title: Kate Austen

text: Kate realizes that she is not supposed to raise Aaron and leaves him in the care of Claire's mother. She goes to Jack's apartment and they spend the night together. She returns to the island with the other survivors on flight 316. Sawyer explains that the year is 1977 and secretly gets her, Jack and Hurley to join the Dharma Initiative. Sayid shoots a young Ben Linus and Kate and Sawyer save his life by bringing him to Richard Alpert. After refusing to aid Jack in his plans to detonate the hydrogen bomb, Kate returns to the Dharma Initiative, to then be put on the Dharma sub with Sawyer and Juliet. However, she insists that the three leave the submarine to prevent Jack from detonating the bomb. When the three return to the island, they eventually reunite with Jack, Jin, Sayid and Hurley. Although Sawyer tries to persuade Jack not to use the bomb, his efforts are in vain and they fight. Kate tells Jack that if he really believes that detonating the bomb is the best thing, then she will help him, while Sawyer reluctantly agrees to go along with the plan after Juliet also takes Jack's side. Kate assists Jack in getting the bomb to the required location, but when he drops it down a tunnel, it does not go off, despite the fact that it is supposed to explode on impact. Jack, Kate, Sawyer and Juliet are shocked, but immediately, the Dharma drill that had been drilling deep into the pocket of magnetic energy that Jack was trying to contain went too far, and Juliet is ultimately dragged down the tunnel, into the source of the energy. Kate and Sawyer try to get her out but the strength of the magnetism is too much and she is pulled into the tunnel. Kate attempts to remove a distressed Sawyer from the scene along with Jack, unaware that Juliet remains conscious for now and desperately attempts to detonate the bomb, eventually succeeding.


title: Kate Austen

text: Kate continues her mission to reunite Claire with Aaron. When she eventually finds her, she discovers that a dark side has grown in Claire, who has become unstable due to many years of living alone, in the belief that the others are holding her son hostage in a Temple. Sawyer escapes from the Temple and Kate follows him to apologize for the loss of Juliet and to ask him to help her find Claire. Sawyer assures Kate she is not to blame, and reveals his intention to propose to Juliet. Kate breaks down, and ultimately returns to the Temple to get Claire. When Kate joins the Man in Black's camp, after Claire learns that it was Kate who took Aaron and attempts to murder Kate by throwing her to the ground and pulling a knife on her. Kate is saved by 'Locke' and seeing that Kate is upset by the loss of Claire's friendship, warns her that Claire should not be reunited with Aaron as she is now 'crazy'. Claire later tearfully apologises for her actions and thanks Kate for keeping her son safe.


title: Kate Austen

text: Kate, (who has since grouped up with 'Locke') plans a breakout from the Man in Black's party, Kate wants to bring Claire but Sawyer refuses, saying she is no longer the friend they once knew following her attack on Kate. When Claire sees them leaving her behind again she gives chase and holds them at gunpoint just as they attempt to board a boat to escape. Kate talks Claire around, convincing her to come with them so she can finally go home to her son.


title: Kate Austen

text: The group try to leave on Widmore's sub, and Kate is shot through the right collarbone. Once on board, while Jack is tending to Kate's wound, they discover that the Man in Black has placed a C4 explosive on board. Sawyer inadvertently causes the timer to count down faster and Sayid, Jin and Sun are killed in the resulting explosion. Jack asks Hurley to take care of Kate and make sure that he takes her to safety off the sinking vessel. On the shore, Kate races over to Jack and is relieved to find him safe. Kate, Jack and Hurley mourn the loss of their friends while Sawyer remains unconscious.


title: Kate Austen

text: As the Man in Black starts to destroy the Island, Kate helps Jack kill him by shooting him. Jack is wounded in the fight with 'Locke' and he and Kate part for the final time due to their different destinies. Jack and Kate share a passionate kiss and declare their love for each other one last time before Jack leaves with Hurley to save the Island, and Kate goes to fulfill her promise to find Claire before departing on the Ajira plane, piloted by Frank. Along the way, they find Claire, who is scared to leave the island as she feels she is no longer a fit mother. Kate convinces her that her worries are normal and promises to help her. Kate escapes the island on the plane with Claire, Sawyer, Miles, Frank and Richard - Kate hand in hand with Claire.


title: Kate Austen

text: In the Sideways, Kate remembers her life when she helps deliver Aaron at the concert. Kate waits at the concert so she can reunite with Jack. She finds him and tells him "I've missed you so much", a reference that she probably lived a long life after leaving the Island and missed Jack profoundly. Jack eventually awakens and remembers Kate and his friends. Together with Jack at her side, they move on together.


title: Kate Austen

text: Before the pilot was shot, and during the writing phase, Kate was to emerge as the leader for the survivors, motivating them to build shelter and begin considering life as permanent residents of the island, however when it was decided Jack should survive, she was a second-in-command.


title: Kate Austen

text: In this original description for Kate, she was a slightly older woman separated from her husband, who went to the bathroom in the tail-section of the plane. However, that idea ended up being used for Rose Henderson (L. Scott Caldwell) and her husband Bernard Nadler (Sam Anderson). Kate is involved in a love triangle with Jack (Matthew Fox) and Sawyer (Josh Holloway) and is seen as very protective of Claire (Emilie de Ravin) and her baby Aaron.


title: Kate Austen

text: Around 75 women of different shapes, sizes, ethnicities and ages auditioned to be Kate, including Yunjin Kim, who later played the role of Sun-Hwa Kwon. In the initial plans, Jack was going to die midway through the first episode and then Kate would emerge as the leader. She was not going to be a fugitive, instead her husband was going to go to the bathroom shortly before the plane split in mid-air and she would remain adamant on the Island that he was alive. This ended up being used for Rose's character. The producers were impressed with Canadian Evangeline Lilly's audition, as she displayed the confidence with vulnerability that they were looking for. As this was Lilly's first role, she had difficulty obtaining a visa to work in the United States. She was supposed to start on the first day of filming, but the schedule was rearranged to give her more time and, in the meantime, the producers began auditioning again in case the visa did not come through. However, during one of the auditions, they got an email confirming that she had obtained her visa and could start work on the show. Executive producer Damon Lindelof told about Lilly's casting:


title: Kate Austen

text: Some critics considered Kate Austen to be one of the more weakly written characters of "Lost". Evangeline Lilly, who portrayed Kate, was critical of the way her character was written saying that “I did throw scripts across rooms when I'd read them . . . because I would get very frustrated by the diminishing amount of autonomy she had and the diminishing amount of her own story there was to play.” Alan Sepinwall of "The Star-Ledger" did not find Kate to be “nearly as compelling a central character as Sayid or Hurley (or some of the freighter people, for that matter).” In reviewing the episode "What Kate Does" in 2010, critic Emily VanDerWerff of the "Los Angeles Times" stated that though "Kate's one of the show's most important characters... she's also one of the series' most obvious missed opportunities."


title: Kate Austen

text: On the other hand, Robert Bianco of "USA Today" said Lilly's performance in the season four episode "Eggtown" was worthy of a Primetime Emmy Award nomination. Lilly's performance in "Whatever Happened, Happened" also received praise from TV critics and fans of the show alike. Lilly got a Golden Globe nomination for best dramatic actress in a lead role for her work in season 3.


title: Gianna Nannini

text: Gianna Nannini (; born 14 June 1954) is an Italian singer and songwriter. Her most notable songs include "America" (1979), "Fotoromanza" (1984), I Maschi (1987) and "Bello e impossibile" (1986), the latter a European hit with success in Austria, Germany, Italy and Switzerland.


title: Gianna Nannini

text: Nannini was born in Siena on 14 June 1954. She is the elder sister of former Formula One racing driver Alessandro Nannini. She studied piano and composition in Milan in the late 1970s and obtained a degree in Philosophy from the University of Siena in 1994. The following year she took part in a protest organized by Greenpeace at the French embassy in Rome against the decision of the French government to pursue nuclear experiments at Mururoa.


title: Gianna Nannini

text: Nannini scored her first domestic hit in 1979 with the single "America" and the album "California", which became a success in several European countries. Her international breakthrough happened in 1984 with the release of her sixth album, the Conny Plank-produced "Puzzle", which peaked in the top 10 in the Italian, German, Austrian and Swiss charts. The first single from the album, "Fotoromanza", was supported by a music video directed by Michelangelo Antonioni, and went on to win many musical awards. Nannini embarked on a long European tour to support the album, culminating in a headlining gig at the Montreux Jazz Festival.


title: Gianna Nannini

text: In 1986, her song "Bello e impossibile" was a European hit in Italy, Germany, Austria and Switzerland. Her 1987 compilation album "Maschi e Altri" sold over a million copies.


title: Gianna Nannini

text: In 2004, she released the greatest hits album "Perle", where a number of her most renowned songs were rearrangemed with the support of musicians such as Christian Lohr on piano (who also had a co-producer credit), and a string quartet composed of Vincenzo di Donna (first violin), Luigi de Maio (second violin), Gerardo Morrone (viola) and Antonio di Franca (violoncello). With this orchestra Nannini went on a European tour from 2004 to 2005.


title: Gianna Nannini

text: The album "Grazie" was released in February 2006, and peaked at number one of the Italian hit-parade with the single "Sei nell'anima".


title: Gianna Nannini

text: In April 2007, Nannini released "Pia come la canto io", a collection of songs produced by Wil Malone and originally intended for a rock opera based on the medieval Tuscan character Pia de' Tolomei (briefly mentioned in Dante's Purgatorio) that would eventually be performed in 2008 after eleven years of gestation.


title: Gianna Nannini

text: An acoustic version of her song "Meravigliosa Creatura" (from "Perle") has been used in a 2008 advertisement commercial for the Fiat Bravo directed by Matthias Zentner. Fiat would later include another Gianna Nannini song, "Aria", in a subsequent Fiat Bravo ad.


title: Gianna Nannini

text: In 1987 she performed with Sting and Jack Bruce the "Three Penny Opera" by Bertolt Brecht and Kurt Weill at the Schauspielhaus in Hamburg. In 1990, she and Edoardo Bennato sang "Un'estate italiana", the official song of the Football World Cup 1990 composed by Giorgio Moroder. In September 2006, she recorded the single "Ama Credi E Vai" with Andrea Bocelli. Nannini was also featured on Einstürzende Neubauten member Alexander Hacke's solo album "Sanctuary", on the track "Per Sempre Butterfly". In 2008 she duetted with the Italian rapper Fabri Fibra in his videoclip version of the song "In Italia". She also sang the song "Aria" with the Macedonian vocalist Toše Proeski.


title: Gianna Nannini

text: In August 2010, at the age of 56, Nannini announced that she was pregnant (the name of the father was not revealed). Nannini's pregnancy was prominently featured on the cover of "Vanity Fair", where she was portrayed wearing a T-shirt with the inscription "God is a Woman". On 26 November 2010 Nannini's daughter Penelope Jane Charlotte was born in Milan. In 2017, Nannini decided to move to London with her partner, Carla. In her 2017 autobiography, entitled "Cazzi miei", she revealed she was ready for a civil union with Carla, explaining she felt Italian laws could not give her any guarantee about Penelope's future in the case of her (Nannini's) death.


title: Ğ

text: Ğ (g with breve) is a Latin letter found in the Turkish and Azerbaijani alphabets as well as the Latin alphabets of Zazaki, Laz, Crimean Tatar, Tatar, and Kazakh. It traditionally represented the voiced velar fricative or the voiced uvular fricative . However, in Turkish, the phoneme has in most cases been reduced to a silent letter, serving as a vowel-lengthener.


title: Ğ

text: In Turkish, the (sometimes represented with for convenience) is known as "yumuşak ge" (; 'soft g') and is the ninth letter of the Turkish alphabet. It always follows a vowel, and can be compared to the "blødt g" ('soft g') in Danish. The letter serves as a transition between two vowels, since they do not occur consecutively in native Turkish words (in loanwords they may sometimes be separated by a glottal stop, e.g. "cemaat" or "cemaât", which may be pronounced as either or ).


title: Ğ

text: It generally has no sound of its own, with its effect varying depending on its location in a word and the surrounding vowels:


title: Ğ

text: The letter, and its counterpart in the Ottoman Turkish alphabet, , were once pronounced as a consonant, , the voiced velar fricative, until very recently in the history of Turkish, but it has undergone a sound change by which the consonant was completely lost and compensatory lengthening of the preceding vowel occurred, hence its function today. The sound change is not yet complete in some Turkish dialects. The previous consonantal nature of the sound is evinced by earlier English loanwords from Turkish, such as "yogurt"/"yoghurt" (modern Turkish "yoğurt") and "agha" (modern Turkish "ağa"), and the corresponding velar fricative found in cognate words in the closely related Azerbaijani language and the Turkish-influenced Crimean Tatar language. In Old Turkic (as well as earlier during Proto-Turkic times), this voiced velar fricative originated as an allophone of , the voiced velar stop, when it occurred intervocalically. The expected process of lenition (weakening and eventual loss of the intervocalic Proto-Turkic consonant *) is thus complete in Turkish and underway in many other Common Turkic languages.


title: Ğ

text: The Tatar language is mainly written in Cyrillic, but a Latin-based alphabet is also in use. In the Latin alphabet, ğ represents , the voiced uvular fricative.


title: Ğ

text: The current Kazakh Latin alphabet proposal, last updated in March 2021 and commissioned by Tokayev, uses ğ to replace the Kazakh Cyrillic Ғ to represent the IPA . The earlier 2020 proposal listed Ǵ instead, but was replaced after public criticism.


title: Ğ

text: The Faggin–Nazzi alphabet for Friulian language uses the caron, owing to its Slavic influence. However, / is often substituted with / due to the former's lack of availability in fonts and input systems. This is because / is in Latin Extended-A alongside / and /, the other caron bearing letters in the alphabet, whereas / is in Latin Extended-B, which is available in fewer fonts and input systems.


title: Red seabream

text: Red seabream is a name given to at least two species of fish of the family Sparidae, "Pagrus major" and "Pagellus bogaraveo".


title: Red seabream

text: "Pagrus major" is of great culinary and cultural importance in Japan, and is known as madai in Japanese. It is considered an auspicious fish, eaten during Japanese New Year and other special occasions, such as weddings. It is also eaten in Taiwan and Korea, where it is known as chamdom.


title: Red seabream

text: "Pagellus bogaraveo" is also known as blackspot sea bream. In Spain, the fish is known as besugo, and is often grilled over charcoal or wood fires.


title: Cissy Jones

text: Jones's voice has appeared in games such as "Firewatch", "The Walking Dead", "Life Is Strange", "Grand Theft Auto V" and "Darksiders III". She voiced the part of Lois Lane in the 2018 game "Lego DC Super-Villains".


title: Cissy Jones

text: After some years in white-collar work, Jones began her voice acting career in 2011 after meeting writer Sean Vanaman and starring as Katjaa in "The Walking Dead". Vanaman kept in touch with Jones and offered her work when Campo Santo needed voices for characters. Her dialogue for the part of Delilah in "Firewatch" took two years to record. At the 13th British Academy Games Awards in 2017, she received a BAFTA Games Award in the Performer category for her work on the game.


title: Symphony No. 7 (Shostakovich)

text: Dmitri Shostakovich's Symphony No. 7 in C major, Op. 60, nicknamed the Leningrad, was begun in Leningrad, completed in the city of Samara (then known as Kuybyshev) in December 1941, and premiered in that city on March 5, 1942. At first dedicated to Lenin, it was eventually submitted in honor of the besieged city of Leningrad, where it was first played under dire circumstances on August 9, 1942, nearly a year into the siege by German and Finnish forces. The performance was broadcast by loudspeaker throughout the city and to the German forces in a show of resilience and defiance. The "Leningrad" soon became popular in both the Soviet Union and the West as a symbol of resistance to fascism and totalitarianism, thanks in part to the composer's microfilming of the score in Samara and its clandestine delivery, via Tehran and Cairo, to New York, where Arturo Toscanini led a broadcast performance (July 19, 1942) and "Time" magazine placed Shostakovich on its cover. That popularity faded somewhat after 1945, but the work is still regarded as a major musical testament to the 27 million Soviet people who lost their lives in World War II, and it is often played at Leningrad Cemetery, where half a million victims of the 900-day Siege of Leningrad are buried.


title: Symphony No. 7 (Shostakovich)

text: Shostakovich's longest symphony typically takes approximately 80 minutes to perform. The work has four movements. Shostakovich at first gave them titles—"War", "Reminiscence", "Home Expanses", and "Victory"—but he soon withdrew these and left the movements with their tempo markings alone.


title: Symphony No. 7 (Shostakovich)

text: This is in modified sonata form and lasts for around half an hour; there are the usual two contrasting subjects, but no development section, this being replaced by the 'invasion' theme. It begins with a rousing, majestic theme played by all the strings and later echoed by the woodwinds. The theme rises in pitch through the first moments of the piece, with octave-long runs in the strings. This is followed by a slower, more tranquil section driven by flutes and lower strings, which peters out only to be replaced by the "invasion" march: a 22-bar, snare-drum-led ostinato that will pervade much of the movement. It resembles Ravel's "Boléro", but the march is derived from "Da geh' ich zu Maxim" from Franz Lehár's "The Merry Widow" for its latter half and a theme from Shostakovich's opera "Lady Macbeth of the Mtsensk District", the work for which the composer suffered his first official denunciation in 1936. The prominent sequence of six descending notes in the seventh bar, from Lehár, has been said by the musicologist Ian MacDonald to bear a "passing resemblance to the third bar of [the "Deutschlandlied"]. The march is repeated twelve times, incrementally gaining in volume and orchestral mass. At the end of the twelfth repetition, the brass interject very loudly with a new, more frantic theme, announcing the arrival of the invaders. The passage has rising and falling scales, one after the other. The snare drum beats at an increased rate, and several exchanges between the brass occur, with dramatic minor sweeping movements in the trombones and horns resembling danger sirens. This climaxes in a somewhat slower, but loud and chaotic passage driven by competing blaring brass and frantic strings. A slower, two-part section follows: a very prominent bassoon solo (introduced by a solo clarinet), then a soft, moving recapitulation of the first theme played by the strings. The short coda presents the invasion theme one last time, played by a solo trumpet and percussion.


title: Symphony No. 7 (Shostakovich)

text: This is the symphony's shortest movement. Shostakovich referred to it as both a scherzo and a lyric intermezzo. It begins in the latter vein with a quiet, playful theme in the strings. Some aspects of the interplay of the violins are evocative of a fugue. Moments later, a solo oboe plays a high variation on the tune. Other instruments continue with tunes of their own for several moments. Then, in the middle of the movement, woodwinds interject with a brash, shrill theme, followed by brass, then strings, then woodwinds. This eventually leads to a quick, majestic passage that is another ostinato, but different from the invasion theme in the first movement. The remaining third of the movement is much like the beginning of the second movement.


title: Symphony No. 7 (Shostakovich)

text: The third movement (15–20 minutes) is structured much like the second, with a slow initial theme, a faster middle section that evokes the first movement, and a recapitulation of the initial theme. Shostakovich stated elsewhere that he had hoped to portray Leningrad by twilight, its streets and the embankments of the Neva River suspended in stillness. Woodwinds begin with slow, sustained notes, accentuated by the horns. This simple theme cadences, and is followed by a declamatory theme played by violins. Winds and brass repeat the string theme, which the strings take over with another brief variation. This transitions directly into a faster and fiercer passage. The violins return with the opening theme of the movement. This builds into a somewhat frantic passage underlaid by an ostinato in the lower strings (a deliberately awkward "oomph-pah" motif). This leads into a loud development section evoking the first movement. However, the passage ends quickly, with the woodwinds bringing back the original theme, again echoed by the strings, just as in the beginning. The final third of the movement continues in this vein.


title: Symphony No. 7 (Shostakovich)

text: This begins with a quiet, searching melody in the strings that slowly rises in pitch. The high strings hold the high notes, and are joined briefly by woodwinds. The low strings suddenly begin a quick march-like tune that is answered by increasingly frantic violins and point-like interjections from the rest of the orchestra. This section gathers frenzy for several minutes. A brief break comes in the form of a transition passage with repetitive three-note figures played by high strings, accented by slap "pizzicati" in the cellos and basses. A slower and sharply accented section follows. Several minutes of quiet foreboding occur from this point, with themes from earlier movements, particularly the first. Woodwinds build on one of these until violins take over with another familiar theme that builds to the ferocious climax. The symphony ends in the key of C major, and by no means joyously. (The tremendous coda bears some resemblance to the equally colossal ending to Symphony No. 8 by Anton Bruckner, and the opening theme from that symphony is even quoted here.) Near the conclusion, there is a piercing interjection of repetitive statements. Previous themes return, only this time laboriously augmented, and the colossal C-major finish is ambiguous if not blatantly ironic, though triumphantly cathartic.


title: Symphony No. 7 (Shostakovich)

text: There are conflicting accounts as to when Shostakovich began the symphony. Officially, he was said to have composed it in response to the German invasion. Others, such as Rostislav Dubinsky, say that he had already completed the first movement a year earlier. The composer stated, according to "Testimony", that he had planned the symphony before the German attack and that he had "other enemies of humanity" in mind when he composed the "invasion theme" of the first movement. He had no problem calling the work the "Leningrad" Symphony. "Which Leningrad?" became the question after the publication of "Testimony" in the West. The Leningrad that Shostakovich reportedly had in mind was not the one that withstood the German siege. Rather, it was the one "that Stalin destroyed and Hitler merely finished off." However, the authenticity of the US-published book is very much disputed.


title: Symphony No. 7 (Shostakovich)

text: The Leningrad Symphony Orchestra announced the premiere of the Seventh Symphony for its 1941–1942 season. The fact this announcement was made before the German invasion would seem to confirm the statement in "Testimony". Shostakovich did not like talking about what he called "creative plans," preferring to announce his works once they were completed. He did like to say, "I think slowly but I write fast." In practice this meant that Shostakovich usually had a work completed in his head before he began writing it down. The Leningrad Symphony would not have made its announcement without the composer's consent, so Shostakovich likely had a clear idea at that time of what his Seventh Symphony would portray.


title: Symphony No. 7 (Shostakovich)

text: Soviet music critic Lev Lebedinsky, a friend of the composer's for many years, confirmed after the dawn of "glasnost" ("openness") under Mikhail Gorbachev that Shostakovich had conceived the Seventh Symphony before Hitler invaded Russia:


title: Symphony No. 7 (Shostakovich)

text: Another important witness was the daughter-in-law of Maxim Litvinov, the man who served as Soviet foreign minister before the war, then was dismissed by Stalin. She heard Shostakovich play the Seventh Symphony on the piano in a private home during the war. The guests later discussed the music:


title: Symphony No. 7 (Shostakovich)

text: While Shostakovich could speak like this only in a very narrow circle of friends, it did not stop him from hinting to the Soviet Press about a hidden agenda for the Seventh Symphony. He insisted, for instance, that the "central place" of the first movement was not the "invasion section" (the part journalists usually asked about first). Rather, the movement's core was the tragic music which followed the invasion section, which the composer described as "a funeral march or, rather, a requiem." He continued, "After the requiem comes an even more tragic episode. I do not know how to characterize that music. Perhaps it is a mother's tears or even the feeling that the sorrow is so great that there are no more tears left."


title: Symphony No. 7 (Shostakovich)

text: Regardless of when Shostakovich initially conceived the symphony, the Nazi attack and consequent relaxing of Soviet censorship gave Shostakovich the hope of writing the work for a mass audience. A model on how to do this was Igor Stravinsky's "Symphony of Psalms." Stravinsky's compositions held considerable influence over Shostakovich and he had been deeply impressed with this particular work. Moreover, Stravinsky had initially set the Russian text of the Psalms, only later switching to Latin. As soon as Shostakovich received the score, he transcribed it for piano four-hands. He often performed this arrangement with students in his composition class at Leningrad Conservatory.


title: Symphony No. 7 (Shostakovich)

text: Shostakovich's plan was for a single-movement symphony, including a chorus and a requiem-like passage for a vocal soloist, with a text taken from the Psalms of David. With the help of his best friend, critic Ivan Sollertinsky, who was knowledgeable about the Bible, he selected excerpts from the Ninth Psalm. The idea of individual suffering became interwoven in Shostakovich's mind with the Lord God's vengeance for the taking of innocent blood (Verse 12, "New King James Version"). The theme not only conveyed his outrage over Stalin's oppression, but also may have inspired him to write the Seventh Symphony in the first place. "I began writing it having been deeply moved by the Psalms of David; the symphony deals with more than that, but the Psalms were the impetus," the composer said. "David has some marvelous words on blood, that God takes revenge for blood, He doesn't forget the cries of victims, and so on. When I think of the Psalms, I become agitated."


title: Symphony No. 7 (Shostakovich)

text: A public performance of a work with such a text would have been impossible before the German invasion. Now it was feasible, at least in theory, with the reference to "blood" applied at least officially to Hitler. With Stalin appealing to the Soviets' patriotic and religious sentiments, the authorities were no longer suppressing Orthodox themes or images. Yet for all the importance he placed on them, Shostakovich may have been right in writing the symphony without a text, in view of the censorship that would eventually be reimposed.


title: Symphony No. 7 (Shostakovich)

text: Something else Shostakovich played for his composition students were the 12 variations of what later became known as the "invasion" theme. This has been taken historically, especially in the West, as portraying the invading "Wehrmacht", and was listed as such in the official program. For many years this was considered irrefutable. New information now casts some doubt. For instance, musicologist Ludmila Mikheyeva (who is also Ivan Sollertinsky's daughter in law) maintains that Shostakovich played the theme and its variations for his students before the war with Germany began.


title: Symphony No. 7 (Shostakovich)

text: While the word "invasion" was used by commentators in numerous articles and reviews, Shostakovich never used it to describe the episode or theme. He tried to evade the point in his author's note for the premiere. "I did not set myself the goal of a naturalistic depiction of military action (the roar of planes, the crash of tanks, cannon fire). I did not compose so-called battle music. I wanted to convey the context of grim events." The only "grim events" which would be depicted in 1941 by a Soviet author other than the war would be the mass purges preceding it.


title: Symphony No. 7 (Shostakovich)

text: One very important point was that when Hitler attacked Russia, he did so with his entire military might. Practically everyone who lived through it remembered the event as an instantaneous shock of tremendous power. None of this comes out in the symphony. The "invasion" theme begins very softly in the strings, "pianissimo". It eventually becomes a howling monster, but only gradually. If this music portrays an invasion, it is not depicting a sudden one. It is an incremental takeover, one which could easily seem to come from within.


title: Symphony No. 7 (Shostakovich)

text: Neither does the theme itself sound threatening, at least at first. For its latter half, Shostakovich quotes Graf Danilo's entrance song, "Da geh' ich zu Maxim," from Franz Lehár's operetta "The Merry Widow". "The Merry Widow" was also Hitler's favorite operetta, which played well with Soviet propagandists writing about the symphony. A version of this song may have already existed in Russia. Set to the words, "I'll go and see Maxim," it was reportedly sung jokingly in the Shostakovich household to the composer's son. Arthur Lourié called the theme a "trite, intentionally silly motif," adding, "This tune can be whistled by any Soviet man on the street. ..." (Coincidentally, Conductor Evgeny Mravinsky echoed Lourié when he called it a generalized image of spreading stupidity and triteness. Added to this musical quotation was a prominent sequence of six descending notes in the seventh of the theme's 22 bars—a sequence in which MacDonald sees a passing resemblance to the third bar of "Deutschland Über Alles".


title: Symphony No. 7 (Shostakovich)

text: MacDonald maintains that the simplest explanation for Shostakovich using these two quotations, which could be heard interchangeably as Russian or German, is that they allow the march, "like the rest of the symphony, [to function as] two things at once: superficially an image of the Nazi invasion; more fundamentally a satirical picture of Stalinist society in the thirties." A third, more personal quotation adds additional subtext. In the opening half of the march, Shostakovich inserts a theme from his opera "Lady Macbeth of the Mtsensk District", the work for which the composer suffered his first official denunciation in 1936. The quotation itself was used in passages of the libretto that describe the way we suffer from tyranny.


title: Symphony No. 7 (Shostakovich)

text: Shostakovich saves what some would call his boldest stroke with the "invasion" theme for a point near the episode's climax. With the music at tremendous volume and following a six-bar trill across most of the woodwind section, the composer modulates the march into E-flat minor. The six-note descending figure that sounded from "Deutschland Über Alles" suddenly reveals itself as the six descending notes from the "motto" or "fate" theme of Tchaikovsky's Fifth Symphony. This is a delayed revelation along the lines of Richard Strauss's later use of the "Eroica" Symphony in his "Metamorphosen".


title: Symphony No. 7 (Shostakovich)

text: Tchaikovsky actually derived his "fate" theme from a passage in Glinka's opera "A Life for the Tsar"—significantly, a passage in the libretto using the words "turn not into sorrow." Shostakovich heightens its appearance by quoting it not in its initial tonality but in the key of its heroic triumph at the symphony's conclusion. This gesture shows the march, at the peak of hysteria, as Russian rather than German. It also shows Shostakovich has controlled the march's ambiguity all along.


title: Symphony No. 7 (Shostakovich)

text: Two weeks before he planned to complete the symphony-requiem, Shostakovich played what he had finished to date for Sollertinsky, who was being evacuated with the Leningrad Philharmonic. While playing the music, Shostakovich realized that what he had written was not a complete work in itself but actually the beginning of something much larger, since the tensions brought up in the symphony-requiem had not been resolved. The question now became whether to stay in the city to continue working or to evacuate and resume the work after a long hiatus. By the time he decided to evacuate, it was too late—the Germans had cut off the rail link to the city. He and his family were trapped.


title: Symphony No. 7 (Shostakovich)

text: On 2 September, the day the Germans began bombarding the city, Shostakovich began the second movement. Working at high intensity in between sprints to the nearest bomb shelter, he completed it within two weeks. Within hours he accepted a request to speak on Radio Leningrad to address the city. Adopting a matter-of-fact tone, he attempted to assure his fellow Leningraders that for him it was business as usual:


title: Symphony No. 7 (Shostakovich)

text: That evening he played what he had written so far to a small group of Leningrad musicians. After Shostakovich finished the first movement, there was a long silence. An air-raid warning sounded. No one moved. Everyone wanted to hear the piece again. The composer excused himself to take his family to the nearest air-raid shelter. When he returned, he repeated the first movement, which then was followed by the next movement for his guests. Their reaction encouraged him to start that night on the Adagio. He completed this movement on 29 September in the city. Shostakovich and his family were then evacuated to Moscow on 1 October 1941. They moved to Kuybyshev (now Samara) on 22 October, where the symphony was finally completed.


title: Symphony No. 7 (Shostakovich)

text: The world première was held in Kuybyshev on 5 March 1942. The Bolshoi Theatre Orchestra, conducted by Samuil Samosud, gave a rousing performance that was broadcast across the Soviet Union and later in the West as well. The Moscow première took place on 29 March 1942 in the Columned Hall of the House of Unions, by a joined orchestra of the Bolshoi Orchestra and the All-Union Radio Orchestra.


title: Symphony No. 7 (Shostakovich)

text: The microfilmed score was flown to Tehran and travelled to the West in April 1942. The symphony received its broadcast première in Europe by Sir Henry J. Wood and the London Philharmonic Orchestra on 22 June 1942 in London, and concert première at a Proms concert at the Royal Albert Hall. The première in North America took place in New York City on 19 July 1942, by the NBC Symphony Orchestra under Arturo Toscanini in a concert broadcast nationwide on the NBC radio network. This performance was originally released on LP by RCA Victor in 1967.


title: Symphony No. 7 (Shostakovich)

text: Much had to be done before the Leningrad première could take place. The Leningrad Radio Orchestra under Karl Eliasberg was the only remaining symphonic ensemble. The orchestra had survived—barely—but it had not been playing and musical broadcasts had ceased. Music was not considered a priority by Party officials. Political appeals took a significant part of the broadcast time. Even then, there were hours of silence because of the lack of agitators. As for the city itself, Leningrad surrounded by the Nazis had become a living hell, with eyewitness reports of people who had died of cold and starvation lying in doorways in stairwells. "They lay there because people dropped them there, the way newborn infants used to be left. Janitors swept them away in the morning like rubbish. Funerals, graves, coffins were long forgotten. It was a flood of death that could not be managed. Entire families vanished, entire apartments with their collective families. Houses, streets and neighborhoods vanished."


title: Symphony No. 7 (Shostakovich)

text: The official hiatus on musical broadcasts had to end before the symphony could be performed. This happened quickly, with a complete about-face by Party authorities. Next was reforming the orchestra. Only 15 members were still available; the others had either starved to death or left to fight the enemy. Posters went up, requesting all Leningrad musicians to report to the Radio Committee. Efforts were also made to seek out those musicians who could not come. "My God, how thin many of them were," one of the organizers of the performance remembered. "How those people livened up when we started to ferret them out of their dark apartments. We were moved to tears when they brought out their concert clothes, their violins and cellos and flutes, and rehearsals began under the icy canopy of the studio." Orchestral players were given additional rations.


title: Symphony No. 7 (Shostakovich)

text: Before they tackled Shostakovich's work, Eliasberg had the players go through pieces from the standard repertoire—Beethoven, Tchaikovsky, Rimsky-Korsakov—which they also performed for broadcast. Because the city was still blockaded at the time, the score was flown by night in early July for rehearsal. A team of copyists worked for days to prepare the parts despite shortages of materials. At rehearsal, some musicians protested, not wanting to waste their little strength on an intricate and not very accessible work. Eliasberg threatened to hold back the additional rations, quelling any dissent.


title: Symphony No. 7 (Shostakovich)

text: The concert was given on 9 August 1942. Whether this date was chosen intentionally, it was the day Hitler had chosen previously to celebrate the fall of Leningrad with a lavish banquet at the Astoria Hotel. Loudspeakers broadcast the performance throughout the city as well as to the German forces in a move of psychological warfare. The Soviet commander of the Leningrad front, General Govorov, ordered a bombardment of German artillery positions in advance to ensure their silence during the performance of the symphony; a special operation, code-named "Squall," was executed for precisely this purpose. Three thousand high-caliber shells were lobbed onto the enemy.


title: Symphony No. 7 (Shostakovich)

text: Unsurprisingly, the work was not premiered in Germany until after the war. It took place in Berlin on 22 December 1946, with Sergiu Celibidache conducting the Berliner Philharmoniker.


title: Symphony No. 7 (Shostakovich)

text: At the first hearings of the Seventh, most listeners wept. This was true even when Shostakovich played the piece on the piano for friends. The requiem pages of the first movement made a special impression, much as the Largo of his Fifth Symphony had done. Some scholars believe that, as he had done in the Fifth, Shostakovich gave his audience a chance to express thoughts and suffering that, in the context of the Great Purges, had remained hidden and accumulated over many years. Because these previously hidden emotions were expressed with such power and passion, the Seventh became a major public event. Alexei Tolstoy, who played a pivotal role in the life of the Fifth Symphony, was the first to note the significance of the spontaneous reaction to the Seventh. After hearing an orchestral rehearsal of it, Tolstoy wrote a highly positive review of the work for "Pravda".


title: Symphony No. 7 (Shostakovich)

text: Tolstoy's actions became instrumental in the life of the Seventh. Stalin read "Pravda" closely and he generally trusted Tolstoy's comments. He remained highly suspicious of spontaneous outpourings of mass enthusiasm both before and after the war, seeing them as veiled instances of oppositionist feelings. However, he also realized squelching such mass expressions in wartime could be unwise, and he had Tolstoy's comments to give them credence in the case of the Seventh Symphony. Tolstoy's interpretation of the Seventh, in fact, lined up with Stalin's stated support of nationalism and patriotism. At least as important was that without the help of the United States and the United Kingdom, the Soviet Union would not overcome Nazi Germany. The Soviets had been seen not long ago in the Western press as godless villains and barbarians. Now the Americans and British had to believe that the Soviet Union was helping protect the values those countries cherished from fascism for the Soviets to continue receiving those countries' support.


title: Symphony No. 7 (Shostakovich)

text: Stalin therefore took the approach of, "If you can't beat them, join them" when it came to the Seventh Symphony, approving a propaganda campaign centered around the work. It was performed and broadcast all over the Soviet Union. Magazines and newspapers continued printing stories about it. The piece continued having enormous success. People still wept at concerts. They often rose from their seats during the finale and applauded thunderously afterwards. The difference now was that they were now aiding a potent propaganda campaign.


title: Symphony No. 7 (Shostakovich)

text: Shostakovich had been known in the West before the war. When news of the Seventh quickly spread in the British and American press, the composer's popularity soared. During the war, the work was very popular both in the West and in the Soviet Union as the embodiment of the fighting Russian spirit. The American premiere, in July 1942, was by the NBC Symphony Orchestra conducted by Arturo Toscanini, broadcast on radio by NBC and preserved on transcription discs; RCA issued the recording on LP in 1967 and later reissued it on CD. The symphony was played 62 times in the United States in the 1942–43 season.


title: Symphony No. 7 (Shostakovich)

text: Shostakovich's contemporaries were dismayed, even angered by its lack of subtlety, crudity, and overblown dramatics. Virgil Thomson wrote that, "It seems to have been written for the slow-witted, the not very musical and the distracted," adding that if Shostakovich continued writing in this manner, it might "eventually disqualify him for consideration as a serious composer. Sergei Rachmaninoff's only comment after hearing the American premiere on the radio was a grim "Well, and now let's have some tea."


title: Symphony No. 7 (Shostakovich)

text: Disdainful remarks about the symphony being nothing more than a bombastic accompaniment for a bad war movie were voiced immediately after the London and New York premieres. However, in the cultural and political ear of the period, they had no effect. The American public-relations machine had joined the Soviet propaganda arm in portraying the Seventh as a symbol of cooperation and spiritual unity of both peoples in their fight against the Nazis.


title: Symphony No. 7 (Shostakovich)

text: Once the novelty of the Seventh Symphony had worn away, audience interest in the West quickly dissipated. One reason may have been the work's length. At about 70 minutes, it was longer than any previous Shostakovich symphony. While it could be argued that he could have made the symphony 30 minutes shorter by condensing his message, the long passages of sparsely accompanied solos for wind instruments present listeners with the opportunity to study them, appreciate the inner character of the music as each instrument soliloquises on a given mood. To utilize this to the extent that Shostakovich did, combined with a wordless narrative style of mood-painting, necessitated an expansive time frame. Even so, this extended time span may have seemed excessive to some critics, especially since Western critics were unaware of the anti-Stalinist subtext hidden in the work. Hearing it only in the context of wartime propaganda, Western critics dismissed the symphony as a series of bombastic platitudes, and as such not worth serious consideration. The critic Ernest Newman famously remarked that, to find its place on the musical map, one should look along the seventieth degree of longitude and the last degree of platitude.


title: Symphony No. 7 (Shostakovich)

text: The Seventh Symphony was actually a convenient target from the start for Western critics. It was considered a strange, ungainly hybrid of Mahler and Stravinsky—too long, too broad-gestured in narrative and overly emotional in tone. Shostakovich placed the work's emphasis on the effect of musical images rather than on symphonic coherence. Those images—stylized fanfares, march rhythms, ostinati, folkloric themes and pastoral episodes—could easily be considered models of socialist realism. Because of his emphasis on these images, Shostakovich can be said to have allowed the work's message to outweigh its craftsmanship. For all these reasons, the music was considered both naïve and calculated in the West.


title: Symphony No. 7 (Shostakovich)

text: Soviet audiences did not come to the music with the same expectations as Western listeners. What mattered to Soviet listeners was the message and its serious moral content. The Seventh maintained its position with that audience because its content was so momentous. Nevertheless, as early as 1943 Soviet critics claimed the "exultation" of the Seventh's finale was unconvincing, pointing out that the part of the symphony they found most effective—the march in the opening movement—represented not the defending Red Army but the Nazi invaders. They believed that Shostakovich's pessimism had short-circuited what might have otherwise been a masterpiece in the vein of the "1812 Overture". The tragic mood of Shostakovich's next symphony, the Eighth, intensified the critical discord. Later, negative views from the West prejudiced the thinking of the Soviet elite toward the Seventh.


title: Symphony No. 7 (Shostakovich)

text: When "Testimony" was published in the West in 1979, Shostakovich's overall anti-Stalinist tone and specific comments about the anti-totalitarian content hidden in the Fifth, Seventh and Eleventh Symphonies were held suspect initially. They were in some ways a complete about-face from the comments the West had received over the years, many times in the composer's words. Questions also arose over Solomon Volkov's role—to what degree he was a compiler of previously written material, a transcriber of the composer's actual words from interviews, or an author essentially putting words into the composer's mouth.


title: Symphony No. 7 (Shostakovich)

text: Two things happened. First was the composer's son Maxim's view on the accuracy of "Testimony". He initially stated to the "Sunday Times", after his defection to the West in 1981, that it was a book "about my father, not by him". Later, though, he reversed his position. In a BBC television interview with composer Michael Berkeley on 27 September 1986, Maxim admitted, "It's true. It's accurate. ... The basis of the book is correct." Second, with the dawning of "glasnost", those who were still alive and had known Shostakovich when he had written the "Leningrad" Symphony could now share their own stories with impunity. By doing so, they helped corroborate what had appeared in "Testimony", allowing the West to reevaluate the symphony in light of their statements.


title: Symphony No. 7 (Shostakovich)

text: In recent years the Seventh Symphony has again become more popular, along with the rest of Shostakovich's work.


title: Symphony No. 7 (Shostakovich)

text: It has been alleged that Béla Bartók quoted the march theme of the first movement in the "Intermezzo Interotto" of his "Concerto for Orchestra" in response to the Hungarian composer's frustration about the positive reception of the piece. The quotation is clearly the "invasion" theme, and Bartók interjects his very romantic and lyrical melody in the movement with a much slower interpretation of Shostakovich's invasion ostinato. The resemblance has been variously interpreted by later commentators as an accusation of tastelessness, as a commentary on the symphony's over-popularity in Bartók's eyes, and as an acknowledgement of the position of the artist in a totalitarian society. However, it is much more likely that Bartók (as his pianist friend György Sándor has said) was, like Shostakovich, parodying the very popular Lehár theme directly. This view has been confirmed by Bartók's son Peter, in his book "My father": Bartók had respect and admiration for Shostakovich's works, and was mocking Lehár's music and behind it the Nazis.


title: Symphony No. 7 (Shostakovich)

text: Janet Sobel's painting "Music" was inspired by the symphony. She told Sidney Janis that the painting was her impression of the music that Shostakovich created in wartime: "Shostakovich has captured the power of the Russian people and by his music has given them strength. His music has so stimulated me, and I have tried to present these feelings in my picture."


title: Symphony No. 7 (Shostakovich)

text: In the Ken Russell film "Billion Dollar Brain" (1967), music from the Leningrad Symphony accompanies the failed military invasion of the then Latvian Soviet Republic by Texas millionaire Midwinter (a pivotal scene reflecting the Battle of the Neva from "Aleksandr Nevsky)". Incidentally, earlier on, Michael Caine as Harry Palmer attends the end of a concert of what is claimed to be the "Leningrad" Symphony, whereas in fact the finale from Shostakovich's Eleventh Symphony is heard.


title: Symphony No. 7 (Shostakovich)

text: American rock band Fall Out Boy also used elements of Symphony No. 7 in their song "The Phoenix" from their 2013 album "Save Rock and Roll". The same sample had been used by the German hip hop artist Peter Fox in his song "Alles neu" in 2008, and by Plan B in "Ill Manors" in 2012.


title: Symphony No. 7 (Shostakovich)

text: On 31 January 2005 a film version of the Symphony was premiered in St. Petersburg, with the St. Petersburg Academic Symphony Orchestra, conducted by Shostakovich's son Maxim Shostakovich accompanying a film directed by Georgy Paradzhanov, constructed from documentary materials, including film of the siege of Leningrad. Many survivors of the siege were guests at the performance. The composer's widow Irina acted as script consultant to the project, and its musical advisors included Rudolf Barshai and Boris Tishchenko. The film and performance were repeated, with the same artists, in London on 9 May 2005 at the Royal Albert Hall.


title: Leap of Faith (film)

text: Leap of Faith is a 1992 American comedy-drama film directed by Richard Pearce and starring Steve Martin, Debra Winger, Lolita Davidovich, Liam Neeson, and Lukas Haas. The film is about Jonas Nightengale, a Christian faith healer who uses his revival meetings to milk money out of the inhabitants of Rustwater, Kansas.


title: Leap of Faith (film)

text: Faith healer Jonas Nightengale and his manager Jane Larson break down in Rustwater, Kansas. Learning they will be stuck there for four days waiting for replacement parts to come in for their truck, Jonas decides to hold revival meetings to help pay for the repairs on the truck.


title: Leap of Faith (film)

text: Local sheriff Will Braverman is skeptical and decides to investigate Jonas' past. He learns that Jonas is in fact Jack Newton, a native of New York City who lived a life of crime in his teen years. Braverman shares this information with the townspeople, who have gathered for another tent revival. Jonas storms off the stage, soon returning to successfully spin Braverman's report, leaving the crowd more energized than ever, much to Braverman's exasperation. Nightengale continues his dubious ministry over the next several days as Jane and Braverman find themselves falling for each other.


title: Leap of Faith (film)

text: Nightengale attempts to begin a relationship with local diner waitress Marva, whose brother Boyd walks with crutches following an auto accident. She explains that doctors could not find anything physically wrong with Boyd and his ailment is psychosomatic. Boyd comes to believe that Jonas can make him walk again. During a meeting, Boyd walks to the crucifix and touches the feet of Jesus. He drops his crutches and begins to walk unassisted. The awed crowd sweeps the stage. After the show, an enraged Jonas rails to Jane that he was conned and that Boyd upstaged him.


title: Leap of Faith (film)

text: After the revival, Jonas enters the empty, darkened tent and mocks the crucifix and Christianity. Boyd walks in while Jonas is talking and says he wants to join Jonas on the road. Jonas agrees to meet Boyd the following morning, implying Boyd can come. Marva arrives and sends Boyd out of the tent. She thanks Jonas, who tells her that he will not be meeting her brother Boyd the next morning.


title: Leap of Faith (film)

text: Jonas leaves the tent and sees the crowd that has gathered just outside it — many praying, some sleeping in groups, and others feeding the crowd that has gathered. He begins to understand that Boyd's miracle, and the faith that enabled it, are real after all. He packs a bag and departs alone under the cover of darkness, leaving behind his entire road show and hitching a ride with a truck driver bound for Pensacola, Florida. When asked by the driver if he is in some kind of trouble, Jonas replies, "No sir, no sir. Probably for the first time in my life". As they continue to ride along, the drought, threatening the crop harvest that is the centerpiece of the town's economy, comes to a dramatic end with a miraculous downpour. Jonas laughs silently to himself as he realizes the truth, and the film ends as he rides off into the stormy evening, hanging out the truck window loudly thanking Jesus for the rain.


title: Leap of Faith (film)

text: The movie was filmed in Groom, Claude, and Tulia, Texas, though parts of the movie were filmed in Plainview, where the town water tower still has the fictional town mascot painted on the side. Martin was brought in as a replacement after Michael Keaton quit the production. The consultant for cons and frauds was Ricky Jay who was called in a 1993 article of "The New Yorker" as "perhaps the most gifted sleight-of-hand artist alive".


title: Leap of Faith (film)

text: On Rotten Tomatoes the film has an approval rating of 64% based on reviews from 22 critics. The site's consensus states: "Steve Martin's layered performance transcends "Leap of Faith"s somewhat undercooked narrative."


title: Leap of Faith (film)

text: Roger Ebert of the "Chicago Sun-Times" gave the film 3 out of 4, and wrote: "The movie itself has considerable qualities, among them Martin's performance as Nightengale. This isn't the sleek, groomed, prosperous Steve Martin we've seen in movies like "L.A. Story". It's Martin as a seedy, desperate, bright, greedy man without hope."


title: Leap of Faith (film)

text: Janet Maslin of "The New York Times" wrote: "Well acted and amusingly told, featuring a fine performance by Steve Martin in the central role, this tale ultimately switches gears and takes a deeply serious turn."


title: Leap of Faith (film)

text: The Center Theatre Group presented the musical at the Ahmanson Theatre, Los Angeles, with Rob Ashford as director and choreographer. Performances began on September 11, 2010, with an official opening on October 3, 2010, running through October 24, 2010. Raul Esparza played the role of Jonas Nightengale and Brooke Shields played the role of Marva. The musical began previews on Broadway at the St. James Theatre on April 3, 2012, and opened on April 26, 2012 before closing after only 20 performances. Direction was by Christopher Ashley, choreography by Sergio Trujillo, a revised book by Warren Leight, with a cast featuring Raúl Esparza as Jonas Nightengale, and Jessica Phillips as Marva.


title: Hippo Regius

text: Hippo Regius (also known as Hippo or Hippone) is the ancient name of the modern city of Annaba, Algeria. It historically served as an important city for the Phoenicians, Berbers, Romans, and Vandals. Hippo was the capital city of the Vandal Kingdom from 435 to 439 C.E. until it was shifted to Carthage following the Vandal Capture of Carthage (439).


title: Hippo Regius

text: It was the focus of several early Christian councils and home to Augustine of Hippo, a Church Father highly important in Western Christianity.


title: Hippo Regius

text: Hippo is the latinization of (), probably related to the word "ûbôn", meaning "harbor". The town was first settled by Phoenicians from Tyre around the 12th centuryBC. To distinguish it from Hippo Diarrhytus (the modern Bizerte, in Tunisia), the Romans later referred to it as Hippo Regius ("the Royal Hippo") because it was one of the residences of the Numidian kings. Its nearby river was Latinized as the Ubus and the bay to its east was known as Hippo Bay ().


title: Hippo Regius

text: A maritime city near the mouth of the river Ubus, it became a Roman colonia which prospered and became a major city in Roman Africa. It is perhaps most famous as the bishopric of Saint Augustine of Hippo in his later years. In AD 430, the Vandals advanced eastwards along the North African coast and laid siege to the walled city of Hippo Regius. Inside, Saint Augustine and his priests prayed for relief from the invaders, knowing full well that the fall of the city would spell death or conversion to the Arian heresy for much of the Christian population. On 28 August 430, three months into the siege, St. Augustine (who was 75 years old) died, perhaps from starvation or stress, as the wheat fields outside the city lay dormant and unharvested. After 14 months, hunger and the inevitable diseases were ravaging both the city inhabitants and the Vandals outside the city walls. The city fell to the Vandals and King Geiseric made it the first capital of the Vandal Kingdom until the capture of Carthage in 439.


title: Hippo Regius

text: It was conquered by the Eastern Roman Empire in 534 and was kept under Roman rule until 698, when it fell to the Muslims; the Arabs rebuilt the town in the eighth century. The city's later history is treated under its modern (Arabic and colonial) names.


title: Hippo Regius

text: About three kilometres distant in the eleventh century, the Berber Zirids established the town of "Beleb-el-Anab", which the Spaniards occupied for some years in the sixteenth century, as the French did later, in the reign of Louis XIV. France took this town again in 1832. It was renamed Bône or Bona, and became one of the government centres for the Constantine (departement) in Algeria. It had 37,000 inhabitants, of whom 10,800 were original inhabitants, consisting of 9,400 Muslims and 1,400 naturalized Jews. 15,700 were French and 10,500 foreigners, including many Italians.


title: Hippo Regius

text: Hippo was an ancient bishopric, one of many suffragans in the former Roman province of Numidia, since French colonial rule a part of the residential see of Constantine. It contains some ancient ruins, a hospital built by the Little Sisters of the Poor and a fine basilica dedicated to St. Augustine. Under St. Augustine there were at least three monasteries in the diocese besides the episcopal monastery.


title: Hippo Regius

text: Three church councils were held at Hippo (393, 394, 426) and more synods – also in 397 (two sessions, June and September) and 401, all under Aurelius.


title: Hippo Regius

text: The synods of the Ancient (North) African church were held, with but few exceptions (e.g. Hippo, 393; Milevum, 402) at Carthage. We know from the letters of Saint Cyprian that, except in time of persecution, the African bishops met at least once a year, in the springtime, and sometimes again in the autumn. Six or seven synods, for instance, were held under St. Cyprian's presidency during the decade of his administration (249–258), and more than fifteen under Aurelius (391–429). The Synod of Hippo of 393 ordered a general meeting yearly, but this was found too onerous for the bishops, and in the Synod of Carthage (407) it was decided to hold a general synod only when necessary for the needs of all Africa, and it was to be held at a place most convenient for the purpose. Not all the bishops of the country were required to assist at the general synod. At the Synod of Hippo (393) it was ordered that "dignities" should be sent from each ecclesiastical province. Only one was required from Tripoli (in Libya), because of the poverty of the bishops of that province. At the Synod of Hippo (393), and again at the Synod of 397 at Carthage, a list of the books of Holy Scripture was drawn up, and these books (including some considered apocryphal by Protestants) are still regarded as the constituents of the Catholic canon.


title: Hippo Regius

text: The Hippo(ne) diocese was nominally revived in 1400 as Catholic Latin titular bishopric of the (lowest) episcopal rank, for which no incumbent is recorded.


title: Hippo Regius

text: It ceased to exist on 23 September 1867, when the see was formally united with the Roman Catholic Diocese of Constantine.


title: Lithotripsy

text: Lithotripsy is a non-invasive procedure involving the physical destruction of hardened masses like kidney stones, bezoars or gallstones. The term is derived from the Greek words meaning "breaking (or pulverizing) stones" (litho- + τρίψω [tripso]).


title: Lithotripsy

text: Lithotripsy is a non-invasive procedure used to break up hardened masses like kidney stones, bezoars or gallstones.


title: Lithotripsy

text: "Commonly cited absolute contraindications to SWL include pregnancy, coagulopathy or use of platelet aggregation inhibitors, aortic aneurysms, severe untreated hypertension, and untreated urinary tract infections."


title: Lithotripsy

text: Surgery was the only method to remove stones too large to pass until French surgeon and urologist Jean Civiale in 1832 invented a surgical instrument (the lithotrite) to crush stones inside the bladder without having to open the abdomen. To remove a calculus, Civiale inserted his instrument through the urethra and bored holes in the stone. Afterwards, he crushed it with the same instrument and aspirated the resulting fragments or let them flow normally with urine.


title: Lithotripsy

text: Lithotripsy replaced using lithotrites as the most common treatment beginning in the mid 1980s. In extracorporeal shock wave lithotripsy (ESWL), external shockwaves are focused at the stone to pulverize it. Ureteroscopic methods use a rigid or flexible scope to reach the stone and direct mechanical or light energy at it. Endoscopy can use lasers as well as other modes of energy delivery: ultrasound or electrohydraulics.


title: Lithotripsy

text: ESWL was first used on kidney stones in 1980. It is also applied to gallstones and pancreatic stones. External shockwaves are focused and pulverize the stone which is located by imaging. The first shockwave lithotriptor approved for human use was the Dornier HM3 (human model 3) derived from a device used for testing aerospace parts. Second generation devices used piezoelectricity or electromagnetism generators. American Urological Association guidelines consider ESWL a potential primary treatment for stones between 4 mm and 2 cm.


title: Lithotripsy

text: Electrohydraulic lithotripsy is an industrial technique for fragmenting rocks by using electrodes to create shockwaves. It was applied to bile duct stones in 1975. It can damage tissue and is mostly used in biliary tract specialty centers. Pneumatic mechanical devices have been used with endoscopes, commonly for large and hard stones.


title: Lithotripsy

text: Laser lithotripsy was introduced in the 1980s. Pulsed dye lasers emit 504 nm (cyan-colored) light that is delivered to the stone by optical fibers through a scope. Holmium:YAG lasers were developed more recently and produce smaller fragments.


title: Gibraltarians

text: The Gibraltarians (Spanish: "gibraltareños", colloquially: "llanitos") in an ethnic group native to Gibraltar, a British overseas territory located near the southernmost tip of the Iberian Peninsula at the entrance to the Mediterranean Sea.


title: Gibraltarians

text: Some Gibraltarians are a racial and cultural mixture of the many immigrants who came to the Rock of Gibraltar over 300 years. Following its capture by an Anglo-Dutch force in 1704, all but 70 of the existing inhabitants of Gibraltar elected to leave with many settling nearby. Since then, immigrants from Britain, Italy, Malta, Portugal, Morocco, Menorca, and India have settled at Gibraltar, as have Sephardic Jews from North Africa.


title: Gibraltarians

text: Most Gibraltarian surnames are of Mediterranean or British extraction. The exact breakdown (including non-Gibraltarian British residents) according to the 1995 Census was as follows:


title: Gibraltarians

text: Genoese and Catalans (who arrived in the fleet with Prince George of Hesse-Darmstadt) became the core of Gibraltar's first civilian population under Habsburg Gibraltar. Sephardi Jews from Tetouan in Morocco, who had previously been suppliers to English Tangier, began supplying fresh produce to Gibraltar in 1704.


title: Gibraltarians

text: Jews in Gibraltar by 1755 together with the Genoese formed 50% of the civilian population (then 1,300). In 1888 construction of the new harbour at Gibraltar began to provide an additional coaling station on the British routes to the East. This resulted in the importation of Maltese labour both to assist in its construction, and to replace striking Genoese labour in the old coaling lighter-based industry. Maltese and Portuguese people formed the majority of this new population. Other groups include Menorcans (due to the links between both British possessions during the 18th century; immigration began in that century and continued even after Menorca was returned to Spain in 1802 by the Treaty of Amiens), Sardinians, Sicilians and other Italians, French, and British people.


title: Gibraltarians

text: Immigration from Spain (including refugees from the Spanish Civil War) and intermarriage with Spaniards from the surrounding Spanish towns was a constant feature of Gibraltar's history until General Francisco Franco closed the border with Gibraltar, cutting off many Gibraltarians from their relatives on the Spanish side of the border. The Spanish government reopened the land border, but other restrictions remain in place.


title: Gibraltarians

text: For the period of World War II the border was closed, although Spain was nominally neutral, as Franco's regime was effectively allied with Nazi Germany.


title: Gibraltarians

text: Research by Fiorenzo Toso in 2000 about the names of Gibraltarian families of Genoese origins found that most of the emigration from the Italian region Liguria was from the areas of Genoa and Savona, and some surnames such as Caruana, often believed to be Maltese, originate from Sicilians who emigrated to Malta during the Italian Renaissance).


title: Gibraltarians

text: The following are the most common Genoese surnames in Gibraltar, according to Toso's research. The number of Gibraltarian residents who have these surnames, according to Gibraltar's Yellow Pages are provided in parenthesis.


title: Gibraltarians

text: By 1912, the total number of Maltese living in Gibraltar was not above 700. Many worked in the dockyard and others operated businesses which were usually ancillary to the dockyard. However, the economy of Gibraltar was not capable of absorbing a large number of immigrants from Malta; the number of Maltese was already in decline as they returned to the Maltese Islands. Eventually those who stayed in Gibraltar became very much involved in the economic and social life of the colony, most of them also being staunch supporters of links with the UK.


title: Gibraltarians

text: Below is a list of the most common Maltese surnames in Gibraltar along with the current number of Gibraltarians who possess them.


title: Gibraltarians

text: Gibraltarians are British citizens, albeit with a distinct identity of their own. Gibraltar is sometimes referred by the younger generation as "Gib" (/dʒɨb/). They are colloquially referred to as Llanitos (or Yanitos), both locally and in Spain. Additional nicknames exist for them in English for Gibraltar relating to the Rock of Gibraltar.


title: Gibraltarians

text: Statistics for the usually-Resident Population and Persons Present in Gibraltar. A usual resident of Gibraltar, for census purposes, is anyone who, on 12 November 2012:


title: Gibraltarians

text: (a) was in Gibraltar and had stayed or intended to stay in Gibraltar for a period of 12 months or more, or;


title: Gibraltarians

text: (b) has a permanent Gibraltar address but is outside Gibraltar and intends to be outside Gibraltar for less than 12 months.


title: Gibraltarians

text: The 2012 census showed a total Usually-Resident population of 32,194. There was a small decrease in the proportion of Gibraltarians (79.0%), an increase in the ratio of "Other British" (13.2%) and a small increase in the ratio of "Other" (6.2%).


title: Gibraltarians

text: The main religion of Gibraltar is Christianity with the majority of Gibraltarians belonging to the Roman Catholic Church. Other Christian denominations include the Church of England, the Gibraltar Methodist Church, the Church of Scotland, various Pentecostal and independent churches mostly influenced by the House Church and Charismatic movements, as well as a Plymouth Brethren congregation. There is also a ward of the Church of Jesus Christ of Latter-day Saints, and Jehovah's Witnesses. There are a number of Hindu Indians, a Moroccan Muslim population, members of the Baháʼí Faith and a long-established Jewish community.


title: Gibraltarians

text: English (used in schools and for official purposes) and Spanish are the main languages of Gibraltar. Although English is the official language, Gibraltarians are typically bilingual, speaking Spanish as fluently as English. Most Gibraltarians converse in "Llanito", Gibraltar's vernacular. It is an old dialect of Andalusian Spanish with modern British English influence, as well as influences from Genoese Ligurian, Maltese, Portuguese and Haketia. Gibraltarians may also code-switch to English. Hebrew is spoken by the significant Jewish community. Arabic is also spoken by the Moroccan community, similar to Hindi and Sindhi being spoken by the Indian community of Gibraltar. Maltese is still spoken by some families of Maltese descent.


title: Gibraltarians

text: Gibraltarians have a light, but unique accent when speaking English, primarily influenced by Andalusian Spanish and southern British English. Many educated Gibraltarians are able to converse in Received Pronunciation.


title: Fringe theory

text: A fringe theory is an idea or a viewpoint which differs from the accepted scholarship of the time within its field. Fringe theories include the models and proposals of fringe science, as well as similar ideas in other areas of scholarship, such as the humanities. In a narrower sense, the term "fringe theory" is commonly used as a pejorative; it is roughly synonymous with the term pseudo-scholarship. Precise definitions that make distinctions between widely held viewpoints, fringe theories, and pseudo-scholarship are difficult to construct because of the demarcation problem. Issues of false balance or false equivalence can occur when fringe theories are presented as being equal to widely accepted theories.


title: Fringe theory

text: Fringe theories are ideas which depart significantly from a prevailing or mainstream theory. A fringe theory is neither a majority opinion nor that of a respected minority. In general, the term "fringe theory" is closer to the popular understanding of the word "theory"—a hypothesis or a guess or an uncertain idea—than to the concept of an established scientific theory. Although often used in the context of fringe science, fringe theories have been discussed in fields of scholarship, such as Biblical criticism, history, finance, law, medicine, and politics. They even exist in fields of study which are themselves outside the mainstream, such as cryptozoology and parapsychology.


title: Fringe theory

text: Fringe theories meet with varying levels of academic acceptance. Financial journalist Alexander Davidson characterized fringe theories as "peddled by a small band of staunch supporters," but not necessarily without merit. Daniel N. Robinson described them as occupying "a limbo between the decisive dead end and the ultimately credible productive theory." However, the term is also used pejoratively; advocates of fringe theories are dismissed as cranks or crackpots who are out of touch with reality. In this sense, there is some overlap with other dismissive labels, such as pseudoarchaeology, pseudohistory, and pseudoscience. Describing ideas as fringe theories may be less pejorative than describing them as pseudoscholarship; while it is unlikely that anyone would identify their own work as pseudoscience, astrologer David Cochrane is "proud to be a fringe theorist."


title: Fringe theory

text: The term is also used to describe conspiracy theories. Such theories "explain" historical or political events as the work of a powerful secret organization — "a vast, insidious, preternaturally effective international conspiratorial network," according to Richard Hofstadter. The conspirators are possessed of "almost superhuman power and cunning," as described by historian Esther Webman.


title: Fringe theory

text: Margaret Wertheim suggested that fringe theories should be treated in a manner similar to outsider art. In 2003 she curated an exhibit at the Santa Monica Museum of Art which was dedicated to the work of pseudoscientist Jim Carter.


title: Fringe theory

text: Wertheim wrote that a "credentialed physicist ... can generally recognize a fringe theory by sight" when it comes in the form of an eccentrically formatted manuscript. However, it is difficult to distinguish between fringe theories and respected minority theories. A workable definition of what constitutes a fringe theory may not actually be possible. This is an aspect of the demarcation problem that occurs within both science and the humanities.


title: Fringe theory

text: Geologist Steven Dutch approached the demarcation problem by dividing scientific ideas into three categories: fringe, frontier, and center, based upon their adherence to scientific methodology and their level of acceptance. Later authors, including Richard Duschl, expanded these categories. Under Duschl's system, a fringe theory is a mix of legitimate new ideas and pseudoscience; it awaits analysis to determine whether it will pass into the "frontier" or be rejected entirely.


title: Fringe theory

text: Most fringe theories never become part of established scholarship. Rejected ideas may help to refine mainstream thought, but most outside theories are simply incorrect and have no wider impact. Nevertheless, some ideas gradually receive wider acceptance until they are no longer viewed as fringe theories, and occasionally, such theories even become the mainstream view.


title: Fringe theory

text: A widely known example is Alfred Wegener's theory of continental drift, which eventually served as the basis for the accepted model of plate tectonics. Other ideas that have made the transition include the germ theory of disease, Birkeland's explanation of the aurora, prions, and complexity theory in project management. Behavioral finance was described in a 2002 journal article as "at the fringe of ... modern financial theory", but it has since been widely applied in many fields of business.


title: Fringe theory

text: Sometimes, the change is not gradual but represents a paradigm shift. Writing for the "New York Law Journal", Andrew Bluestone described how a single court case in New York changed the use of an obscure common law statute regarding attorney misconduct from a "fringe theory of law" to an accepted, mainstream cause for legal action in the state.


title: Fringe theory

text: Conversely, former mainstream theories such as phlogiston and luminiferous aether may be superseded and relegated to the fringe.


title: Fringe theory

text: Such shifts between fringe theory and accepted theories are not always clear-cut. In 1963, Reuben Fine wrote that mainstream psychology had adopted aspects of Sigmund Freud's psychoanalysis but that many students of the discipline believed psychoanalysis to be a "lunatic fringe theory which has little to do with scientific psychology," and psychoanalysis is now generally considered discredited, according to author Frederick Crews who stated, "if you consult psychology faculties in top American universities, you will find almost no one now who believes in the Freudian system of thought. As a research paradigm it’s pretty much dead."


title: Fringe theory

text: The news media may play a role in the dissemination and popularization of fringe theories. The media sometimes reduce complex topics to two sides and frame issues in terms of an underdog challenger fighting the mainstream theory. Biblical scholar Matthew Collins wrote that this simplification can be "both misrepresentative and misleading, especially when a far-fetched fringe theory is, in the name of neutrality and fairness, elevated to the role of equally legitimate contender." This false equivalence can become the expected media behavior. When "The New York Times" published an article strongly supporting the mainstream scientific stance on thiomersal and vaccines, others in the media condemned the "Times" for portraying the alleged vaccine-autism connection as a fringe theory, calling the article a "hit piece".


title: Fringe theory

text: Issues of false balance also arise in education, especially in the context of the creation–evolution controversy. Creationism has been discredited as a fringe theory akin to Lamarckism or the cosmology of Immanuel Velikovsky's "Worlds in Collision". Because advocates of creationism want schools to present only their preferred alternative, not the entire variety of minority views, they have attempted to portray scholarship on the issue as being equally divided between only two models.


title: Karim Rekik

text: Karim Rekik (; born 2 December 1994) is a Dutch professional footballer who plays as a defender for La Liga club Sevilla.


title: Karim Rekik

text: Rekik was born in The Hague. His father was born in Tunisia and his mother is a Dutch primary school teaching assistant. He has a younger brother, Omar, who is also a professional footballer playing as a centre-back for Arsenal.


title: Karim Rekik

text: Rekik started his football when he joined Scheveningen in 1999 before joining Feyenoord, where he went on to stay for nine years. But in March 2011, Manchester City made an approach for Rekik, as Feyernood were determined to keep a hold off him. The approach was to be controversial, as the club took the case matter to the Dutch FA, as a result of the club losing their youngsters to Premier League clubs. The club was also considering legal action against Rekik's agent Søren Lerby, though he insisted he maintain following FIFA's rules. The case was dismissed.


title: Karim Rekik

text: Rekik signed for Manchester City from Feyenoord in the summer of 2011, and made his debut appearance for the first team in the Dublin Super Cup in pre-season.


title: Karim Rekik

text: He made his official first team debut for Manchester City on 21 September 2011 against Birmingham City in the third round of the League Cup, coming on as a substitute for Wayne Bridge in the last 12 minutes of the game. His debut against Birmingham City saw him become the youngest overseas player to appear in a senior game for City, just 16 years and 294 days old. He also made a 73rd-minute substitute appearance in the fourth round of the competition against Wolverhampton Wanderers at Molineux, in place of Luca Scapuzzi.


title: Karim Rekik

text: Rekik returned to Manchester City at the end of the 2011–12 season. On 5 December 2012, it was announced that Rekik signed a long term contract with the club. He would go on to start in his Premier League debut, a 1–0 win at home to Reading on 22 December 2012, and was substituted for James Milner in the 84th minute. Reading claimed that they deserved a penalty for Rekik's challenge on Jay Tabb, which was not given by referee Mike Dean.


title: Karim Rekik

text: On 10 August 2014, Rekik was an unused substitute as City lost the Community Shield 3–0 to Arsenal at Wembley Stadium.


title: Karim Rekik

text: On 22 March 2012, it was confirmed that Michael Appleton was to take Scapuzzi and Rekik on a month's loan at Portsmouth in the Football League Championship. He made his debut for Portsmouth on 27 March, in a 2–0 home win against Hull City. This was also Rekik's first senior league appearance in club football. Unlike Scapuzzi, Rekik became a regular starter as Portsmouth struggled to fight relegation. He was an ever-present figure in the Portsmouth defence as the league came to an end. Nevertheless, Portsmouth were relegated at the end of the season.


title: Karim Rekik

text: On 15 February 2013, it was confirmed that Rekik would join Blackburn Rovers in the Championship until the end of the season. The move reunited him with his former Portsmouth manager Appleton. Rekik made his Blackburn Rovers debut, playing as a left-midfield, in a 2–0 loss against Hull City on 19 February 2013. Rekik went on to make five appearances for the club.


title: Karim Rekik

text: On 8 July 2013, it was confirmed that Rekik would join PSV Eindhoven on loan for the 2013–14 season, wearing number 3.


title: Karim Rekik

text: Rekik made his PSV Eindhoven debut, in the first leg of third round of Champions League, in a 2–0 win over Zulte Waregem on 30 July 2013. Three days later, Rekik made his league debut, in the opening game of the season, in a 3–2 win over ADO Den Haag. Rekik played the remaining three matches in the Champions League play-off, as PSV were knocked out by Milan. However, Rekik suffered an ankle injury, while in international duty. As a result, Rekik would be out for four weeks, though he would need to undergo surgery. The surgery was successful, resulting him out for another four weeks. After two months on the sidelines, Rekik made his return from the first team on 2 November 2013, in a 1–1 draw against PEC Zwolle. He then scored his first Eredivisie goal for PSV on 7 December in a 2–6 home defeat to Vitesse. Rekik went on to captain two games in absence of Georginio Wijnaldum against Utrecht and ADO Den Haag. Later in the 2013–14 season, Rekik


title: Karim Rekik

text: Because of his good performance at PSV, Rekik was keen to re-join PSV for the second time next season, though he could return to Manchester City for next season. However, Rekik said he would not return to Manchester City next season unless he was given first team chances.


title: Karim Rekik

text: As his loan spell with PSV came to an end, Rekik was linked with a move to Marseille. Instead on 14 August 2014, it announced that Rekik returned to PSV until the end of the season. Rekik's first game after signing for the club on a loan for the second time came, in a 6–1 win over NAC Breda on 16 August 2014. Rekik then scored his second goal of his PSV career on 9 November 2014, in a 2–1 win over Heracles. Since making his second debut for PSV, Rekik continued to be in the first team in straight matches until he suffered a hamstring injury and was substituted during a match against AZ Alkmaar on 13 February 2015. After making his return to training, Rekik made his return to the first team on 22 March 2015, in a 2–1 loss against Feyernood. Despite this, Rekik later helped PSV win their first league since 2008. Rekik later spoke out about the club's winning the league. Like his first season at PSV, Rekik established himself in the first team with twenty-nine appearances and formed a strong central-defense partnership with Jeffrey Bruma.


title: Karim Rekik

text: Following the 2014–15 season came to an end, PSV was keen to sign Rekik for the third time. However, PSV decided not to sign him after Rekik made it clear that he wanted to play in a bigger league than the Eredivisie.


title: Karim Rekik

text: On 30 June 2015, Rekik joined Marseille for an undisclosed fee after making just two appearances for Manchester City in four years. The move was later confirmed on 2 July 2015 and the player was unveiled, along with Lucas Ocampos. Rekik scored his first goal for Marseille in a 1–1 Ligue 1 draw with rivals Lyon on 20 September.


title: Karim Rekik

text: On 16 June 2017, he signed for Hertha BSC for a reported fee of €2.5 million as a long term replacement for the departing John Anthony Brooks to VfL Wolfsburg.


title: Karim Rekik

text: Rekik was called up by Netherlands U17 in September 2010 and made his Netherlands U17 debut, in a 0–0 draw against Italy U17. Rekik was then called up into the squad by Netherlands U17 for the UEFA European Under-17 Championship and scored the opening game of the season, in a 2–0 win over Germany U17. Rekik went on to help the club reach the final, where Netherlands U17 beat Germany U17 5–2.


title: Karim Rekik

text: Rekik was then called up by Netherlands U19 in October 2011 and made his Netherlands U19 debut, in a 3–0 win over Moldova U19. Rekik then captained his first Netherlands U19 game, in a 2–0 win over Norway U19. Rekik went on to captain five times in his eleven appearances.


title: Karim Rekik

text: In August 2013, Rekik was first called up Netherlands for the two matches in the World Cup Qualifying, but was never used.


title: Karim Rekik

text: Rekik made his debut for the Netherlands national team in a 2–0 friendly defeat to France at the Stade de France 6 March 2014. In May 2014, he was named in manager Louis van Gaal's provisional 30-man squad for the 2014 FIFA World Cup. However, on 31 May 2014, van Gaal announced his final squad, which saw Rekik left out of the 23 man squad.


title: 1,4-Dioxane

text: 1,4-Dioxane () is a heterocyclic organic compound, classified as an ether. It is a colorless liquid with a faint sweet odor similar to that of diethyl ether. The compound is often called simply dioxane because the other dioxane isomers (1,2- and 1,3-) are rarely encountered.


title: 1,4-Dioxane

text: Dioxane is used as a solvent for a variety of practical applications as well as in the laboratory, and also as a stabilizer for the transport of chlorinated hydrocarbons in aluminum containers.


title: 1,4-Dioxane

text: Dioxane is produced by the acid-catalysed dehydration of diethylene glycol, which in turn is obtained from the hydrolysis of ethylene oxide.


title: 1,4-Dioxane

text: In 1985, the global production capacity for dioxane was between 11,000 and 14,000 tons. In 1990, the total U.S. production volume of dioxane was between 5,250 and 9,150 tons.


title: 1,4-Dioxane

text: The dioxane molecule is centrosymmetric, meaning that it adopts a chair conformation, typical of relatives of cyclohexane. However, the molecule is conformationally flexible, and the boat conformation is easily adopted, e.g. in the chelation of metal cations.


title: 1,4-Dioxane

text: In the 1980s, most of the dioxane produced was used as a stabilizer for 1,1,1-trichloroethane for storage and transport in aluminium containers. Normally aluminium is protected by a passivating oxide layer, but when these layers are disturbed, the metallic aluminium reacts with trichloroethane to give aluminium trichloride, which in turn catalyses the dehydrohalogenation of the remaining trichloroethane to vinylidene chloride and hydrogen chloride. Dioxane "poisons" this catalysis reaction by forming an adduct with aluminum trichloride.


title: 1,4-Dioxane

text: Dioxane is used in a variety of applications as a versatile aprotic solvent, e. g. for inks, adhesives, and cellulose esters. It is substituted for tetrahydrofuran (THF) in some processes, because of its lower toxicity and higher boiling point (101 °C, versus 66 °C for THF).


title: 1,4-Dioxane

text: While diethyl ether is rather insoluble in water, dioxane is miscible and in fact is hygroscopic. At standard pressure, the mixture of water and dioxane in the ratio 17.9:82.1 by mass is a positive azeotrope that boils at 87.6 C.


title: 1,4-Dioxane

text: The oxygen atoms are weakly Lewis-basic. It forms adducts with a variety of Lewis acids. It is classified as a hard base and its base parameters in the ECW model are E =1.86 and C = 1.29.


title: 1,4-Dioxane

text: Dioxane produces coordination polymers by linking metal centers. In this way, it is used to drive the Schlenk equilibrium,allowing the synthesis of dialkyl magneium compounds. Dimethylmagnesium is prepared in this manner:


title: 1,4-Dioxane

text: Dioxane is used as an internal standard for nuclear magnetic resonance spectroscopy in deuterium oxide.


title: 1,4-Dioxane

text: Dioxane has an of 5170 mg/kg in rats. It is irritating to the eyes and respiratory tract. Exposure may cause damage to the central nervous system, liver and kidneys. In a 1978 mortality study conducted on workers exposed to 1,4-dioxane, the observed number deaths from cancer was not significantly different from the expected number. Dioxane is classified by the National Toxicology Program as "reasonably anticipated to be a human carcinogen". It is also classified by the IARC as a Group 2B carcinogen: "possibly carcinogenic to humans" because it is a known carcinogen in other animals. The United States Environmental Protection Agency classifies dioxane as a probable human carcinogen (having observed an increased incidence of cancer in controlled animal studies, but not in epidemiological studies of workers using the compound), and a known irritant (with a no-observed-adverse-effects level of 400 milligrams per cubic meter) at concentrations significantly higher than those found in commercial products. Under California Proposition 65, dioxane is classified in the U.S. State of California to cause cancer. Animal studies in rats suggest that the greatest health risk is associated with inhalation of vapors in the pure form. The State of New York has adopted a first-in-the-nation drinking water standard for 1,4-Dioxane and set the maximum contaminant level of 1 part per billion.


title: 1,4-Dioxane

text: It tends to concentrate in the water and has little affinity for soil. It is resistant to abiotic degradation in the environment, and was formerly thought to also resist biodegradation. However, more recent studies since the 2000s have found that it can be biodegraded through a number of pathways, suggesting that bioremediation can be used to treat 1,4-dioxane contaminated water.


title: 1,4-Dioxane

text: Like some other ethers, dioxane combines with atmospheric oxygen upon prolonged exposure to air to form potentially explosive peroxides. Distillation of these mixtures is dangerous. Storage under metallic sodium could limit the risk of explosion.


title: 1,4-Dioxane

text: Dioxane has affected groundwater supplies in several areas. Dioxane at the level of 1 μg/L (~1 ppb) has been detected in many locations in the US. In the U.S. state of New Hampshire, it had been found at 67 sites in 2010, ranging in concentration from 2 ppb to over 11,000 ppb. Thirty of these sites are solid waste landfills, most of which have been closed for years. In 2019, the Southern Environmental Law Center successfully sued Greensboro, North Carolina's Wastewater treatment after 1,4-Dioxane was found at 20 times above EPA safe levels in the Haw River.


title: 1,4-Dioxane

text: As a byproduct of the ethoxylation process, a route to some ingredients found in cleansing and moisturizing products, dioxane can contaminate cosmetics and personal care products such as deodorants, perfumes, shampoos, toothpastes and mouthwashes. The ethoxylation process makes the cleansing agents, such as sodium laureth sulfate and ammonium laureth sulfate, less abrasive and offers enhanced foaming characteristics. 1,4-Dioxane is found in small amounts in some cosmetics, a yet unregulated substance used in cosmetics in both China and the U.S. Research has found the chemical in ethoxylated raw ingredients and in off-the-shelf cosmetic products. The Environmental Working Group (EWG) found that 97% of hair relaxers, 57% of baby soaps and 22 percent of all products in Skin Deep, their database for cosmetic products, are contaminated with 1,4-dioxane.


title: 1,4-Dioxane

text: Since 1979 the U.S. Food and Drug Administration (FDA) have conducted tests on cosmetic raw materials and finished products for the levels of 1,4-dioxane. 1,4-Dioxane was present in ethoxylated raw ingredients at levels up to 1410 ppm (~0.14%wt), and at levels up to 279 ppm (~0.03%wt) in off the shelf cosmetic products. Levels of 1,4-dioxane exceeding 85 ppm (~0.01%wt) in children's shampoos indicate that close monitoring of raw materials and finished products is warranted. While the FDA encourages manufacturers to remove 1,4-dioxane, it is not required by federal law.


title: 1,4-Dioxane

text: On 9 December 2019, New York passed a bill to ban the sale of cosmetics with more than 10 ppm of 1,4-dioxane as of the end of 2022. The law will also prevent the sale of household cleaning and personal care products containing more than 2 ppm of 1,4-dioxane at the end of 2022.


title: Brian Steele

text: Brian Steele is an American actor who has had many roles as monsters and creatures on television and in films. In 2018, he appeared as The Robot in "Lost in Space". Steele stands at 6 ft 7 in (2.01 m).


title: Brian Steele

text: On television, Steele was the third (of three) actors to play the Bigfoot called Harry in the series "Harry and the Hendersons", starting in 1992, before moving on to play creatures in theatrical motion pictures, with roles like Mr. Wink in "" wearing over 130 pounds of makeup. Steele has portrayed Drake Beast in "", Sammael in "Hellboy", Lycan werewolves in "Underworld" and "", William Corvinus in "", T-600 in "Terminator Salvation", Berzerker Predator in "Predators", and a Bigfoot in the Eduardo Sánchez horror-thriller film "Exists".


title: Bangalore–Chennai Expressway

text: The Bangalore–Chennai Expressway or National Expressway 7 (NE-7) is an under construction 258 km long, 4-lane wide (expandable to 8) access-controlled expressway between the cities of Bangalore, the capital of Karnataka and Chennai, the capital of Tamil Nadu. It will run from Hosakote in Bangalore Metropolitan Region Development Authority to Sriperumbudur in Chennai Metropolitan Area. First Expressway of South India. It is planned to allow vehicles to reach . This expressway was designated as National Expressway 7 (NE 7) on January 1, 2021. The total project value is expected to be around ₹18,000 crores.


title: Bangalore–Chennai Expressway

text: Realtors are secretly starting to invest in places near Walajapettai (Banavaram, Keezhveeranam) as these places have been marked as the next industrial hub. Japanese investors expressed interest in this road to link harbours. Japanese real estate companies such as Nippon Expressway Limited have conducted detailed studies on areas like Panniyur and Keezhveeranam village and encouraged investors to focus on these areas.


title: Bangalore–Chennai Expressway

text: The National Highways Development Project (NHDP) phase 6 has been established, following expectations of the new government's involvement, and before the real estate prices begin to rise along the expressways, mainly near Ranipettai -Ponnapanthangal-Arakkonam (Tamil Nadu).


title: Bangalore–Chennai Expressway

text: Many industrial hubs have planned to start up their next projects near Banavaram, which already has a TVS brake manufacturing unit. Mahindra, Bajaj, and Nissan groups plan to start new plants in that area.


title: Bangalore–Chennai Expressway

text: The NHAI has divided the construction work of 258 km long Bangalore–Chennai Expressway into 3 Phases with a total of 10 construction packages. It which will be executed simultaneously by 6 construction companies.


title: Bangalore–Chennai Expressway

text: The Indian National Expressway Network was proposed by the Ministry of Road Transport and Highways. The Government envisioned a Bangalore - Mangalore Greenfield Expressway. A Mangaluru - Chennai Expressway through Bangalore has also been proposed.


title: Bigger (film)

text: Bigger (styled as Bigger: The Joe Weider Story) is a 2018 American comedy-drama film by director George Gallo about the life of real life bodybuilders Joe and Ben Weider.


title: Bigger (film)

text: Brothers Joe and Ben Weider were the architects of Muscle. Against all odds, they launched an empire. Along the way they discovered Arnold Schwarzenegger, inspired female empowerment, championed diversity, and started a movement that changed the world of bodybuilding in the United States.