title: Overtone singing

text: Paul Pena was featured in the documentary "Genghis Blues", which tells the story of his pilgrimage to Tuva to compete in their annual throat singing competition. The film won the documentary award at the 1999 Sundance Film Festival, and was nominated for an Oscar in 2000.


title: Overtone singing

text: Tuvan singer Sainkho Namtchylak has collaborated with free jazz musicians such as Evan Parker and Ned Rothenberg. Lester Bowie and Ornette Coleman have worked with the Tenores di Bitti, and Eleanor Hovda has written a piece using the Xhosa style of singing. DJs and performers of electronic music like The KLF have also merged their music with throat singing, overtone singing, or with the theory of harmonics behind it.


title: Overtone singing

text: Tran Quang Hai, a researcher on overtone singing since 1969 in Paris, France, has published many articles, videos on overtone singing from 1971. His film "The Song of Harmonics" directed by Hugo Zemp in 1989 obtained 4 international prizes in Estonia (1990) France (1990) and Canada (1991).


title: Overtone singing

text: David Hykes, a pioneer in new music, contemplative chant and healing sounds, founded Harmonic Chant in New York in 1975, the year he also founded his legendary group, The Harmonic Choir, considered to be one of the world's pre-eminent overtone ensembles.


title: Overtone singing

text: Wolfgang Saus, from Germany, is considered one of the major teachers/performers of "polyphonic overtone singing" in Europe. Formerly trained as a classical baritone, his unique skills make him instantly recognizable. He's also a renowned composer and arranger of polyphonic overtone singing music for solo voice and choirs.


title: Overtone singing

text: A cappella singer Avi Kaplan also exhibited overtone singing during his group's (Pentatonix) performances. He merged throat singing together with a cappella dubstep.


title: Overtone singing

text: The Overtone Choir Spektrum from Prague, Czech Republic, is unique among overtone choirs, particularly because it connects traditional choir singing with overtone techniques. It is the only one of its kind in the Czech Republic, and one of only a few in the world.


title: Overtone singing

text: MuOM Ecstatic Voices is another unique and peculiar overtone singing choir, as it combines in its own compositions Western overtone singing and Tuvan/Mongolian throat singing techniques (such as kargyraa, khoomei, sygyt, ezengiler, bonbarnadyr, among others). Created in Barcelona in 2008, with 8 singers on average, it has specialised in the creation of overtone polyphonies, (each singer is emitting an overtone) in addition to the polyphony of the fundamentals, creating two distinguishable sound planes.


title: Overtone singing

text: Sherden Overtone Choir was founded in 2016 in Sardinia by Ilaria Orefice and Giovanni Bortoluzzi. The choir combines Tuvan Throat Singing Styles with Sardinian Throat singing.


title: Overtone singing

text: Contemporary multi-instrumentalist performer The Suitcase Junket employs a self-taught overtone singing, or throat singing technique in his live and recorded performances.


title: Overtone singing

text: Several contemporary classical composers have incorporated overtone singing into their works. Karlheinz Stockhausen was one of the first, with "Stimmung" in 1968. Tran Quang Hai (b.1944), a French national of Vietnamese origin, created the composition "Ve Nguon" with the collaboration of Vietnamese composer Nguyen Van Tuong in 1975, in Paris. "Past Life Melodies" for SATB chorus by Australian composer Sarah Hopkins (b. 1958) also calls for this technique. In "Water Passion after St. Matthew" by Tan Dun, the soprano and bass soloists sing in a variety of techniques including overtone singing of the Mongolian style.


title: Overtone singing

text: In 2014 German singer Anna-Maria Hefele went viral on YouTube with her "polyphonic overtone" singing. The Huffington Post has commented on her "amazing ability" and her singing being "utterly bizarre". On 10 October 2014, she was number two on The Guardian's Viral Video Chart, with one online video titled "Polyphonic Overtone Singing", which features Hefele as she demonstrates and explains overtones. As of March 2018, this video has received more than 11 million hits.


title: Overtone singing

text: Istanbul-based British singer Nikolai Galen incorporates overtones into his experimental work. They can be heard on his solo album Emanuel Vigeland, the Black Paintings album Screams and Silence and the Hoca Nasreddin album A Headful of Birds.


title: Maude Adams

text: Maude Ewing Adams Kiskadden (November 11, 1872 – July 17, 1953), known professionally as Maude Adams, was an American actress who achieved her greatest success as the character Peter Pan, first playing the role in the 1905 Broadway production of "Peter Pan; or, The Boy Who Wouldn't Grow Up". Adams's personality appealed to a large audience and helped her become the most successful and highest-paid performer of her day, with a yearly income of more than one million dollars during her peak.


title: Maude Adams

text: Adams began performing as a child while accompanying her actress mother on tour. At age 16, she made her Broadway debut, and under Charles Frohman's management, she became a popular player alongside leading man John Drew Jr. in the early 1890s. Beginning in 1897, Adams starred in plays by J. M. Barrie, including "The Little Minister", "Quality Street", "What Every Woman Knows" and "Peter Pan". These productions made Adams the most popular actress in America. She also performed in various other plays. Her last Broadway play, in 1916, was Barrie's "A Kiss for Cinderella". After a 13-year retirement, she appeared in more Shakespeare plays and then taught acting in Missouri. She then retired to upstate New York.


title: Maude Adams

text: Adams was born in Salt Lake City, Utah Territory, the daughter of Asaneth Ann "Annie" (née Adams) and James Henry Kiskadden. Adams's mother was an actress, and her father had jobs working for a bank and in a mine. Little else is known of Adams's father, who died when she was young. James was not a Mormon, and Adams once wrote of her father as having been a "gentile". The surname "Kiskadden" is Scottish. On her mother's side, Adams's great-grandfather Platt Banker converted to Mormonism and moved his family to Missouri, where his daughter, Julia, married Barnabus Adams. Barnabus and Julia then migrated as part of the first company to enter the Salt Lake Valley with Brigham Young in 1847, where he cut timbers for the Salt Lake Tabernacle. Adams was also a descendant of "Mayflower" passenger John Howland.


title: Maude Adams

text: Adams appeared on stage at two months old in the play "The Lost Baby" at the Salt Lake City Brigham Young Theatre. She appeared again at the age of nine months in her mother's arms. Over her father's objections, Adams began acting as a small child, adopting her mother's maiden name as her stage name. They toured throughout the western U.S. with a theatrical troupe that played in rural areas, mining towns and some cities. At the age of five, Adams starred in a San Francisco theater as "Little Schneider" in "Fritz, Our German Cousin" and as "Adrienne Renaud" in "A Celebrated Case". At the age of nine, Adams lived with her Mormon grandmother and Mormon cousins in Salt Lake City while her mother remained in San Francisco. It is not clear whether she identified as a member of the Church of Jesus Christ of Latter-day Saints as her mother did. She was never baptized Presbyterian, although she attended a Presbyterian school. Later in life, Adams took long sabbaticals in Catholic convents, and in 1922 she donated her estates in Lake Ronkonkoma, New York, to the Sisters of the Cenacle for use as a novitiate and retreat house. She never converted to Catholicism or discussed the topic in any interviews.


title: Maude Adams

text: Adams debuted in New York at age ten in "Esmeralda" and then returned briefly to California. She then returned to Salt Lake City to live with her grandmother and studied at the Salt Lake Collegiate Institute. She later wrote of Salt Lake City, "The people of the valley have gentle manners, as if their spirits moved with dignity." Adams also later wrote a short essay, "The One I Knew Least", where she described her difficulty in discovering her own personality while playing so many theatrical roles as a child.


title: Maude Adams

text: Adams returned to New York City at age 16 to appear in "The Paymaster". She then became a member of E. H. Sothern's theatre company in Boston, appearing in "The Highest Bidder", and then was on Broadway in "Lord Chumley" in 1888. Charles H. Hoyt then cast her in "A Midnight Bell" where audiences, if not the critics, took notice of her. In 1889, sensing he had a potential new star on his hands, Hoyt offered her a five-year contract, but Adams declined in favor of a lesser offer from the powerful producer Charles Frohman who, from that point forward, took control of her career. She soon left behind juvenile parts and began to play leading roles for Frohman, often alongside her mother. In 1890, Frohman asked David Belasco and Henry C. de Mille to specially write the part of Dora Prescott for Adams in their new play "Men and Women", which Frohman was producing. The next year, she appeared as Nell in "The Lost Paradise".


title: Maude Adams

text: In 1892, John Drew Jr. (one of the leading stars of the day) ended his 18-year association with Augustin Daly and joined Frohman's company. Frohman paired Adams and Drew in a series of plays beginning with "The Masked Ball" and ending with "Rosemary" in 1896. She then spent five years as the leading lady in John Drew's company. There, "her work was praised for its charm, delicacy, and simplicity." "The Masked Ball" opened on October 8, 1892. Audiences came to see its star, Drew, but left remembering Adams. Most memorable was a scene in which her character feigned tipsiness for which she received a two-minute ovation on opening night. Drew was the star, but it was for Adams that the audience gave twelve curtain calls, and previously tepid critics gave generous reviews. "Harpers Weekly" wrote: "It is difficult to see just who is going to prevent Miss Adams from becoming the leading exponent of light comedy in America. "The New York Times" wrote that Adams, "not John Drew, has made the success of "The Masked Ball" at Palmer's, and is the star of the comedy. Manager Charles Frohman, in attempting to exploit one star, has happened upon another of greater magnitude." The tipsy scene started Adams on her path to being a favorite among New York audiences and led to an eighteen-month run for the play.


title: Maude Adams

text: Less successful plays followed, including "The Butterflies", "The Bauble Shop", "Christopher, Jr.", "The Imprudent Young Couple" and "The Squire of Dames". But 1896 saw an upturn for Adams with "Rosemary". A comedy about the failed elopement of a young couple, sheltered for the night by an older man (Drew), the play received critical praise and box office success.


title: Maude Adams

text: Frohman had been pursuing J. M. Barrie (the future author of "Peter Pan") to adapt the author's popular book "The Little Minister" into a play, but Barrie had resisted because he felt there was no actress who could play Lady Babbie. On a trip to New York in 1896, Barrie attended a performance of "Rosemary" and at once decided that Adams was the actress to play Lady Babbie. Frohman worried that the masculine aspects of the book might overshadow Adams's role. With Barrie's consent, several key scenes were changed to favor Lady Babbie. The play opened in 1897 at the Empire Theatre and was a tremendous success, running for 300 performances in New York (289 of which were standing room only) and setting a new all-time box office record of $370,000; it made Adams a star. It also toured successfully, running for 65 performances in Boston.


title: Maude Adams

text: Another play by Barrie, "Peter Pan; or, The Boy Who Wouldn't Grow Up" (1904), became the role with which Adams was most closely identified. She was the first actress to play Peter Pan on Broadway. Only days after her casting was announced, Adams had an emergency appendectomy, and it was uncertain whether her health would allow her to assume the role as planned. "Peter Pan" opened on October 16, 1905 at the National Theatre in Washington, D.C. to little success. It soon moved to Broadway, where the play had a long run. Adams appeared in the role on Broadway several times over the following decade. The collar of her 1905 Peter Pan costume, which she had co-designed, was an immediate fashion success and was henceforth known as the "Peter Pan collar".


title: Maude Adams

text: Adams starred in other works by Barrie, including "Quality Street" (1901), "What Every Woman Knows" (1908), "The Legend of Leonora" (1914), and "A Kiss for Cinderella" (1916). However, she also appeared in other works. In 1899, she portrayed Shakespeare's Juliet. While audiences responded to her performance with standing ovations, critics generally disliked it. The critic Alan Dale, reviewing her debut in the role at the Empire Theatre, called her Elizabethan English "grotesque at times" and commented that Adams had performed with "pretty purring", not classical. On the other hand, he described her performance as "romantic", "sublime" and "not sinking beneath the waves." While audiences loved her in the role, selling out the 16 performances in New York, the critics disliked it. "Romeo and Juliet" was followed by "L'Aiglon" in 1900, a French play about the life of Napoleon II of France in which Adams played the leading role, foreshadowing her portrayal of another male (Peter Pan) five years later. The play had starred Sarah Bernhardt in Paris with enthusiastic reviews, but Adams's "L'Aiglon" received mixed reviews in New York. In 1909, she played Joan of Arc in Friedrich Schiller's "The Maid of Orleans". This was produced on a huge scale at the Harvard University Stadium by Frohman. The June 24, 1909 edition of the "Paducah Evening Sun" (Kentucky) contains the following excerpt:


title: Maude Adams

text: Joan at Harvard, Schiller's Play reproduced on Gigantic scale. … The experiment of producing Schiller's "Maid of Orleans" beneath starry skies … was carried out … by ... Adams and a company numbering about two thousand persons … at the Harvard Stadium. … A special electric light plant was installed … a great cathedral was erected, background constructed and a realistic forest created. … Miss Adams was accorded an ovation at the end of the performance.


title: Maude Adams

text: She appeared in another French play with 1911's "Chantecler", the story of a rooster who believes his crowing makes the sun rise. She fared only slightly better than in "L'Aiglon" with the critics, but audiences again embraced her, on one occasion giving her 22 curtain calls. Adams later cited it as her favorite role, with Peter Pan a close second.


title: Maude Adams

text: Adams retired in 1918 after a severe bout of influenza. During the 1920s, she worked with General Electric to patent improved and more powerful stage lighting, and with the Eastman Company, to develop color photography. It has been suggested that her motivation for her association with these technology companies was that she wished to appear in a color film version of "Peter Pan", and this would have required better lighting and techniques for color photography. Her electric lights ultimately became the industry standard in Hollywood with the advent of sound in motion pictures in the late 1920s. After 13 years away from the stage, she returned to acting, appearing occasionally in regional productions of Shakespeare plays, including as Portia in "The Merchant of Venice" in Ohio, in 1931, and as Maria in "Twelfth Night" in 1934 in Maine.


title: Maude Adams

text: Often described as shy, Adams was referred to by Ethel Barrymore as the "original 'I want to be alone' woman". Her retiring lifestyle, including the absence of any relationships with men, contributed to the virtuous and innocent public image promoted by Frohman and was reflected in her most successful roles. Biographers have concluded that Adams was a lesbian. She had two long-term relationships that only ended upon her partners' deaths: Lillie Florence, from the early 1890s until 1901, and Louise Boynton from 1905 until 1951. Adams was known at times to supplement the salaries of fellow performers out of her own pay. Once while touring, a theater owner significantly raised the price of tickets, knowing Adams's name meant a sold-out house. Adams made the owner refund the difference before she appeared on the stage that night. Adams was the head of the drama department at Stephens College in Missouri from 1937 to 1949, becoming known as an inspiring teacher in the arts of acting.


title: Maude Adams

text: After her retirement, Adams was on occasion pursued for roles in film. The closest she came to accepting was in 1938, when producer David O. Selznick persuaded her to do a screen test (with Janet Gaynor, who would later play the female lead) for the role of Miss Fortune in the film "The Young in Heart". After negotiations failed, the role was played by Minnie Dupree. The twelve-minute screen test was preserved by the George Eastman House in 2004.


title: Maude Adams

text: She died, aged 80, at her summer home, Caddam Hill, in Tannersville, New York, and is interred in the cemetery of the Sisters of the Cenacle, Lake Ronkonkoma, New York. Louise Boynton is buried alongside her.


title: Maude Adams

text: The character of Elise McKenna in Richard Matheson's 1975 novel "Bid Time Return" and its 1980 film adaptation, "Somewhere in Time" (played by Jane Seymour), was based on Adams.


title: Literate programming

text: Literate programming is a programming paradigm introduced in 1984 by Donald Knuth in which a computer program is given as an explanation of its logic in a natural language, such as English, interspersed (embedded) with snippets of macros and traditional source code, from which compilable source code can be generated. The approach is used in scientific computing and in data science routinely for reproducible research and open access purposes. Literate programming tools are used by millions of programmers today.


title: Literate programming

text: The literate programming paradigm, as conceived by Donald Knuth, represents a move away from writing computer programs in the manner and order imposed by the computer, and instead gives programmers macros to develop programs in the order demanded by the logic and flow of their thoughts. Literate programs are written as an exposition of logic in more natural language in which macros are used to hide abstractions and traditional source code, more like the text of an essay.


title: Literate programming

text: Literate programming (LP) tools are used to obtain two representations from a source file: one understandable by a compiler or interpreter, the "tangled" code, and another for viewing as formatted documentation, which is said to be "woven" from the literate source. While the first generation of literate programming tools were computer language-specific, the later ones are language-agnostic and exist beyond the individual programming languages.


title: Literate programming

text: Literate programming was first introduced in 1984 by Donald Knuth, who intended it to create programs that were suitable literature for human beings. He implemented it at Stanford University as a part of his research on algorithms and digital typography. The implementation was called "WEB" since he believed that it was one of the few three-letter words of English that had not yet been applied to computing. However, it resembles the complicated nature of software delicately pieced together from simple materials. The practice of literate programming has seen an important resurgence in the 2010s with the use of computational notebooks, especially in data science.


title: Literate programming

text: Literate programming is writing out the program logic in a human language with included (separated by a primitive markup) code snippets and macros. Macros in a literate source file are simply title-like or explanatory phrases in a human language that describe human abstractions created while solving the programming problem, and hiding chunks of code or lower-level macros. These macros are similar to the algorithms in pseudocode typically used in teaching computer science. These arbitrary explanatory phrases become precise new operators, created on the fly by the programmer, forming a "meta-language" on top of the underlying programming language.


title: Literate programming

text: A preprocessor is used to substitute arbitrary hierarchies, or rather "interconnected 'webs' of macros", to produce the compilable source code with one command ("tangle"), and documentation with another ("weave"). The preprocessor also provides an ability to write out the content of the macros and to add to already created macros in any place in the text of the literate program source file, thereby disposing of the need to keep in mind the restrictions imposed by traditional programming languages or to interrupt the flow of thought.


title: Literate programming

text: literate programming provides higher-quality programs, since it forces programmers to explicitly state the thoughts behind the program, making poorly thought-out design decisions more obvious. Knuth also claims that literate programming provides a first-rate documentation system, which is not an add-on, but is grown naturally in the process of exposition of one's thoughts during a program's creation. The resulting documentation allows the author to restart their own thought processes at any later time, and allows other programmers to understand the construction of the program more easily. This differs from traditional documentation, in which a programmer is presented with source code that follows a compiler-imposed order, and must decipher the thought process behind the program from the code and its associated comments. The meta-language capabilities of literate programming are also claimed to facilitate thinking, giving a higher "bird's eye view" of the code and increasing the number of concepts the mind can successfully retain and process. Applicability of the concept to programming on a large scale, that of commercial-grade programs, is proven by an edition of TeX code as a literate program.


title: Literate programming

text: Knuth also claims that literate programming can lead to easy porting of software to multiple environments, and even cites the implementation of TeX as an example.


title: Literate programming

text: Literate programming is very often misunderstood to refer only to formatted documentation produced from a common file with both source code and comments – which is properly called documentation generation – or to voluminous commentaries included with code. This is the converse of literate programming: well-documented code or documentation extracted from code follows the structure of the code, with documentation embedded in the code; while in literate programming, code is embedded in documentation, with the code following the structure of the documentation.


title: Literate programming

text: This misconception has led to claims that comment-extraction tools, such as the Perl Plain Old Documentation or Java Javadoc systems, are "literate programming tools". However, because these tools do not implement the "web of abstract concepts" hiding behind the system of natural-language macros, or provide an ability to change the order of the source code from a machine-imposed sequence to one convenient to the human mind, they cannot properly be called literate programming tools in the sense intended by Knuth.


title: Literate programming

text: In 1986, Jon Bentley asked Knuth to demonstrate the concept of literate programming for his "Programming Pearls" column in the "Communications of the ACM", by writing a program in WEB. Knuth sent him a program for a problem previously discussed in the column (that of sampling "M" random numbers in the range 1.."N"), and also asked for an "assignment". Bentley gave him the problem of finding the "K" most common words from a text file, for which Knuth wrote a WEB program that was published together with a review by Douglas McIlroy of Bell Labs. McIlroy praised the intricacy of Knuth's solution, his choice of a data structure (a variant of Frank M. Liang's hash trie), and the presentation. He criticized some matters of style, such as the fact that the central idea was described late in the paper, the use of magic constants, and the absence of a diagram to accompany the explanation of the data structure. McIlroy, also used the review to critique the programming task itself, pointing out that in Unix (developed at Bell Labs), utilities for text processing (tr, sort, uniq and sed) had been written previously that were "staples", and a solution that was easy to implement, debug and reuse could be obtained by combining these utilities in a six-line shell script. In response, Bentley wrote that:


title: Literate programming

text: McIlroy later admitted that his critique was unfair, since he criticized Knuth's program on engineering grounds, while Knuth's purpose was only to demonstrate the literate programming technique. In 1987, "Communications of the ACM" published a followup article which illustrated literate programming with a C program that combined artistic approach of Knuth with engineering approach of McIlroy, with a critique by John Gilbert.


title: Literate programming

text: A classic example of literate programming is the literate implementation of the standard Unix codice_1 word counting program. Knuth presented a CWEB version of this example in Chapter 12 of his "Literate Programming" book. The same example was later rewritten for the noweb literate programming tool. This example provides a good illustration of the basic elements of literate programming.


title: Literate programming

text: The following snippet of the codice_1 literate program shows how arbitrary descriptive phrases in a natural language are used in a literate program to create macros, which act as new "operators" in the literate programming language, and hide chunks of code or other macros. The mark-up notation consists of double angle brackets ("codice_3") that indicate macros, the "codice_4" symbol which indicates the end of the code section in a noweb file. The "codice_5" symbol stands for the "root", topmost node the literate programming tool will start expanding the web of macros from. Actually, writing out the expanded source code can be done from any section or subsection (i.e. a piece of code designated as "codice_6", with the equal sign), so one literate program file can contain several files with machine source code.


title: Literate programming

text: The unraveling of the chunks can be done in any place in the literate program text file, not necessarily in the order they are sequenced in the enclosing chunk, but as is demanded by the logic reflected in the explanatory text that envelops the whole program.


title: Literate programming

text: Macros are not the same as "section names" in standard documentation. Literate programming macros hide the real code behind themselves, and be used inside any low-level machine language operators, often inside logical operators such as "codice_7", "codice_8" or "codice_9". This can be seen in the following codice_1 literate program.


title: Literate programming

text: The macros stand for any chunk of code or other macros, and are more general than top-down or bottom-up "chunking", or than subsectioning. Donald Knuth said that when he realized this, he began to think of a program as a "web" of various parts.


title: Literate programming

text: In a noweb literate program besides the free order of their exposition, the chunks behind macros, once introduced with "codice_11", can be grown later in any place in the file by simply writing "codice_6" and adding more content to it, as the following snippet illustrates ("plus" is added by the document formatter for readability, and is not in the code).


title: Literate programming

text: The documentation for a literate program is produced as part of writing the program. Instead of comments provided as side notes to source code a literate program contains the explanation of concepts on each level, with lower level concepts deferred to their appropriate place, which allows for better communication of thought. The snippets of the literate codice_1 above show how an explanation of the program and its source code are interwoven. Such exposition of ideas creates the flow of thought that is like a literary work. Knuth wrote a "novel" which explains the code of the interactive fiction game Colossal Cave Adventure.


title: Literate programming

text: The first published literate programming environment was WEB, introduced by Knuth in 1981 for his TeX typesetting system; it uses Pascal as its underlying programming language and TeX for typesetting of the documentation. The complete commented TeX source code was published in Knuth's "TeX: The program", volume B of his 5-volume "Computers and Typesetting". Knuth had privately used a literate programming system called DOC as early as 1979. He was inspired by the ideas of Pierre-Arnoul de Marneffe. The free CWEB, written by Knuth and Silvio Levy, is WEB adapted for C and C++, runs on most operating systems and can produce TeX and PDF documentation.


title: Literate programming

text: There are various other implementations of the literate programming concept (many of these don't have macros and hence violate the order of human logic principle, which makes them more of semi-literate tools):


title: Rabbit–duck illusion

text: The earliest known version is an unattributed drawing from the 23 October 1892 issue of ", a German humour magazine. It was captioned, in older German spelling, "" ("Which animals are most like each other?"), with "" ("Rabbit and Duck") written underneath.


title: Rabbit–duck illusion

text: After being used by psychologist Joseph Jastrow, the image was made famous by Ludwig Wittgenstein, who included it in his "Philosophical Investigations" as a means of describing two different ways of seeing: "seeing that" versus "seeing as".


title: Rabbit–duck illusion

text: Whether one sees a rabbit or a duck, and how often, may correlate with sociological, biological and psychological factors. For example, Swiss, both young and old, tend to see a bunny during Easter, and a bird/duck in October. It may also indicate creativity. A standard test of creativity is to list as many novel uses as one can for an everyday object (e.g. a paper clip) in a limited time. Wiseman et al. found was that participants who easily could see the image as either a rabbit or duck came up with an average of about 5 novel uses for their everyday item, while those who could not flip between rabbit and duck at all came up with fewer than 2 novel uses.


title: Rabbit–duck illusion

text: Several scholars suggest that the illusion resonates philosophically, and politically. Wittgenstein, as Le Penne explains, employs the rabbit-duck illusion to distinguish perception from interpretation. If you only see a rabbit, you would say "this "is" a rabbit," but once you become aware of the duality you would say ""now" I see it "as" a rabbit." You may also say "it's a rabbit-duck," which, for Wittgenstein, is a perceptual report.


title: Rabbit–duck illusion

text: Abulof develops the point to explain how the illusion crystallizes the interplay between freedom (choice) and facticity (forced reality). If you see just a duck, you may need to actively choose to work on seeing the rabbit too, and once you do, to then choose which you see at any given point. While submitting that "once you see the duck you cannot unsee it," Abulof claims that "trying to unsee what we already did might be less about choosing one perspective over another but about negating one, so that we don’t have to choose."


title: Audio frequency

text: An audio frequency or audible frequency (AF) is a periodic vibration whose frequency is audible to the average human. The SI unit of frequency is the hertz (Hz). It is the property of sound that most determines pitch.


title: Audio frequency

text: The generally accepted standard hearing range for humans is 20 to 20,000 Hz. In air at atmospheric pressure, these represent sound waves with wavelengths of to . Frequencies below 20 Hz are generally felt rather than heard, assuming the amplitude of the vibration is great enough. High frequencies are the first to be affected by hearing loss due to age or prolonged exposure to very loud noises. Sound frequencies above 20 kHz are called ultrasonic.


title: General Prologue

text: The General Prologue is the first part of "The Canterbury Tales" by Geoffrey Chaucer. It introduces the frame story, in which a group of pilgrims travelling to the shrine of Thomas Becket in Canterbury agree to take part in a storytelling competition, and describes the pilgrims themselves.


title: General Prologue

text: The frame story of the poem, as set out in the 858 lines of Middle English which make up the General Prologue, is of a religious pilgrimage. The narrator, Geoffrey Chaucer, is in The Tabard Inn in Southwark, where he meets a group of 'sundry folk' who are all on the way to Canterbury, the site of the shrine of Saint Thomas Becket, a martyr reputed to have the power of healing the sinful.


title: General Prologue

text: The setting is April, and the prologue starts by singing the praises of that month whose rains and warm western wind restore life and fertility to the earth and its inhabitants. This abundance of life, the narrator says, prompts people to go on pilgrimages; in England, the goal of such pilgrimages is the shrine of Thomas Becket. The narrator falls in with a group of pilgrims, and the largest part of the prologue is taken up by a description of them; Chaucer seeks to describe their 'condition', their 'array', and their social 'degree'. The narrator expresses admiration and praise towards the pilgrims' abilities.


title: General Prologue

text: The pilgrims include a knight; his son, a squire; the knight's yeoman; a prioress, accompanied by a nun and the nun's priest; a monk; a friar; a merchant; a clerk; a sergeant of law; a franklin; a haberdasher; a carpenter; a weaver; a dyer; a tapestry weaver; a cook; a shipman; a doctor of physic; a wife of Bath; a parson and his brother, a plowman; a miller; a manciple; a reeve; a summoner; a pardoner; the Host (a man called Harry Bailey); and Chaucer himself. At the end of this section, the Host proposes that the group ride together and entertain one another with stories. He lays out his plan: each pilgrim will tell two stories on the way to Canterbury and two on the way back. Whoever has told the most meaningful and comforting stories, with "the best sentence and moost solaas" (line 798) will receive a free meal paid for by the rest of the pilgrims upon their return. The company agrees and makes the Host its governor, judge, and record keeper. They set off the next morning and draw lots to determine who will tell the first tale. The Knight wins and prepares to tell his tale.


title: General Prologue

text: The "General Prologue" establishes the frame for the "Tales" as a whole (or of the intended whole) and introduces the characters/storytellers. These are introduced in the order of their rank in accordance with the three medieval social estates (clergy, nobility, and commoners and peasantry). These characters are also representative of their estates and models with which the others in the same estate can be compared and contrasted.


title: General Prologue

text: The structure of the General Prologue is also intimately linked with the narrative style of the tales. As the narrative voice has been under critical scrutiny for some time, so too has the identity of the narrator himself. Though fierce debate has taken place on both sides, (mostly contesting that the narrator either is, or is not, Geoffrey Chaucer), most contemporary scholars believe that the narrator is meant to be Chaucer himself to some degree. Some scholars, like William W. Lawrence, claim that the narrator is Geoffrey Chaucer in person. Others, like Marchette Chute for instance, contest that the narrator is instead a literary creation like the other pilgrims in the tales.


title: General Prologue

text: Chaucer makes use of his extensive literary and linguistic knowledge in the "General Prologue" by interplaying Latin, French, and English words against each other. French was considered a hierarchal, courtly, and aristocratic language during the Middle Ages, whereas Latin was the language of learning. The opening lines of The Canturbury Tales show a diversity of phrasing by including words of French origin like "droghte," "veyne," and "licour" alongside English terms for nature: "roote," "holt and heeth," and "croppes."


title: General Prologue

text: John Matthews Manly attempted to identify pilgrims with real fourteenth-century people. In some instances, such as the Summoner and the Friar, he attempts localization to a small geographic area. The Man of Law is identified as Thomas Pynchbek (also Pynchbeck), who was chief baron of the exchequer. Sir John Bussy, an associate of Pynchbek, is identified as the Franklin. The Pembroke estates near Baldeswelle supplied the portrait for the unnamed Reeve.


title: General Prologue

text: Sebastian Sobecki argues that the General Prologue is a pastiche of the historical Harry Bailey's surviving 1381 poll-tax account of Southwark's inhabitants.


title: General Prologue

text: The following are the first 18 lines of the General Prologue. The text was written in a dialect associated with London and spellings associated with the then-emergent Chancery Standard.


title: General Prologue

text: When April with its sweet showers has pierced March's drought to the root, bathing every vein in such liquid by whose virtue the flower is engendered, and when Zephyrus with his sweet breath has also enlivened the tender plants in every wood and field, and the young sun is halfway through Aries, and small birds that sleep all night with an open eye make melodies (their hearts so goaded by Nature), then people long to go on pilgrimages, and palmers seek faraway shores and distant saints known in sundry lands, and especially they wend their way to Canterbury from every shire of England to seek the holy blessed martyr, who helped them when they were ill.


title: Carding

text: Carding is a mechanical process that disentangles, cleans and intermixes fibres to produce a continuous web or sliver suitable for subsequent processing. This is achieved by passing the fibres between differentially moving surfaces covered with "card clothing", a firm flexible material embedded with metal pins. It breaks up locks and unorganised clumps of fibre and then aligns the individual fibres to be parallel with each other. In preparing wool fibre for spinning, carding is the step that comes after teasing.


title: Carding

text: The word is derived from the Latin meaning thistle or teasel, as dried vegetable teasels were first used to comb the raw wool before technological advances led to the use of machines.


title: Carding

text: These ordered fibres can then be passed on to other processes that are specific to the desired end use of the fibre: Cotton, batting, felt, woollen or worsted yarn, etc. Carding can also be used to create blends of different fibres or different colours. When blending, the carding process combines the different fibres into a homogeneous mix. Commercial cards also have rollers and systems designed to remove some vegetable matter contaminants from the wool.


title: Carding

text: Common to all carders is card clothing. Card clothing is made from a sturdy flexible backing in which closely spaced wire pins are embedded. The shape, length, diameter, and spacing of these wire pins are dictated by the card designer and the particular requirements of the application where the card cloth will be used. A later version of the card clothing product developed during the latter half of the 19th century and was found only on commercial carding machines, whereby a single piece of serrated wire was wrapped around a roller, became known as metallic card clothing.


title: Carding

text: Science historian Joseph Needham ascribes the invention of bow-instruments used in textile technology to India. The earliest evidence for using bow-instruments for carding comes from India (2nd century CE). These carding devices, called "kaman" (bow) and "dhunaki", would loosen the texture of the fibre by the means of a vibrating string.


title: Carding

text: At the turn of the eighteenth century, wool in England was being carded using pairs of hand cards, in a two-stage process: 'working' with the cards opposed and 'stripping' where they are in parallel.


title: Carding

text: In 1748 Lewis Paul of Birmingham, England, invented two hand driven carding machines. The first used a coat of wires on a flat table moved by foot pedals. This failed. On the second, a coat of wire slips was placed around a card which was then wrapped around a cylinder.


title: Carding

text: Daniel Bourn obtained a similar patent in the same year, and probably used it in his spinning mill at Leominster, but this burnt down in 1754. The invention was later developed and improved by Richard Arkwright and Samuel Crompton. Arkwright's second patent (of 1775) for his carding machine was subsequently declared invalid (1785) because it lacked originality.


title: Carding

text: From the 1780s, the carding machines were set up in mills in the north of England and mid-Wales. Priority was given to cotton but woollen fibres were being carded in Yorkshire in 1780. With woollen, two carding machines were used: the first or the scribbler opened and mixed the fibres, the second or the condenser mixed and formed the web. The first in Wales was in a factory at Dolobran near Meifod in 1789. These carding mills produced yarn particularly for the Welsh flannel industry.


title: Carding

text: In 1834 James Walton invented the first practical machines to use a wire card. He patented this machine and also a new form of card with layers of cloth and rubber. The combination of these two inventions became the standard for the carding industry, using machines first built by Parr, Curtis and Walton in Ancoats, and from 1857 by Jams Walton & Sons at Haughton Dale.


title: Carding

text: By 1838, the Spen Valley, centred on Cleckheaton had at least 11 card clothing factories and by 1893, it was generally accepted as the card cloth capital of the world, though by 2008 only two manufacturers of metallic and flexible card clothing remained in England, Garnett Wire Ltd. dating back to 1851 and Joseph Sellers & Son Ltd established in 1840.


title: Carding

text: Baird from Scotland took carding to Leicester, Massachusetts in the 1780s. In the 1890s, the town produced one-third of all hand and machine cards in North America. John and Arthur Slater, from Saddleworth went over to work with Slater in 1793.


title: Carding

text: A 1780s scribbling mill would be driven by a water wheel. There were 170 scribbling mills around Leeds at that time. Each scribbler would require to operate. Modern machines are driven by belting from an electric motor or an overhead shaft via two pulleys.


title: Carding

text: Carding: the fibres are separated and then assembled into a loose strand (sliver or tow) at the conclusion of this stage.


title: Carding

text: In a wider sense carding can refer to the four processes of willowing, lapping, carding and drawing. In willowing the fibres are loosened. In lapping the dust is removed to create a flat sheet or lap of fibres; Carding itself is the combing of the tangled lap into a thick rope or sliver of 1/2 inch in diameter, it can then be optionally combed, is used to remove the shorter fibres, creating a stronger yarn.


title: Carding

text: In drawing a drawing frame combines 4 slivers into one. Repeated drawing increases the quality of the sliver allowing for finer counts to be spun. Each sliver will have thin and thick spots, and by combining several slivers together a more consistent size can be reached. Since combining several slivers produces a very thick rope of cotton fibres, directly after being combined the slivers are separated into rovings. These rovings (or slubbings) are then what are used in the spinning process.


title: Carding

text: For machine processing, a roving is about the width of a pencil. The rovings are collected in a drum and proceed to the slubbing frame which adds twist, and winds onto bobbins. Intermediate Frames are used to repeat the slubbing process to produce a finer yarn, and then the roving frames reduces it to a finer thread, gives more twist, makes more regular and even in thickness, and winds onto a smaller tube.


title: Carding

text: The carders used currently in woollen mills differ very little from machines used 20 to 50 years ago, and in some cases, the machines are from that era.


title: Carding

text: Machine carders vary in size from the one that easily fits on the kitchen table, to the carder that takes up a full room .


title: Carding

text: A carder that takes up a full room works very similarly, the main difference being that the fibre goes through many more drums often with intervening cross laying to even out the load on the subsequent cards, which normally get finer as the fibre progresses through the system.


title: Carding

text: When the fibre comes off the drum, it is in the form of a bat – a flat, orderly mass of fibres. If a small drum carder is being used, the bat is the length of the circumference of the big drum and is often the finished product. A big drum carder, though, will then take that bat and turn it into roving, by stretching it thinner and thinner, until it is the desired thickness (often rovings are the thickness of a wrist). (A rolag differs from a roving because it is not a continuous strand, and because the fibres end up going across instead of along the strand.) Cotton fibres are fed into the machine, picked up and brushed onto flats when carded.


title: Carding

text: Some hand-spinners have a small drum carder at home especially for the purpose of mixing together the different coloured fibre that are bought already carded.


title: Carding

text: Predating mechanised weaving, hand loom weaving was a cottage industry that used the same processes but on a smaller scale. These skills have survived as an artisan craft in "less developed" societies- and as art form and hobby in "advanced" societies.


title: Carding

text: Hand cards are typically square or rectangular paddles manufactured in a variety of sizes from to . The working face of each paddle can be flat or cylindrically curved and wears the card cloth. Small cards, called flick cards, are used to flick the ends of a lock of fibre, or to tease out some strands for spinning off.


title: Carding

text: A pair of cards is used to brush the wool between them until the fibres are more or less aligned in the same direction. The aligned fibre is then peeled from the card as a rolag. Carding is an activity normally done outside or over a drop cloth, depending on the wool's cleanliness. Rolag is peeled from the card.


title: Carding

text: Carding of wool can either be done "in the grease" or not, depending on the type of machine and on the spinner's preference. "In the grease" means that the lanolin that naturally comes with the wool has not been washed out, leaving the wool with a slightly greasy feel. The large drum carders do not tend to get along well with lanolin, so most commercial worsted and woollen mills wash the wool before carding. Hand carders (and small drum carders too, though the directions may not recommend it) can be used to card lanolin rich wool.


title: Carding

text: The simplest machine carder is the drum carder. Most drum carders are hand-cranked but some are powered by an electric motor. These machines generally have two rollers, or drums, covered with card clothing. The licker-in, or smaller roller meters fibre from the infeed tray onto the larger storage drum. The two rollers are connected to each other by a belt- or chain-drive so that their relative speeds cause the storage drum to gently pull fibres from the licker-in. This pulling straightens the fibres and lays them between the wire pins of the storage drum's card cloth. Fibre is added until the storage drum's card cloth is full. A gap in the card cloth facilitates removal of the batt when the card cloth is full.


title: Carding

text: Some drum carders have a soft-bristled brush attachment that presses the fibre into the storage drum. This attachment serves to condense the fibres already in the card cloth and adds a small amount of additional straightening to the condensed fibre.


title: Carding

text: Cottage carding machines differ significantly from the simple drum card. These carders do not store fibre in the card cloth as the drum carder does but, rather, fibre passes through the workings of the carder for storage or for additional processing by other machines.


title: Carding

text: A typical cottage carder has a single large drum (the swift) accompanied by a pair of in-feed rollers (nippers), one or more pairs of worker and stripper rollers, a fancy, and a doffer. In-feed to the carder is usually accomplished by hand or by conveyor belt and often the output of the cottage carder is stored as a batt or further processed into roving and wound into bumps with an accessory bump winder. The cottage carder in the supports both outputs.


title: Carding

text: Raw fibre, placed on the in-feed table or conveyor is moved to the nippers which restrain and meter the fiber onto the swift. As they are transferred to the swift, many of the fibres are straightened and laid into the swift's card cloth. These fibres will be carried past the worker / stripper rollers to the fancy.


title: Carding

text: As the swift carries the fibres forward, from the nippers, those fibres that are not yet straightened are picked up by a worker and carried over the top to its paired stripper. Relative to the surface speed of the swift, the worker turns quite slowly. This has the effect of reversing the fibre. The stripper, which turns at a higher speed than the worker, pulls fibres from the worker and passes them to the swift. The stripper's relative surface speed is slower than the swift's so the swift pulls the fibres from the stripper for additional straightening.


title: Carding

text: Straightened fibres are carried by the swift to the fancy. The fancy's card cloth is designed to engage with the swift's card cloth so that the fibres are lifted to the tips of the swift's card cloth and carried by the swift to the doffer. The fancy and the swift are the only rollers in the carding process that actually touch.


title: Carding

text: The slowly turning doffer removes the fibres from the swift and carries them to the fly comb where they are stripped from the doffer. A fine web of more or less parallel fibre, a few fibres thick and as wide as the carder's rollers, exits the carder at the fly comb by gravity or other mechanical means for storage or further processing.


title: The Trial of Christine Keeler

text: The Trial of Christine Keeler is a British television series based on the chain of events surrounding the Profumo affair in the 1960s. The six-part series premiered on BBC One in the United Kingdom on 29 December 2019. The series was adapted by screenwriter Amanda Coe and stars Sophie Cookson, James Norton, Ellie Bamber, Ben Miles, Visar Vishka, Emilia Fox, Nathan Stewart-Jarrett and Anthony Welsh.


title: The Trial of Christine Keeler

text: Christine Keeler, an English model and a showgirl, becomes entangled in a scandal at age 21, after a series of events involving her two ex-boyfriends Johnny Edgecombe and Lucky Gordon, in combination with MI5's secret service intrigues. These combine to reveal publicly two of Keeler's affairs from two years before when she was 19. Both affairs were with prominent married men - Soviet Union naval attaché Yevgeny Ivanov, and Secretary of State for War, John Profumo, at the height of the Cold War.


title: The Trial of Christine Keeler

text: "The Trial of Christine Keeler" was announced as a project by the BBC in October 2017, with Amanda Coe attached to script. At the time, Coe stated, "I’m excited to have the opportunity to bring a fresh lens to a story that has become a powerful fable of our national identity. The astonishing story of Christine Keeler and the so-called Profumo affair is the Salem Witch Trial meets O.J. Simpson – a perfect storm of gender, class, race and power that resonates into the world we’re living in today."


title: The Trial of Christine Keeler

text: Filming began in Bristol in December 2018. Filming was also spotted on Lansdown Terrace Lane, Cheltenham, Gloucestershire. Abbey Green and North Parade Buildings in Bath can also be seen in episode 1.


title: The Trial of Christine Keeler

text: Keshet International handled the distribution rights internationally, with Endeavor Content in the United States.


title: Anubhav Mohanty

text: Anubhav Mohanty (born 24 December 1981) is an Indian actor, film producer, television personality and politician who is known for his work in Odia-language films.


title: Anubhav Mohanty

text: Mohanty started his career by first appearing in Odia music videos before debuting in the Odia cinema in the 2004 film "I Love You" opposite Namrata Thapa. He had two other releases the same year, "Saathire" and "Barsha My Darling".


title: Anubhav Mohanty

text: Afterwards, a number of his films such as "Nei Jare Megha Mote" (2008), "Suna Chadhei Mo Rupa Chadhei" (2009), "Akashe Ki Ranga Lagila" (2009), Abhimanyu (2009), Ama Bhitare Kichhi Achhi (2010), Diwana (2010), Kiese Dakuchhi Kouthi Mate (2011), "Balunga Toka" (2011), "Something Something" (2012), Matric Fail (2012), ACP Ranveer (2012), "Mo Duniya Tu Hi Tu" (2013), "Haata Dhari Chaaluthaa" (2013), Kehi Jane Bhala Lagere (2013), "Something Something 2" (2014), "Gapa Hele bi Sata" (2015), "Agastya" (2016), "Abhaya" (2017), "Kabula Barabula" (2017), "" (2018) were commercially successful.


title: Anubhav Mohanty

text: In 2012, after the success of Balunga Toka, he created his own production house named Vishnupriyaa Arts & Graphics. The movie "Something Something" was the biggest hit of 2012. Anubhav made his debut in the Bengali film industry with the movie "Saathi Amaar" opposite Rachana Banerjee in a special appearance.


title: Anubhav Mohanty

text: In 2019, Mohanty starred in his most expensive Odia movie Biju Babu directed by Nila Madhab Panda, which didn't do well as expected at the box office.


title: Anubhav Mohanty

text: On 27 April 2013, he joined the regional political party BJD. He was elected to Rajya Sabha uncontested in June 2014 and is the youngest parliamentarian of Rajyasabha. On 23 May 2019, he was elected as the Member of Parliament from Kendrapara (Lok Sabha constituency) by beating the previously elected Member of Parliament Baijayant Panda.


title: Sound City (film)

text: Sound City is a 2013 American documentary film produced and directed by Dave Grohl, in his directorial debut, about the history of recording studio Sound City Studios in Van Nuys, Los Angeles. Grohl was inspired to create the documentary after he purchased several items from the studio, including the Neve 8028 analog mixing console, when the studio closed in 2011. The film discusses the historic importance of Sound City Studios and its Neve 8028 console to the world of rock music, along with other recording genres. "Sound City" debuted on January 18, 2013, to positive reviews, with a 100% Rotten Tomatoes score. The film engendered a record, "", which received two Grammy Awards.


title: Sound City (film)

text: The 106-minute documentary film covers a variety of important and record-breaking albums that all came out of Sound City Studios. Sound City Studios was located in the San Fernando Valley, amidst rows of dilapidated warehouses. The little-known recording studio housed a rare analog Neve recording console and had a reputation for recording drums. Artists such as Nirvana, Kyuss, Red Hot Chili Peppers, Fleetwood Mac, Neil Young, Rick Springfield, Tom Petty, Rage Against the Machine, and Slipknot recorded groundbreaking music at the studio. In 1991 Nirvana recorded the album Nevermind at Sound City Studios. This was one of many platinum albums that came out of the studio, placing Sound City among the most well-known names and record labels in the music industry. Sound City played an important role in the history of Fleetwood Mac. After hearing a recording of Stevie Nicks and Lindsey Buckingham made at Sound City, Mick Fleetwood asked Buckingham if he would join, to which he agreed so long as Nicks was invited in as well. This version of the group later earned three Grammy awards.


title: Sound City (film)

text: The documentary credits much of the studio's success to the Neve 8028 console and the strong and grungy drum sound that the studio produced. The sound that came out of the studio is often credited to the shape of the studio and the way that sound waves acted within the room. Even though much of the studio's success was credited to the shape of the booth, another large factor was credited to the console. Their custom Neve 8028, designed by Rupert Neve, produced a strong and punchy sound that defined '70s rock music. Sound City produced platinum albums for four decades.


title: Sound City (film)

text: The film tells the story of the studio from its early days in 1969 until its closing in 2011. The film covers the reasons for the studio's success along with the reasons for the distinct sound that came from the studio. The film covers stories from recording in the studio, the eventual deterioration of the studio, and even the non-musical production of albums in the studio. Sound City even produced albums by people like Bill Cosby. It then follows Dave Grohl's purchase of the studio's custom analog Neve console, which he moved to his personal studio, Studio 606. Rupert Neve was an English engineer who founded Neve Electronics in 1961, designed and manufactured the Neve 8028, "one of four in the world", and is interviewed by Grohl in the film. In the film, famous musicians who recorded at Sound City reunite at Studio 606 for a jam session and to make an album of "all-new all-original songs, each one composed and recorded exclusively for the film within its own 24-hour session on that console."


title: Sound City (film)

text: The film was first exhibited in the 2013 Sundance Film Festival on January 18, 2013, and released on video-on-demand and in theaters on February 1, 2013. It was screened on January 31 in five Australian cities (Melbourne, Sydney, Brisbane, Adelaide and Perth). The documentary was also screened in three cities in Canada (Toronto, Vancouver and Montreal) and 51 cities in the United States. The film was screened for a one-off showing on February 18, 2013, in 23 theaters across the UK.


title: Sound City (film)

text: After the closing credits there is a short, silent segment of a home movie showing a band getting set up. The picture freezes on one person and the following text appears: "In memory of Brian Hauge (1970 – 2012)." He was the key grip of the film.


title: Sound City (film)

text: Current or former members of the bands Dio, Black Sabbath, Heaven & Hell, Pixies, Fleetwood Mac, Nirvana, REO Speedwagon, Weezer, Ratt, Creedence Clearwater Revival, Queens of the Stone Age, Them Crooked Vultures, The Beatles, Cheap Trick, Tom Petty & The Heartbreakers, Nine Inch Nails, Slipknot, Stone Sour, Metallica, Black Rebel Motorcycle Club, Fear, Foo Fighters and Rage Against the Machine appeared in the film. The drummer of Foo Fighters, Taylor Hawkins, also appeared in the film.


title: Sound City (film)

text: "Sound City" received overwhelmingly positive reviews. Film review aggregator Rotten Tomatoes reports that 100% of critics gave the film a positive review, with an average rating of 7.7/10 based on 46 reviews. The site's consensus states: "Smart, affectionate, and unabashedly sincere, "Sound City" pairs a great soundtrack with a well-argued ode to one of rock 'n' roll's most fondly remembered bygone eras." It was one of the highest rated limited release and documentary movies of the year on the website. On Metacritic the film has a score of 76 based on reviews from 15 critics, indicating "generally favorable reviews".


title: Sound City (film)

text: Kenneth Turan from "Los Angeles Times" gave the film a positive review, saying "High-spirited, emotional and funny, "Sound City" is, of all things, a mash note to a machine. Not just any machine, however, but one that helped change the face of rock 'n' roll." In a review for "The Daily Telegraph", Sebastian Doggart awarded the documentary five out of five stars and proclaimed it as "an exhilarating exploration of the creative process." Peter Travers of "Rolling Stone" admits "In his directing debut, Dave Grohl shows the instincts of a real filmmaker. "Sound City" hits you like a shot in the heart." Bill Goodykoontz of "The Arizona Republic" remarks ""Sound City" is a music geek's dream, a rollicking look at a dumpy California studio where a lot of musicians found magic. It's also a bit of a mess, like all good rock and roll ought to be", while Elizabeth Weitzman of "New York Daily News" praised that "Grohl's aim is to explore the aura of a place, but what he winds up proving is that people make the magic."


title: Sound City (film)

text: In a mixed review, Gillian G. Gaar writes, "The film's final third drags a bit because there's too much of the recording sessions Grohl set up using that famous Neve board, most notably featuring Paul McCartney and Grohl's Nirvana bandmate Krist Novoselic (on the raucous "Cut Me Some Slack"), as well as Stevie Nicks, Trent Reznor and Joshua Homme, among others". Phil Gallo from "Billboard" stated "Grohl's inexperience as a filmmaker only shows when the film makes a sharp turn out of history and into the more recent past: There's a sense that instead of celebrating great rock 'n' roll moments, a product is about to be pitched at the viewer."


title: Sound City (film)

text: The documentary won the Grammy for Best Compilation Soundtrack for Digital Media in 2014. The documentary was also won the Cinema Eye Audience Choice Prize at the Cinema Eye Honors Awards in 2014. The film received a Satellite Award for Best Documentary Film nomination in the 18th edition.


title: Sound City (film)

text: Sound City: Real to Reel is the official soundtrack of the documentary and can be seen in production during the latter part of the film. The album was recorded within Grohl's Studio 606 after his purchase of the Neve console from Sound City Studios. In partnership with a variety of famous recording musicians, the album was released on March 12, 2013. The album would go on to win the Grammy Award for Best Compilation Soundtrack for Visual Media, along with a win for Best Rock Song for "Cut Me Some Slack".


title: FIBA Women's Basketball World Cup

text: The FIBA Women's Basketball World Cup, also known as the Basketball World Cup for Women or simply the FIBA Women's World Cup, is an international basketball tournament for women's national teams held quadrennially. It was created by the International Basketball Federation (FIBA). Its inaugural game was in 1953 in Chile, three years after the first men's World Championship. For most of its early history, it was not held in the same year as the men's championship, and was not granted a consistent quadrennial cycle until 1967. After the 1983 event, FIBA changed the scheduling so that the women's tournament would be held in even-numbered non-Olympic years, a change that had come to the men's tournament in 1970.


title: FIBA Women's Basketball World Cup

text: Formerly known as the FIBA World Championship for Women, the name changed shortly after its 2014 edition. From 1986 through 2014, the tournament was held in the same year as the men's FIBA Basketball World Cup, though in different countries. After the 2014 editions of both championships, the men's event was rescheduled on a new four-year cycle (the latest in 2019) to avoid conflict with the men's FIFA World Cup, but the Women's World Cup remains on the same four-year cycle, with editions held in the same years as the men's FIFA World Cup and the finals tournament played a few months after it. The 2022 FIBA Women's Basketball World Cup was held in Sydney, Australia.


title: FIBA Women's Basketball World Cup

text: Only four nations have won titles in the history of the Women's World Cup. The first tournament was held in 1953 in Chile, with the participation of ten national teams. Despite losing to Brazil in the final round, the United States won the inaugural title. The next tournament which was held in 1957 in Brazil, marked the beginning of the long-time rivalry between the US team and Soviet team, who debuted at the World Championship. The first official match between these teams was played on the last day of the tournament, it was also the decisive match of the championship. Soviet players led after the first half (27–24), but in the second half the Americans managed to achieve victory (51–48) and won their second World title.


title: FIBA Women's Basketball World Cup

text: The third World Championship was held in 1959 in Moscow, Soviet Union. Due to international political tensions, caused by the Cold War, the United States and its allies didn't participate at this tournament, thus only 8 Eastern Bloc countries were able to play at the championship. In the absence of the US team, Soviet team won their maiden World title while Bulgaria took silver medals and Czechoslovakia finished third. But at the next World Championship, which was held in 1964 in Peru, all these Eastern European teams also occupied whole podium – Soviet Union won their second title in a row, Czechoslovakia won silver medals, Bulgaria took bronze while United States finished only at fourth place. This tournament marked the beginning of the era of dominance of the Soviet Union in world women's basketball, which lasted for next two decades. Under leadership of head coach Lidiya Alekseyeva, Soviet team won three next World Championships held in 1967 (Czechoslovakia), 1971 (Brazil) and 1975 (Colombia). The vast majority of medals at these tournaments were won by Eastern European and East Asian teams while United States even failed to qualify into final round. In general, from 1959 to 1975 Soviet team won record five titles in a row by winning all their 40 matches with margin of 10 points and more. Therefore, it was not surprising when the Soviet Union won the inaugural women's Olympic tournament which was held in 1976 in Montreal, Canada (by winning all five matches). Despite losing to the Japan and Soviet Union, the United States managed to finish second and capture silver medals while Bulgaria took Olympic bronze.


title: FIBA Women's Basketball World Cup

text: Unfortunately, the next world women's basketball major tournaments were clouded by a series of political boycotts caused by the Cold War. Firstly, the Soviet Union and four other Eastern Bloc countries withdrew from next World Championships which was held in 1979 in South Korea. In spite of losing to the hosts (82–94), United States won all other matches and captured a gold medal thanks to a better head-to-head point difference among the Top 3 teams. It was the third World title for the US team and the first since 1957. The next year the United States boycotted 1980 Olympic tournament which was held in Moscow, Soviet Union. In their absence, Soviet team captured their second Olympic title by winning all 6 matches while the Bulgaria and the Yugoslavia took silver and bronze medals respectively. Therefore, the next World Championship which was held in 1983 in Brazil became the first international major competition for seven years with participation of all the world's top teams. Soviet Union captured their sixth World title by winning all 10 of their matches, but this victory was the most difficult one. In the final group round, the Soviet team won the match against United States with a margin of only one point (85–84) after losing 40–49 at the end of first half. Later in the final match between these two teams the Soviets lost the first half with a score of 37–40, but also managed to achieve victory with a margin of only two points (84–82). Both of those matches had provided other teams with the knowledge that the Soviet Union wasn't as overwhelming a force as it was years prior. The China won their first World Championship medal after their victory over South Korea in a bronze medal match (71–63). Next year the Soviet Union and Hungary boycotted 1984 Olympic tournament which was held in Los Angeles, United States thus allowing the hosts to win their maiden Olympic title. South Korea and China took silver and bronze Olympic medals respectively.


title: FIBA Women's Basketball World Cup

text: Fortunately, all the world's top teams were able to partake in the next World Championship, which was held in 1986 in Soviet Union. One month before start of tournament, United States won the basketball tournament at the 1986 Goodwill Games in Moscow by beating Soviet Union with great margin of 23 points (83–60). Both reigning Olympic Champions (United States) and World Champions (Soviet Union) won all their group and semifinal matches, and then met in the final match in Moscow. In this final, US team once again proved their superiority by winning with a margin of 20 points (108–88) thus ending the remarkable winning streak of the Soviet team at the World Championships which lasted 56 consecutive matches. This victory became the turning point which marked beginning of the era of dominance of the United States in world women's basketball. At the 1988 Summer Olympics in Seoul, South Korea, the US team defended their Olympic title by beating the Yugoslavia in the final match (77–70) while the Soviet team failed to reach the final and unexpectively finished only in third place for the first time in their history. At the next World Championship which was held in 1990 in Malaysia, Soviet Union lost in the second group round to Czechoslovakia (79–82) and Yugoslavia (63–64) and finished only at fifth place. It was the first and only time the Soviet women's team had failed to reach the podium at the international level competition. Like two years prior, the United States and Yugoslavia once more met in the final match, and US team achieved victory again (88–78) by winning their sixth World title. Two years later, the United States went to 1992 Summer Olympics in Barcelona, Spain in the status of favorites to win - especially after the Yugoslavian team was banned from competition due to United Nations sanctions. However, the former Soviet players who competed for the Unified Team, as a result of Soviet Union's dissolution in December 1991, managed to achieve surprising success after a shocking victory over United States in the semifinals (79–73) and managed a victory over the China in the final match (76–66). The US team finished in third place. This was the last victory of Soviet-born players at the World level competitions, and the Unified Team ceased to exist after that.


title: FIBA Women's Basketball World Cup

text: The 12th World Championship was held in Australia in 1994, after the dissolution of Soviet Union, SFR Yugoslavia and Czechoslovakia. Slovakia became only newly formed national team who managed to qualify to this World Championship. In such situation, United States aimed to return at first position. However, they surprisingly lost semifinal match to Brazil (107–110) and once again finished only at the third place. In the final match, Brazil beat China (96–87) thus breaking US-Soviet duopoly on World Championship which lasted for 41 years. Two years later United States took revenge at the home 1996 Olympic tournament at Atlanta by beating Brazil in the final match with margin of 24 points (111–87). This victory marked beginning of US dominance at the Olympic Games – from 1996 to 2021, they won seven Olympic titles in a row with remarkable winning streak of 55 consecutive matches at Olympic tournaments.


title: FIBA Women's Basketball World Cup

text: The 13th World Championship took place in 1998 in Germany. Russian team participated at this tournament for first time after dissolution of Soviet Union. In the second group round, they lost to United States with great margin of 36 points (60–96) but then managed to reach final where met with US team again. In the final match, United States faced with much stronger resistance – Russia led with margin of 9 points after first half (28–37), but in the second half US team managed to reach advantage and achieved final victory (71–65). Australia won World Championship bronze medals for first time in their history. The similar story took place at the next World Championship which took place in 2002 in China – United States defeated Russian team at the preliminary round with margin of 34 points (89–55) but later they faced with stronger resistance from Russian side in the final. Despite this, US team won final match with margin of 5 points (79–74) and captured seventh World title while Australia took bronze medals for second time in a row. At the next 2006 World Championship in Brazil, Russian team lost to United States at the preliminary round (80–90) and then lost two more matches at the group stage. But after group stage, Russia achieved remarkable victory by beating US team in semifinals (75–68). It was only first defeat of United States for 12 years at the either Olympic Games or World Championships (and the last till nowadays). They finished only at third place after beating hosts in a bronze medal match (99–59). After this success, Russia was unable to show the same resistance to Australian team who won final match with margin of 17 points (91–74). Therefore, Australia became only fourth national team to win either Olympic or World title in the history of women's basketball.


title: FIBA Women's Basketball World Cup

text: The next World Championship took place in 2010 in the Czech Republic. Many people waited for another match between United States and Russia in playoffs. Both teams won all their group matches but then Russia suffered shocking defeat to Belarus in the quarterfinals (53–70). The defending champions, Australia also surprisingly lost quarterfinal match to hosts - Czech team (68–79). In the semifinals, Czech Republic beat Belarus in overtime (81–77) and reach final match for the first time after dissolution of Czechoslovakia. However, in the final match United States looked stronger and managed to return World title after victory with margin of 20 points (89–69). Spain won World Championship medals for first time in their history after beating Belarus in a bronze medal match (77–68). The next three edition were held without participation of Russian team who failed to qualify to 2014 and 2018 tournaments and was banned from participation in the 2022 World Cup due to the invasion of Ukraine. In 2014 US team repeated their success by beating Spain in the final match (77–64). The home team, Turkey managed to reach semifinals for first time in history but failed to win medals after losing to Australia in a bronze medal match (44–74). At the next 2018 World Cup in Spain, United States captured gold again after victory over Australia in a final match (73–56). The home team, Spain reached podium for third time in a row after victory over Belgium in a bronze medal match (67–60). The number of participants of the 2022 World Cup was reduced from 16 to 12 teams. United States won gold medals for fourth time in a row by beating China in a final match (83–61). Therefore, US team won eight of last ten World tournaments, captured their 11th World title and extended own winning streak at these competitions to 30 consecutive matches. The home team, Australia defeated Canada in a bronze medal match (95–65) and thus reached podium for third time in a row.


title: FIBA Women's Basketball World Cup

text: Note: From 1953 through 1979 the medalists were decided in a league format instead of in a knockout tournament; results of the final round matches are shown.


title: FIBA Women's Basketball World Cup

text: Boldface denotes active basketball players and highest medal count among all players (including these who not included in these tables) per type.


title: Gaga

text: Gaga ( literally 'touch touch') (also: ga-ga, gaga ball, or ga-ga ball) is a variant of dodgeball that is played in a gaga "pit". The game combines dodging, striking, running, and jumping, with the objective of being the last person standing. Players hit the ball at each other with their hands, and are eliminated if the ball strikes them on or below the knee. The game can be played by a group of individual players or with teams, as well as in one-on-one matches. Rules, ball types, pit surfaces, and pit sizes can vary widely at different venues.


title: Gaga

text: Gaga is played in a large fenced-in area (usually an octagon or hexagon) called a gaga pit. The gaga pit generally consists of flat walls atop a smooth dirt, turf, sand, or rubberized surface. The gaga ball can vary in size and form, generally ranging from a foam dodgeball to a rubber kickball. In some games, the ball may not actually take the shape of a sphere if the proper equipment is not available. The game begins when one player or a referee throws the gaga ball into the air; while the players' backs or hands are set against the wall, they shout "Ga" on each of the first three bounces. After three bounces, the ball is in play, and the players may leave the wall and hit the ball at each other in the pit. A player who is hit by the ball or breaks a rule is eliminated and must leave the game. Players may not hit the ball twice in a row, and a player who causes the ball to leave the pit is out. When the ball is caught in the air on a fly, the last person to hit the ball is out.


title: Gaga

text: Other rules may be added as necessary, and some may choose to play without all of the above rules. Additional rules that vary in frequency of implementation include the prohibition of blocking (using one's hands as a barrier between the ball and one's feet, rather than jumping), crouching, playing on the ground, and rolling. In other variations, an additional ball may enter play towards the end of the game if the two or three remaining players are making slow progress. Commonly, there will be a 20-second count down when play is too slow and only 2 or 3 players remain. At the end of the countdown, a new game is started.


title: Gaga

text: The origins of gaga have remained largely a mystery since its first appearance in the mid-20th century, though the predominant theory is that it was invented in Israel and exported to other countries around the world, usually as a game played by children at summer camps.


title: Gaga

text: Competitive gaga was reportedly popular in the Australian Jewish communities of Perth, Western Australia, in the 1980s, primarily through the exchange of Israeli "madrikhim" (counselors) to Australia, or Australian "madrikhim" returning from Israel. Although those claims remain largely anecdotal, fans of the game often cite Australia as a country in which the gaga community was especially active.


title: Gaga

text: Gaga is most frequently said to have been brought to the United States by Israeli counselors working at Jewish summer camps, arriving in the northeastern region as early as the 1950s, then spreading nationwide over the ensuing decades.


title: Gaga

text: Gaga in the modern day is frequently played at summer camps and on school playgrounds, as the means for a pit's construction are typically less expensive than other games requiring structures (i.e. steel soccer goals).


title: Gaga

text: In July 2012, "The New York Times" wrote that, "to the surprise of parents who recall the game from their youths, gaga is solidly mainstream." Among the things that contributed to gaga's expansion, the article credits children's love of the game. "They are teaching it to their parents and not vice versa. It's not like baseball or football or tennis, where they have to emulate someone else. Kids own it."


title: Gaga

text: Gaga continued its U.S. expansion to Manhattan with the 2011 opening of The Gaga Center, New York's first facility dedicated to the sport.


title: Gaga

text: In 2016 and 2017, "Tablet" magazine reporter Stephen Silver wrote a two-part investigation of gaga's origins, sifting through the various theories and rumors that had circulated over the preceding 60 years. In the second of the two articles, titled "Is the Mystery of Ga-Ga, Everyone's Favorite Summer-Camp Game, Finally Solved?" Silver interviewed a 61-year-old native of Baltimore, Maryland, Steve Steinberg, who claimed to have invented gaga in 1975 as a teenage camp counselor to six-year-old boys at Camp Milldale, a Jewish Community Center camp in the Baltimore area. "[Steinberg] says he started the game for the same reason it’s still played today at countless summer camps," Silver wrote, "to keep campers busy on rainy days." Contrary to the theory that the game's name derives from the Hebrew word meaning "touch-touch," Steinberg explained to Silver that during a moment of frustration with his campers, he'd told them that they "all look like a bunch of babies," and that the children responded by chanting "goo-goo, ga-ga." Steinberg said that the game became very popular with his campers, and that he eventually shortened the name to "ga-ga" so that it would fit on the printed activity schedule. The Steinberg story has been repeated in many other magazines, journals and blogs across the country.


title: Enhanced community quarantine in Luzon

text: The enhanced community quarantine in Luzon was a series of stay-at-home orders and "cordon sanitaire" measures implemented by the Inter-Agency Task Force for the Management of Emerging Infectious Diseases (IATF-EID) on the island of Luzon and its associated islands. It is part of the COVID-19 community quarantines in the Philippines, a larger scale of COVID-19 containment measures with varying degrees of strictness. The "enhanced community quarantine" (ECQ) is the strictest of these measures and is effectively a total lockdown.


title: Enhanced community quarantine in Luzon

text: There were three instances of the ECQ being implemented in Luzon. The first ECQ and first MECQ were implemented between March 17 and May 31, 2020. This was announced on March 16, two days after the government of the Philippines under Rodrigo Duterte placed Metro Manila under a "community quarantine" on March 14. It was implemented throughout Luzon from March 17 until May 15, and remained in areas with a moderate to high risk of infection until May 31. New degrees such as "modified enhanced community quarantine" (MECQ) and "general community quarantine" (GCQ) were introduced by the IATF-EID during the month of May as easing restrictions commenced, until all restrictions under ECQ and MECQ were downgraded to GCQ and "modified general community quarantine" (MGCQ) on June 1.


title: Enhanced community quarantine in Luzon

text: After two months of a relaxed GCQ status, a second MECQ was reimplemented in Metro Manila and its immediate surrounding provinces on August 4 and was lifted on August 18. Finally, on January 24, 2021, a second ECQ was restored in Tabuk while an MECQ was raised in four more municipalities in Kalinga. It was lifted on February 15. Due to a recent spike in COVID cases, especially in the Greater Manila Area, a third ECQ was reimplemented for the Holy Week starting on March 29 until April 4, which has since been extended until April 11, 2021.


title: Enhanced community quarantine in Luzon

text: The ECQ affected around 57 million people in Luzon during its peak. It also resulted in the mobilization of the national and local governments, with the Bayanihan to Heal as One Act passed to combat the epidemic. The effectiveness of the ECQ implementation was noted by a study made by the University of the Philippines, although there were also several documented cases of violations of ECQ regulations. Authorities then pushed for stricter enforcement, which in turn raised concerns of human rights violations.


title: Enhanced community quarantine in Luzon

text: Following the outbreak of coronavirus disease 2019 (COVID-19) which started in Wuhan, Hubei, China, the Philippine government confirmed the country's first case of the disease on January 30, 2020, when the virus was detected in a Chinese national who traveled from Wuhan, China and Hong Kong. The second case was confirmed on February 2, the patient being the first death outside mainland China was also Chinese. Three days later, on February 5, another Chinese national was confirmed to the be third case in the Philippines. After a month, on March 5, the Department of Health (DOH) announced that the first Filipino in the Philippines confirmed to be infected with COVID-19 who is also the fourth case while the fifth case is the first case of local transmission since the infected person did not travel outside the Philippines. The sixth case that was confirmed on March 7 is the wife of the fifth case. In the following days, the number of cases steadily increased.


title: Enhanced community quarantine in Luzon

text: On March 8, 2020, President Rodrigo Duterte signed Proclamation 922 placing the entire Philippines under state of public health emergency because of the COVID-19 threat that is looming in the nation. On the next day, March 9, Congressman Joey Salceda of the 2nd district of the province of Albay recommended a lockdown of the entire National Capital Region (NCR) for a period of seven days, in response to the COVID-19 threat. Some of Salceda's proposals for implementing the lockdown include banning mass transportation and stopping the operation of the Philippine expressway network that ply to and from the region, and canceling of classes and work. At first, President Rodrigo Duterte turned down the idea because it would "hamper the flow of basic commodities," although, Health Secretary Francisco Duque III, opined that the lockdown may put into effect in some areas where there are reported community-based transmissions, but not the whole NCR.


title: Enhanced community quarantine in Luzon

text: On March 12, President Duterte announced the "community quarantine" of Metro Manila that would start at 12 midnight on March 15 up to April 14 that covers 16 cities and one municipality. Traveling through land, domestic air, and domestic sea from Metro Manila was suspended but with exceptions. For international travel, restrictions are imposed on those who came from countries with localized COVID-19 transmissions, except for citizens of the Philippines (including their foreign spouse and children) or holders of permanent resident visas and diplomat visas. Mass transportation vehicles are allowed to operate provided that persons riding these vehicles comply with the social distancing guidelines. Curfew has also put into place by the local government units (LGUs) of Metro Manila.


title: Enhanced community quarantine in Luzon

text: During the second day of the implementation of the Metro Manila community quarantine, on March 16, President Duterte declared a Luzon-wide "enhanced community quarantine" (ECQ) that aimed to further combat the effect of the continuing and increasing spread of COVID-19. It took effect on March 17 and was supposedly scheduled to end on April 12. This quarantine also included the Mimaropa region (Occidental and Oriental Mindoro, Marinduque, Romblon and Palawan) despite it being outside the Luzon island. The Luzon ECQ is described under a March 16 memorandum from Executive Secretary Salvador Medialdea by the order of the President as compliance to Proclamation No. 929 (state of calamity of the whole Philippines due to COVID-19), Proclamation No. 922 (public health emergency) and Republic Act No. 11332 (reporting of communicable diseases law).


title: Enhanced community quarantine in Luzon

text: On March 30, DOH Secretary Duque said that lifting the ECQ is "too early to assess," citing the Wuhan lockdown was still in effect even if the new COVID-19 daily reported cases are single-digit only. On the next day, March 31, the Spokesperson of the IATF-EID and Cabinet Secretary Karlo Nograles revealed that the DOH will be the forefront on the technical working group who will set parameters that President Duterte will utilize for making the decision regarding the lifting, extension or expansion of the Luzon ECQ. He further added that science will decide on the matter.


title: Enhanced community quarantine in Luzon

text: The IATF-EID met on April 3 and came up with factors in determining the total or partial lifting, or possible extension or expansion of the Luzon ECQ. The factors include social, economic, security, COVID-19 epidemiological curve trends, and health care system capacity. National Task Force (NTF) COVID-19 chief implementer Secretary Carlito Galvez Jr. said that the President is set to decide on the matter between April 12 and 14. On a televised broadcast on April 6, Duterte said that he is considering to lengthen the Luzon ECQ up to the end of April 2020. On April 7, Cabinet Secretary Nograles said that Duterte accepted the recommendation of the IATF-EID to extend the Luzon ECQ to April 30. He further said that the "extension of the ECQ shall be without prejudice to the discretion of the President to relax the implementation of the ECQ in some local jurisdictions, or the granting of exemptions in favor of certain sectors, as public health considerations and food security may warrant." He also said that there is no need to expand the ECQ to the Visayas and Mindanao.


title: Enhanced community quarantine in Luzon

text: According to the April 20 statement of the newly installed Presidential spokesperson Harry Roque, the President is 50/50 on deciding the lifting of the ECQ that is expiring on April 30. Duterte was set to decide on the fate of the Luzon ECQ on April 23 but Roque later said that Duterte will make a public address about the Luzon ECQ on April 24. He previously met with health policy experts to help him decide on the matter. According to Senator Bong Go, who was also present during the meeting, said that a modified quarantine is likely to be implemented after April 30. On the other hand, the WHO recommended on April 22 a gradual lifting of the lockdowns. The organization earlier advised the Philippine authorities to contemplate on the "epidemiological situation" with regards to the lifting of the Luzon lockdown.


title: Enhanced community quarantine in Luzon

text: In his address to the public on April 24, Duterte declared that the ECQ is prolonged up to May 15, 2020, only for Metro Manila, Calabarzon, Central Luzon (except Aurora), and other areas in Luzon that are deemed high-risk to critical-risk for COVID-19. These high-risk areas include Benguet, Pangasinan, Albay and Catanduanes. On the other hand, beginning May 1, low-risk to moderate-risk areas will be placed under general community quarantine, where implementation is less strict than the ECQ.


title: Enhanced community quarantine in Luzon

text: The mayors of Metro Manila proposed three options the IATF-EID may take on May 15: extend the ECQ until May 30, downgrade the quarantine measures to GCQ, or allow the localities of Metro Manila to be placed under a modified GCQ where mayors could place certain barangays under lockdown as necessary. On May 12, Duterte declared that only Metro Manila and Laguna in Luzon, (and Cebu City in the Visayas) would be under modified ECQ or MECQ from May 16 to 31 because these places are determined as high-risk for COVID-19 while areas that are moderate risk would be under GCQ.


title: Enhanced community quarantine in Luzon

text: It was originally announced by the government that low-risk areas would neither be under ECQ nor GCQ but they made the statement in error and made it clear that low-risk areas would be under modified GCQ. Those regions in Luzon that would be under GCQ include Cagayan Valley, Central Luzon, Calabarzon except Laguna and Cordillera Administrative Region. On the other hand, Luzon regions under modified GCQ would be Ilocos Region, Bicol Region and Mimaropa. On May 15, the IATF-EID made a resolution declaring additional places under MECQ from May 16 to 31 and those places are Bataan, Bulacan, Nueva Ecija, Pampanga including Angeles City and Zambales.


title: Enhanced community quarantine in Luzon

text: On June 1, 2020, Metro Manila exited MECQ and transitioned to GCQ as previously announced by President Duterte on May 28, 2020. Other areas in Luzon, namely, Cagayan Valley, Central Luzon, Calabarzon, Albay, and Pangasinan were also placed under GCQ on June 1, while the rest of the country were placed under modified GCQ or MGCQ.


title: Enhanced community quarantine in Luzon

text: On August 2, the IATF-EID went on a meeting to discuss the petition of medical front liners to reimpose an ECQ in Metro Manila. The meeting later made a decision to revert Metro Manila, Bulacan, Cavite, Laguna, and Rizal back to MECQ again from August 4 until August 18.


title: Enhanced community quarantine in Luzon

text: On January 22, Kalinga Governor Ferdinand Tubban and Tabuk Mayor Darwin Estrañero requested for the re-imposition of the ECQ status in Tabuk. The MECQ was also imposed in the municipalities of Rizal, Lubuagan, Tanudan and Balbalan. Two more municipalities were placed in GCQ status, while only Pinukpuk remained in MGCQ status. However, Pinukpuk was also included in areas under GCQ as the status was reimposed for the entire Cordillera Administrative Region on January 29. This is due to a rapid increase in infected persons in the province, with the DOH citing Tabuk and the four towns as "critical areas" for virus spread.


title: Enhanced community quarantine in Luzon

text: On February 6, regional IATF-EID chairperson Araceli San Jose approved the extension of the ECQ in Tabuk until February 15. Additionally, Tinglayan and Pinukpuk, which were previously under GCQ, intensified lockdown status to MECQ. Tanudan and Lubuagan remained under modified ECQ. Rizal and Balbalan were relaxed to GCQ with the rest of the region.


title: Enhanced community quarantine in Luzon

text: On March 29, the IATF-EID reimposed the ECQ in the Greater Manila Area due to a surge in COVID-19 cases in the area. It was originally set to expire on April 4, however, on April 3, it was extended for another week. On April 11, Presidential Spokesperson Harry Roque announced that the quarantine measure in the area would be downgraded to MECQ for the remainder of the month of April; it was later extended up to May 14. On May 13, Roque announced that the quarantine measure in the Greater Manila Area, Abra, Quirino and Santiago was downgraded to GCQ from May 15 to 31.


title: Enhanced community quarantine in Luzon

text: For the period between June 1 to 15, MECQ is raised in the provinces of Apayao, Cagayan and Ifugao, and in the cities of Santiago and Puerto Princesa. The province of Benguet with the exception of Baguio was also under MECQ.


title: Enhanced community quarantine in Luzon

text: On July 30, the government ordered to place Metro Manila under general community quarantine (GCQ) with heightened and additional restrictions from July 30 until August 5 followed by the enhanced community quarantine (ECQ) from August 6 to 20 due to rising cases of SARS-CoV-2 Delta variant which was first detected in India.


title: Enhanced community quarantine in Luzon

text: On August 5, President Rodrigo Duterte approved the recommendation of the IATF to place some provinces under ECQ and MECQ. Laguna was placed under ECQ from August 6 to 15. Lucena and the provinces of Cavite and Rizal were placed under modified enhanced community quarantine (MECQ). Batangas and Quezon, on the other hand, will be under general community quarantine (GCQ) with heightened restrictions from August 6 to 15.


title: Enhanced community quarantine in Luzon

text: On August 7, President Duterte approved the IATF's recommendation to place Bataan under ECQ from August 8 to 22 due to the growth of virus infections.


title: Enhanced community quarantine in Luzon

text: On August 13, the MECQ in some areas was extended until August 31. Laguna was shifted to MECQ from August 16 to 31. The province then joined the rest of Calabarzon provinces and the city of Lucena in adopting the new Alert Level system by October 20, effectively lifting the MECQ status in the region.


title: Enhanced community quarantine in Luzon

text: On October 14, Batanes extended its MECQ status until October 31. Other provinces under MECQ until October 31 were Apayao, Bataan, Bulacan, and Kalinga. Naga City was also placed under MECQ.


title: Enhanced community quarantine in Luzon

text: On October 29, Mountain Province and Catanduanes are placed under MECQ. Bataan and Bulacan joined the rest of Central Luzon in adopting the Alert Level System on November 1, effectively lifting the MECQ status in the region. All the other provinces in Luzon that are yet to adopt the Alert Level System were placed under GCQ and MGCQ.


title: Enhanced community quarantine in Luzon

text: Aside from the Luzon-wide enhance community quarantine which restricts the movement of people to and from the island group, several LGUs in Luzon has imposed their own lockdown measures. Although, the LGUs are bound to comply with the national government rules on the implementation of their own lockdowns as per the directive by the President on March 16. With the passing of the Bayanihan to Heal as One Act on March 25, LGUs are legally compelled to abide with the guidelines set by the national government for the ECQ but still practicing autonomy for matters not defined by the national government or operating under the parameters that have been set.