title: Borda count

text: This scoring system was adopted for international chess around the middle of the nineteenth century and by the English Football League in 1888–1889. Unbiased handling of draws was therefore adopted a century before unbiased handling of ties was recognised as desirable in electoral systems.


title: Spacetoon

text: Spacetoon TV ( or ) is a pan-Arab free-to-air television channel that specializes in animation and children programs. It began broadcasting on 15 March 2000 and it is headquartered in Dubai, UAE with offices in Riyadh. The channel targets children from 4 and up. Its late night block Space Power is targeted at teenagers and young adults. The Spacetoon company also maintains a video-on-demand app called Spacetoon Go.


title: Spacetoon

text: The Spacetoon company has had two now-defunct channels in the Arab world, Space Power TV and Spacetoon English.


title: Spacetoon

text: The main Indonesian channel began airing on 24 March 2005 in Jakarta. It later became NET., and its broadcast remains on satellite television. Currently, there are three Spacetoon channels in Indonesia: Spacetoon, Space Shopping and Spacetoon Plus. In India, Spacetoon India exists as licensing company, but not as a separate TV channel. In South Korea, Spacetoon launched in 2005 but has since closed down.


title: Spacetoon

text: In 1999, Bahrain Radio and Television Corporation officially signed an agreement to broadcast a children's cartoon channel. On 15 March 2000, Spacetoon officially launched, but as a seven-hour block. Spacetoon continued to air this way until the contract ended on 12 January 2002, according to a statement issued by the Ministry. Later, in 2004, Spacetoon moved its headquarters to Dubai and was established as an independent channel on Nilesat running 24/7.


title: Spacetoon

text: In the Arab world, the majority of programs are dubbed in modern standard Arabic. Spacetoon is closely affiliated with Venus Center, a Syrian dubbing company which has historically provided the Arabic dubbed versions of the programming. Using modern standard Arabic in dubbing played a crucial role in maintaining the use of the dialect in childhood, which was especially significant given the context of emerging spoken Arabic dialects.


title: Spacetoon

text: In Indonesia, Spacetoon officially launched on 24 March 2005. The network was founded by H. Sukoyo, co-founder of TV7. When it was launched, Spacetoon broadcast from 6 a.m. to 9:30 p.m. WIB. Later, broadcast timings were extended from 5 a.m. to 11 p.m. When programming ended, a 10-minute section filled with animation, songs, or messages for children was shown. During mid-2011, due to financial problems, Spacetoon began broadcasting some home-shopping programs and alternative medicine programs.


title: Spacetoon

text: In March 2013, 95% of Spacetoon ownership stakes were acquired by Net Visi Media. On 18 May 2013, Spacetoon officially closed for terrestrial to make way for NET. on terrestrial network, while Spacetoon broadcast in Indonesia still remains on satellite television.


title: Spacetoon

text: In September 2014, Spacetoon split into two channels: Spacetoon and Spacetoon 2. Spacetoon 2 broadcast more cartoon and animation than Spacetoon, although it still broadcast some home-shopping programs. In May 2016, Spacetoon added another channel, Spacetoon 3. It had clearer audio than Spacetoon and Spacetoon 2, but was closed down on October of the same year. In November 2016, Spacetoon 2 was renamed as Space Shopping due to the home shopping programmes contributing the most revenue to the channel, which overall had little income.


title: Spacetoon

text: Programs aired on Spacetoon sometimes have aspects that are censored from their source material. In particular, scenes can be cropped or truncated in order to avoid showing excessive violence to viewers. This has been seen in programs such as "Detective Conan, Romeo's Blue Skies," and "Hunter × Hunter." "Hunter × Hunter" was also subject to the censorship of the depiction of Zen Buddhism and Taoism as related to the characters' powers, with the censored version opting to present their powers as a science and martial art. Selective cropping and editing are also used to hide cleavages and remove innuendo.


title: S.O.B. (film)

text: S.O.B. is a 1981 American satirical black comedy film written and directed by Blake Edwards. It stars Julie Andrews, Richard Mulligan, Robert Preston, Larry Hagman, Robert Vaughn, Robert Webber, Loretta Swit, Shelley Winters and William Holden in his final film role. The film was produced by Lorimar and was released by Paramount Pictures on July 1, 1981.


title: S.O.B. (film)

text: The story is a satire of the film industry and Hollywood society. The main character, Felix Farmer (Richard Mulligan), is a phenomenally successful film producer who has just made the first major flop of his career, resulting in the loss of millions of dollars to his movie studio and his own sanity. Felix attempts suicide four times: He attempts to die of carbon monoxide poisoning in his car, only to have it accidentally slip into gear and crash through the side of his garage, down a sand dune and into the Pacific Ocean. He then attempts to hang himself from a rafter in an upstairs bedroom, only to fall and crash through the floor, injuring a poisonous Hollywood gossip columnist standing in the room below. Subsequently, he tries to gas himself in his kitchen oven, but is prevented from carrying out his intent by two party guests with other things on their mind.


title: S.O.B. (film)

text: Felix spends roughly the first quarter of the film in a catatonic state or heavily sedated while his friends and hangers-on occupy his Malibu beach house. The occupation leads to a party which degenerates into an orgy. Finally, he tries to shoot himself with a police officer's gun, but is prevented from doing so by the ministrations of a young woman wearing only a pair of panties. The experience gives him the sudden realization that the reason for his film's failure was its lack of sex.


title: S.O.B. (film)

text: Felix resolves to save both the film and his reputation. He persuades the studio to sell him the rights to the film and then tries to convince his wife Sally Miles (Julie Andrews), an Oscar-winning movie star with a squeaky-clean image, to appear in the revised film - a soft-core pornographic musical in which she must appear topless. He liquidates most of his financial holdings to buy the existing footage and to finance further production. If he fails, both he and Sally will be impoverished, at least by Hollywood standards.


title: S.O.B. (film)

text: At first the studio executives are keen to unload the film onto Felix and recoup their investment, but when Sally goes through with the topless scene and the film seems a likely success, they plot to regain control. Using California's community property laws, they persuade Sally to sign a distribution deal which also gives the studio the right to edit the film. An angry and deranged Felix tries to steal the film negatives from the studio's color lab vault. Armed with his son's water pistol, Felix takes the lab's manager (Hamilton Camp) hostage. Hysterical, Felix points the water pistol at police; the police shoot and kill Felix, believing the toy gun to be real.


title: S.O.B. (film)

text: Felix's tragic death creates a crisis for his cronies Tim Culley (William Holden), the director of "Night Wind"; Ben Coogan (Robert Webber), Sally's press agent; and Dr. Irving Finegarten (Robert Preston), Felix and Sally's physician; the trio plan to save their friend from the lavish but hypocritical Hollywood funeral and give Felix a proper sendoff. They steal his body from the funeral home, substituting the corpse of a once popular but largely forgotten character actor who died on the beach near the Farmer home in the first scene of the film. After toasting their fallen comrade, the three give Felix a Viking funeral in a burning dinghy, while the actor gets the elaborate Hollywood sendoff many thought he deserved.


title: S.O.B. (film)

text: The epilogue later reveals that Felix's revamped film was a box office smash for the studio and Sally won another Academy Award for her performance.


title: S.O.B. (film)

text: Little is seen of the movie which is the focus of the plot, except for an extended dream sequence and a brief shot close to the end. The title is "Night Wind", which provokes the headline "Critics Break Wind" seen on a copy of "Variety" at the start of "S.O.B." after the initial flop. The plot of "Night Wind" is kept vague; it involves a frigid businesswoman (played by Sally) whose inability to love a "male chauvinist" rival executive stems from a childhood trauma that led to her sexual detachment.


title: S.O.B. (film)

text: The climax of "Night Wind" is the first scene of "S.O.B.", an elaborate song and dance sequence set to "Polly Wolly Doodle", in which Sally wanders through a room full of giant toys (several of which come to life), singing the song while dressed as a tomboy. The implication is that her father's death caused Andrews's character to renounce childhood and become a cold, frigid person.


title: S.O.B. (film)

text: A second scene, taking place at the end of the film, has Sally's character arrive at the home of her would-be lover after the dream, where he reveals that he still loves her, "despite everything."


title: S.O.B. (film)

text: When Felix rewrites the film to make it into soft porn, changes are made: Sally's character goes from sexually frigid to being a nymphomaniac. Her lover goes from male chauvinist to being a secret cross dresser. Felix axes the entire song sequence, turning it from a dream to a hallucination "... caused by a powerful aphrodisiac put into her Bosco" and replacing the regular version of "Polly Wolly Doodle" with a more haunting version. He has the "toys" dress in more erotic outfits, and includes a carnival barker-type muscle man (portrayed by "S.O.B."'s choreographer, Paddy Stone), who tempts Andrews' character before she rejects him by flashing her breasts.


title: S.O.B. (film)

text: "S.O.B." (in the film) stands for "Standard Operational Bullshit" and refers to misinformation being the norm. The abbreviation means "sexually oriented business" (if pertaining to strip clubs) and more generally "son of a bitch" (a ruthless person).


title: S.O.B. (film)

text: A Spanish dub of the film keeps the abbreviation S.O.B., claiming that it stands for "Sois hOnrados Bandidos" (You Are Honest Crooks). The Argentine title for the movie was changed to "Se acabó el mundo" (The World is Ended), having no relation to the original title.


title: S.O.B. (film)

text: Three years later, when Edwards had his name removed from the writing credits of 1984's "City Heat", he was billed under the pseudonym Sam O. Brown. (S.O.B.)


title: S.O.B. (film)

text: When writing the screenplay, Edwards drew upon several of his own experiences as a film maker. The character of Felix Farmer is a person not unlike Edwards, while actress Sally Miles bears certain similarities to real-life wife Julie Andrews (who plays her).


title: S.O.B. (film)

text: The story of "S.O.B." parallels the experiences of Edwards and Andrews in their infamous, but Academy Award-nominated, failure, "Darling Lili". Intended to reveal Andrews' heretofore unseen wicked and sexy side, that film had a troubled shoot, went significantly over budget, and was subjected to post-production studio interference. The early 1970s brought more bad news for Edwards; he made two more films, "Wild Rovers", a western with William Holden, and "The Carey Treatment" with James Coburn. Once again, the studio interfered in the post-production of both films, which were edited without any input from Edwards. Both movies opened to negative reviews and poor business. Hit hard financially and personally by these events, Edwards moved to Europe to work independently, away from the meddling and restrictions of the Hollywood studios. The plan worked, leading to several successful projects including three very profitable "Pink Panther" sequels starring Peter Sellers.


title: S.O.B. (film)

text: In "S.O.B.", Andrews's character agrees (with some pharmaceutical persuasion) to "show my boobies" in a scene in the film-within-the-film. For this scene, comedian Johnny Carson thanked Andrews on the Academy Awards for "showing us that the hills were still alive," alluding to a famous line from "The Sound of Music" opening sequence.


title: S.O.B. (film)

text: "S.O.B." had been in development by Edwards since 1976. In 1979, the film was set for pre-production at Orion Pictures with distribution by Warner Bros., Edwards's third film with Orion after "10" and "The Ferret", which was due to star Dudley Moore. In July 1979, Orion put the film into turnaround. Later in 1979, Edwards signed a deal with Lorimar through United Artists set to distribute. In 1981, Lorimar's agreement with UA ended and a distribution deal with Paramount Pictures was made even though there were was still much animosity between Edwards and Paramount over the "Darling Lili" debacle.


title: S.O.B. (film)

text: Filming took place between March and July 1980 in Los Angeles, Malibu and Santa Monica on a budget of $12 million.


title: S.O.B. (film)

text: "S.O.B." was released in July 1981, with critical opinion of the film sharply divided. Remarkably, the screenplay was nominated for both a Writers Guild of America Award for Best Comedy Written Directly for the Screen, and a Razzie Award for Worst Screenplay. It was also nominated for a Razzie for Worst Director and a Golden Globe Award for Best Motion Picture – Comedy/Musical.


title: S.O.B. (film)

text: "S.O.B." currently holds an 81% approval rating on Rotten Tomatoes from 26 reviews, with an average rating of 6.90/10. The website's critical consensus reads, "A sustained blast of unbridled vitriol from writer-director Blake Edwards, "S.O.B." is one of the blackest – and most consistently funny – Hollywood satires ever put to film."


title: S.O.B. (film)

text: Vincent Canby, writing for "The New York Times", described "S.O.B." as 'a nasty, biased, self-serving movie that also happens to be hilarious most of the time...It's difficult to remember a film as mean-spirited as "S.O.B." that also was so consistently funny.' Roger Ebert and Gene Siskel, then hosts of the PBS film review program "Sneak Previews", both gave "S.O.B." a positive review.


title: S.O.B. (film)

text: The film grossed $3,116,078 over the 5-day 4th of July holiday weekend and went on to gross $14.8 million in the United States and Canada. "The Village Voice" dubbed the film a box office flop.


title: S.O.B. (film)

text: Broadcast television prints of "S.O.B." contain alternate takes and edits of several scenes originally containing sex and nudity, such as the party and orgy scenes and " Night Wind"s erotica dream sequence where Julie Andrews exposes her breasts. The television version contains a scene where Robert Vaughn, as studio head David Blackman, receives a phone call while in bed with his mistress, and is simply seen naked from the waist up. In the original theatrical print, he is wearing a bustier, nylon stockings and other transvestite paraphernalia.


title: S.O.B. (film)

text: The original video release was made by CBS Video Enterprises in 1982, on both VHS and CED Videodisc, and was later reissued on VHS by CBS/Fox Video in the mid-1980s. Warner Bros. bought ancillary rights in 1989 with their purchase of Lorimar, and the film was released on Laserdisc through Warner Home Video in 1990. Warners released a DVD edition in 2002 and reissued in 2012.


title: Legends of Tomorrow (season 5)

text: The fifth season of the American television series "Legends of Tomorrow", which is based on characters from DC Comics, premiered on The CW on January 21, 2020. The season consisted of 15 episodes, which includes the special episode for the "Crisis on Infinite Earths" crossover that precedes the season premiere. It is set in the Arrowverse, sharing continuity with the other television series of the universe, and is a spin-off of "Arrow" and "The Flash". The season was produced by Berlanti Productions, Warner Bros. Television, and DC Entertainment, with Phil Klemmer and Keto Shimizu serving as showrunners.


title: Legends of Tomorrow (season 5)

text: The season was ordered in January 2019. Production began that July, and wrapped in January 2020. Principal cast members Brandon Routh, Caity Lotz, Maisie Richardson-Sellers, Tala Ashe, Jes Macallan, Courtney Ford, Amy Louise Pemberton, Nick Zano, Dominic Purcell and Matt Ryan return from previous seasons, while Olivia Swann was promoted to the main cast from her guest status in season four.


title: Legends of Tomorrow (season 5)

text: On January 31, 2019, The CW renewed the series for a fifth season. Phil Klemmer and Keto Shimizu serve as the season's showrunners.


title: Legends of Tomorrow (season 5)

text: The fourth season ended with Astra Logue restoring many notorious historical figures like Genghis Khan, Joseph Stalin and Charles Manson to life. Klemmer said these characters would be called "Encores" and have the villain of the week treatment, while the Big Bad of the season would not be demon-related, later revealed to be Lachesis and Atropos of the three Fates. He explained this was done with the intention of returning to the series' roots, of being rooted "more firmly in history and historical periods and figures and true villains". Klemmer added that the season would explore what Zari Tomaz would look like if she "lived a more charmed life" and did not come from a "dystopian, authoritarian future". The season also explores Zari's relationship with her brother Behrad Tarazi. Following the season four finale, the Time Bureau was shut down and its former director Ava Sharpe was left unemployed. The fifth season sees Ava living on the "Waverider" with her girlfriend Sara Lance, trying to figure out how she fits on the team. It continues to grow the "Avalance" relationship, and also features Sara developing the power of precognition.


title: Legends of Tomorrow (season 5)

text: Main cast members Brandon Routh, Caity Lotz, Maisie Richardson-Sellers, Tala Ashe, Jes Macallan, Amy Louise Pemberton, Courtney Ford, Nick Zano, Dominic Purcell and Matt Ryan return as Ray Palmer, Sara Lance, Charlie, Zari Tomaz, Ava Sharpe, Gideon, Nora Darhk, Nate Heywood, Mick Rory, and John Constantine respectively. This is the final season for Routh, Ford and Richardson-Sellers, with the episode "Romeo v Juliet: Dawn of Justness" marking Routh and Ford's final appearance as series regulars, while Richardson-Sellers departed after the season finale. Olivia Swann, who guest starred as Astra Logue in the fourth season, was promoted to the main cast for the fifth season. Ramona Young, who starred as Mona Wu in the fourth season, returned as a recurring guest star. Tala Ashe, who portrayed Zari Tomaz in seasons three and four, returned this season as Zari Tarazi, a new version of the character from an altered timeline while Zari Tomaz returned in a recurring capacity.


title: Legends of Tomorrow (season 5)

text: Filming began on July 15, 2019. The fifth episode of the season, "Mortal Khanbat", marks Lotz's directorial debut. Filming wrapped in January 2020. Although the "Crisis on Infinite Earths" episode was the eighth episode filmed, the events of the episode occur before the rest of the season.


title: Legends of Tomorrow (season 5)

text: In December 2018, during the end of the annual Arrowverse crossover "Elseworlds", a follow-up crossover was announced titled "Crisis on Infinite Earths" based on the comic book series of the same name. The crossover features Tyler Hoechlin reprising his role as Clark Kent / Superman from "Supergirl", while Routh portrays another version of Superman. It took place over five episodes–three in December 2019 and two in January 2020, with "Legends of Tomorrow"s episode concluding the crossover. The "Legends of Tomorrow" episode is considered a special episode, and not the series' fifth season premiere.


title: Legends of Tomorrow (season 5)

text: The season premiered on The CW on January 21, 2020. The season ran for 15 episodes, which included the special episode produced for the "Crisis on Infinite Earths" crossover before the season premiere.


title: Something for Thee Hotties

text: Something for Thee Hotties (co-titled From Thee Archives) is a compilation album by American rapper Megan Thee Stallion. It was released on October 29, 2021, by 300 Entertainment and 1501 Certified as a "thank you" gift to Megan's fanbase. The compilation serves as a collection of some of her previously-released YouTube freestyles, as well as previously unreleased archival songs; with the only guest appearances Juicy J, VickeeLo and Dino BTW contributing skits. It also includes "Thot Shit", which was released as a single in June that year. The compilation was produced primarily by LilJuMadeDaBeat, with external contributions from a variety of producers including Juicy J, Murda Beatz, and J.R. Rotem, among others.


title: Something for Thee Hotties

text: The compilation debuted at number five on the US "Billboard" 200, becoming Megan Thee Stallion's fourth top-10 album.


title: Something for Thee Hotties

text: On October 21, 2021, Megan Thee Stallion announced the compilation as her gift to her fanbase she calls "Hotties", saying that the project would feature some of the YouTube freestyles her fans were asking for, as well as unreleased songs from her archives. The original tracklist was then revealed on October 27, initially featuring fifteen tracks including the previously-released single "Thot Shit". The tracklist was then updated under an hour prior to the compilation's intended midnight release, featuring 5 more tracks including "Warning", "Kitty Kat" and skits performed by Juicy J, VickeeLo and Dino BTW. The compilation was delayed by a few hours, eventually being released at 8am on the scheduled date.


title: Something for Thee Hotties

text: In a Twitter Q&A shortly after the compilation's release, Megan revealed that majority of the songs on the compilation were recorded throughout 2021. Some of the most recent songs were recorded a few weeks prior to the compilation's release; and the oldest songs recorded were the Tidal "Bless the Booth" freestyle from 2019, as well as "Bae Goals".


title: Something for Thee Hotties

text: 1501 Certified did not recognize it as an album., claiming the project's 44:38 of material is less than the 45 minutes stipulated in the singer's recording contract, including 29 minutes of new material. Along with the disallowance of the project, the rapper would have to release two more albums in addition to "Something". On February 18, 2022, the rapper took legal action against the label claiming that "Something" meets the definition of an album.


title: Time (ELO album)

text: Time is the ninth studio album by English rock band Electric Light Orchestra (credited as ELO), released in July 1981 on Jet Records. It is a concept album about a man from the 1980s who is taken to the year 2095, where he is confronted by the dichotomy between technological advancement and a longing for past romance. The record topped the UK Albums Chart for two weeks, though it attracted mixed reviews for its heavy use of synthesizers and stylistic shift away from the orchestral rock of previous ELO albums. It has since gained a cult following, particularly among retrofuturist enthusiasts.


title: Time (ELO album)

text: "Time" is a work of synth-pop that combines elements from 1950s music, new wave, calypso, rockabilly, the Beatles, Phil Spector and the Shadows. The album signalled a departure from the band's sound by emphasising electronics over its usual orchestra. It is also the band's second concept album, the first being "Eldorado" in 1974. The music video created for its lead single, "Hold On Tight", was the most expensive ever made to that point, with a budget of approximately £40,000. Four more singles followed the album's release: "Twilight", "Ticket to the Moon" (backed with "Here Is the News"), "Rain Is Falling" and "The Way Life's Meant to Be".


title: Time (ELO album)

text: The record is considered the first major concept album devoted to time travel as well as ELO's most influential album. "Twilight" was used in the 1983 anime opening animation "Daicon IV". In 2001, a CD reissue of "Time" included three additional tracks that were originally left off the LP.


title: Time (ELO album)

text: "Time" followed the albums "Discovery", on which ELO had dispensed with their three-man string section (although orchestration was used on the album), and "Xanadu", the soundtrack to the 1980 musical film of the same name, which was met with a mixed reception. On "Time", bandleader Jeff Lynne chose to emphasise electronics over the band's orchestral sound. He wrote a collection of songs with a theme that focused on time travel and civilisation in the year 2095. The album's musical style draws from the 1950s, new wave, reggae, rockabilly and the work of artists such as the Beatles, Phil Spector and the Shadows. Writing for "PopMatters", Kevin Mathews says that the album reflects Lynne's absorption in the UK synth-pop sound popularised by contemporary artists such as Gary Numan, OMD and Human League.


title: Time (ELO album)

text: ELO recorded "Time" mainly at Musicland Studios in Munich, Germany, with some sessions taking place at Polar Studios in Stockholm, Sweden. Three additional songs written in the album's context were recorded, but left off the release: "The Bouncer", "When Time Stood Still" and "Julie Don’t Live Here". These songs were originally going to be on a double album of "Time", but they were instead issued as B-sides of later singles after "Time" was reduced to a single album.


title: Time (ELO album)

text: Lynne's comments on the album's concept are as follows: in 1981, a man drifts into a state of twilight ("Twilight"), where he appears to have entered the year 2095, meets a Gynoid ("Yours Truly, 2095"), and reflects on the 1980s, "back when things were so uncomplicated" ("Ticket to the Moon"). Walking down the same street from a hundred years before, he is dismayed by the plastic flowers and ivory towers which have grown on top of it ("The Way Life's Meant to Be"). As he remains in this future period, he looks out his window depressed, watching the world go by ("Rain Is Falling"). He attempts to send a letter in the form of a dream to his girlfriend in the past, but fails ("From the End of the World").


title: Time (ELO album)

text: When asked whether the man's experiences had been a dream all along, Lynne responded: "This is what I'd like to know, because it's baffled me since I wrote it, if he has actually gone [to the future], or if he's just thinking about it. ... It could be real, or it could be a dream... I'm not sure. I'd rather not say, because I don't know either. I'm supposed to, but I don't." Mathews writes: "Like "Eldorado", "Time" contained a prologue and an epilogue ... Although there is hardly any plot to thread the various songs together, the theme remains largely intact ... they embellish, rather than engage." A recurring line that appears in the album's epilogue is: "though you ride on the wheels of tomorrow, you still wander the fields of your sorrow". Rockol's writer says that the protagonist revisits the place he once lived only to find that it has become unrecognisable ("The Way Life's Meant to Be"). Afterwards, he hopes that he may be able to return home with a time machine, "but with all their great inventions and all their good intentions, here I stay" ("Rain Is Falling"). Following his final attempt to return to the past, the protagonist is invited to "hold on" ("Hold On Tight"). With the addition of the three "missing" tracks, the album takes on a darker twist as the protagonist returns home only to find time has moved on and his girlfriend no longer lives at the home she once occupied ("Julie Don't Live Here").


title: Time (ELO album)

text: Author Adam Roberts calls "Time" a "future-set rock opera". According to music journalist Mark Beaumont, it is a concept album about a man who is abducted forward in time to the year 2095, while the web publication Rockol and "Stereo Review" magazine both recognise "Time" as being about a man who becomes trapped in the future. "The News & Advance"s Ben Cates says it "tells the story of a man living in the year 2095 who glimpses enough of the future to know that he wants to get back to the 1980s".


title: Time (ELO album)

text: "Time" reached number 1 in the UK Albums Chart, maintaining the position for two weeks. The change in the band's sound, particularly the lack of orchestral strings, came as a considerable shock to some ELO fans. An unnamed writer for "Stereo Review" said that the band "has slimmed down some and grown out of its twin-electric-cello phase, but it can still give you a case of the grandiosities. You'll find great sweeps of melody and plenty of high and low and loud and soft sounds for your expensive hi-fi equipment to chew on." The reviewer remarked of the album's concept: "Ironically, all he [the narrator] does the whole time is whine about how he misses good old 1981 and the girl he left back there. You want to shake him by the shoulders and say, 'Man, have you no sense of adventure?'"


title: Time (ELO album)

text: Deborah Frost of "Rolling Stone" called the storytelling a "superfluous ... thematic conceit" and said that, with the reliance on synthesised sounds, "If ELO's not careful, they're going to end up becoming the kind of cheese that squirts out of an aerosol can." She described the album as a cross between the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" and the 1960s science fiction television show "", "yet as long as Jeff Lynne's future-vision Beatlemania comes in near-perfect Top Forty spurts, why moan?"


title: Time (ELO album)

text: In his retrospective review for "PopMatters", Kevin Mathews says that, despite Lynne's decision to embrace a new, synth-pop sound, "In essence … "Time" remained a quintessential ELO album." Mathews adds: "Once again, Lynne’s melodic craft, technical expertise, production skills and encyclopaedic pop authority made "Time" a treasure for all true connoisseurs of classic pop music. Surprisingly, this re-issue reveals an artist ahead of his time as "Time" stands head-and-shoulders above the hip electro-pop records of the day."


title: Time (ELO album)

text: "The Quietus" Joseph Stannard said that "Time" is a "very good album indeed", highlighting "Twilight" as "the most exciting song ever recorded ... Pulsating, momentous, charged with purpose and overstuffed with hooks, counter-hooks, sub-hooks and semi-hooks, 'Twilight' makes being abducted by time travellers sound like the most fun you can have." Writing in "The Guardian", Mark Beaumont listed "Twilight" as the 10th best song of ELO's career "for its space-age cathedral sizzle, warp-speed pacing and the sort of brazen futuristic hooklines that proved they gave that Flash Gordon gig to the wrong band".


title: Time (ELO album)

text: AllMusic's James Chrispell assessed the album as less-than-great formulaic work by ELO, noting a resemblance to work by the Alan Parsons Project and Wings rather than Lynne's "fascination with "Pepper"-era Beatles".


title: Time (ELO album)

text: According to Beaumont, "Time" is the most influential album of ELO's catalogue. The book "The Time Traveler's Almanac" cites it as the first major concept album devoted entirely to time travel. Rockol states that while "Time" is not one of the most celebrated ELO albums, it has attracted a cult following from those interested in retrofuturism. Among the album's "unexpected" fans are the Flaming Lips and Daft Punk.


title: Time (ELO album)

text: In an early 1980s "Rolling Stone" magazine interview, Steve Winwood said that ELO's "Time" had influenced him. Ladyhawke has stated that ELO's "Time" is one of her five favourite albums.


title: Time (ELO album)

text: In 1983, "Twilight" was used as the soundtrack for the "Daicon IV" opening animation, an animated music video created for the 1983 Nihon SF Taikai convention. According to academic Mark W. MacWilliams, the convention would go down as "one of the most famous otaku events of all time". "Hold On Tight" was also used in "Daicon IV." The song was later featured in Coffee Achievers, a 2008 Honda Accord car ad campaign, and included in the 2011 Tom Hanks and Julia Roberts film "Larry Crowne".


title: Conspiracy of One

text: Conspiracy of One is the sixth studio album by American rock band the Offspring, released on November 14, 2000, by Columbia Records. By the time of its release, the band had come out in support of peer-to-peer file sharing, claiming it would not hurt sales. "Conspiracy of One" was originally planned to be released directly on their website before retail, until Columbia Records threatened to sue and the album ended up as a physical release. The album was the last to feature drummer Ron Welty, who was fired from the band in March 2003 And went on to form his own band Steady Ground.


title: Conspiracy of One

text: "Conspiracy of One" debuted at number nine on the US "Billboard" 200, selling over 125,000 copies in its first week of sales, and spawned the singles "Original Prankster", "Want You Bad", and "Million Miles Away". Although not as successful as their previous album "Americana" (1998), it was later certified platinum by the RIAA in the United States.


title: Conspiracy of One

text: The Offspring spent much of 1999 on tour promoting the "Americana" album. They also appeared at the infamous Woodstock 1999, where their performance was broadcast live on pay-per-view television. After some time off, the members reconvened in early 2000 to begin work on new material, nine songs of which were in the demo phase at the time. Frontman Dexter Holland told "Rolling Stone" in May 2000 that, "we came home last Christmas and we kind of took a month just trying to recoup and we started thinking, 'Well, do we want to get started on another record right away?'. "We're all pretty excited about the way things have gone so I spent a couple of months trying to come up with some new material and then [started] jamming out these demos." The Offspring officially entered the studio to begin recording sessions for "Conspiracy of One" in June 2000. For the recording of the album, the band tapped Brendan O'Brien as its producer and recorded the album at NRG studios in North Hollywood, California over a two-month period.


title: Conspiracy of One

text: "Conspiracy of One" was released on November 14, 2000, and peaked at number 9 on the US "Billboard" 200 album chart. Five weeks after its release, the album was certified gold and platinum. The album was also successful in Canada, selling 25,231 copies in its first week and debuting at #4 on the Canadian Albums Chart. The album was certified 2× Platinum by the CRIA in February 2007.


title: Conspiracy of One

text: Liana Jonas of AllMusic described "Conspiracy of One" as The Offspring's "most musically mature collection to date". Jonas praised the music as "tight arrangements, vocal interplay and refined guitar work" and claims the band injected "elements of hip hop, rap metal, and Nirvana-like grunge into a few songs". The album received a rating of three and a half out of five stars, while producing three singles, "Original Prankster", "Want You Bad" and "Million Miles Away", that earned The Offspring its commercial success. So far, the album holds a score of 60 out of 100 from Metacritic based on "mixed or average reviews". The album was included at number 13 on "Rock Sound"s "The 51 Most Essential Pop Punk Albums of All Time" list.


title: NAPA Auto Parts

text: The National Automotive Parts Association (NAPA), also known as NAPA Auto Parts, founded in 1925, is an American retailers' cooperative distributing automotive replacement parts, accessories and service items throughout North America.


title: NAPA Auto Parts

text: There are over 6,000 NAPA Auto Parts stores in the United States. 1,142 NAPA stores are owned by Genuine Parts Company, and the remainder are independently owned. 15,000 NAPA AutoCare repair facilities are in operation which provide vehicle maintenance and repair services.


title: NAPA Auto Parts

text: Outside the United States, NAPA operates in Canada through the UAP (United Auto Parts) division of Genuine Parts Company and NAPA Autopro repair facilities in Canada, Mexico and other locations throughout the Caribbean and Latin America.


title: NAPA Auto Parts

text: In April 2013, Genuine Parts Company acquired Exego Group, a leading automotive parts and accessories distributor in Australasia. The company sells automotive accessories and parts under the Repco name in Australia and New Zealand, but in 2017 began branding with the NAPA banner, first with a store in Logan City, Queensland, and since re-branding their Ashdown Ingram stores Australia wide, to fall under the Napa Auto Parts banner as well.


title: NAPA Auto Parts

text: In September 2017, Genuine Parts Company acquired Alliance Automotive Group (AAG), a leading European distributor of vehicle parts, tools and workshop equipment. AAG is the second largest parts distribution platform in Europe and focuses on light vehicle and commercial vehicle replacement parts. Headquartered in London, AAG has 7,500 employees and over 1,800 company-owned stores and affiliated outlets across France, the U.K. and Germany.


title: NAPA Auto Parts

text: NAPA carries over 500,000 items, including automotive replacement parts, paint and refinishing supplies, automotive accessories, farm and marine supplies, tools and equipment, and heavy duty parts. NAPA also operates a parts repackaging company known as Balkamp.


title: NAPA Auto Parts

text: NAPA currently sponsors the No. 9 Chevrolet Camaro of Chase Elliott and Hendrick Motorsports in the NASCAR Cup Series. The company sponsored the No. 56 Toyota Camry driven in the Cup Series by Martin Truex Jr. for Michael Waltrip Racing up to 2013 and also sponsored Michael Waltrip from 2001 to 2009 when he drove for Dale Earnhardt, Inc., Bill Davis Racing, and his own team. All four of Waltrip's wins were with NAPA as his sponsor, including the 2001 and 2003 Daytona 500's. NAPA also sponsored Truex's brother Ryan in the K&N Pro Series East and was the sponsor for multi-time champion driver Kelly Moore in the same series. NAPA dropped its sponsorship of MWR after a major scandal during the 2013 Federated Auto Parts 400. In 2014, NAPA began sponsoring JR Motorsports' Chase Elliott in the Xfinity Series. In May 2015, NAPA announced it would become the majority sponsor of Elliott and the No. 24 Chevrolet team in the Cup Series with Hendrick in 2016.


title: NAPA Auto Parts

text: NAPA also sponsors the Schumacher Racing Dodge Charger Funny Car driven by Ron Capps in the NHRA Mello Yello Drag Racing Series; Brandon McReynolds, driver of the No. 16 Toyota, owned by Bill McAnally Racing in the K&N Pro Series West; and Nick Drake, driver of the BMR's No. 15 Toyota in the Pro Series East.


title: NAPA Auto Parts

text: In May 2016, Balkamp, a subsidiary of NAPA, became a primary sponsor of Alexander Rossi, a driver for Andretti Autosport in the IndyCar Series, on a one-race sponsorship for the Indianapolis 500. In the 2016 Indianapolis 500, Rossi would win the race on a fuel mileage run. Balkamp, being a subsidiary of NAPA, used the NAPA Auto Parts logos on the car. The deal was extended for the Detroit doubleheader but then dropped thereafter. NAPA returned to sponsor Rossi for the 2017 season on a seven-race schedule including the 2017 Indianapolis 500.


title: NAPA Auto Parts

text: NAPA Auto Super Store in Logan City, Queensland sponsors Erebus Racing, which won the 2017 Supercheap Auto Bathurst 1000.


title: NAPA Auto Parts

text: In February 2020, NAPA and Hendrick Motorsports announced an extension of their sponsorship deal through the 2022 Cup Series season. NAPA will be the primary sponsor of Chase Elliott‘s No. 9 Chevrolet in 26 races each season.


title: NAPA Auto Parts

text: NAPA is a sponsor of the Atlanta Braves, Atlanta Falcons, Atlanta United, and the Mexico national football team.


title: NAPA Auto Parts

text: NAPA is also a sponsor of Play of the game on SEC on CBS Broadcast. They sponsored ArenaBowl XXIII as well.


title: Dené–Yeniseian languages

text: Dené–Yeniseian is a proposed language family consisting of the Yeniseian languages of central Siberia and the Na-Dené languages of northwestern North America.


title: Dené–Yeniseian languages

text: Reception among experts has been somewhat favorable; thus, Dené–Yeniseian has been called "the first demonstration of a genealogical link between Old World and New World language families that meets the standards of traditional comparative-historical linguistics", besides the Eskimo–Aleut languages spoken in far eastern Siberia and North America.


title: Dené–Yeniseian languages

text: Amateur and professional researchers in historical linguistics have long sought to link the various known language families around the world into macrofamilies. The putative relationship between Na-Dené and Yeniseian families was first proposed by Alfredo Trombetti in 1923. Much of the early evidence adduced has been typological; in particular, both families have a complex agglutinative prefixing verb structure, which differs from most of the other languages in Asia and—to a lesser extent—North America.


title: Dené–Yeniseian languages

text: The first peer-reviewed publication to propose the existence of a distinct Dené–Yeniseian family was written by the macrofamily supporter Merritt Ruhlen (1998) in "Proceedings of the National Academy of Sciences", United States. However, states, without specifying which ones, that 26 of the 34 sets of words offered by Ruhlen are coincidental look-alikes, whereas 8 of Ruhlen's word sets follow Vajda's rules of sound correspondences.


title: Dené–Yeniseian languages

text: Michael Fortescue independently suggested the possible existence of a Dené–Yeniseian family in his 1998 book "Language Relations Across Bering Strait" (see pages 213–215). He writes, "I have attempted throughout to find a middle way between the cavalier optimism of 'lumpers' and the pessimism of orthodox 'splitters' on the matters of deep genetic relationship between the continents".


title: Dené–Yeniseian languages

text: As alluded to by Fortescue's comment, scientific investigations of long-range language family relationships have been complicated by an ideological dispute between the so-called "lumpers" and "splitters", with "lumpers" caricatured as bumbling amateurs willing to group together disparate, unrelated families based on chance resemblances and the "splitters" caricatured as rigid enforcers of orthodoxy willing to "shout down" researchers who disagree with their belief that long-range connections are impossible to establish.


title: Dené–Yeniseian languages

text: At a symposium in Alaska in 2008, Edward Vajda of Western Washington University summarized ten years of research, based on verbal morphology and reconstructions of the proto-languages, indicating that the Yeniseian and Na-Dené families might be related. The summation of Vajda's research was published in June 2010 in "The Dene–Yeniseian Connection" in the "Anthropological Papers of the University of Alaska".


title: Dené–Yeniseian languages

text: This 369-page volume, edited by James Kari and Ben Potter, contains papers from the February 26–29, 2008, symposium plus several contributed papers. Accompanying Vajda's lead paper are primary data on Na-Dene historical phonology by Jeff Leer, along with critiques by several linguistic specialists and articles on a range of topics (archaeology, prehistory, ethnogeography, genetics, kinship, and folklore) by experts in these fields.


title: Dené–Yeniseian languages

text: The evidence offered by Vajda includes over 110 proposed cognate morphemes and about ten homologous prefix and suffix positions of the verbs. Vajda compared the existing reconstructions of Proto-Yeniseian and Proto-Na-Dené, augmented the reconstructions based on the apparent relationship between the two, and suggested sound changes linking the two into a putative Proto-Dené-Yeniseian language. He suggested that Yeniseian tone differences originated in the presence or absence of glottalized consonants in the syllable coda, as still present in the Na-Dené languages.


title: Dené–Yeniseian languages

text: Vajda and others also note that no compelling evidence has been found linking Haida with either Na-Dené or Yeniseian. As for the wider Dené–Caucasian hypothesis (see above), while Vajda did not find the kinds of morphological correspondences with these other families that he did with Yeniseian and Na-Dené, he did not rule out the possibility that such evidence exists, and urges that more work be done.


title: Dené–Yeniseian languages

text: In 2011 Vajda published a short annotated bibliography on Dené–Yeniseian languages. On March 24, 2012, the Alaska Native Language Center hosted the Dené-Yeniseian Workshop at the University of Alaska Fairbanks. There were nine papers, the first new papers on Dené–Yeniseian since the 2010 volume was published. As of July 2012, there are no plans to publish the papers, but video from the workshop is available.


title: Dené–Yeniseian languages

text: Vajda's presentations at the 2012 workshop augmented his proposal with additional linguistic and non-linguistic evidence. He discussed a study he did with Johanna Nichols investigating the history of complex prefixing verb structures in various families possessing morphology of this sort. His conclusion was that, contrary to prevailing belief, such structures are often preserved intact with little change over several thousands of years, and as a result may actually be stronger evidence of a genetic connection than the lexical relationships that are traditionally sought.


title: Dené–Yeniseian languages

text: As a result, he agreed with the consensus belief that lexical evidence of a genetic relationship becomes virtually undetectable after about 8,000 to 10,000 years of linguistic separation, but suggested that certain sorts of complex morphology may remain stable beyond this time period. Further evidence for Dené–Yeniseian is in .


title: Dené–Yeniseian languages

text: Vajda presents comparanda for an ancient Dene-Yeniseian possessive connector prefix (possibly *ŋ) that appears in idiosyncratic ways in Dene (or Athabaskan), Eyak, Tlingit, and Yeniseian nouns, postpositions, directionals, and demonstratives. Vajda also suggests one new lexical cognate: PA directional *ñəs-d "ahead", "out on open water" and Yeniseian root *es "open space". In terms of the sections within Vajda's 2010 paper, this 2013 article can be read as an addition to his §2 (which ends on p. 63). In a subsequent article, , Vajda discusses features in Ket that arose due to prolonged areal contact with suffixal agglutinating languages.


title: Dené–Yeniseian languages

text: In his 2012 presentation, Vajda also addressed non-linguistic evidence, including analyses of Y-chromosome and mitochondrial DNA haplogroups, which are passed unchanged down the male and female lines, respectively, except for mutations. His most compelling DNA evidence is the Q1 Y-chromosomal haplogroup subclade, which he notes arose c. 15,000 years ago and is found in nearly all Native Americans and nearly all of the Yeniseian Ket people (90%), but almost nowhere else in Eurasia except for the Selkup people (65%), who have intermarried with the Ket people for centuries.


title: Dené–Yeniseian languages

text: Using this and other evidence, he proposes a Proto-Dené-Yeniseian homeland located in eastern Siberia around the Amur and Aldan Rivers. These people would have been hunter-gatherers, as are the modern Yeniseians, but unlike nearly all other Siberian groups (except for some Paleosiberian peoples located around the Pacific Rim of far eastern Siberia, who appear genetically unrelated to the Yeniseians).


title: Dené–Yeniseian languages

text: Eventually all descendants in Eurasia were eliminated by the spread of reindeer-breeding pastoralist peoples (e.g. the speakers of the so-called Altaic languages) except for the modern Yeniseians, who were able to survive in swampy refuges far to the west along the Yenisei River because it is too mosquito-infested for reindeer to survive easily. Contrarily, the caribou (the North American reindeer population) were never domesticated, and thus the modern Na-Dené people were not similarly threatened.


title: Dené–Yeniseian languages

text: In his 2012 reply to George Starostin, Vajda clarifies that Dené-Yeniseian "as it currently stands is a hypothesis of language relatedness but not yet a proper hypothesis of language taxonomy". He leaves "open the possibility that either Yeniseian or ND (or both) might have a closer relative elsewhere in Eurasia".


title: Dené–Yeniseian languages

text: At the time of publication Vajda's proposals had been favorably reviewed by several specialists of Na-Dené and Yeniseian languages—although at times with caution—including Michael Krauss, Jeff Leer, James Kari, and Heinrich Werner, as well as a number of other respected linguists, such as Bernard Comrie, Johanna Nichols, Victor Golla, Michael Fortescue, Eric Hamp, and Bill Poser.


title: Dené–Yeniseian languages

text: One significant exception is the critical review of the volume of collected papers by Lyle Campbell and a response by Vajda published in late 2011 that imply that the proposal is not settled at the present time. Other reviews and notices of the volume appeared in 2011 and 2012 by Keren Rice, Jared Diamond, and Michael Dunn. Sicoli and Holton 2014, applying Bayesian analysis to typological data from Dene and Yeniseian languages, constructed phylogenies that suggest that the Dene-Yeniseian connection "more likely represents a radiation out of Beringia with a back migration into Central Asia than a migration from Central Asia or Western Asia to North America".


title: Dené–Yeniseian languages

text: In 2012, linguist George Starostin questioned the validity of the macrofamily, citing the fact that "Vajda’s 'regular correspondences' are not... properly 'regular' in the classic comparative-historical sense of the word". He also notes that Vajda's "treatment of the verbal morphology" involves "a tiny handful of intriguing isomorphisms... surrounded by an impenetrable sea of assumptions and highly controversial internal reconstructions that create an illusion of systemic reconstruction where there really is none". Nonetheless, Starostin concedes that Vajda's work "is, by all means, a step forward", and that it "may eventually point the way towards research on grammaticalization paths in Yeniseian and Na-Dené".


title: Dené–Yeniseian languages

text: Instead of forming a separate family, Starostin believes that both Yeniseian and Na-Dené are part of a much larger grouping called Dene-Caucasian. So Starostin states that the two families are related in a large sense, but there is no special relationship between them that would suffice to create a separate family between these two language families.


title: Dené–Yeniseian languages

text: In 2015, linguist Paul Kiparsky endorsed Dené–Yeniseian, saying that "the morphological parallelism and phonological similarities among corresponding affixes is most suggestive, but most compelling evidence for actual relationship comes from those sound correspondences which can be accounted for by independently motivated regular sound changes".


title: Dené–Yeniseian languages

text: Using computational phylogenetic methods, Sicoli & Holton (2014) proposed that Dené–Yeniseian did not split into the two primary branches Na-Dené and Yeniseian, but rather into several branches. Yeneseian is upheld as a single branch, whereas Na-Dené is assumed to be paraphyletic, being divided into several primary branches instead. Based on this novel classification, they suggest that Yeniseian represents a back-migration from Beringia back to Asia. However, this phylogenetic study was criticized as methodologically flawed by Yanovich (2020), since it did not employ sufficient input data to generate a robust tree that does not depend on the initial choice of the "tree prior", i.e. the model for the tree generation. The classification of Sicoli & Holton (2014) lists divides the family into four primary branches.


title: Christine King Farris

text: Willie Christine King Farris (born September 11, 1927) is the eldest sibling of Martin Luther King Jr. She taught at Spelman College and is the author of several books and was a public speaker on various topics, including the King family, multicultural education, and teaching.


title: Christine King Farris

text: Like her mother and grandmother before her, Farris attended Spelman College in Atlanta, where she received a Bachelor's degree in Economics in 1948. She wanted to continue her studies at the University of Georgia but it did not admit Black students at the time. Farris then attended Columbia University in New York and received a Master's degree in Social Foundations of Education in 1950. She earned a second master's degree in Special Education in 1958.


title: Christine King Farris

text: Farris got her first professional job as a teacher at W.H. Crogman Elementary School, Atlanta, in 1950. The school primarily served students from black low-income households. She returned to Spelman as director of the Freshman Reading Program in 1958. Farris held a tenured professorship in Education and was Director of the Learning Resources Center for 48 years before retiring in 2014.


title: Christine King Farris

text: Farris was, for many years, Vice Chair and Treasurer of the King Center for Nonviolent Social Change and had been active for several years in the International Reading Association, and various church and civic organizations, including the National Association for the Advancement of Colored People and the Southern Christian Leadership Conference. Farris has also published a children's book, "My Brother Martin," as well as the autobiography, "Through It All: Reflections on My Life, My Family, and My Faith".


title: Christine King Farris

text: Farris was the first child and only daughter of Rev. Martin Luther King Sr. and Alberta Williams King, and is the elder sister of Rev. Martin Luther King Jr. and A. D. King. The three siblings spent their early years in the home of their grandfather, Adam Daniel Williams, who died on March 21, 1931. She married Issac Newton Farris Sr. (1934–2017) on August 19, 1960. They had two children: Issac Newton Farris Jr. (born April 13, 1962), and Angela Christine Farris Watkins (born May 29, 1964). She had a granddaughter from her daughter Angela, Farris Christine Watkins (born January 22, 1997).


title: Christine King Farris

text: Farris endured the 1968 assassination of brother Martin, the 1969 accidental drowning of brother A. D., and the 1974 assassination of her mother. Farris did not return to Memphis, Tennessee, since traveling there after her brother's assassination to retrieve his body. In recent years, she attended the funerals of sister-in-law, Coretta Scott King (died January 30, 2006) and niece Yolanda King (died May 15, 2007). In an interview with CNN, she said she would not attend an April 2008 event marking the 40th anniversary of her brother's assassination, because the painful memories of her last visit to Memphis still haunted her. Her husband, Isaac Newton Farris Sr., died on December 30, 2017, at the age of 83.


title: Bobcat Company

text: Bobcat Company is an American-based manufacturer of farm and construction equipment. Its American headquarters is in West Fargo, North Dakota, formerly in Gwinner, North Dakota. Its European headquarters moved in 2017 from Waterloo, Belgium, to Dobříš, Czech Republic (where Bobcat operates one of its European manufacturing plants). It was a subsidiary of the Ingersoll Rand Company from 1995 until July 2007, when it was sold for US$4.9 billion to Doosan Infracore.


title: Bobcat Company

text: The company sells skid steer loaders, compact excavators, side-by-sides, compact tractors, and other small hydraulic equipment under the Bobcat brand name. It is one of the few major manufacturing companies operating in North Dakota.


title: Bobcat Company

text: In the 1950s, Louis and Cyril Keller operated Keller Welding and Repair near Rothsay, Minnesota. In 1956, Eddie Velo, a turkey farmer in the area, described to the Kellers a need for a machine small enough to maneuver inside a pole barn and light enough to operate on its upper level. The brothers developed a small, three-wheeled design with a belt-driven transmission, and delivered it to Velo on February 4, 1957. Velo allowed the Kellers full access to his operations, and after the Kellers learned of drawbacks with the belt-driven transmission, they developed and patented a more robust clutch-based transmission system in 1958. The new transmission became the basis of the Melroe M60 loader.


title: Bobcat Company

text: The Kellers' uncle, an equipment dealer for the Melroe Manufacturing Company based in Gwinner, North Dakota, suggested that Melroe market the machines, resulting in Melroe inviting the Kellers to exhibit at the 1958 Minnesota State Fair. Melroe introduced the four-wheeled M400 model "Skid-Steer Loader" in 1960, and began using "Bobcat" as a trade name for such products in 1962 on the 440-model loader. Les Melroe and advertising agent Lynn Bickett settled on the "Bobcat" name while exchanging name ideas during a drive between Minneapolis and Gwinner. Bickett and Sylvan Melroe developed the "tough, quick, and agile" slogan used in advertising the early loaders.


title: Bobcat Company

text: In 1969, Melroe Manufacturing Company was purchased by Clark Equipment Company which was then purchased by Ingersoll-Rand in 1995. In 2007, Ingersoll-Rand sold Clark Equipment Company to the Doosan Group of South Korea, along with the rest of its construction equipment group for US$4.9 billion. The Clark Equipment Company now does business as Bobcat Company. Bobcat Company owns worldwide trademark registrations for its "Bobcat" name.


title: Bobcat Company

text: On January 1, 2018, Doosan Infracore and Doosan Bobcat were separated into independent companies, ending a seven-year relationship. In July 2021, Doosan Infracore was acquired by Hyundai Heavy Industries, which paid approximately $722.45 million for a 30% controlling stake in the company. Doosan Infracore will become a subsidiary of the newly created Hyundai Genuine group. However, Bobcat remained a part of Doosan Group, as its majority shareholder has changed to Doosan Heavy Industries on July 1, 2021, before the sale of Doosan Infracore.


title: Candy (1968 film)

text: Candy is a 1968 sex farce film directed by Christian Marquand from a screenplay by Buck Henry, based on the 1958 novel of the same name by Terry Southern and Mason Hoffenberg, itself based on Voltaire's 1759 "Candide". The film satirises pornographic stories through the adventures of its naïve heroine, Candy, played by Ewa Aulin. It stars Charles Aznavour, Marlon Brando, Richard Burton, James Coburn, John Huston, Walter Matthau, and Ringo Starr. Popular figures such as Sugar Ray Robinson, Anita Pallenberg, Florinda Bolkan, Marilù Tolo, Nicoletta Machiavelli, Umberto Orsini, and Enrico Maria Salerno also appear in cameo roles.


title: Candy (1968 film)

text: High school student Candy Christian wakes up from a daydream where she seemingly descends to Earth from space, in her father's social sciences class, causing much embarrassment. Following a poetry recital at Candy's school, eccentric Welsh poet MacPhisto offers her a ride home in his limousine. En route, MacPhisto forces himself on her but is unable to proceed after becoming too inebriated. With the help of her Mexican gardener, Emmanuel, Candy takes MacPhisto inside in order to help him out of his liquor-soaked clothes. In the basement, MacPhisto drunkenly recites poetry while humping a mannequin, inciting Emmanuel to sexually assault Candy. Scandalised upon walking in on the scene, Candy's uptight father (also her high school teacher) decides to send her away to live with his twin brother Jack and his wife Livia in New York City.


title: Candy (1968 film)

text: At the airport, the family is accosted by Emmanuel's three vengeful sisters, who accuse Candy of corrupting their brother. During the scuffle, Candy's father is rendered unconscious due to a head injury. The Christians escape by boarding a military plane commanded by General Smight, who later orders Candy to undress while expressing a desire to impregnate her. Meanwhile, he accidentally pushes the button that signals his paratroopers to leap from the plane. When General Smight realises this, he jumps as well, only to slip out of his parachute harness.


title: Candy (1968 film)

text: Upon landing in New York, Dr Krankheit meticulously performs surgery on Candy's father in front of an audience. When Uncle Jack attempts to seduce Candy during a post-operative cocktail party, the hospital's executive director, Dr Dunlap, berates her for her perceived lewd behaviour, causing her to faint. Dr Krankheit takes Candy to another room and tricks her into sex by pretending to examine her. While searching for her father, Candy wanders back into the operating room to find that Dr Krankeit has branded all the nurses with his initials, as he prepares to do so to Livia. When he attempts to have Candy captured so that she is next, she flees the hospital.


title: Candy (1968 film)

text: After wandering aimlessly on the streets of New York, Candy ends up in a Sicilian bar, where she is beset by a group of mobsters, until an offbeat underground filmmaker, G3, shows up, taking her into the men's room and shooting her for a film. As the room floods due to broken pipes, two policemen arrive and assault G3, whereupon a drenched Candy escapes. In Central Park, she meets a hunchback who takes her into a deserted mansion later that night. A gang of thieves walks in and proceeds to ransack the place, while the hunchback rapes Candy on top of a grand piano. After arresting Candy, the two policemen maliciously plan to frisk her. However, they lose control of their squad car and crash into a club full of drag queens. As mayhem ensues, Candy escapes again.


title: Candy (1968 film)

text: The next morning, Candy asks for a ride in the back of a semi-trailer truck, which turns out to be the sanctum of Grindl, a sham guru. He talks Candy into sex by taking her through the "seven stages" of enlightenment. After several days on the road, Grindl informs Candy that a different guru will guide her through the rest of her journey. Upon arrival in California, Candy is chased through the desert by the New York police officers, but she manages to outwit them. Shortly thereafter, Candy finds her new guru—a robed figure sporting a toucan on his shoulder, his face covered with white clay. She follows him into an underground Hindu temple, which then partially collapses due to a cataclysm. As the two proceed to have sex, Candy is shocked to discover the guru is actually her brain-damaged father, after his face is washed clean.


title: Candy (1968 film)

text: As Candy wanders across a field—surrounded by flapping banners and hippies playing music—she revisits many of the characters she met throughout the film, before finally returning to outer space.


title: Candy (1968 film)

text: Coburn said "That film could have been a lot more fun. Unfortunately, the director's timing was off a European nature. The jokes were always a beat behind. They were often a beat off. When you do comedy, you've got to be fast. I think (star) Ewa Aulin only did two films after "Candy". Then she married an Italian count or baron. That was also the only film that I made any money on. I had a percentage of the profits. Marlon Brando and Richard Burton had the same deal. It's very unusual for an actor to see anything extra. Of course, that was before the studios set up their Chinese bookkeeping system (laughs)."


title: Candy (1968 film)

text: Regarding the scene where Grindl attempts to seduce Candy, production manager Gray Frederickson said that Marlon Brando actually tried to have sex with Ewa Aulin for real on camera.


title: Candy (1968 film)

text: "Candy" was one of many psychedelic films that emerged as the 1960s ended, along with "Yellow Submarine", "The Trip", "Psych-Out", and "Head". The film opened at a moderate box office, but later became a cult classic from the psychedelic years of film. It was the 18th highest-grossing film of 1968.


title: Candy (1968 film)

text: According to "Variety", the film earned North American rentals of $7.3 million, but because of costs (including over $1 million paid out in participation fees), recorded an overall loss of $25,000. It was the 12th most popular film at the UK box office in 1969.


title: Candy (1968 film)

text: Reviews were generally positive with a few misgivings. In a review representative of most professional reviewers at the time, Roger Ebert found it "a lot better than you might expect" but missed the "anarchy, the abandon, of Terry Southern's novel". Renata Adler of "The New York Times" decried "its relentless, crawling, bloody lack of talent".


title: Candy (1968 film)

text: John Simon wrote- 'If you know someone you want to start the new year as nauseated as possible, send him to see Candy'.


title: Candy (1968 film)

text: In 1969, the film earned Aulin a nomination for New Star of the Year – Actress at the 26th Golden Globe Awards.


title: Candy (1968 film)

text: The film's soundtrack included "Rock Me", an original song from Steppenwolf which became a top-10 success for the band in the spring of 1969.


title: Candy (1968 film)

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 40% based on ten retrospectively collected reviews, with an average rating of 6.6/10.


title: Candy (1968 film)

text: "Candy" was released on DVD by Anchor Bay on April 10, 2001, as a region 1 widescreen DVD, and was released on Blu-ray by Kino Lorber on May 17, 2016, as a region A widescreen Blu-ray.


title: Marathwada

text: Marathwada () is a proposed state and geographical region of the Indian state of Maharashtra. It was formed during the Nizam's rule and was part of the then Hyderabad State. The region coincides with the Aurangabad division of Maharashtra. It borders the states of Karnataka and Telangana, and it lies to the west of the Vidarbha and east of North Maharashtra regions of Maharashtra. The largest city of Marathwada is Aurangabad. Its people speak Marathi and Urdu.


title: Marathwada

text: The term "Marathwada" means "the house of Marathi speaking people", that is land occupied by the Marathi-speaking population of the former Hyderabad state during the period of Nizam's rule. The term can be traced to 18th century state records of the Nizam of Hyderabad.


title: Marathwada

text: Marathwada has total area of 64590 km and had a population of 18,731,872 at the 2011 census of India.


title: Marathwada

text: At the time of the 2011 census, the territory making up Marathwada had a variety of languages. 77.98% of the population spoke Marathi, 9.56% Urdu, 6.49% Hindi and 3.20% Lambadi as their first language.


title: Marathwada

text: The region of Hingoli and Aurangabad were a major hub for the military stations and depot during the time of Nizam as well as during the British rule. Also Hyderabad State took special work to build Dams, modify and renovate the existing underwater system, particularly in Aurangabad. Major works were undertaken to built railways (Nizam's Guaranteed State Railway) connecting the city of Hyderabad to Bombay (now Mumbai) via Aurangabad. Handlooms and paper factories were established in Kaghzipura near Aurangabad. Religious sites were developed in Khuldabad.


title: Marathwada

text: Temporary guest houses were built for Sikh devotees in Nanded which lies in ruins due to neglect by the government authorities. Also roads connecting to Ahmedabad were initiated.


title: Marathwada

text: All the cities below have population of more than 100,000 with Aurangabad having 1.1 million inhabitants per the 2011 census.


title: Marathwada

text: There are Municipal Corporations at Aurangabad Municipal Corporation, Nanded-Waghala Municipal Corporation, Latur Municipal Corporation, and Parbhani Municipal Corporation.


title: Marathwada

text: The state government recognises Aurangabad as the "Tourism Capital of Maharashtra". There are various tourist attractions in Aurangabad. Other places visited by tourists are:


title: Marathwada

text: Marathwada has four government medical colleges, situated at Aurangabad, Latur, Nanded and Ambajogai.


title: Marathwada

text: The region also has good government engineering colleges such as SGGS Nanded, Aurangabad Government Engineering College.


title: Marathwada

text: It also has three major universities, being Dr. Babasaheb Ambedkar Marathwada University at Aurangabad, Vasantrao Naik Marathwada Agricultural University at Parbhani, and Swami Ramanand Teerth Marathwada University at Nanded.


title: Marathwada

text: The foundation of agricultural research in Marathwada region of Hyderabad state was laid by the by the 7th Nizam of Hyderabad "Mir Osman Ali Khan" with the commencement of the Main Experimental Farm in 1918 in Parbhani. During the Nizam's rule agricultural education was available only at Hyderabad; crop research centers for sorghum, cotton and fruits existed in Parbhani. After independence, this facility was developed further by the Indian government which was renamed as Marathwada Agriculture University on 18 May 1972. The Institute of Chemical Technology, Mumbai (formerly known as UDCT) has a satellite campus located in Jalna which was established in 2018.


title: Marathwada

text: Marathwada is affected by frequent anomalies in rainfall during Monsoon season, which accounts for almost 80 percent of the annual rainfall. The average annual rainfall over the division is 882 mm. Almost three-fourths of the Marathwada division is covered by farmlands. Hence, drought continues to have a considerable impact on the life of farmers.


title: Marathwada

text: In some Marathwada districts recurring droughts have forced people to drink fluoride-contaminated groundwater from borewells which has inflicted debilitating fluorosis on many.


title: Marathwada

text: The region also sees high instances of farmer suicides. According to government records, 422 farmers in Marathwada committed suicide in 2014. This was because of their inability to bear crop losses and a financial quandary made acute by water scarcity and an agrarian crisis. 2014 was the third consecutive year of low rainfall, and when rainfall did occur it was sometimes untimely and damaged crops. Of the 422 suicides, 252 cases were due to an inability to repay agricultural loans. There have been more than 117 farmer suicides in the first two months of 2017. According to a study by IIT Bombay, the severe or extreme droughts have frequently occurred in major portions of Marathwada, in the last few decades.


title: Mingus Ah Um

text: Mingus Ah Um is a studio album by American jazz musician Charles Mingus which was released in October 1959 by Columbia Records. It was his first album recorded for Columbia. The cover features a painting by S. Neil Fujita. The title is a corruption of an imaginary Latin declension. It is common for Latin students to memorize Latin adjectives by first saying the masculine nominative (usually ending in ""-us""), then the feminine nominative (""-a""), and finally the neuter nominative singular (""-um"")—implying a transformation of his name, "Mingus, Minga, Mingum". The album was inducted into the Grammy Hall of Fame in 2013.


title: Mingus Ah Um

text: "The Penguin Guide to Jazz on CD" calls this album "an extended tribute to ancestors" (and awards it one of their rare crowns), and Mingus's musical forebears figure largely throughout. "Better Git It In Your Soul" is inspired by gospel singing and preaching of the sort that Mingus would have heard as a child growing up in Watts, Los Angeles, California, while "Goodbye Pork Pie Hat" is a reference (by way of his favored headgear) to saxophonist Lester Young (who had died shortly before the album was recorded). The origin and nature of "Boogie Stop Shuffle" is self-explanatory: a twelve-bar blues with four themes and a boogie bass backing that passes from stop time to shuffle and back.


title: Mingus Ah Um

text: "Self-Portrait in Three Colors" was originally written for John Cassavetes' first film as director, "Shadows", but was never used (for budgetary reasons). "Open Letter to Duke" is a tribute to Duke Ellington, and draws on three of Mingus's earlier pieces ("Nouroog", "Duke's Choice", and "Slippers"). "Jelly Roll" is a reference to jazz pioneer and pianist Jelly Roll Morton and features a quote of Sonny Rollins' "Sonnymoon for Two" during Horace Parlan's piano solo. "Bird Calls", in Mingus's own words, was not a reference to bebop saxophonist Charlie "Bird" Parker: "It wasn't supposed to sound like Charlie Parker. It was supposed to sound like birds – the first part."


title: Mingus Ah Um

text: "Fables of Faubus" is named after Orval E. Faubus (1910–1994), the Governor of Arkansas infamous for his 1957 stand against integration of Little Rock, Arkansas schools in defiance of U.S. Supreme Court rulings (forcing President Eisenhower to send in the National Guard). Columbia Records refused to allow the lyrics to the song to be included, and so the song was recorded as an instrumental on the album. It was not until October 20, 1960, that the song was recorded with lyrics, for the album "Charles Mingus Presents Charles Mingus", which was released on the more independent Candid label. Due to contractual issues with Columbia, the song could not be released as "Fables of Faubus", and so the Candid version was titled "Original Faubus Fables".


title: Mingus Ah Um

text: The original Columbia Records LP release of the album featured edited versions of six of the nine compositions. For these tracks, from one to three minutes of the performances were removed, either to meet the playing time constraints of the LP format, or because producer Teo Macero felt the pieces were more effective in edited form. Unedited versions of these pieces were first released in 1979, on LP. The first widely-available CD edition of the album, 1987's "Columbia Jazz Masterpieces" edition, used the original LP edits. The edited version has been reissued on compact disc subsequent to 1987, including a 2019 release by Mobile Fidelity Sound Lab. The unedited version of the album was first widely released on compact disc in 1998 as part of the Sony Legacy series, and it too has remained available through additional compact disc reissues.


title: Mingus Ah Um

text: "Mingus Ah Um" was one of fifty recordings chosen by the Library of Congress to be added to the National Recording Registry in 2003. The album was ranked number 380 of the Top 500 Albums of All-Time by Rolling Stone in 2020.


title: Mingus Ah Um

text: In 2009, Sony's Legacy Recordings released a special 2-disc 50th Anniversary Edition of "Mingus Ah Um". In addition to the complete album, the Legacy Edition includes an alternative take of each of three tracks: "Bird Calls" (4:54), "Better Git It In Your Soul" (8:30), and "Jelly Roll" (6:41). The Legacy Edition of "Mingus Ah Um" also includes "Mingus Dynasty", its companion album recorded later in 1959 (with unedited versions of five tracks shortened on the original LP release).


title: Immortality (CSI: Crime Scene Investigation)

text: When a suicide bomber detonates his vest on the floor of the Eclipse casino, Catherine Willows, the FBI special agent returns from Los Angeles to join the investigation. Gil Grissom, meanwhile, working to preserve sharks in international waters, is arrested for trespassing at the Port of San Diego, and D.B. Russell offers Sara Sidle the chance to supervise the local investigation into the bombing. Sidle, who is vying for the position of director of the Las Vegas Crime Lab, is initially irked when Sheriff Conrad Ecklie inquires about Grissom's location when "Lady" Heather Kessler is linked to the crime. Ecklie ensures Grissom is released from custody, and Willows and he, alongside Eclipse security officer Jim Brass, assist in locating the suspect.


text: As the team works to restore safety to the streets of Las Vegas, Russell decides it is time for him to "head East" and pursue new challenges, while he places a plaque, dedicated to the memory of Julie Finlay, alongside his personal possessions. Willows expresses an interest in leaving the FBI and working alongside her daughter Lindsey in the Las Vegas Crime Lab, noting that, should Sidle reject the promotion she is going to be offered, Willows will accept it in lieu of her former colleague. The series ends with the newly promoted Sidle, upon hearing a recording of Grissom confessing his love for her, sailing from the Port of San Diego with Grissom.


text: Off-screen, Sidle resigns, and Willows is hired as lab director. Scenes were filmed to explicitly depict the transition, although they were cut from the aired episode. A second scene, featuring Willows and her daughter, was also deleted; in it, Willows informs Lindsey that she should only resign if she does not feel like "King Kong on cocaine" following her first arrest. She then informs Lindsey that Holly Gribbs was killed in the line of duty. A third deleted scene shows Russell visiting Finlay's grave.


text: The finale was shot over 17 days. Filming for the principal cast began on July 29, 2015, and production wrapped on August 21, 2015. The finale was filmed with the option to be broadcast as two episodes under the titles "Immortality Part I" and "Immortality Part II", respectively. The production codes for the episodes are 1601 and 1602.


text: During the CBS 2015 Upfront, Les Moonves and Nina Tassler announced that former lead actors Marg Helgenberger and William Petersen would reprise their roles as Catherine Willows and Gil Grissom, respectively. Ted Danson, who starred in the series since the beginning of the 12th season, also returned as D.B. Russell. On July 24, 2015, it was confirmed that both George Eads, who played Nick Stokes for 15 seasons, and Elisabeth Shue, who played the lead role of Julie Finlay for four seasons, had declined options to return. Elisabeth Harnois, Jorja Fox, Eric Szmanda, Robert David Hall, Wallace Langham, David Berman, and Jon Wellner all reprised their roles, as did Paul Guilfoyle.


text: Melinda Clarke, who appeared as Lady Heather Kessler, a long-time friend of Grissom, also returned. Katie Stevens was cast as Lindsey Willows, Catherine's daughter, a CSI level 1. Recurring guest star Marc Vann also returned as Sheriff Conrad Ecklie, as did Larry Mitchell as Officer Mitchell.


text: The episodes were directed by Louis Shaw Milito, and written by series creator Anthony E. Zuiker. William Petersen assisted in the breaking of the story. Like the series, the finale used "Who Are You" by The Who as the opening and closing theme. Executive producers included Ann Donahue, Carol Mendelsohn, Anthony E. Zuiker, Jerry Bruckheimer, William Petersen, and Cynthia Chvatal. The episodes were produced by CBS Television Studios, distributed by CBS Television Distribution, and broadcast on CBS. The film's run-time was 88 minutes.


text: Following the end of the series, Ted Danson joined the cast of "" in his role as D.B. Russell. This relocation was alluded to in the movie, with Russell announcing his intention to "head east". Elisabeth Shue's Julie Finlay was featured prominently in archive footage during the "Cyber" episode "Hack ER".


text: Upon reviewing the series finale, Gavin Hetherington of SpoilerTV named the episodes "the perfect send-off for such an epic show". He later called the episode a "dream come true" for fans of the series with the reunion of Gil, Catherine and Sara.


title: Marvel Strike Force

text: Marvel Strike Force is a turn-based role-playing mobile game by FoxNext (later acquired by Scopely) for Android, iOS, and iPadOS platforms. The game was launched worldwide on March 28, 2018, and is primarily set in the Marvel Universe.


title: Marvel Strike Force

text: The Earth has fallen under siege by sinister forces led by Ultimus. Agents of S.T.R.I.K.E. (Special Tactical Reserve for Interdimensional Key Events) have been called to assemble squads of heroes and villains to combat Ultimus's legions, that includes mind-controlled versions of the heroes and villains (existing in alternate universes), before Earth falls under Ultimus' control.


title: Marvel Strike Force

text: In addition to this campaign, special sub-plot events are also released, loosely based on recent Marvel films that have been released, starting with "".


title: Marvel Strike Force

text: "Marvel Strike Force" allows players to collect "Marvel Universe" characters from both the heroes and villains and generic characters from large organizations such as S.H.I.E.L.D., The Hand and Hydra, and use them to fight in turn-based battles. There are multiple ways to collect characters: some are given to players immediately, whereas others are gained via gameplay or as in-game rewards in the form of shards that are earned by players to unlock and or promote their characters. Shards can either be earned from winning battles or bought from a shop. Players level up their user level by gaining experience by completing daily quests or completing battles.


title: Marvel Strike Force

text: Battles are divided up into rounds, with the character with the highest speed attribute going first. Each team consists of up to five characters (though some AI teams in raids can have far more characters than that) who battle until defeated or reinforcements enter. Battles are turn-based, based on the speed attribute, where the combatants apply healing and various buffs to their own team and damage and debuffs to the opponent all the while trying to deal the most overall damage and having the last character alive.


title: Marvel Strike Force

text: Players may join alliances that form the main group inside of the game, which can include up to 24 players and be private or open. Alliances allow players to play in raids and wars and to access alliance milestones. These alliances can be created by any player or created by the game. All players must be in an alliance, so if a player leaves or is kicked from an alliance, the game will assign a new one.


title: Marvel Strike Force

text: Characters usually appear in their attire from the existing comics; a costume currency is available for purchasing attire for certain characters based on their Marvel Cinematic Universe appearances, old comic appearances or other notable media appearances. The attire sets have no bearing on the characters' moves, it's there for added color.


title: Marvel Strike Force

text: The main game modes are Arena, Blitz, Raids, Alliance War, Real Time Arena, Cosmic Crucible, Alliance War, Campaign, Challenges, Dark Dimension, Scourges, and Sagas. The first four of those have their own currencies that can be spent on character shards or items. All modes are played versus a computer-controlled AI, except Real Time Arena where you play against other players; this includes the Arena, Blitz, Cosmic Crucible, and Alliance War battles in which the AI controls a player-created team.


title: Marvel Strike Force

text: All the player's selected characters must survive in order to earn all three stars available for the Stage, which will enable Auto-Win for that Stage, which allows the player to earn resources for that Stage without going through a full battle. Enemy squad members will generally have glowing red eyes, indicating their control by Ultimus.


title: Marvel Strike Force

text: Marvel characters who are naturally enhanced or they have become biologically enhanced (due to natural events or experimental purposes) will fall under the “Bio” category.


title: Marvel Strike Force

text: Marvel characters who practice the mystical arts and/or are considered mystical beings will fall under the “Mystic” category.


title: Marvel Strike Force

text: Marvel characters who are professionally trained in hand-to-hand combat and whose origins are related to the alternate traits of mystic, mutant, tech, or bio will fall under the “Skill” category.


title: Marvel Strike Force

text: Marvel characters who are technologically advanced or if the character primarily derives from technology, they will fall under the Tech category.


title: Marvel Strike Force

text: Game Informer criticised the expensive content and numerous bugs, concluding that it "feels designed to frustrate players until they finally cave and spend."


title: Marvel Strike Force

text: Marvel Strike Force generated $150 million in sales during its first year of operation (2018) on the iOS and Android platforms. Growth continued modestly to $180+ million in sales in 2019, but exploded in 2020 with approximately $300 million in revenue.


title: Marvel Strike Force

text: The game was nominated for "Mobile Game of the Year" at the SXSW Gaming Awards, and won the People's Voice Award for "Games" in the "Video" category of the 2019 Webby Awards, whereas its other nomination was for "Strategy/Simulation Game" under the "Games" category. Google Play awarded it as the best breakthrough game of 2019, which is for overall design, user experience, engagement and retention, and strong growth. The game was also nominated for "Best Live Ops" at the "Pocket Gamer" Mobile Games Awards, and for "Strategy/Simulation" at the 2020 Webby Awards.


title: Werewolves Within

text: Werewolves Within is a multiplayer VR game for Oculus Rift, HTC Vive and PlayStation VR, developed by Red Storm Entertainment and published by Ubisoft and released on 6 December 2016.


title: Werewolves Within

text: The game is set in a medieval-fantasy town that is being attacked by a werewolf, and players are tasked to guess which of the townsfolk is the werewolf in disguise in a Mafia-style format.


title: Werewolves Within

text: In October 2018, it was announced "Werewolves Within" was being developed as a feature film, with Mishna Wolff set to write the screenplay for the film, while Ubisoft Motion Pictures would produce. In January 2020, it was announced Sam Richardson had joined the cast of the film and would serve as a producer, with Josh Ruben to direct. In February 2020, Michael Chernus, Michaela Watkins, Cheyenne Jackson, Milana Vayntrub, George Basil, Sarah Burns, Catherine Curtin, Wayne Duvall, Harvey Guillén and Rebecca Henderson joined the cast of the film.


title: Spitzer (bullet)

text: The spitzer bullet (or spire point) is a pointed projectile that is primarily used in small-arms. The pointed nose shape, which was developed for military purposes in the late 19th and early 20th century, was a major design improvement compared to earlier rounder or flatter-tipped bullets because pointed nose shapes were less susceptible to external ballistic factors like drag. By adding a point, projectiles made for fully-powered and intermediate rifle cartridges, obtain a lower drag coefficient which makes them decelerate less rapidly. Lowering the drag coefficient leads to improved external ballistic behaviour.


title: Spitzer (bullet)

text: The development of spitzer bullets and long-range volley sights for service rifles changed military doctrines. Area targets at ranges up to could be subject to rifle fire. With improvements in machine guns at the turn of the 20th Century, the addition of clinometers meant that fixed machine gun squads could deliver plunging fire or indirect fire at more than .


title: Spitzer (bullet)

text: Spitzer bullets greatly increased the lethality of the battlefields of World War I. Before, during and after World War I, militaries adopted aerodynamically even more refined spitzer projectiles by combining a pointed nose shape with a slightly tapered base at the rear, called a "boat tail", which further reduced drag in flight. These projectiles were known as spitzer boat tail bullets which increased the maximum ranges of fully-powered rifle cartridges to between .


title: Spitzer (bullet)

text: The name "spitzer" is an anglicized form of the German word "Spitzgeschoss", literally meaning "pointed projectile".


title: Spitzer (bullet)

text: By the middle to the end of the 19th century, European military research had started to examine how to maximise available small arms muzzle velocity through improved projectile design. Stronger metal casing were being used to contain cartridge propellants making small arms more powerful but not anymore accurate. Designers knew that by making bullets with a lower drag coefficient (C) they decelerate less rapidly and therefore will travel much further. A lower drag coefficient also flattens the projectile's trajectory making it more stable in flight and less susceptible to lateral drift caused by crosswinds. By retaining a higher impact velocity, bullets with high ballistic coefficients would retain more kinetic energy and be lethal at greater ranges. It was these requirements that drove military thinking in the years prior to the First World War.


title: Spitzer (bullet)

text: The spitzer bullet design was first introduced in 1898 as the "Balle D" by the French Army. The "Balle D" bullet was designed by Captain Georges Raymond Desaleux, in order to improve the ballistic performance of the existing French 8×50mmR Lebel service cartridge of 1886.


title: Spitzer (bullet)

text: The original 1886 pattern 8×50mmR Lebel cartridge was an innovative service cartridge design, since it was the first military cartridge to use single-base smokeless, nitrocellulose based, (Poudre B) gunpowder as developed by Paul Vieille in 1884. The original 1886 pattern 8×50mmR Lebel was loaded with a cupro-nickel-jacketed lead-cored flat-nosed wadcutter-style "Balle M" bullet designed by lieutenant colonel Nicolas Lebel achieving a muzzle velocity of .


title: Spitzer (bullet)

text: The new 1898 pattern 8×50mmR Lebel cartridge loaded with Desaleux's new lighter "Balle D" brass mono-metal spitzer bullet achieved a muzzle velocity of , providing a somewhat flatter trajectory and a greatly improved maximum effective range. Besides having a pointed nose section the "Balle D" was also the first military rifle projectile that had a boat tail – a streamlined tapered base – to further minimize air resistance in flight.


title: Spitzer (bullet)

text: The 1898 pattern 8×50mmR Lebel "Balle D" spitzer nose profile combined with the boat tail resulted in a ballistic coefficient (G1 BC) of 0.568 to 0.581 (ballistic coefficients are somewhat debatable). Fired at muzzle velocity the "Balle D" bullet retained supersonic velocity up to and past (V ≈ Mach 1.13) under ICAO Standard Atmosphere conditions at sea level (air density ρ = 1.225 kg/m) and had a maximum range of approximately . Even by 21st century standards typical effective supersonic range is regarded as normal for a standard military rifle round.


title: Spitzer (bullet)

text: The above downrange performance tables show the superior velocity retention of the "Balle D" compared with its "Balle M" predecessor<br>


title: Spitzer (bullet)

text: In 1932 8×50mmR Lebel "Balle N" ammunition was introduced, which featured a lead-cored, cupro-nickel-over-steel-jacketed, pointed boat-tail bullet weighing 15.0 g (232 grains). It had been designed to improve the long-range performance of the issued Hotchkiss Mle 1914 machine guns.


title: Spitzer (bullet)

text: In Germany the "Gewehr-Prüfungskommission (G.P.K.)" (Rifle Testing Commission) was responsible for improving the accuracy and performance of the 1888 pattern military M/88 ammunition and Germany's weapons chambered for M/88 ammunition like the Gewehr 1888. During a late 19th and early 20th century improvement program tasked with remedying the M/88's propellant compression and excessive barrel (grooves) wear problems, the German ordnance authority began to prefer spitzer bullets by 1898.


title: Spitzer (bullet)

text: A new "Spitzgeschoß" aerodynamic bullet, credited to the independent ballistician Arthur Gleinich, was tested in 1902 and officially adopted on 3 April 1903. After several shape revisions it entered mass production in 1904. The "Spitzgeschoß" nose was externally pointed like the French design and its shape was patented, but the full metal jacket "Spitzgeschoß" differed internally. The "Gewehr-Prüfungskommission" program resulted in the "S Patrone" or 7.92×57mm Mauser cartridge, which was loaded with a relatively lightweight spitzer bullet with a slightly increased diameter of that had a ballistic coefficient (G1 BC) of approximately 0.321 to 0.337 (ballistic coefficients are somewhat debatable), along with a dimensionally redesigned chambering and bore (designated as "S-bore") and new double-base (based on nitrocellulose and nitroglycerin) smokeless powder loading, which delivered a greatly improved muzzle velocity of from a barrel. The "S Patrone" was adopted by the German Army and Navy in 1903 and had a maximum range of approximately . The combination of increased muzzle velocity and improved bullet aerodynamics provided a much flatter bullet trajectory, which increased the probability of hitting an individual target at most typical combat distances.


title: Spitzer (bullet)

text: At the onset of World War I, Germany developed an aerodynamically further refined bullet. This full metal jacket s.S. ("schweres Spitzgeschoß", "heavy spitzer") boat tail projectile had a ballistic coefficient (G1 BC) of 0.557 to 0.593 (ballistic coefficients are somewhat debatable) and was loaded in the "s.S. Patrone". At muzzle velocity the "s.S. Patrone" had a maximum range of approximately and retained supersonic velocity up to and past (V ≈ Mach 1.07) under ICAO Standard Atmosphere conditions at sea level (air density ρ = 1.225 kg/m). From its 1914 introduction the "s.S. Patrone" was mainly issued for aerial combat and as of 1918 in the later stages of World War I to infantry machine gunners. Fifteen years after World War I the "S Patrone" was phased out and the "s.S. Patrone" became the standard issue ball ammunition for the German military.


title: Spitzer (bullet)

text: In 1906, United States ordnance authorities arranged to purchase the production license for the "Spitzgeschoß" bullet design from Gleinich. Now referred to as a 'spitzer' design, the new flat base projectile that had a ballistic coefficient (G1 BC) of approximately 0.405 with a cupro-nickel alloy jacket was incorporated into the M1906 .30-06 Springfield cartridge adopted by U.S. armed forces in 1906. The Ball, M1906 rounds had a muzzle velocity of and had a maximum range of approximately and can be identified by their silver-colored bullets. The cupro-nickel alloy was found to foul the bore quickly.


title: Spitzer (bullet)

text: In 1908 the Russian Empire adopted a new 7.62×54mmR service round variant loaded with the "L" Лёгкая Пуля ("Lyogkhaya pulya", "Light Bullet") spitzer bullet that had a ballistic coefficient (G1 BC) of approximately 0.338. The 7.62×54mmR M1908 Type L cartridge had a muzzle velocity of .


title: Spitzer (bullet)

text: In 1910 the United Kingdom of Great Britain and Ireland officially adopted the .303 British Mark VII cartridge variant loaded with an flat base spitzer bullet that had a ballistic coefficient (G1 BC) of approximately 0.467. The .303 British Mark VII cartridge had a muzzle velocity of and a maximum range of approximately .


title: Spitzer (bullet)

text: In 1911 Switzerland adopted the 7.5×55mm GP 11 cartridge loaded with a spitzer full metal jacket bullet. Besides a pointed nose, the GP 11 bullet also had a boat tail to further lower the drag coefficient (C). The GP 11 projectile had a ballistic coefficient (G1 BC) of 0.505 to 0.514 (ballistic coefficients are somewhat debatable) and had a maximum range of approximately . At muzzle velocity the standard GP 11 ball spitzer bullet retained supersonic velocity up to (V ≈ Mach 1.1) under ICAO Standard Atmosphere conditions at sea level (air density ρ = 1.225 kg/m). The GP 11 bullet set off the militaries of countries like Germany, the United States and the United Kingdom at the onset of and after World War I to develop and field similar full metal jacket boat tail spitzer bullets to improve the maximum useful range and long range performance of the full metal jacket flat based spitzer bullet designs they used. The useful maximum range is defined by the maximum range of a small-arms projectile while still maintaining the minimum kinetic energy required to put unprotected personnel out of action, which is generally believed to be 15 kilogram-meters (147 J / 108 ft⋅lbf).


title: Spitzer (bullet)

text: In 1913 the ordnance authorities of the Kingdom of Spain issued a redesigned 7×57mm Mauser cartridge ("7mm Cartucho para Mauser Tipo S"). It was loaded with a spitzer bullet fired at a muzzle velocity of with muzzle energy from a long barrel. It had a maximum range of .


title: Spitzer (bullet)

text: In 1932 Sweden introduced the 8×63mm patron m/32 loaded with spitzer bullets with a boat tail fired at a muzzle velocity of bullets. The 8×63mm patron m/32 ammunition was not developed as general service ammunition but for anti-aircraft and indirect fire and had an effective range of approximately on which the impact energy was 20 kilogram-meters (196 J / 145 ft⋅lbf), and a maximum range of approximately when fired from a kulspruta m/36 machine gun.


title: Spitzer (bullet)

text: Sweden and Norway loaded their 6.5×55mm m/94 service ammunition with a long round-nosed bullet (B-projectile) fired at a muzzle velocity of up to the early phase of World War II and Norwegian occupation by German in 1940. From 1941 onwards Sweden, which remained neutral during World War II, adopted m/41 service ammunition loaded with a spitzer bullet (D-projectile) fired at a muzzle velocity of . Besides a pointed nose the m/41 D-projectile also had a boat tail.