned sports car racing after 1967, save for few entries in 1969. Clay Regazzoni and Jacky Ickx, who had returned from Brabham, were Ferrari's F1 men for 1970, but as endurance racing typically requires two drivers per car, at least six more drivers were needed to enter four cars, to match the four or more Porsche factory-backed entries. Also, Alfa entered factory prototype cars, and competed for drivers.


title: Ferrari 512

text: Starting the season, former Ferrari works driver Pedro Rodríguez had been lost to Porsche's JWA Gulf Racing of John Wyer, and to BRM in F1, while another former works racer, Chris Amon was now involved in F1 with March, just like Mario Andretti.


title: Ferrari 512

text: It was scheduled that Regazzoni, Ickx, Ignazio Giunti, Peter Schetty, Nino Vaccarella and Arturo Merzario should race as many rounds as possible. Only Vaccarella and Schetty were free from F1 obligations. Although fast, they were not such typical all-rounders as Jo Siffert, Brian Redman, Vic Elford, Hans Herrmann and Pedro Rodriguez (of them Siffert raced in F1 for March and Rodriguez raced F1 for BRM, but had not the same heavy testing duties as most other F1 racers), who all could drive, for example, the ultra-fast Spa-Francorchamps in a 917K just as competently as they could drive the twisty, winding Targa Florio course in a 908/03. Ferrari only entered one car in the Targa Florio, driven by Giunti and Vaccarella, whereas Porsche entered 4 cars in the event and won it easily. Although all of the Ferrari drivers were just as capable, they were not as available as the Porsche drivers. Vaccarella was "the man of the rocky mountains" at the Targa Florio and Schetty was the specialist of hillclimbing racing where Porsche was also a dominant factor. Derek Bell and Jackie Oliver were also unavailable at most endurance races, since they drove F1 for Brabham and BRM. John Surtees, who had quit Ferrari in 1966 after an argument with Eugenio Dragoni, returned for the races in Monza, Spa and at the Nürburgring.


title: Ferrari 512

text: Whilst JWA Gulf, KG Salzburg and Martini Racing could count on stable pairings for the whole season, Ferrari's race director Mauro Forghieri had to change his pairings over and over. Eventually his top racer Mario Andretti could only be present for the three American rounds (Daytona, Sebring and Watkins Glen). In total 12 different drivers were seen in 1970 at the wheel of a factory 512 S . Of them the promising Ignazio Giunti did nine of the ten rounds, being only absent at the BOAC 1000 km. Merzario and Vaccarella made seven entries, Ickx and Schetty six of the ten. Only Vaccarella and Surtees were 35 years old or older. Except for Clay Regazzoni (31), all others were younger than 30 years, with Ickx (25), Peterson (26), Merzario (27) and Bell (28). Peterson was only hired for Le Mans, a serious mistake by Forghieri who should have offered him a full year contract.


title: Ferrari 512

text: Another handicap for Ferrari was its full season commitment to F1 racing, so that the 512 S cars did not receive full technical help at all times. Ickx finished second in the F1 World Championship and won three races, while Regazzoni finished third and won once. Both failed to surpass the points tally of late Jochen Rindt, who had a fatal accident during practice for the 1970 Italian Grand Prix.


title: Ferrari 512

text: Of the 12 works racers on Ferrari 512 S in 1970, nine are still alive. Ignazio Giunti was killed in Buenos Aires in January 1971, driving the brand new Ferrari 312PB. He was leading the 1971 1000 km Buenos Aires race when he collided with the Matra which Jean-Pierre Beltoise was attempting to push back to the pits after running out of fuel. Giunti sustained injuries from which he would not survive. Ronnie Peterson, who started his F1 career in 1971, died from injuries that occurred during the 1978 Italian Grand Prix start. Regazzoni, having been paralyzed from the waist down following an accident at the 1980 United States Grand Prix West, died in a car accident in Italy on 15 December 2006.


title: Babylonian astrology

text: Babylonian astrology was the first known organized system of astrology, arising in the second millennium BC.


title: Babylonian astrology

text: In Babylon as well as in Assyria as a direct offshoot of Babylonian culture, astrology takes its place as one of the two chief means at the disposal of the priests (who were called "bare" or "inspectors") for ascertaining the will and intention of the gods, the other being through the inspection of the livers of sacrificial animals (see omen).


title: Babylonian astrology

text: There is speculation that astrology of some form appeared in the Sumerian period in the 3rd millennium BC, but the isolated references to ancient celestial omens dated to this period are not considered sufficient evidence to demonstrate an integrated theory of astrology. The history of scholarly celestial divination is therefore generally reported to begin with late Old Babylonian texts ( 1800 BC), continuing through the Middle Babylonian and Middle Assyrian periods ( 1200 BC).


title: Babylonian astrology

text: By the 16th century BC, the extensive employment of omen-based astrology can be evidenced in the compilation of a comprehensive reference work known as "Enuma Anu Enlil". Its contents consisted of 70 cuneiform tablets comprising 7,000 celestial omens. Texts from this time also refer to an oral tradition – the origin and content of which can only be speculated upon. At this time Babylonian astrology was solely mundane, and prior to the 7th century BC the practitioners' understanding of astronomy was fairly rudimentary. Because of their inability to accurately predict future celestial phenomena and planetary movement very far in advance, interpretations were done as the phenomena occurred or slightly before. By the 4th century, however, their mathematical methods had progressed enough to calculate future planetary positions with reasonable accuracy, at which point extensive ephemerides began to appear.


title: Babylonian astrology

text: The history of Babylonian astrology shows the development of astronomical knowledge within the context of divination. A collection of 32 tablets with inscribed liver models, dating from about 1875 BC, are the oldest known detailed texts of Babylonian divination, and these demonstrate the same interpretational format as that employed in celestial omen analysis. Blemishes and marks found on the liver of the sacrificial animal were interpreted as symbolic signs which presented messages from the gods to the king.


title: Babylonian astrology

text: The gods were also believed to present themselves in the celestial images of the planets or stars with whom they were associated. Evil celestial omens attached to any particular planet were therefore seen as indications of dissatisfaction or disturbance of the god that planet represented. Such indications were met with attempts to appease the god and find manageable ways by which the god's expression could be realised without significant harm to the king and his nation. An astronomical report to the king Esarhaddon concerning the lunar eclipse of 18 January 672 BC shows how the ritualistic use of substitute kings, or substitute events, combined an unquestioning belief in magic and omens with a purely mechanical view that the astrological event must have some kind of correlate within the natural world:


title: Babylonian astrology

text: Ulla Koch-Westenholz, in her 1995 book "Mesopotamian Astrology", argues that this ambivalence between a theistic and mechanic worldview defines the Babylonian concept of celestial divination as one which, despite its heavy reliance on magic, remains free of implications of targeted punishment with the purpose of revenge, and so "shares some of the defining traits of modern science: it is objective and value-free, it operates according to known rules, and its data are considered universally valid and can be looked up in written tabulations". Koch-Westenholz also establishes the most important distinction between ancient Babylonian astrology and other divinatory disciplines as being that the former was originally exclusively mundane, being geographically oriented and specifically applied to countries cities and nations, and almost wholly concerned with the welfare of the state and the king as the governing head of the nation.


title: Babylonian astrology

text: The Patron God of Babylon was Marduk, and this god was recognized in Babylonian astrology as the planet Jupiter. Marduk was recognized as the most powerful god, but not the one and only god. The Babylonians were polytheistic, believing in many gods with different purposes, and they associated certain gods to certain planets.


title: Babylonian astrology

text: The Babylonians used horoscopic astrology. By observing the seasonal movement of the sun, moon, and planets, the Babylonians connected their beliefs of divine intervention in their everyday life to space and time. They would forecast their future circumstances by observing space through time and relating ominous events, such as a lunar eclipses, to social, political, and environmental problems in aspects of their everyday lives, such as giving birth to deformed children.


title: Babylonian astrology

text: The Babylonians believed their gods' activities influenced their own lives. These celestial events were viewed by the Babylonians as divine intervention in their lives using the influence the sun, moon, and planets, and to communicate when bad or good events were going to occur. Horoscopic astrology is significant to Babylonian beliefs, because associating the sun, moon, and planets with their gods shaped the way the Babylonians lived their lives and viewed the world around them. The parallels between horoscopes and nativity omens from a Seleucid Tablet shows the benefic and malefic natures of the planets in Babylonian astrology. The Babylonians associated and created their beliefs around planets based on the nature of the god associated with it. 'Benefic' means "good-doer". A planet with negative attributes would be classified as Malefic (meaning "bad-doer"). Planets were believed to have influences and provide guidance to humans, as they lived their lives. The planet's nature determines if it is Benefic or Malefic.


title: Babylonian astrology

text: The Babylonians divided the fixed stars into three groups: the stars of Anu, Enlil and Ea. To which group they belonged depended, for most of them, on where they rose on the Eastern horizon. The horizon was divided into the Paths of Anu, Enlil and Ea. This gives reference to which gods the Babylonian astrologers associated to regions of the sky or space, and is an example of how the gods were associated with the stars and planets.


title: Babylonian astrology

text: Of the planets five were recognized—Jupiter, Venus, Saturn, Mercury and Mars—to name them in the order in which they appear in the older cuneiform literature; in later texts Mercury and Saturn change places.


title: Babylonian astrology

text: The movements of the Sun, Moon and five planets were regarded as representing the activity of the five


title: Babylonian astrology

text: gods in question, together with the moon-god/goddess Sin/Selardi and the Sun-god Shamash, in preparing the occurrences on earth. If, therefore, one could correctly read and interpret the activity of these powers, one knew what the gods were aiming to bring about.


title: Babylonian astrology

text: The Babylonian priests accordingly applied themselves to the task of perfecting a system of interpretation of the phenomena to be observed in the heavens, and it was natural that the system was extended from the moon, sun and five planets to the more prominent and recognizable fixed stars.


title: Babylonian astrology

text: The interpretations themselves were based (as in the case of divination through the liver) chiefly on two factors:


title: Babylonian astrology

text: Thus, if on a certain occasion, the rise of the new moon in a cloudy sky was followed by victory over an enemy or by abundant rain, the sign in question was thus proved to be a favourable one and its recurrence would thenceforth be regarded as a good omen, though the prognostication would not necessarily be limited to the one or the other of those occurrences, but might be extended to apply to other circumstances.


title: Babylonian astrology

text: On the other hand, the appearance of the new moon earlier than was expected was regarded as unfavourable – prognosticating in one case defeat, in another death among cattle, in a third bad crops – not necessarily because these events actually took place after such a phenomenon, but by an application of the general principle resting upon association of ideas whereby anything premature would suggest an unfavourable occurrence.


title: Babylonian astrology

text: In this way a mass of traditional interpretation of all kinds of observed phenomena was gathered, and once gathered became a guide to the priests for all times. However, not all of these ideas are still used in astrology as it is usually practiced today.


title: Babylonian astrology

text: Astrology was also incredibly important in a practice known as astral medicine. According to a "kalendartext" discovered, belonging to a "mašmaššu" priest in the late Babylonian period of Uruk named Iqīšâ, different remedies are created for patients for different days, depending on the date.


title: Babylonian astrology

text: Steele acknowledges that it is entirely possible that the practice of astral medicine is nothing more than a theoretical practice, devised by scholars of the time. Since several of the parts would have been expensive or otherwise impossible for the average Babylonian to obtain, this raises two possible situations. It is very possible that the whole concept of astral medicine in terms of the "kalendartexte" and other such sources were, as previously stated, simply theory and never intended for real use. However, Babylonian medicine contains a tradition known as "Dreckapotheke", wherein the names of common ingredients are given names of often unpleasant sounding ones. It is also within the realm of possibility that the ingredients listed in the "kalendartexte" are following this tradition.


title: Babylonian astrology

text: The calendar and astrology were very interconnected. When creating the calendar for the next month or year, it was important to keep in mind where important festivals and other religious activities would fall. It seems that four nearby, surrounding countries contributed to each twelve-month calendar year: Elam, Amurru, Subartu, and Akkad. The months were divided into groups of three, alternating by four, evenly split among the four lands. The first, fifth, and ninth months belonged to Akkad, the second, sixth, and tenth belonged to Elam, the third, seventh, and eleventh belonged to Amurru, and the fourth, eighth, and twelfth belonged to Subartu. Days of each month follows the same pattern, beginning with one for Akkad, two for Elam, three for Amurru, four for Subartu, five for Akkad, and so on. As calendars were often created by priests, months that would come with rather unfavorable events were limited, especially prioritizing against eclipses and new moons; this practice also carried over into scheduling the days of each month. The moon was rather important to Mesopotamian peoples, and often it was what they based their calendar on. Lunar omens were among the most commonplace and, most often, they were based on eclipses rather than simple visibility. Deities of Mesopotamia were associated with certain times, days, and months.


title: Babylonian astrology

text: In more mythological belief, at the end of each day, the sun god, Shamash, retired to "the lap of heaven" to rest.


title: Babylonian astrology

text: The first limitation was that the movements and position of the heavenly bodies point to such occurrences as are of public import and affect the general welfare. The individual's interests are not in any way involved, and we must descend many centuries and pass beyond the confines of Babylonia and Assyria before we reach that phase which in medieval and modern astrology is almost exclusively dwelt upon—the individual horoscope.


title: Babylonian astrology

text: In Babylonia and Assyria the cult centred largely and indeed almost exclusively in the public welfare and the person of the king, because upon his well-being and favour with the gods the fortunes of the country were dependent, in accordance with the ancient conception of kingship.


title: Babylonian astrology

text: The second limitation was that the astronomical knowledge presupposed and accompanying early Babylonian astrology was, though essentially of an empirical character, limited and flawed. The theory of the ecliptic as representing the course of the Sun through the year, divided among twelve constellations with a measurement of 30° to each division, is of Babylonian origin, as has now been definitely proved; but it does not appear to have been perfected until after the fall of the Babylonian empire in 539 BC.


title: Babylonian astrology

text: Similarly, the other accomplishments of Babylonian astronomers, such as their system or rather systems of moon calculations and the drawing up of planetary tablets, belong to this late period, so that the golden age of Babylonian astronomy belongs not to the remote past, as was until recently supposed, but to the Seleucid period; i.e. after the advent of the Greeks in the Euphrates Valley.


title: Babylonian astrology

text: From certain expressions used in astrological texts that are earlier than the 7th century BC it would appear, indeed, that the beginnings at least of the calculation of sun and moon eclipses belong to the earlier period, but here, too, the chief work accomplished was after 400 BC, and the defectiveness of early Babylonian astronomy may be gathered from the fact that as late as the 6th century BC an error of almost an entire month was made by the Babylonian astronomers in the attempt to determine through calculation the beginning of a certain year.


title: Babylonian astrology

text: In a general way, the reign of law and order in the movements of the heavenly bodies was recognized, and indeed must have exercised an influence at an early period in leading to the rise of a methodical divination that was certainly of a much higher order than the examination of an animal's liver.


title: Babylonian astrology

text: However, the importance that was laid upon the endless variations in the form of the phenomena and the equally numerous apparent deviations from what were regarded as normal conditions, prevented for a long time the rise of any serious study of astronomy beyond what was needed for the purely practical purposes that the priests as "inspectors" of the heavens (as they were also the "inspectors" of the sacrificial livers) had in mind.


title: Babylonian astrology

text: Ashurbanipal was a king of Assyria who ruled in the seventh century BC from 668 to 625 BC. He was famous for assembling a great library of cuneiform tablets in Nineveh on the subjects of astrology, history, mythology, and science. Some of Assurbanipal's astrologers, such as Rammanu-sumausar and Nabu-musisi, became so adept at deducing omens from daily movements of the planets that a system of making periodical reports to the king came into being. Thus, Assurbanipal received swift messengers detailing "all occurrences in heaven and earth" throughout his kingdom and the results of his astrologer's examinations of them. He then used this information as a political weapon, and for the practical day-to-day running of his kingdom. After his death Nineveh fell to the Medes and the Chaldean Babylonians, and Assurbanipal's library was destroyed or dispersed.


title: The Devotion of Suspect X

text: The English translation was nominated for the 2012 Edgar Award for Best Novel and the 2012 Barry Award for Best First Novel.


title: The Devotion of Suspect X

text: The story begins with Tetsuya Ishigami and Yasuko Hanaoka following their daily routines. Yasuko Hanaoka is a divorced single mother who works at a bento shop. Ishigami is a highly talented mathematics teacher, who lives next door to Yasuko and her daughter Misato. When Togashi (Yasuko's abusive ex-husband) shows up one day to extort money from Yasuko, threatening both her and Misato, the situation quickly escalates into violence, and Togashi is killed by mother and daughter. Overhearing the commotion, Ishigami, who is secretly enamored of Yasuko but has never told her so, offers his help, disposing of the body and plotting the cover-up of the murder step-by-step.


title: The Devotion of Suspect X

text: When the body turns up and is identified, Kusanagi (the detective investigating the murder case) draws the case and Yasuko comes under suspicion. Kusanagi is unable to find any obvious holes in Yasuko's manufactured alibi, but still he is sure that there's something wrong with her story, a suspicion that he cannot shake. Kusanagi brings in Dr. Manabu Yukawa, a physicist and his college friend who frequently consults with the police. Yukawa also went to college with Ishigami, where he learned of Ishigami's problem-solving techniques and abilities; Yukawa highly rates Ishigami's intelligence. After meeting him again after so many years, Yukawa becomes convinced that Ishigami had something to do with the murder. What ensues is a high-level battle of wits between Yukawa and Ishigami, as Ishigami tries to protect Yasuko by outmaneuvering and outthinking Yukawa; the teacher is Yukawa's most clever and determined opponent yet.


title: The Devotion of Suspect X

text: Towards the end of the book, both Ishigami's scheme and the reason for his devotion to Yasuko are revealed: Ishigami had lost his will to live due to his depression, and was prepared to commit suicide when he was interrupted by Yasuko and Misato introducing themselves, leading him to become deeply attached to her and thankful for her unknowingly saving his life. In order to deceive the investigation, Ishigami murdered a second person, a homeless man who he had seen prior on his commute to work, and made the police believe he was Togashi, in order to obfuscate the time of the murder and make it so that in the end he could take the fall.


title: The Devotion of Suspect X

text: Yukawa is ultimately able to figure out his scheme and cannot accept his friend's sacrifice, and so he tells Yasuko the truth. She is deeply moved and despite Ishigami's instructions to move forward, is unable to live with the guilt. The book ends with her meeting Ishigami in jail, revealing that she and Misato have confessed to killing Togashi and are determined to serve their sentence together with him, leaving him in tears.


title: Eve Branson

text: Evette Huntley Branson (née Flindt; 12 July 1924 – 8 January 2021) was a British philanthropist, child welfare advocate, and the mother of Richard Branson.


title: Eve Branson

text: Branson was born in Edmonton, Middlesex, England, the daughter of Dorothy Constance (née Jenkins) (19 June 1898 - August 1997) and Major Rupert Ernest Huntley Flindt (11 St Faith's-road, West Norwood, 28 December 1890 - 19 October 1966). As a young adult, she served in the Women's Royal Naval Service (WRENS) during World War II. After the war ended, she toured West Germany as a ballet dancer with Entertainments National Service Association (ENSA). She later became an airline hostess for British South American Airways. After marrying, Branson ran a real estate property business and was a military police officer and probation officer. She also wrote novels and children's books.


title: Eve Branson

text: In 2013 Branson published her autobiography, "Mum's the Word: The High-Flying Adventures of Eve Branson".


title: Eve Branson

text: Branson was a member of the board of directors of the International Centre for Missing & Exploited Children ("ICMEC"), the goal of which is to help find missing children, and to stop the exploitation of children. She was a founding member of ICMEC's board of directors in 1999, seeking to generate awareness of the centre's work, and her son Richard was ICMEC's founding sponsor.


title: Eve Branson

text: She married, in Frimley, Surrey, on 15 October 1949, Edward James "Ted" Branson, born on 10 March 1918, a former Cavalryman, son of Sir George Arthur Harwin Branson and wife Mona Joyce Bailey. He died on 19 March 2011 in his sleep at the age of 93.


title: Eve Branson

text: Branson died from COVID-19 complications on 8 January 2021, during the COVID-19 pandemic in the United Kingdom at the age of 96. A celebration of her life was posted online by her son Richard. He revealed that he owed his career to his mother, explaining that she had found a necklace in the 1960s and after the police let her keep the jewellery, because nobody had claimed it, she sold it and gave him the funds. "Without that £100, I could never have started Virgin," he said.


title: Eve Branson

text: The VMS Eve the carrier mothership for Virgin Galactic and launch platform for SpaceShipTwo-based Virgin SpaceShips (Tail number: N348MS) was named in her honour by Virgin Galactic and her son Sir Richard Branson.


title: Eve Branson

text: A new Airbus A350-1000, G-VEVE - Fearless Lady has been named in her honour and will be delivered to Virgin Atlantic in December 2021 as the first aircraft optimised for the airline's leisure routes.


title: Intertitle

text: In films, an intertitle, also known as a title card, is a piece of filmed, printed text edited into the midst of (i.e., "inter-") the photographed action at various points. Intertitles used to convey character dialogue are referred to as "dialogue intertitles", and those used to provide related descriptive/narrative material are referred to as "expository intertitles". In modern usage, the terms refer to similar text and logo material inserted at or near the start or end of films and television shows.


title: Intertitle

text: In this era intertitles were mostly called "subtitles" and often had Art Deco motifs. They were a mainstay of silent films once the films became of sufficient length and detail to necessitate dialogue or narration to make sense of the enacted or documented events. "The British Film Catalogue" credits the 1898 film "Our New General Servant" by Robert W. Paul as the first British film to use intertitles. Film scholar Kamilla Elliott identifies another early use of intertitles in the 1901 British film "Scrooge, or, Marley's Ghost". The first Academy Awards presentation in 1929 included an award for "Best Writing – Title Cards" that went to Joseph W. Farnham for the films "Fair Co-Ed", "Laugh, Clown, Laugh", and "Telling the World". The award was never given again, as intertitles went out of common use due to the growing popularity of the "talkies".


title: Intertitle

text: In modern use, intertitles are used to supply an epigraph, such as a poem, or to distinguish various "acts" of a film or multimedia production by use as a title card. However, they are most commonly used as part of a historical drama's epilogue to explain what happened to the depicted characters and events after the conclusion of the story proper.


title: Intertitle

text: The development of the soundtrack slowly eliminated their utility as a narrative device (they were common for providing narration, but not dialogue, well into the 1930s), but they are occasionally still used as an artistic device. For instance, intertitles were used as a gimmick in "Frasier". The BBC's drama "Threads" uses them to give location, date and information on distant events beyond Sheffield. "Law & Order" and its related spinoffs used them to give not only the location, but also the date of the upcoming scene. Guy Maddin is a modern filmmaker known for recreating the style of older films, and uses intertitles appropriately. Some locally produced shows, such as quiz bowl game shows, use animated variations of intertitles to introduce the next round.