title: Ahmed Yassin

text: Yassin's views on the peace process between the Palestinians and the Israelis were ambiguous. He supported armed resistance against Israel and asserted that Palestine is an Islamic land "consecrated for future Muslim generations until Judgment Day" and that no Arab leader had the right to give up any part of this territory. Concerning that territorial conflict, Yassin's rhetoric did not distinguish between Israelis and Jews, at one point stating that "reconciliation with the Jews is a crime." However, film of him exists stating he loved all people including Jews whom he regarded as his religious cousins, and explaining his conflict with them is purely over land he regarded as stolen territory. Yassin's rhetoric was often scrutinized in the news media. On one occasion, he opined that Israel "must disappear from the map." Yassin's declaration that "We chose this road, and will end with martyrdom or victory" later became a repeated mantra among Palestinians.


title: Ahmed Yassin

text: Yassin on several occasions proposed long-term ceasefire agreements, or truces, so called "Hudnas", in exchange for Israeli concessions. All such offers were rejected by Israel. Following his release from Israeli prison in 1997, he proposed a ten-year truce in exchange for total Israeli withdrawal from the West Bank, including East Jerusalem, and Gaza and a stop to Israeli attacks on civilians. In 1999, in an interview with an Egyptian newspaper, he again offered a truce:


title: Ahmed Yassin

text: Yassin was killed in an Israeli attack on 22 March 2004. While he was being wheeled out of an early morning prayer session in Gaza City, an Israeli AH-64 Apache helicopter gunship fired Hellfire missiles at Yassin and both of his bodyguards. Before the attack, Israeli F-16 jets flew overhead to obscure the noise of the approaching helicopters. Yassin always used the same direction every morning to go to the same mosque in the Sabra district that is from his home.


title: Ahmed Yassin

text: Yassin and his bodyguards were killed instantly, along with nine bystanders. Another 12 people were injured in the operation, including two of Yassin's sons. Abdel Aziz al-Rantissi, Yassin's Deputy, became the Hamas leader after his assassination.


title: Ahmed Yassin

text: Kofi Annan, UN Secretary General, condemned the killing. The UN Commission on Human Rights passed a resolution condemning the killing supported by votes from 31 countries including the People's Republic of China, India, Indonesia, Russia, and South Africa, with 2 votes against and 18 abstentions. The Arab League council also expressed condemnation, as did the African Union.


title: Ahmed Yassin

text: A draft resolution condemning the extrajudicial execution of Yassin and six other Palestinians, as well as all terrorist attacks against civilians was brought before the United Nations Security Council and vetoed by the United States, with United Kingdom, Germany, and Romania abstaining. The United States explained that the draft resolution should have condemned Hamas explicitly following its sponsored suicide bombings in Ashdod the week before.


title: Ahmed Yassin

text: The Palestinian Authority declared three days of mourning and closed Palestinian schools. Hamas official Ismail Haniyeh suggested, "This is the moment Sheikh Yassin dreamed about". The Hamas leadership said Ariel Sharon had "opened the gates of hell." Hamas called for retaliation against Israel. About 200,000 people took to the streets of the Gaza Strip for Yassin's funeral as Israeli forces declared a national alert.


title: Ahmed Yassin

text: The assassination of Yassin also led to the fact that Hamas, for the first time, was named as the most popular movement in Palestine by the residents of the West Bank and Gaza Strip two weeks after the assassination.


title: Ahmed Yassin

text: Abdel Aziz Rantisi was announced as the new head of Hamas. At a memorial service for Sheik Yassin, he declared that "The Israelis will not know security... We will fight them until the liberation of Palestine, the whole of Palestine." Publicly addressing the "military wing" of Hamas, Rantisi suggested, "The door is open for you to strike all places, all the time and using all means." Rantisi was himself killed by Israel on 17 April 2004 in an assassination almost identical to that of Yassin. He was killed by three rockets fired from a Gunship by the Israeli Military.


title: Ahmed Yassin

text: On 31 August 2004, at least 15 Israeli people were killed and 80 injured in a suicide attack against two Israeli buses in Beersheba. Hamas stated the attack was a revenge for the assassination of Rantisi and Yassin. Following the bombing, an estimated 20,000 Hamas supporters in Gaza took to Gaza's streets, celebrating the successful attack.


title: Ahmed Yassin

text: Shaul Mofaz, the Israeli Defense Minister, branded Yassin "the Palestinian Bin Laden" and said, "If we have to balance how many more terrorists Yassin would have sent, how many terror attacks he would have approved, if we weigh this on the scales, we acted rightly".


title: Ahmed Yassin

text: Avraham Poraz, Israel's Interior Minister and member of the centrist Shinui Party, said he believed the assassination of Yassin "was a bad idea because I am afraid of a revenge coming from the Palestinian side, from the Hamas side." Shimon Peres, then leader of the Labour opposition, was critical of the assassination, suggesting that it "could lead to an escalation of terror".


title: Ahmed Yassin

text: King Abdullah II of Jordan described the assassination as a "crime"; Lebanon's president Emile Lahud vehemently denounced the Israeli act as "...a crime [which] will not succeed in liquidating the Palestinian cause"; Emir of Kuwait Sabah Al-Ahmad Al-Jaber Al-Sabah said: "Violence will increase now because violence always breeds violence"; the head of the Muslim Brotherhood in Egypt, Mohammed Akef, described Yassin as a "martyr" and his assassination a "cowardly operation."


title: Ahmed Yassin

text: Jack Straw, then British Foreign Secretary, said: "All of us understand Israel's need to protect itself – and it is fully entitled to do that – against the terrorism which affects it, within international law. But it is not entitled to go in for this kind of unlawful killing and we condemn it. It is unacceptable, it is unjustified and it is very unlikely to achieve its objectives." The European Union's foreign policy head Javier Solana expressed concern that it might impede the peace process.


title: Ahmed Yassin

text: United States Representative to the United Nations John Negroponte stated that the United States was "deeply troubled by this action by the Government of Israel", while asserting that the U.S. would not support any U.N. Security Council statement condemning Israel's assassination of Yassin that did not include a condemnation of "Hamas terrorist attacks". According to his statement to the UN Security Council,


title: The Legend of Korra (season 2)

text: Book Two: Spirits is the second season of the animated TV series "The Legend of Korra" by Michael Dante DiMartino and Bryan Konietzko. It consists of fourteen episodes ("chapters"). It focuses more on spiritual concepts and themes than the preceding season, "Book One: Air". Ordered in early 2011, "Book Two: Spirits" began airing on Nickelodeon in the U.S. on September 13, 2013.


title: The Legend of Korra (season 2)

text: In a world in which some people can telekinetically control one of the four classical elements, the Avatar is the only individual who can "bend" all four elements and is responsible for maintaining balance in the world. This season focuses on Avatar Korra coming to terms with her role as the liaison between humans and the mystical "Spirit World".


title: The Legend of Korra (season 2)

text: "Book Two" takes place six months after "Book One"; its narrative is divided between Republic City (the primary setting of the first season) and other locations such as the Spirit World and the South Pole home of the Southern Water Tribe. Korra's uncle Unalaq, the chief of the Northern Water Tribe, seizes control of the Southern Water Tribe as part of a scheme to free Vaatu, an ancient dark spirit. The story follows Korra's friends' efforts to win support for the southern tribe in Republic City, and Korra's quest to foil Unalaq's plans while learning about spirits. A two-part episode entitled "Beginnings" delves into the history of the Avatar lineage. It tells the story of Wan, the young man who became the first Avatar as a result of his attempts to maintain balance between the material and spirit worlds, and to atone for empowering the dark spirit Vaatu.


title: The Legend of Korra (season 2)

text: New characters introduced in this season include Unalaq and his children Desna and Eska; Kya and Bumi, the siblings of Korra's mentor Tenzin; Varrick, an eccentric and wealthy inventor and businessman from the Southern Water Tribe.


title: The Legend of Korra (season 2)

text: In early 2011, during the production of "Book One: Air" – initially conceived as a standalone 12-episode miniseries – Nickelodeon decided to order fourteen additional episodes to round out a standard 26-episode season. As of June 2012, "Book Two"s writing had been completed and the episodes were in the process of being storyboarded and animated. Joshua Hamilton and Tim Hedrick, writers for "", contributed to the scripts of "Book Two", and the season's episodes were directed by Colin Heck and Ian Graham.


title: The Legend of Korra (season 2)

text: After Studio Mir, which worked on the series' first season, initially declined to work on "Book Two: Spirits", it was set to be completely animated by Japanese animation studio Pierrot. However, Mir's animation director Yoo Jae-myung said that because of problems with this arrangement, the series's producers asked Studio Mir to help step in and animate Book 2 as well, an offer they accepted to preserve their studio's reputation. He said that Studio Mir initially chose to focus on animating the less challenging "The Boondocks" rather than the second season of "The Legend of Korra" because of the exhaustion brought about by their work on the first season. Pierrot eventually animated episodes 1 through 6 and episode 9, while Studio Mir was responsible for episodes 7, 8, and 10 through 14.


title: The Legend of Korra (season 2)

text: "Book Two" began broadcast on Nickelodeon in the U.S. on September 13, 2013, after a 1-year hiatus. Airing on Fridays, it initially premiered at 7:00 PM EST but then shifted in mid-October to an 8:00 PM timeslot. Episodes 11 and 12 were shown on November 15, 2013. The Book Two Finale, episodes 13 and 14, were to be broadcast on November 22, 2013, but became available online on November 16, 2013. It was followed by "Book Three: Changes", which consisted of thirteen episodes.


title: The Legend of Korra (season 2)

text: Completed footage from "Book Two" was first made public in a June 2013 promotional video, in which Korra fights spirit creatures in an Arctic setting. The premiere episode was shown in full at "The Legend of Korra" panel at San Diego Comic-Con on 19 July 2013, together with the release of a trailer video for "Book Two".


title: The Legend of Korra (season 2)

text: "Book Two", overall, received mixed-to-positive reviews from critics, with review aggregator Rotten Tomatoes calculating a 67% approval rating for the season from 9 reviews and an average rating of 8.35/10.


title: The Legend of Korra (season 2)

text: The premiere episode screened in advance at Comic-Con was positively reviewed by Max Nicholson of IGN, who appreciated the setup of the overarching conflict and the humorous writing. He also stated that "the animation in Book Two has taken yet another step up in quality, with noticeable advances in the action sequences and color treatment". At TV.com, Noel Kirkpatrick commented favorably on how the episode handled the necessary quantity of exposition, and on its introduction of the theme of conflict between spiritualism and secularism. Writing for "Vulture", Matt Patches highlighted the loose, handheld-style cinematography – challenging for an animated series – and the "weird, wonderful", wildly imagined spirits fought by Korra; "a Kaiju parade with beasts that mirror velociraptors". The A.V. Club's Emily Guendelsberger stated that they kept up the first season's plot's "breakneck pace" and appeared intent on signaling a break with the convention of avoiding death in children's entertainment, by showing a spirit dragging a sailor to his likely death in the sea. She appreciated the nuanced portrayal of Korra's and Mako's relationship and Korra's character flaws, but remarked that Unalaq was being set up as the season's antagonist a bit too obviously.


title: The Legend of Korra (season 2)

text: Parts 1 and 2 of the medial episode, "Beginnings", were positively received by critics as well. Max Nicholson of IGN rated the episode 9.6/10 and praised "Beginnings" for its "stunning" animation, "top-notch" voice acting, character origins of Avatar Wan, the friendship and heartfelt relationship between Wan and Raava, "great" new insights in the Avatar universe, and as a "masterstroke in storytelling and worldbuilding." At the end of his review, he opined that "Book 2 has never looked so good.". "The Sting", which premiered before "Beginnings", was equally praised by Nicholson for the improvement of the characterizations of Mako and Asami and their chemistry between each other, in addition to establishing Varrick as a "greedy mastermind" rather than as an eccentric businessman and entertainer as he had been before. For "The Guide", Nicholson praised the character growths of Tenzin and the fleshed-out characterization of Jinora. He lauded the episode "A New Spiritual Age" for a "great character narrative" for Korra and the establishment of Unalaq as a more of a corrupt, twisted, and menacing villain. He was also surprised to see the return of Iroh of ""; this time, to help Korra with her journey in the spirit world. Parts 1 and 2 of "Civil Wars" were equally acclaimed by Nicholson for the friendship between Bolin and Varrick, the sibling dynamic of Tenzin, Kya, and Bumi, a "strong, complex conflict" for Korra, the respective relationship of Tenzin, Kya, and Bumi, and Korra, Tonraq, and Senna as the heart of the story, and the twist behind Tonraq's banishment from the Northern Water Tribe and his imprisonment. According to him, "Night of a Thousand Stars" brought out the best of Bolin and the worst of Varrick, as well as setting up the conflict for the last three episodes of Book 2. For "Harmonic Convergence", Nicholson praised its spectacular action sequences, fleshing out more on Unalaq's intriguing evil purpose, the heroism of Bumi, and the animation.


title: Pogo (TV channel)

text: Pogo is an Indian cable and satellite television channel owned and operated by Warner Bros. Discovery India under its International division, as part of Cartoon Network India as the network’s sister channel. It was launched on 1 January 2004. Broadcasting primarily animated programming, Pogo is Turner's South Asia-exclusive children's television network.


title: Pogo (TV channel)

text: A timeshift version is available for Nepal, Bhutan, and Sri Lanka. Pogo is available as a block in Bangladesh and Pakistan on Cartoon Network, and in Thailand on Family Channel 13.


title: Pogo (TV channel)

text: Pogo was officially launched on 1 January 2004 by Turner International India. After its launch, the channel primarily broadcast programming from Cartoon Network and Boomerang such as "Tweenies", "Beakman's World" and "Looney Tunes", Scooby-Doo. On 1 March 2005, Pogo launched Takeshi's Castle in which Bollywood personality and anchor, Jaaved Jaaferi gives commentary.


title: Pogo (TV channel)

text: In 2010, Pogo began focusing more on live action programming than animated series. In 2011, Pogo began to compete with its sister channel Cartoon Network in ratings. The channel began airing shows such as Batman, The Powerpuff Girls, and more. Pogo acquired the rights of "Chhota Bheem" and subsequently began airing the show, which became hugely successful in India. In 2012, Pogo became leading kids channel in India by surpassing its sister channel Cartoon Network in ratings and enjoyed to be the No. 1 kids channel in India. "Chhota Bheem" proven to be huge success for Pogo. The channel started airing more local shows including Chhota Bheem.


title: Pogo (TV channel)

text: In February 2013, the Government of Bangladesh banned the broadcast of Pogo in the country, as it was accused of broadcasting there without authorization. The Indian feeds of Disney Channel and Disney XD were also banned in Bangladesh as they were accused of broadcasting in Hindi throughout the day.


title: Pogo (TV channel)

text: In 2016, Pogo rebranded with a new logo and look and the premiere of Yo-kai Watch on 11 January and Tashi on 23 January. The channel began classic shows from Hanna Barbera, such as Tom and Jerry and Scooby-Doo!.


title: Pogo (TV channel)

text: In 2017, Grizzy and the Lemmings started to air on the channel on 2 January, Oddbods on 9 January and Andy Pirki on 3 December.


title: Pogo (TV channel)

text: In 2018, Pogo started more focus on "Chhota Bheem", "Mighty Raju", "Tik Tak Tail", etc. and hence stopped some of the international shows.


title: Pogo (TV channel)

text: Pogo broadcast mostly Indian series and some international shows. From 2019 to 2020, the channel shifted its focus to Indian animation.


title: Pogo (TV channel)

text: In 2020, Pogo stopped all international shows and aired only indian Animations like Chhota Bheem, Dabangg, Roll No 21, Lambuji Tinguji and Bandbudh Aur Budbak.


title: Pogo (TV channel)

text: Pogo aired an animated movie "Shaktimaan New TV Special" on 14 November 2021. A Telugu-language audio track was added again to Pogo on 30 November 2021.


title: Pogo (TV channel)

text: In 2022, Pogo resumed airing international shows such as "Grizzy and the Lemmings", "" and "Yo-kai Watch."


title: Pogo (TV channel)

text: On 22 August 2022, "Ekans - Snakes Awake", an original animated series of Cartoon Network (India) was shifted on Pogo TV.


title: Pogo (TV channel)

text: On 4 September 2022 the channel premiered its special episode titled "Ekans: Origin Story". The channel also launched an original movie of that series titled "Ekans: The Mystery Of Three Gems" on October 09, 2022 at 12:30 PM IST. The theatrical film of that series titled "Ekans – Hero Ek Villain Anek" was launched on the channel on October 16, 2022.


title: Bisayan languages

text: The Bisayan languages or Visayan languages are a subgroup of the Austronesian languages spoken in the Philippines. They are most closely related to Tagalog and the Bikol languages, all of which are part of the Central Philippine languages. Most Bisayan languages are spoken in the whole Visayas section of the country, but they are also spoken in the southern part of the Bicol Region (particularly in Masbate and Sorsogon where several dialects of Waray are spoken), islands south of Luzon, such as those that make up Romblon, most of the areas of Mindanao and the province of Sulu located southwest of Mindanao. Some residents of Metro Manila also speak one of the Bisayan languages.


title: Bisayan languages

text: Over 30 languages constitute the Bisayan language family. The Bisayan language with the most speakers is Cebuano, spoken by 20 million people as a native language in Central Visayas, parts of Eastern Visayas, and most of Mindanao. Two other well-known and widespread Bisayan languages are Hiligaynon (Ilonggo), spoken by 9 million in most of Western Visayas and Soccsksargen; and Waray-Waray, spoken by 6 million in Eastern Visayas region. Prior to colonization, the script and calligraphy of most of the Visayan peoples was the badlit, closely related to the Tagalog baybayin.


title: Bisayan languages

text: Native speakers of most Bisayan languages, especially Cebuano, Hiligaynon and Waray, not only refer to their language by their local name, but also by "Bisaya" or "Binisaya", meaning "Bisayan language". This is misleading or may lead to confusion as different languages may be called "Bisaya" by their respective speakers despite their languages being mutually unintelligible. However, languages that are classified within the Bisayan language family but spoken natively in places outside of the Visayas do not use the self-reference "Bisaya" or "Binisaya". To speakers of Cuyonon, Surigaonon, Butuanon and Tausug, the term "Visayan" usually refers to either Cebuano or Hiligaynon.


title: Bisayan languages

text: There have been no proven accounts to verify the origins of "Bisaya". However, there is an ethnic group in Malaysia and Brunei who call themselves with the same name. However, these ethnic groups in the Philippines must not be confused with those in Borneo.


title: Bisayan languages

text: David Zorc lists the following innovations as features defining the Bisayan languages as a group (Zorc 1977:241). Tausug is noted to have diverged early from the group and may have avoided some sound changes that affected the others.


title: Bisayan languages

text: David Zorc gives the following internal classification for the Bisayan languages (Zorc 1977:32). The five primary branches are South, Cebuan, Central, Banton, and West. However, Zorc notes that the Bisayan language family is more like a dialect continuum rather than a set of readily distinguishable languages. The South Bisayan languages are considered to have diverged first, followed by Cebuan and then the rest of the three branches. Also, in the Visayas section, the province of Romblon has the most linguistic diversity, as languages from three primary Bisayan branches are spoken there: Romblomanon from Central Bisayan, Inunhan from Western Bisayan and Banton (which has an independent Bisayan branch).


title: Bisayan languages

text: Notably, Baybayanon and Porohanon have Warayan substrata, indicating a more widespread distribution of Waray before Cebuano speakers started to expand considerably starting from the mid-1800s.


title: Bisayan languages

text: The auxiliary language of Eskayan is grammatically Bisayan, but has essentially no Bisayan (or Philippine) vocabulary.


title: Bisayan languages

text: Zorc (1977: 14–15) lists the following names and locations of Bisayan languages. The recently documented languages Karolanos, Magahat, and Kabalian are not listed in Zorc (1977).


title: Bisayan languages

text: David Zorc's reconstruction of Proto-Bisayan had 15 consonants and 4 vowels (Zorc 1977:201). Vowel length, primary stress (penultimate and ultimate), and secondary stress (pre-penultimate) are also reconstructed by Zorc.


title: House price index

text: A house price index (HPI) measures the price changes of residential housing as a percentage change from some specific start date (which has an HPI of 100). Methodologies commonly used to calculate an HPI are hedonic regression (HR), simple moving average (SMA), and repeat-sales regression (RSR).


title: House price index

text: The US Federal Housing Finance Agency (formerly Office of Federal Housing Enterprise Oversight, a.k.a. OFHEO) publishes the HPI index, a broad quarterly measure of the movement of single-family house prices.


title: House price index

text: The HPI is a weighted, repeat-sales index that measures average price changes in repeat sales or refinancings on the same properties in 363 metropolises. This information is obtained by reviewing repeat mortgage transactions on single-family properties whose mortgages have been purchased or securitized by Fannie Mae or Freddie Mac since January 1975.


title: House price index

text: Since the HPI index only includes houses with mortgages within the conforming amount limits, the index has a natural cap and does not account for jumbo mortgages.


title: House price index

text: The HPI was developed in conjunction with OFHEO's (now FHFA) responsibilities as a regulator of Fannie Mae and Freddie Mac. It is used to measure the adequacy of their capital against the value of their assets, which are primarily home mortgages.


title: House price index

text: On July 30, 2008, OFHEO became part of the new Federal Housing Finance Agency (FHFA). Accordingly, the index is now termed the FHFA HPI.


title: House price index

text: The Case-Shiller index prices are measured monthly and track repeat sales of houses using a modified version of the weighted-repeat sales methodology proposed by Karl Case, Robert Shiller, and Allan Weiss. This means that, to a large extent, it can adjust for the quality of the homes sold, unlike simple averages.


title: House price index

text: The Case-Shiller index has a long lag time as a monthly tracking index. Typically, it takes about 2 months for S&P to publish the results, as opposed to 1 month for most other monthly indices and indicators. In addition, specific indexes are available for specific metropolitan areas and composite indexes for the top 20 and 10 metro areas nationwide.


title: House price index

text: FNC Inc. publishes the Residential Price Index based on data collected from public records blended with real-time appraisals of property and neighborhood attributes. The RPI is the mortgage industry's first hedonic price index for residential properties. The RPI is constructed to gauge price movement among non-distressed home sales and excludes sales of foreclosed properties.[1]


title: House price index

text: The RPI has a lag time of about two months as a monthly tracking index. Specific indices are available for specific metropolitan areas, and composite indices are available for the top 10, 20, 30, and 100[2] metro areas. The RPI is also available at the zip code level and can be constructed to track price trends for specific characteristics (e.g., ranch-style house, colonial-style house, etc.) since preferences can change over time.


title: House price index

text: HouseCanary publishes monthly HPI data at block, block group, zip code, metro division, and metropolitan levels. These indices include forecasts up to 3 years into the future.[1]


title: House price index

text: House Price Indices (HPIs) have been produced in the UK since around 1973, initially by mortgage providers and more recently by government bodies. More recently, they have come from property market websites.


title: House price index

text: In the Republic of Ireland, the Central Statistics Office publishes a monthly Residential Property Price Index. Up until 2011, Permanent TSB and the Economic and Social Research Institute published a similar monthly houseprice index.


title: House price index

text: In India, National Housing Bank completely owned by Reserve Bank of India computes an index termed NHB RESIDEX. The index was formulated based on a pilot study covering 5 cities, Delhi, Mumbai, Kolkata, Bangalore and Bhopal representing the five regions of the country. Actual transactions prices are used to compute an Index reflecting the market trends. 2007 is taken as the base year for the study to be comparable with the WPI and CPI. It now covers Delhi with NCR, Bangalore, Mumbai, Kolkata, Bhopal, Hyderabad, Faridabad, Patna, Ahmedabad, Chennai, Jaipur, Lucknow, Pune, Surat, Kochi, Bhubaneshwar, Guwahati, Ludhiana, Vijayawada, Indore, Chandigarh, Coimbatore, Dehradun, Meerut, Nagpur and Raipur. The index shows that the prices have doubled in cities like Mumbai, Delhi and Bhopal, but have declined in Hyderabad and Kochi.


title: House price index

text: In Canada, the New Housing Price Index is calculated monthly by Statistics Canada. Additionally, a resale house price index is also maintained by the Canadian Real Estate Association, based on reported sale prices submitted by real estate agents, and averaged by region. In December 2008, the private National Bank and the information technology firm Teranet began a separate monthly house price index based on resale prices of individual single-family houses in selected metropolitan areas, using a methodology similar to the Case-Shiller index and based on actual sale prices taken from government land registry databases. This allows Teranet and the National Bank to track prices without allowing periods of high sales in one city to push up the national average. The National Bank also operates a forward market on Canadian housing prices.


title: Chintz

text: Chintz () is a woodblock printed, painted, stained or glazed calico textile that originated in Golconda (present day Hyderabad, India) in the 16th century. The cloth is printed with designs featuring flowers and other patterns in different colours, typically on a light, plain background.


title: Chintz

text: The name is derived from the , , meaning 'spotted', 'variegated', 'speckled', or 'sprayed'. Since the 19th century the term has also been used for the style of floral decoration developed in those calico textiles, but then used more widely, for example on chintzware pottery and wallpaper. Chintz designs are derived from the style of Indian designs themselves reflecting Mughal art. A white base with floral and animal prints are its basic characteristics.


title: Chintz

text: Unglazed calico was traditionally called "cretonne". The word "calico" is derived from the name of the Indian city Calicut (Kozhikkode in native Malayalam), to which it had a manufacturing association. In contemporary language, the words "chintz" and "chintzy" can be used to refer to clothing or furnishings which are vulgar or florid in appearance, and commonly in informal speech, to refer to cheap, low quality, or gaudy things, and similarly, to personal behavior.


title: Chintz

text: The term 'chintzy' is also attributed to novelist George Eliot, who in 1851 wrote about muslin fabric to her sister, saying: "The quality of the spotted one is best, but the effect is chintzy." This is believed to have been said about cheap British imitations of real chintz, which became common at the time.


title: Chintz

text: Chintz was originally a woodblock printed, painted or stained calico produced in Hyderabad, India from 1600 to 1800 and popular for bed covers, quilts and draperies. After Vasco da Gama successfully reached Calicut in India in 1498, the fabric became known in Europe. Around 1600, Portuguese and Dutch traders were bringing examples of Indian chintz into Europe on a small scale, but the English and French merchants began sending large quantities. By 1680 more than a million pieces of chintz were being imported into England per year, and a similar quantity was going to France and the Dutch Republic. These early imports were probably mostly used for curtains, furnishing fabrics, and bed hangings and covers (Samuel Pepys bought a set for his wife.) It has been suggested that wearing them as clothes began when these were replaced and given to maidservants, who made them into dresses, and also that they were first worn as linings.


title: Chintz

text: With imported chintz becoming so popular with Europeans during the late 17th century, French and English mills grew concerned, as they did not know how to make chintz. In 1686 France declared a ban on all chintz imports. In 1720 the Parliament of Great Britain enacted a law that forbade "the Use and Warings in Apparel of imported chintz, and also its use or Wear in or about any Bed, Chair, Cushion or other Household furniture".


title: Chintz

text: Spain followed England and France to ban calico imports. Firstly in 1717 Asian textiles were banned. Then in 1728 the import of European made imitations of Asian textiles was banned in Spain. Additionally the second edict had as one of its objectives to encourage a local, import-substituting weaving and printing industry in imitation of England.


title: Chintz

text: Even though chintz was outlawed, there were loopholes in the legislation. The Court of Versailles was outside the law and fashionable young courtiers continued wearing chintz. In 1734, French naval officer M. de Beaulieu, who was stationed at Pondicherry, India, sent home letters along with actual samples of chintz fabric during each stage of the process to a chemist friend detailing the dyeing process of cotton chintz. His letters and samples can be seen today in the in Paris.


title: Chintz

text: In 1742, another Frenchman, Father Coeurdoux, also supplied details of the chintz making process, while he was trying to convert the Indians to Catholicism. In 1759 the ban on chintz was lifted. By this time French and English mills were able to produce chintz.


title: Chintz

text: Europeans at first produced reproductions of Indian designs, and later added original patterns. A well-known make was , which was manufactured in Jouy-en-Josas, France, between 1700 and 1843. Eventually the word in English came to describe any industrially printed cotton. Modern chintz usually consists of bright overall floral patterns printed on a light background, but there are some popular patterns on black backgrounds as well.


title: Chintz

text: "Cloth that Changed the World" is a book about chintz by Sarah Fee that explains the story of Indian chintz.


title: Hillman Minx

text: The Hillman Minx was a mid-sized family car that British car maker Hillman produced from 1931 to 1970. There were many versions of the Minx over that period, as well as badge-engineered variants sold by Humber, Singer, and Sunbeam.


title: Hillman Minx

text: From the mid-1950s to the mid-1960s, the Minx and its derivatives were the greatest-volume sellers of the "Audax" family of cars from Rootes, which also included the Singer Gazelle and Sunbeam Rapier. The final version of the Minx was the "New Minx" launched in 1967, which was part of the "Arrow" family and essentially a basic version of the Hillman Hunter. Generally, the Minx was available in four-door saloon and estate forms, with a 1496-cc engine.


title: Hillman Minx

text: Throughout the life of the Minx, there was usually an estate version—and, from 1954 to 1965, a short-wheelbase estate, the Hillman Husky, and a van derivative known as the Commer Cob.


title: Hillman Minx

text: The Minx model name was revived briefly – along with the "Rapier" name, as applied to the Sunbeam Rapier version of the Audax family – as a special edition late in the life of the Talbot Alpine / Talbot Solara cars, produced by Chrysler Europe after its takeover of the Rootes Group.


title: Hillman Minx

text: The original Minx was announced to the forewarned (in August) public 1 October 1931. It was straightforward and conventional with a pressed-steel body on separate chassis and 30 bhp 1185 cc engine producing "cushioned power". It was upgraded with a four-speed transmission in 1934 and a styling upgrade, most noticeably a slightly V-shaped grille. For 1935 the range was similar except that synchromesh was added to all forward gears and this Minx became the first mass-produced car with an all-synchromesh gearbox. it was designed by Rootes' technical director Captain John Samuel Irving (1880-1953), designer of Sunbeam aero engines and Sunbeam's Golden Arrow' in conjunction with Alfred Herbert Wilde (1891–1930), recently chief engineer of Standard and designer of the Standard Nine.


title: Hillman Minx

text: The 1936 model had a new name, the Minx Magnificent, and a restyle with a much more rounded body. The chassis was stiffened and the engine moved forwards to give more passenger room. The rear panel, previously vertical, was now set at a sloping angle, and the manufacturers offered the option of a folding luggage grid attached to the rear panel for "two pounds, seven shillings and sixpence" (slightly under £2.40) painted. A Commer-badged estate car was added to the range.


title: Hillman Minx

text: The final pre-war model was the 1938 Minx. There were no more factory-built tourers but some were made by Carbodies. The car was visually similar to the Magnificent, with a different grille, and access to the luggage boot (trunk) was external (that on the predecessor was accessed by folding down the rear seat). There were two saloon models in the range, the basic "Safety" model with simple rexine trim instead of leather, no opening front quarter lights, and less luxurious trim levels. The De Luxe model had leather trim, opening quarter lights, extra trim pads, and various other comfort benefits. The 1938 model was not the final iteration before the outbreak of war, however, as the 1939 model was considerably different mechanically, with virtually the entire drivetrain improved to the extent that few parts are interchangeable with the 1938 model. This includes gearbox, differential, half shafts, steering box, and a great many other mechanical and cosmetic changes. Even the front grille, which to the casual eye looks almost identical to the 1938 model, became a pressed alloy component rather than a composite.


title: Hillman Minx

text: During the Second World War, British car companies produced simple Utility load carriers, the "Car, Light Utility" or "Tilly" which was later developed into the experimental Hillman Gnat. For Hillman it was the Hillman 10HP, a Minx chassis with a two-person cab and covered load area behind. The basic saloon was also produced for military and essential civilian use from 1940 to 1944.


title: Hillman Minx

text: The Minx sold between 1945 and 1947 had the same 1185 cc side-valve engine, the same wheelbase and virtually the same shape as the prewar Minx. This postwar Minx became known as the Minx Mark I (or Minx Phase I). This was the first Minx with a protruding boot (trunk) that nodded to the Ponton, three-box design by then replacing the 'flat back' look, inherited from models that had debuted in the 1930s. Between 1947 and 1948, Hillman offered a modified version they called the Minx Mark II.


title: Hillman Minx

text: A much more modern-looking Minx, the Mark III, was sold from 1948. Three different body styles were offered initially, these being saloon, estate car and drophead coupé (convertible). Beneath the metal, however, and apart from updated front suspension, little had changed: the Mark III retained the 1185 cc side-valve engine of its predecessor. Claimed power output, at , was also unchanged. However, in 1949 the old engine was bored out and compression ratio increased, for the Minx Mark IV, to 1265 cc, and power output increased by 7 per cent to . A Mark IV saloon tested by "The Motor" magazine in 1949 had a top speed of and could accelerate from 0– in 39.7 seconds. A fuel consumption of was recorded. The test car cost £505 including taxes, the price including radio (£36), over-riders (£5) and heater (£18).


title: Hillman Minx

text: The Mark VI of 1953 featured a new grille, revised combustion chambers and a two-spoke steering wheel. A fourth body variation was added, badged as the Hillman Minx Californian, a two-door hard-top coupé with, slightly unusually, a b-pillar that wound down out of sight along with the rear side window to give an unbroken window line when all windows were fully opened: the rear window assembly was of a three-piece wrap-around form. The wheelbase and overall length of the car remained the same as those of the four-door saloon and convertible permutations. The Mark VII, also introduced in 1953, featured longer rear mudguards and a bigger boot. For the Mark VIII, in 1954, a new ohv 1390 cc engine was installed. This engine, two years later, went into the first of the new "Audax series" Minxes.


title: Hillman Minx

text: For a short time in the early 1950s, Hillman Minxes were sold in the US to Americans seeking better gas mileage. American reviews of the vehicle were lukewarm. Between 1953 and 1956 the Mark VI to Mark VIII Isuzu Hillman Minx was produced in Japan by Isuzu Motors, prior to their 1961 introduction of the Bellel.


title: Hillman Minx

text: A 2-door coupé utility variant of the Minx Mark VIII was produced by Rootes Australia as the "Hillman de luxe Utility", circa 1956.


title: Hillman Minx

text: The Audax body was designed by the Rootes Group, but helped by the Raymond Loewy design organisation, who were involved in the design of Studebaker coupés in 1953. Announced in May 1956 the car went through a succession of annual facelifts each given a series number, replacing the mark number used on the previous Minxes. The Series I, introduced in 1956, was followed by the Series II in 1957, the Series III in 1958, the Series IIIA in 1959, the Series IIIB in 1960, the Series IIIC in 1961, the Series V in 1963 and the Series VI in 1965. There was no Series IV. Over the years the engine was increased in capacity from 1390 cc (in the Series I and II) to 1725 cc in the Series VI. A variety of manual transmissions, with column or floor change, and automatic transmissions were offered. For the automatic version, the Series I and Series II used a Lockheed Manumatic two-pedal system (really only a semi-automatic), the Series III a Smiths Easidrive, which was the first production Dual-clutch transmission, while the V/VI a Borg Warner. The Series VI was fitted with an all-synchromesh gearbox.


title: Hillman Minx

text: A Series III deLuxe saloon with 1494 cc engine tested by the British magazine "The Motor" in 1958 had a top speed of and could accelerate from 0– in 25.4 seconds. A fuel consumption of was recorded. The test car cost £794 including taxes of £265.


title: Hillman Minx

text: There were Singer Gazelle and Sunbeam Rapier variants of all these Hillman Minx models and the names were again used on derivatives in the later Rootes Arrow range. Some models were re-badged in certain markets, with the Sunbeam and Humber marques used for some exports.


title: Hillman Minx

text: The New Zealand importer/assembler Todd Motors created the Humber 80 and Humber 90, badge-engineered models based respectively on the Minx and Super Minx, both as a way to secure scarce additional import licences for CKD assembly kits and to give Humber dealers a smaller car to sell alongside the locally assembled Hawk and Super Snipe. Although the 90 was identical to the Super Minx apart from badging, the cheaper 80 featured a horizontal bar grille design. The Humber 80 was acknowledged in the 1980s Roger Hall play "Prisoners of Mother England", in which a newly arrived immigrant in New Zealand spots one and exclaims: "Humber 80? There's no such car!"


title: Hillman Minx

text: In Australia, a Series Va model was released in 1965. It was fitted with a more powerful 1592cc engine and the all-synchromesh gearbox destined for the forthcoming Series VI model.


title: Hillman Minx

text: The Audax Minx was also built in Japan by Isuzu Motors as the Isuzu Hillman Minx under licence from Rootes between September 1956 and June 1964. Isuzu produced their own unique estate car version, the Isuzu Hillman Express, from 1958 to 1964.


title: Hillman Minx

text: Launched late in 1961, the Hillman Super Minx was intended at one stage to replace the Minx Series III. In the event the Series III would be replaced in 1963 by the Series V, while the Super Minx was launched as a separate, albeit closely related, model.


title: Hillman Minx

text: A replacement Minx (sometimes identified, retrospectively, as the New Minx) took over from the Series VI in 1967. It was a reduced specification version of the Hillman Hunter. Saloon and estate versions were produced, initially equipped with a 54 bhp 1496 cc 4 cylinder engine. A 61 bhp 1725cc engine became available in 1968. The final Minx was replaced by a Hillman Hunter De Luxe model in 1970.


title: IWGP Tag Team Championship

text: The is a professional wrestling world tag team championship owned by the New Japan Pro-Wrestling (NJPW) promotion. "IWGP" is the acronym of the NJPW's governing body, the . The title was introduced on December 12, 1985 at an NJPW live event. The IWGP Tag Team Championship is one of two tag team titles contested for in NJPW; the IWGP Junior Heavyweight Tag Team Championship is also sanctioned by NJPW. According to NJPW's official website, the IWGP Tag Team Championship is considered the "IWGP Heavyweight Class", while the Junior Heavyweight Tag Team Championship is listed as the "IWGP Jr. Tag Class". Like most professional wrestling championships, the title is won via the result of a scripted match. Title changes usually happen at NJPW-promoted events; although the title has only changed hands twice at a non-NJPW event, it has been defended in several other promotions.


title: IWGP Tag Team Championship

text: Before the IWGP championship system was created, New Japan Pro-Wrestling featured the NWA North American Tag Team Championship, a title originally based in Los Angeles, and the WWF International Tag Team Championship, a title with license from the World Wrestling Federation, which was abandoned when the WWF working relationship ended.


title: IWGP Tag Team Championship

text: The inaugural champions were Kengo Kimura & Tatsumi Fujinami, who defeated Antonio Inoki & Seiji Sakaguchi in the final of a tournament to win the championship on December 12, 1985, at an NJPW live event. In addition to NJPW, the IWGP Tag Team Championship was also contested in the United States-based promotions World Championship Wrestling (WCW) (now defunct) in the early 1990s, and Total Nonstop Action Wrestling (TNA) in 2009, and in the Mexican lucha libre promotion Consejo Mundial de Lucha Libre in 2005.


title: IWGP Tag Team Championship

text: On October 30, 2005, in Kobe, Japan, Hiroyoshi Tenzan & Masahiro Chono defeated Hiroshi Tanahashi & Shinsuke Nakamura to begin their fifth overall reign as a team. On July 2, 2006, an interim tag team title was created when Tenzan & Chono showed signs of inactivity. Shiro Koshinaka & Togi Makabe defeated the teams of Yuji Nagata & Naofumi Yamamoto and Giant Bernard & Travis Tomko in a Three-Way Match to become the first interim champions. NJPW president Simon Kelly Inoki stripped Tenzan & Chono of the IWGP Tag Team Championship on September 20, 2006, after Tenzan & Chono ceased teaming. Manabu Nakanishi & Takao Omori, who defeated Koshinaka & Makabe on July 17, 2006 to become the interim champions, were recognized as the IWGP Tag Team Champions on September 28, 2006 by NJPW.


title: IWGP Tag Team Championship

text: In 2009, The British Invasion defeated Team 3D on July 21, 2009 at a TNA television taping for the championship. Afterwards, NJPW released a statement announcing that they did not sanction the defense nor the title change, and as such did not recognize the reign. They continued to recognize Team 3D as the current champions and proclaimed that the next title defense would be by Team 3D and would be sanctioned by NJPW. On August 10, 2009, NJPW issued another press release stating that they were now recognizing The British Invasion of Brutus Magnus & Doug Williams as the current IWGP Tag Team Champions, making the reign official.


title: IWGP Tag Team Championship

text: Hiroyoshi Tenzan currently holds the record for most reigns by an individual wrestler, with twelve. Tenzan's combined twelve reign lengths add up to 1,988 days, which is the most of any champion. At seven reigns, the Guerrillas of Destiny (Tama Tonga & Tanga Loa) hold the record for most by a team. Tenzan & Masahiro Chono's combined five reign lengths add up to 1,010 days (the most of any team). At days, Bad Intentions' (Giant Bernard & Karl Anderson) only reign is the longest in the title's history. Keiji Mutoh & Shiro Koshinaka's only reign is the shortest, at six days. Currently, Bad Intentions' only reign has the most defenses, with ten. There are 20 reigns shared between 18 teams that are tied for the fewest successful defenses, with zero. Overall, there have been 96 reigns shared between 85 wrestlers. FTR (Dax Harwood & Cash Wheeler) are the current champions in their first reign. They won the titles by defeating previous champions United Empire (Great-O-Khan & Jeff Cobb) and Roppongi Vice (Rocky Romero & Trent Beretta) in a Three-Way Winner Takes All tag team match for the ROH World Tag Team Championship and IWGP Tag Team Championship on June 26, 2022 at .


title: Paris Paris

text: Paris Paris is an upcoming Indian Tamil-language comedy drama film directed by Ramesh Aravind and produced by Manu Kumaran. A remake of the 2014 Hindi film "Queen" by Vikas Bahl, the film features Kajal Aggarwal alongside Elli Avram, Varun Shashi Rao, Vinaya Prasad, Bhargavi Narayan.


title: Paris Paris

text: The film began production in September 2017, and was shot simultaneously by the same producers in Telugu as "That Is Mahalakshmi", in Kannada as "Butterfly", in and in Malayalam as "Zam Zam".


title: Paris Paris

text: In June 2014, Viacom 18 Motion Pictures, the producers of the Hindi film "Queen" (2014), made an official announcement that they sold the remake rights for the Tamil, Telugu, Malayalam and Kannada versions of their film to Thiagarajan, who would make the films through his production studio, Staar Movies. Viacom put a caveat in the agreement that the principal photography of any of the films must start by 8 June 2017, else the rights would revert to Viacom. Soon after the announcement in June 2014, several Indian directors and actresses expressed their desire to do the film, but Thiagarajan maintained that no one had been finalised and that he was still considering his options. Thiagarajan announced his potential plans of casting Lisa Haydon to reprise her supporting role and for his son Prashanth to act in the film, but remarked that he was unsure if Prashanth would accept to play a character with "grey shades". Samantha held discussions about portraying the film's lead role during July 2014, but turned the film down after being unconvinced about the way the original script was set to be adapted into the South Indian regional languages. Asin also rejected the offer due to her pending marriage.


title: Paris Paris

text: After a period of inactivity and further media reports about the casting of the lead actress, Thiagarajan revealed in February 2016 that he had signed on Revathi to direct the Tamil version of the film, while Suhasini would work as the dialogue writer. Soon after, Nayanthara turned down the opportunity to work on the film citing scheduling issues during early 2016. In mid-2016, Trisha was also approached to play the lead role but conflicting schedules meant that she could not sign on to appear in the film. The media also linked actresses Parvathy Thiruvothu and Nithya Menen to the lead role, but neither were signed on. During an interaction with the media in November 2016, Thiagarajan revealed that he had finalised Revathi to direct the Tamil and Malayalam versions of the film, while Anish Kuruvilla and Prakash Raj would make the Telugu and Kannada versions respectively. He added that Tamannaah would feature in the lead role of the Tamil version, while Amala Paul and Parul Yadav would reprise the role in the Malayalam and Kannada versions respectively. He also stated that Amy Jackson was signed on to feature in all four versions of the film in the role originally portrayed by Lisa Haydon. In April 2017, Tamannaah stated that the film was shelved, though Thiagarajan refuted her claim and stated that production would begin in May 2017. He revealed that talks with the actress to play the lead role had fallen through after a dispute over her remuneration for the lead role.


title: Paris Paris

text: In June 2017, further confusion about the remake arose after two separate production houses apart from Thiagarajan's Staar Movies had claimed rights to the film. As per a contract signed on 30 July 2016, Staar Movies agreed to enter into a co-production agreement with Mediente International Films Ltd and Liger Commercial Brokers for the making of the films. However a mutual cancellation form was then signed between the parties on 5 April 2017 after Mediente allegedly failed to pay the consideration provided under the agreement. Then, as per a contract signed on 21 April 2017, Staar Movies agreed to assign the rights of all four South Indian versions of "Queen" to Golden Crab Film Production Ltd. To avoid the reversion of rights back to Viacom due to three years of inactivity, Staar Movies and Golden Crab swiftly began shooting the film on 17 May 2017 with a series of supporting actors including Nassar under the title of "Vaanil Thedi Nindren". However, on 3 June 2017, Staar Movies again assigned and transferred the remake rights of the film to Mediente and Liger, with the Kannada version of the film titled "Butterfly" (2018) featuring Parul Yadav, starting immediately with Ramesh Aravind taking over as director. Staar Movies then produced a declaration affidavit on 14 June 2017 that any agreement with Golden Crab Films was false. The final credits of the film indicate that the producer is Manu Kumaran of Mediente, with actress Parul Yadav, Staar Movies and Liger as co-producers.


title: Paris Paris

text: Kajal Aggarwal revealed in August 2017 that she had agreed terms to play the lead role in the Tamil version of the film, which would also be directed by Ramesh Aravind and produced by Mediente, and that the film's shoot would begin in September 2017. In September 2017, it was revealed that Tamannaah would instead work on the Telugu version of the film which would be directed by Neelakanta. Amala Paul also opted out of the Malayalam version citing date issues and was later replaced by Manjima Mohan. In late September 2017, Mediente announced that the Tamil film would be titled "Paris Paris" and the shoot would commence from October 2017. Writer Tamizhachi Thangapandian was signed to help adapt the script and opted to set the film in Virudhanagar, while music composer Amit Trivedi was signed to work on the Tamil and Kannada versions. In late October, Jackson left the film due to scheduling conflicts with the TV series "Supergirl".


title: Paris Paris

text: The film was launched in Chennai on 24 September 2017 with director Ramesh Aravind and actress Kajal Aggarwal in attendance. The team announced that they would film scenes in Virudhunagar, followed by schedules in various cities across Europe. Speaking about the Tamil remake at the film launch, Kajal Aggarwal said, "I loved the story ever since I saw the original! But we have to remember that the film, since it was made a couple of years ago, will have to be changed to keep it in sync with the current times. The makers of the film and I are very clear that we want to adapt "Queen" to Southern sensibilities, and do it our own way. While the script will essentially remain the same, the treatment will be personalised. I will also add my own touch to the role."


title: Paris Paris

text: Filming began for the Tamil version in early November 2017, with the first schedule taking place in France. All four versions had scenes shot in Paris and Fréjus, with all four lead actresses on the sets of the films together. Scenes for the Tamil version in India were shot in Chennai and Virudhanagar, while a further schedule was completed in Athens. Production on all four films were completed in June 2018, with post-production work beginning thereafter.


title: Paris Paris

text: In total, the four versions of the film cost ₹54 crore rupees to make, surpassing the initial budget of ₹40 crore rupees. A teaser of the Tamil version of the film was released in December 2018.


title: Paris Paris

text: The music of the film is composed by Amit Trivedi and lyrics are by Thamizhachi Thangapandian and Parvathy.


title: Paris Paris

text: The film's release was delayed after the Central Board of Film Certification gave an "A" certificate to the Tamil and Telugu versions of the film in August 2019. Co-producer Parul Yadav raised an objection to why only the Tamil and Telugu versions were flagged, when the Kannada, Malayalam and original Hindi films were given "U/A" certificates. She added that certain scenes from the original, such as the scene where the lead actress goes to a strip club, were not shot owing to cultural differences in Tamil Nadu. Producer Manu Kumaran was critical of how the Board had looked to censor the appearance and dialogues spoken by Elli Avram's character. In April 2020, Yadav suggested that the producers were keen to release all four versions of the film on the same day, and were thus waiting for the censorship decisions to be revised.


title: Paris Paris

text: In July 2020, it was widely reported in the media that the producers were in discussions with Amazon Prime Video about the release of the four films via the OTT platform. Songs from the four films were then later released on YouTube in early September 2020. Manu Kumaran subsequently announced that the films were yet to be sold to any OTT platform and criticised the 'male-chauvinistic' mindset of digital media companies for refusing to purchase the film. In June 2021, there were renewed reports that the producers were trying to release the film via an OTT platform.


title: Solo (Jennie song)

text: "Solo" (stylized in all caps) is the debut solo single of South Korean singer, rapper, and Blackpink member Jennie. Released on November 12, 2018, through YG and Interscope, the song was written by Teddy Park and produced by him alongside 24. Musically, "Solo" is a dance, pop, and hip hop song with EDM elements. Its lyrical content revolves around the theme of independence after a break-up.


title: Solo (Jennie song)

text: An accompanying music video for the song was directed by Han Sa-min and uploaded to Blackpink's YouTube channel simultaneously with the single's release. The video was filmed in the United Kingdom and depicts Jennie's transformation from an innocent to a strong independent woman. The video has accumulated more than 850 million views on the platform.


title: Solo (Jennie song)

text: The single debuted and peaked at number one on the South Korean Gaon Digital Chart. Internationally, it became Jennie's first chart-topper on the "Billboard" World Digital Songs chart in the United States, and debuted on the charts of several other countries, including Canada, Japan, Malaysia, New Zealand, Scotland, Singapore and the UK. It has received two platinum certifications from the Korea Music Content Association (KMCA): for selling over 2.5 million digital units, and for surpassing 100 million streams.


title: Solo (Jennie song)

text: In a press conference held on November 12, 2018, Jennie talked about the song's creation. She said, "When you’re dating someone, you tend to present what the other person wants rather than your true self. I wanted to express that feeling. Rather than the heart wound coming from a breakup, I wanted to express myself more freely". While Jennie is not credited as a songwriter, she created the concept behind the song. She told the "Hollywood Reporter", "So, I've input a lot of my ideas into the concept, the style and everything. So, I've had a strong connection from the beginning, I guess." "Solo" was written by Teddy Park and produced by him alongside 24. The song is composed in the key of E-flat minor in a tempo 95 beats per minute and runs for 2:49. It has been described as a dance, pop and hip hop song, with EDM elements. "SBS"' Kang Kyung-yoon noted that the lyrics follow two themes; a weak introverted girl and an "independent yet strong woman.


title: Solo (Jennie song)

text: "Solo" debuted at number one on the Gaon Digital Chart on the week ending November 17. Overall, the song stayed in the top ten of the chart for 13 consecutive weeks and spent 33 weeks in the top 100 of the chart. It furthermore topped the component Download and Streaming chart. The CD release of the single charted at no. two of the Gaon Album Chart, selling 45,000 copies in two months making it the 100th best-selling album of 2018. As of April 2021, it sold more than 100,000 copies. Eventually "Solo" became the 86th and 35th best-performing song of 2018 and 2019 respectively in South Korea. The song was certified platinum by the Korea Music Content Association (KMCA) both for surpassing 100 million streams on June 6, 2019, and for 2.5 million paid digital downloads on March 12, 2020. The song entered the "Billboard" K-pop Hot 100 on the chart issue dated November 24 at number one. The following week it dropped to no. ten, but reached the top again the following week. It spent 25 weeks on the chart. The song further reached number one in Singapore and Malaysia. In Japan, "Solo" debuted and peaked at number 22 on the "Billboard" Japan Hot 100 in the week ending November 26. In the United States, "Solo" debuted atop "Billboard's" World Digital Song Sales chart on the issue dated December 1, 2018. It spent 25 weeks in said chart. The song has sold 10,000 digital copies in the US as of December 2018. "Solo" also reached the single charts in Canada and Scotland, while reaching the UK download component and New Zealand Hot Singles charts.


title: Solo (Jennie song)

text: On October 18, 2018, YG announced that all Blackpink members were preparing solo releases, with Jennie to release a song in November 2018. On October 27, YG released a promotional poster on various social media accounts. A 23-second teaser video was uploaded one day later onto Blackpink's official YouTube channel. The clip shows Jennie lying on a bed and repeatedly mentioning her name. The second teaser was uploaded one week later, showing her performing in various clothes in a photo studio. The third and last teaser was uploaded four days prior to the singles release, showing her with different outfits in various locations.


title: Solo (Jennie song)

text: "Solo" was released for digital download and streaming on November 12, 2018, through YG and Interscope. A physical version of the single was released on November 18, 2018, featuring the song and it's instrumental. Alongside the CD, a 72-page photobook, a double-sided poster, a random photocard and a lyrics postcard were released in a special version. A live version of "Solo" which was recorded on December 24, 2018, was included on Blackpink's first live album "Blackpink Arena Tour 2018 "Special Final In Kyocera Dome Osaka"", which was released on March 22, 2019, through YGEX.


title: Solo (Jennie song)

text: Jennie performed "Solo" on several occasions. The single was first performed by Jennie during Blackpink's concert in Seoul's Olympic Gymnastics Arena on November 10 and 11, 2018. She performed "Solo" four times in November and December at SBS' "Inkigayo" and won three times. Its dance was choreographed by Kiel Tutin, Kyle Hanagami, and Shackkings. In the same month, "Solo" was performed at the SBS Gayo Daejeon, alongside "Ddu-Du Ddu-Du". Furthermore, "Solo" was performed during Blackpink's debut Coachella stage on April 12, 2019. On January 31, 2021, Jennie performed "Solo" during Blackpink's livestream concert, The Show, with a new self-written rap verse. This version of the song was released on June 1, 2021, in the live album "Blackpink 2021 'The Show' Live.


title: Solo (Jennie song)

text: An accompanying music video for the song was directed by Han Sa-min and shot in the United Kingdom. It features Jennie on her own as she transforms from an "innocent and delicate" woman in a luxurious manor, to a charismatic woman growing into her independent nature, reveling in being "Solo" through a variety of dance scenes, showing off sleek choreography and ending things off in a powerful way amid a crowd of female dancers.


title: Solo (Jennie song)

text: On January 14, 2021, the music video reached 600 million views on YouTube. With the feat, Jennie became the first female Korean soloist to have a 600 million-view music video ever.


title: Tsar Tank

text: The Tsar Tank (Russian: "Царь-танк", transcription: "Tsar'-tank"), also known as the Netopyr' (Russian: "Нетопырь", which stands for "Pipistrellus" a genus of bat) or Lebedenko Tank (Russian: "танк Лебеденко"), was a Russian armoured vehicle developed by Nikolai Lebedenko, Nikolay Yegorovich Zhukovsky, Boris Stechkin, and Alexander Mikulin from 1914 onwards. The project was cancelled in 1915 after initial tests deemed the vehicle to be underpowered and vulnerable to artillery fire.


title: Tsar Tank

text: The Tsar Tank differed from modern tanks in that it did not use caterpillar tracks— rather, it used a tricycle design. The two front spoked wheels were nearly in diameter, and the rear-mounted third wheel was only high. According to the memoirs of Lebedenko, the idea of this machine was prompted by Turkic povozki carts, which, thanks to large diameter wheels, were able to easily traverse bumps and ditches. The upper cannon turret reached a height of nearly . The hull was wide with two more cannon in sponsons. Additional weapons were also planned under the belly. Each wheel was powered by a 240 hp Maybach engine. Each engine drove a car wheel which transferred power to matching giant wheel by being pressed against its rim. The design had a top speed of 10 mph.


title: Tsar Tank

text: Lebedenko had a private laboratory in Moscow (Sadovo-Kudrinskaya, 23) where he carried out orders from the military. The decisive audience for the project took place in January 1915 during which Lebedenko presented Nicholas II with a clockwork wooden model of his car with an engine based on a gramophone spring. According to the recollections of the courtiers, the Tsar and the engineer played with a model of the machine which briskly ran along the carpet, easily overcoming stacks of two or three volumes of the "Code of Laws of the Russian Empire". The audience ended with the fact that Nicholas II, impressed by the vehicle, ordered 210 thousand rubles to be allocated from his own funds for the project. Nicholas II kept the wooden model of the tank that Lebedenko made for the demonstration. The ultimate fate of the model is unknown.


title: Tsar Tank

text: Details of the tank were manufactured at a plant in Khamovniki. The huge wheels were intended to cross significant obstacles. However, the rear steerable roller, due to its small size and the incorrect weight distribution of the machine as a whole, got stuck in soft ground almost immediately after the start of the test. The large wheels were unable to pull it out, despite the use of the most powerful propulsion system at that time, consisting of two captured Maybach engines. These were much more powerful than those used on other tanks of the First World War, having been taken from a damaged German airship. This led to a number of failed tests before the High Commission in August 1915, and in September the project was cancelled. Despite this, Stechkin and Mikulin nevertheless began to develop a new engine (AMBES) for the vehicle. However, this attempt was unsuccessful, as were attempts to move the Tsar Tank from its place and pull it out of the test area. Until 1917, the tank was guarded at the test site, but then, due to the outbreak of the Russian revolution, the vehicle was forgotten. Design work on it was no longer carried out and the huge structure of the vehicle rusted for another 6 years in the forest, some from Moscow until 1923 when the tank was finally dismantled for scrap.


title: Marvel Rising: Secret Warriors

text: Marvel Rising: Secret Warriors is a 2018 American made-for-television animated superhero film produced by Marvel Animation, featuring Ms. Marvel, Squirrel Girl, Patriot, and others. It is the first full-length film of the "Marvel Rising" franchise and was released on September 30, 2018 simultaneously on Disney Channel and Disney XD. The inauguration of a team of new characters gave Marvel a project that would introduce to the public some of the lesser known characters within the universe.


title: Marvel Rising: Secret Warriors

text: Kamala Khan is a teenager who lives in Jersey City, New Jersey, and is also an Inhuman with shapeshifting abilities and lives a secret life as the superheroine Ms. Marvel. She idolizes Captain Marvel, but clashes with her mother, who believes her interest in superheroes is time-wasting, and she has yet to overcome all of the unfortunate difficulties of being a rookie superhero. Kamala and her best friend Doreen Green, a fellow superhero known as Squirrel Girl, stop a thief in the park who steals from a food vendor. The thief is Dante Pertuz, who can control and manipulate fire. The girls also meet Victor Kohl, who is tracking Dante and tells them about how he is working to protect Inhumans from their own destructive powers. Victor and Dante both flee the scene before Kamala and Doreen are approached by S.H.I.E.L.D. agents Quake and Patriot, who have also been tracking violent incidents involving Inhumans. The agents leave, and the two friends decide to find Victor and Dante and solve the Inhuman incidents themselves and prove that Inhumans should be seen as heroes and not threats.


title: Marvel Rising: Secret Warriors

text: America Chavez has her motorcycle stolen by Dante, who is still unwilling to work with Victor, as he hates his powers for how they ruined his life. An accidental gas explosion in the street forces America, Kamala, Doreen and the S.H.I.E.L.D. agents to work together. Shortly after, Quake is arrested by the agency for unsanctioned action in investigating the Inhumans. Kamala flashes back to when her powers were activated by the Terrigen bomb, and fears that Dante might be struggling with his own powers. She and Doreen argue about if they should trust Dante or Victor. Victor propositions Kamala to join his organisation, and fights her when she declines, as he transforms into his superhuman persona, Exile. He reveals that he is working for Hala the Accuser, who is scouting Inhumans to join the Kree, a militaristic alien race. Exile kidnaps Kamala, and she disappears into a portal. Doreen joins together with America and Patriot to rescue Kamala. They help Quake break out of custody, who joins them and reveals she is also an Inhuman. They are also joined by Captain Marvel, who uses her resources to assist the search.


title: Marvel Rising: Secret Warriors

text: Kamala wakes up to find that she is a captive in a spaceship cell along with Dante. They are forced by Hala the Accuser to fight each other in order to protect their families; however, they work together to outsmart Hala and escape. The pair also rescue the innocent Inhumans from their imprisonment, and join with Lockjaw, a giant bulldog who can teleport. Captain Marvel and the team arrive and help to fight Exile and Hala. Hala is expelled into space and Exile is defeated, but the spaceship is damaged in the fight. Working together and overcoming their doubts, the team safely lands the spaceship on Earth, and Exile flees. Kamala is overjoyed to meet her idol, but Captain Marvel encourages Kamala to forge her own path and not to follow in her footsteps.


title: Marvel Rising: Secret Warriors

text: The next day, Kamala and Squirrel Girl make amends, before they stumble upon a secret headquarters. Kamala, Doreen, Dante, America, Quake, Patriot and Lockjaw come together to form an "unofficial" superhero team under Captain Marvel's guidance. Quake is appointed as the leader, and the team are told to train in secret, as they name their team the "Secret Warriors". Kamala looks forward to finding out more about Inhumans and their purpose.


title: Marvel Rising: Secret Warriors

text: Back at the headquarters, Captain Marvel meets with Captain America, who is pleased to see his student Patriot step out of his shadow. He states his interest in working with an underground team of superheroes.


title: Marvel Rising: Secret Warriors

text: The movie was first announced on December 7, 2017. Joe Quesada, Dan Buckley, Cort Lane, and Eric Radomski are set to executive produce the film. Those credited as co-executive producers are Stan Lee, Sana Amanat, and Marsha Griffin. Writer for the film is Mairghread Scott with Alfred Gimeno as supervising director.


title: Marvel Rising: Secret Warriors

text: On August 23, 2018, the film's theme song, "Born Ready", was released on Walt Disney Records VEVO YouTube channel. The song is sung by Dove Cameron, who plays Ghost-Spider in other "Marvel Rising" media.


title: Marvel Rising: Secret Warriors

text: The review aggregator website Rotten Tomatoes reported an approval rating of 100%, with an average rating of 7.5/10, based on 7 reviews.


title: Marvel Rising: Secret Warriors

text: Kevin Yeoman of "Screen Rant" called "Marvel Rising: Secret Warriors" an "entertaining animated film," saying, "The movie makes a good go of telling a larger story within the confines of a feature-length runtime. There are concessions to be made, however, and they mostly have to do with Kamala’s home life and the development of America Chavez, whose introduction and origin story feel too hasty for what the character deserves. With any luck this won’t be the last fans see of these "Secret Warriors", and Disney XD will have another chance to make these characters shine." Megan Damore of "CBR.com" described "Marvel Rising: Secret Warriors" as a "fluid transition from the "Marvel Rising: Initiation" shorts," writing, "With vibrant characters, a heartwarming story and a killer soundtrack, "Marvel Rising: Secret Warriors" is a joy to watch. In a post-"Avengers: Infinity War" world, "Secret Warriors" is like a shot in the arm, brimming with hope and heart. It's rare to find a project so genuine and candid these days, and "Secret Warriors" manages to pull this off without feeling cheesy or over-sentimental. Even when the credits roll on the feature, it doesn't feel like the end -- not even close. Instead, "Marvel Rising: Secret Warriors" feels like the bold beginning of a new era for Marvel Animation."


title: Marvel Rising: Secret Warriors

text: Chelsea Steiner of "The Mary Sue" referred to "Marvel Rising: Secret Warriors" as an "entertaining, warm-hearted celebration of diversity and inclusion," asserting "The story of a young superhero struggling to understand and master their powers is not a new one (we’ve had nearly a dozen Spider-Man films covering this terrain), but seeing two girls (one a woman of color) navigating the experience is refreshingly original. The film is packed with powerful female characters, but the story is centered on the friendship between Kamala and Doreen. Kamala’s hesitancy and reserve make her a great foil for the upbeat and wildly optimistic Doreen." Emily Ashby of "Common Sense Media" gave "Marvel Rising: Secret Warriors" a grade of 4 out of 5 stars, praised the depiction of positive messages, citing teamwork and perseverance, and complimented the presence of role models, stating the film depict leading and inspiring female characters, while noting the diverse ethnicity across the characters, stating, "The characters' emotional evolution from insecure and standoffish teens to powerful gears in the Secret Warriors machine involves strong themes about self-identity, confidence, cooperation, and embracing one's own uniqueness. Another plus? This Marvel installation makes heroes of several female characters (yay!) who don't fit the archetypal physical template of traditional heroines and bring body type diversity to the mix (double yay!)."


title: Fear of the Dawn

text: Fear of the Dawn is the fourth studio album by the American rock musician Jack White, released on April 8, 2022, through Third Man Records. The album was written in Nashville and recorded throughout 2021 at Third Man Studio.


title: Fear of the Dawn

text: In October 2021, White released "Taking Me Back", his first solo single since 2018. In November, White revealed that he would release two solo albums in 2022: "Fear of the Dawn", which will feature White's traditional rock sound, and "Entering Heaven Alive", a folk album, planned for release on July 22. White released a video for "Taking Me Back" on November 11.


title: Fear of the Dawn

text: In December 2021, White announced the Supply Chain Issues Tour kicking off on April 8, 2022, in Detroit, Michigan. The tour covers North America and Europe. On February 11, 2022, White released the title track "Fear of the Dawn" as the B-side of the lead single from "Entering Heaven Alive", "Love Is Selfish", and uploaded the music video for "Fear of the Dawn" on YouTube the same day. On March 3, 2022, White released the song "Hi-De-Ho" (which features rapper Q-Tip, formerly of hip hop group A Tribe Called Quest) as the second standalone single from "Fear of the Dawn". Finally on April 7, 2022, White released "What's the Trick?" as one last surprise single the day before the album was released.


title: Tehuelche people

text: The Tehuelche people, also called the Aónikenk, are an indigenous people from eastern Patagonia in South America. In the 18th and 19th centuries the Tehuelche were influenced by Mapuche people, and many adopted a horseriding lifestyle. Once a nomadic people the lands of the Tehuelche were colonized in the 19th century by Argentina and Chile gradually disrupting their traditional economies. The establishment of large sheep farming estates in Patagonia was particularly detrimental to the Tehuelche. Contact with outsiders also brought in infectious diseases ushering deadly epidemics among Tehuelche tribes. Most existing members of the group currently reside the in cities and towns of Argentine Patagonia.


title: Tehuelche people

text: The name "Tehuelche complex" has been used by researchers in a broad sense to group together indigenous peoples from Patagonia and the Pampas. Several specialists, missionaries and travelers have proposed grouping them together on account of the similarities in their cultural traits, geographic vicinity and languages, even though the languages they spoke amongst themselves were not related to each other and their geographic distributions were extensive.


title: Tehuelche people

text: According to the historian Antonio Pigafetta from Ferdinand Magellan's expedition in 1520, he referred to the indigenous people he came across in the San Julian Bay as the "Patagoni." In 1535 the historian Gonzalo Fernández de Oviedo y Valdés explained in his "Historia general y natural de las Indias" (General and Natural History of the Indies), that... "We Spaniards call them the Patagones for their big feet," which the historian Francisco López de Gómara agreed with in 1552. Based on these accounts, the first name the Spanish used to refer to the Tehuelche people was the Patagones. However, some researchers speculate, without verifiable bases, that Magellan could have been inspired by the dog-headed monster from the 1512 novel "Primaleón" known as "Pathogan."


title: Tehuelche people

text: According to the most widespread view, the word Tehuelche comes from the Mapuche term chewel che, which would mean "brave people," "rugged people," or "barren land people." Another version suggests that it could be derived from one of their factions, the Tueshens, plus the Mapuche word "che" meaning ‘people’ or ‘peoples.’


title: Tehuelche people

text: The classification of indigenous groups that lived in the Pampas and Patagonia is confusing due to the different terms that were used to refer to the native population groups from these regions. There are various causes that have prevented the establishment of one unique and complete classification. Among these circumstances, the extinction of some of these groups, coupled with the vast amount of land on which these groups were distributed, which inhibited Spanish explorers who first identified certain Tehuelche peoples from making contact with all the groups. In other cases, the seasonal migrations that they practiced which involved traveling long distances made Europeans that observed them overestimate the number of people from a group or the distribution range of a language. In conjunction with all of these factors, the intrusion of the Mapuches, or Araucans, from the west deeply transformed their cultural reality, intermixing and absorbing ethnic groups from the Pampas and central and North of Patagonia, producing the Araucanization of a large part of the ancient inhabitants. Finally, the subsequent Conquest of the Desert carried out by the Argentine Army led to the near extinction of these indigenous communities. This historic overview has led to the disagreement among researchers.


title: Tehuelche people

text: In the 19th century, explorers such as Ramón Lista and George Chaworth Musters named them "tsóneka", "tsónik" or "chonik". The majority of experts agree that the Chubut river separated the two largest subdivisions: the "Southern Tehuelche" and "Northern Tehuelche." The first subdivision stretched towards the south to the Strait of Magellan, whereas the second group extended towards the north to the Colorado River (Argentina) and Rio Negro (Argentina). The presence, or lack thereof, Tehuelche people in the Pampas has led to disagreements among researchers, who have not agreed on the existence of a separate subdivision called the ‘Pampas,’ nor what their relationship and borders were with the Mapuches.


title: Tehuelche people

text: One of the primary classifications was from English Jesuit Thomas Falkner in his 1774 work "A description of Patagonia and the adjoining parts of South America", which introduced the ethnic name ‘Het peoples’ for the Puelche people, which included the Tehuelche: The Puelches, or Eastern Peoples (...) They bear different denominations, according to the situation of their respective countries, of because they were originally of different nations. Those toward the north are called Taluhets; to the west and south of these are the Diuihets; to the south east, the Chechehets; and to the south of these last is the country of the Tehuelhets (...)For Falkner the "Tehuelhets" or "Patagones" were the Tehuelche people who lived from the banks of the Rio Negro to the Strait of Magellan:The Tehuelhets, who in Europe are known by the name of Patagons, have been, through ignorance of their idiom, called Tehuelchus; for chu signifies country of abode, and not people; which is expressed by the word het, and, more to the south, by the word kunnee or kunny. These and the Chechehets are known to the Spaniards by the name of Serranos, or Mountaineers. They are split into a great many subdivisions, as the Leuvuches, or People of the River, and Calille-Het, or People of the Mountains; amongst whom are the Chulilau-cunnees, Sehuau-cunnees, and Yacana-cunnees. All these, except those of the River, are called by the Moluches, Vucha-Huilliches.


title: Tehuelche people

text: In 1936 Milcíades Vignati published "Las culturas indígenas de la Pampa y Las culturas indígenas de la Patagonia" (The Indigenous Cultures of the Pampas and the Indigenous Cultures of Patagonia) in which he proposed that between the 16th and 19th centuries the "Gününa-küne" or "Tuelches" lived from the southern half of the province of Rio Negro to the boundary between the present Chubut and Santa Cruz provinces. The "Serranos" were to the North of them and the "Aônükün'k" or "Patagones" were located to the South. These peoples were divided between three groups: the "Peénken" (people of the North), the "Háunikenk" (people of the South), and the "Aónikenk" (the people of the West).


title: Tehuelche people

text: In his 1949 piece "El complejo tehuelche. Estudio de etnografía patagónica" (The Tehuelche Complex. An Ethnographic study of Patagonians), the military doctor Federico A. Escalada classified the Tehuelche people from historic periods, on the basis of the "Estudio de la realidad humana y de la bibliografía" (Study of Human Reality and Bibliography), into five simple categories, each with their own language derived from a mother language called "Ken." He grouped them together geographically into "dry land" and "islanders," denying the existence of a separate "Pampa" group.


title: Tehuelche people

text: Argentine historian and paleontologist Rodolfo Casamiquela reviewed Escalada's classifications in his books "Rectificaciones y ratificaciones hacia una interpretación definitiva del panorama etnológico de la Patagonia y área septentrional adyacente" (Rectifications and ratifications towards a definitive interpretation of the ethnological panorama of Patagonia and the adjacent Northern area) (1965); "Un nuevo panorama etnológico del area pan-pampeana y patagónica adyacente" (A new ethnological panorama of the Pan-Pampas and adjacent Patagonian area) (1969); and "Bosquejo de una etnología de la provincia de Río Negro" (Outline of an ethnology of the Río Negro province) (1985), reaffirming the existence of a Tehuelche complex.


title: Tehuelche people

text: The different ethnic groups that are recognized under the broad term "Tehuelche" spoke languages whose exact quantity and relationships have been subject to different opinions. For Roberto Lehmann Nitsche, the languages stemming from the Pampas and Patagonia divided in to two groups, the Chonan languages and the Het languages. The available evidence distinguishes between six languages in the Tehuelche complex: the Chon group (Teushen, Aoenek’enk, Selknam and Haush), the language of the Gününa küne indigenous group and the language of the Querandí people.


title: Tehuelche people

text: The language of the Aonekkenk people appears more closely related to the language of the Teushen people (central eastern Chonan). These languages in turn maintain a closer relationship with the languages from Isla Grande de Tierra del Fuego (southern Chonan) and a more distant relationship with the language of the Gününa küne indigenous group (northern Chonan). Escalada considered the idea that the entire Tehuelche complex had a common linguistic core, called "Ken" ('people').


title: Tehuelche people

text: In central Patagonia there was also an ancient transition language between the Penkkenk and the Aonekkenk languages, called Tehuesh (Tewsün, Téushenkenk or Teushen), which was gradually replaced by the Aonekkenk language. However, a large portion of the current names of places in the central plateau retain their Tewsün roots today; for example, the name of the Chubut Province is derived from the term ""chupat"".


title: Tehuelche people

text: Finally, the Aonekken ("people of the South") people speak the language commonly known as the Tehuelche language or Tshoneka or Aonekkenk, which constitutes the language currently most studied from the group and the only language that continues to be used. There is a group of people who try to recover the language through a program called "Kkomshkn e wine awkkoi 'a'ien" (“I am not ashamed of speaking Tehuelche”). The organization focuses on spreading the language and culture.


title: Tehuelche people

text: In 1864, Hunziker recorded a vocabulary and a collection of phrases from a language called Genakenn in the Viedma region. In 1865, the explorer Jorge Claraz traveled from south of Buenos Aires to Chubut being guided by individuals who spoke Gününa iajëch, collecting the names of places, words and sentences in his "Diario de viaje de exploración al Chubut (Chubut exploration travel diary) (1865–1866)".


title: Tehuelche people

text: In 1913, Lehmann Nitsche used the data collected by Hunziker and Claraz to create a comparative vocabulary of Tehuelche languages: "El grupo lingüístico tschon de los territorios magallánicos" (The Chonan Linguistic Groups of the Magellanic Territories).


title: Tehuelche people

text: In 1925, Harrington gathered words from bilingual Tehuelche speakers which he published in 1946 in "Contribución al estudio del indio gününa küne" (A Contribution to the Study of the Gününa küne Indian), claiming that they called their language Gününa yájitch or Pampa. During the 1950s, Casamiquela collected vocabulary, songs and prayers from various elders, outlining a morphosyntactic analysis.


title: Tehuelche people

text: In 1960, Ana Gerzenstein made a phonetic and phonological classification in her "Fonología de la lengua gününa-këna" (Phonology of the Gününa-këna Language).


title: Tehuelche people

text: In 1991, José Pedro Viegas Barros outlined a morphosyntactic projection in "Clarificación lingüística de las relaciones interculturales e interétnicas en la región pampeano-patagónica" (Linguistic Clarification of Intercultural and Inter-ethnic Relations in the Pampas-Patagonian Region), and in 2005 he developed a phonological description in "Voces en el viento" (Voices in the Wind).


title: Tehuelche people

text: Puelche is a dead language. Casamiquela released the first and last name of the last Puelche speaker: José María Cual, who died in 1960 at the age of 90.


title: Tehuelche people

text: Although mobile, Tehuelche groups tended to move in specific circuits, predominantly from west to east and vice versa. During each season, the groups had places where they would set up camps, known as "aik" or "aiken" among themselves, and referred to as "tolderías" by the Spanish and Creoles.


title: Tehuelche people

text: Each Tehuelche group was composed of various kinship and they had specific territories for hunting and gathering. The boundaries of these territories were defined through ancestry by markers with unknown significance: a hill, a trough, a hollow, or important tree. In cases where a group could not satisfy their needs in their own territory, they had to ask for the permission of neighboring people from the same ethnic group to use the resources from their territories; a violation of this rule led to war.


title: Tehuelche people

text: The Tehuelche had a very organized family unit, in which men were the authoritative figures and women were subordinate. In most family contexts, the father would offer his daughter for marriage in exchange for various goods. Each man could have two or three wives, depending on his status.


title: Tehuelche people

text: As in the case of other ethnic groups that did not develop a state structure, the Tehuelche did not possess an organized religious system (liturgy and vertical structure). However, like all the Pampas and Patagonian peoples, they had a corpus of beliefs based on their own myths and rituals, which were narrated and updated by the shamans who also practiced medicine with the help of the spirits invoked in themselves.


title: Tehuelche people

text: The Tehuelche people believed in diverse Earth spirits, along with a supreme deity who created the world but does not intervene in it. One of the cosmological versions of the creation myth is one in which the deity, known as Kóoch, brought order to the world's chaos, creating distinct elements. Similarly, the Selknam people from Tierra del Fuego in Argentina, narrated a similar myth where the world creator, a deity known as Kénos' (a variant of Kóoch through a common root), sent El-lal, son of the giant Nosjthej, Patagonia through the deity Temáukel. In Tehuelche myths, El-lal created humans and taught them to use bow and arrows. In the Tehuelche culture, they accepted the existence of an evil spirit, called Gualicho.


title: Tehuelche people

text: The ancestors of the Tehuelche are probably responsible for the creation of the rock art of Cueva de las Manos, created from about 13,000 to 9,000 years ago up until around 700 A.D. 6000 years ago the Toldense industry emerged, consisting primarily of goods such as two-sided sub-triangular projectile points, lateral and terminal scrapers, bifacial knives and tools made from bone. Later, between 7000 and 4000 B.C., the Casapedrense industry appeared, characterized by a greater proportion of stone tools made in sheets, which was most likely a demonstration of a specialization in guanaco hunting, which is also present in the subsequent cultural developments of the Tehuelche people.


title: Tehuelche people

text: From this time and until the European arrival (early 16th century) the Tehuelche people were hunter-gatherers who utilized seasonal mobility, moving towards guanaco herds. During the winter they were in the low areas (meadows, wetlands, shores, lake shores, etc.), and during the summer they moved up to the central plateaus of Patagonia or to the Andes mountains where they had, among other sacred sites, Mount Fitz Roy.


title: Tehuelche people

text: On 31 March 1520 the Spanish expedition, under the command of Fernando de Magallanes, landed in San Julián Bay to spend the winter there. Here, they made contact with Tehuelche indigenous groups, who they referred to as "Patagones", as told by the scribe, Antonio Pigafetta. Pigaffetta described these people as a mythical tribe of Patagonian giants.


title: Tehuelche people

text: Prior to meeting the Tehuelche groups in person, the explorers had been amazed by the size of their footprints. Enlarged by the animal furs they used as footwear, their feet appeared much larger than those of the Europeans at the time. During the 16th century, the average male height of Europeans at around 165 cm (5 feet, 5 inches) would have been shorter than the Patagonian men whose height reportedly averaged above 2 meters (6 feet, 7 inches) by some accounts and around 183 cm (6 feet) by other accounts. Thus the Europeans may have considered them to be "Patones" (‘large footed’) or the Patagonians may have reminded the explorers of the giant "Pathoagón" from the knighthood novel "Primaleón". The Patagonians' large craniometry made them famous in European literature from the 16th to the 19th centuries due to their large stature and physical strength.


title: Tehuelche people

text: It is important to take into account that between the 16th and 18th centuries the name "Patagonia" was given to all territory to the South of the Río de la Plata estuary. This reinforces hypotheses made by anthropologists like Rodolfo Casamiquela, according to whom, the 'Het' from Falkner's work, were also Patagones. The Spanish arrival implicated a change in the cultures of the native peoples and the Tehuelche people were not strangers to that. Plagues such as measles, smallpox and the flu were unleashed among the groups which decimated their populations, particularly the northern Gennakenk group.


title: Tehuelche people

text: Since the 18th century, there was important commercial activity and product exchanges among the native inhabitants of the Pampas plains and the Sierras of the current Buenos Aires Province, the inhabitants of Northern Patagonia, and those of both edges of the Andes. There were two very important trade fairs in Cayrú and Chapaleofú. These trade fairs, called "Poncho fairs" by the Jesuits at the time who recorded their existence (such as Thomas Falkner), were places for the exchange of various types of products: from livestock and agricultural products to garments, such as ponchos. Cayrú was located in the most western part of the Tandilia system (in the current territory of the Olavarría Partido). Chapaleofú refers to the homonymic water stream vicinity, situated in the current Tandil Partido. Both municipalities, or partidos, are located in the interior of the current Buenos Aires Province. The movements of people to participate in the exchanging of products generated certain cultural exchanges between different groups living anywhere from the humid Pampas, the northern Patagonia, the immediate area near the Andes (both on its western and eastern edges), to the coast of the Pacific Ocean. This was the start of cultural exchanges and migratory movements, between distinct groups such as the Tehuelche, Ranquel and Mapuche people.


title: Tehuelche people

text: Although Mapuche trade started as a means of fostering commerce and alliances, it was completed by generating a large cultural influence on the Tehuelche and other groups, to the point that it is referred to as the "Mapuchization" or "Araucanization of Patagonia". A large portion of the Tehuelche and Ranquel peoples adopted many of the Mapuche customs and their language, while the Mapuches adopted parts of the Tehuelche way of life (such as living in tolderías) and thereby, the differences between the two groups were blurred to the point that their descendants refer to themselves as Mapuche-Tehuelche people.


title: Tehuelche people

text: During the first half of the 18th century, Chief Cacapol and his son, Chief Cangapol, were the most important chiefs in the regions extending from the Andes Mountains to the Atlantic Oceans, and from the Río Negro to the Salado River. Cangapol had a seat in the government in the Sierra de la Ventana region, and their people were known as the "Mountain Pampas". The Pampas knew how to align themselves with the Mapuches from the west, to attack the Buenos Aires Campaign in 1740.


title: Tehuelche people

text: In this process there were also inter-ethnic struggles and by 1820 heavy combat erupted between the Patagones and Pehuenches on the banks of the Senguerr River; other combat occurred at Barrancas Blancas and Shótel Káike. By 1828, the Pincheira Royalist army attacked the Tehuelche group in the Bahía Blanca and Carmen de Patagones area.


title: Tehuelche people

text: The Tehuelche people south of the Río Negro had a female chief: María la Grande. Her successor, Casimiro Biguá, was the first Tehuelche chief to make treaties with the Argentine government. His sons, Chiefs Papón and Mulato, ended up on a reserve in southern Chile.


title: Tehuelche people

text: The Tehuelche people had to live with Welsh immigrants who, since the second half of the 19th century, began to settle in Chubut: the relations were generally harmonious between the two groups. In 1869, Chief Biguá recognized the need to defend the Welsh against a potential attack from Chief Calfucurá.