title: Tere Bin Laden

text: For the film's cast, Sharma didn't want any "established stars or people that are easily recognizable" as the film wouldn't have the "intended effect on audience". Ali Zafar was the first one to be cast. Sharma watched his music videos and decided to give the journalist's role to him as he had the "quirkiness" and "wit" to be in a comedy film. Zafar was initially cautious about the script but decided to do the film after reading the script, which he liked. He prepared for the role by watching and studying reporters and learning how they function. He attended a 10-day workshop with Barry John along with other actors of the film. Pradhuman Singh was selected to play as Osama bin Laden after an "innumerable auditions and a tedious process". The casting of Osama was "a challenge", according to Sharma. Sharma knew Singh since their days together at a workshop in the National School of Drama and according to him, Singh was "good at mimicry". They made a short film and a documentary together after which Sharma shifted to Mumbai. Singh was given an Osama tape to watch, and he later learned Arabic for eight months to get the diction.


title: Tere Bin Laden

text: The film crew attempted to get the locations, costume design, and language as similar as possible to that in Pakistan, and recreated the scene of Karachi to do this. The film was shot in areas of Mumbai and Hyderabad which bore resemblance to Karachi. The costumes, hoardings in Urdu, radio sets were brought from Pakistan.


title: Tere Bin Laden

text: "Tere Bin Laden" was released on 23 July 2010 in 344 screens across India. It was distributed by BSK Network and Entertainment Private Limited, owned by Boney Kapoor. The release of the film was delayed in the United States because the producers first wanted to gauge the film's response in other countries and also considering the sensitivity of the topic in the US. Pakistan's censor board renamed the title of the movie as "Tere Bin" as Zafar didn't want the people to think of the film as a biography of Osama bin Laden and Middle East countries banned the release of the film.


title: Tere Bin Laden

text: The film garnered mixed to positive reviews. Nikhat Kazmi of "The Times of India", while giving it a rating of 4 out of 5 noted that "compared with recent laugh riots at box office, Tere Bin Laden has both: a smart script and some smart acting." Noyon Jyoti Parasara of AOL rated the film 4 out of 5 and said, "What makes 'Tere Bin Laden' mint fresh is that despite being based on the post 9/11 scenario and the Laden scare, this one is a fun ride." Taran Adarsh of "Bollywood Hungama" gave the film a rating of 3.5 out of 5 and said, "On the whole, "Tere Bin Laden" is a fun-ride that makes you smile constantly and even laugh outrageously in those two hours." Pankaj Sabnani of "Bollywood Trade News Network" gave it 3.5/5 and stated ""Tere Bin Laden" is 'laden' with many humorous moments. It is by far the funniest film in recent times. A must watch." "Rediff" called the film a "brilliant satire". It further said, "Tere Bin Laden is not just a film about slapstick jokes and naughty humour. Through all the gags and jokes, one is forced to accept how willingly we compromise on our ideals and values to attain our cherished goals; how we persist in giving personal gain more importance than building a cohesive society". The film received international media attention too with "The Guardian" terming the film as a "satire with a sting" and felt that the film "required viewing by the American Government".


title: Tere Bin Laden

text: "NDTV" wrote: "Tere Bin Laden is one of those whacked-out satires that sounds far funnier in theory than it finally is on screen". It lauded the director Abhishek Sharma for "pulling off a parody" while combining "poultry jokes with globally-significant comments" which is "no small achievement". Rajeev Masand of "CNN-IBN" felt that the film "is a low-IQ comedy that succeeds in making you laugh occasionally, despite its highly improbable premise". He said that the "script is over-simplistic in its portrayal of America's cluelessness and confusion over how to deal with the terror threat, and as a result the film's final act comes off as too contrived even for a comedy". "Rotten Tomatoes" declared that 54% of 368 users liked the film and on an average, rated the film at 3.3 out of a scale of 5.


title: Tere Bin Laden

text: Political analyst, Jyoti Malhotra in Arab international daily, "Asharq Alawsat", saw the film as a "message for Pak–India Talks", referring to foreign ministers of India and Pakistan, who were meeting at the same time. According to her, the film, "promises to unite film-goers...an ingredient terribly dangerous for power-hungry politicians on any side."


title: Tere Bin Laden

text: In India, the film opened on 350 screens and collected 50 million in its opening weekend. Friday morning shows opened with 20–25% in key areas like Delhi, Mumbai, Pune, Nasik, Bangalore, and evening settled down to 35–40% with average occupancy cultivating first day gross box office of 11.1 million, with glowing reviews ranging from 3–4 star ratings and strong word of mouth from audience Saturday showed an impressive jump of 80–85% and settle down to 17.5 million, Sunday showed further jump of 66% compared to Saturday, and garnered further 21.5 million cultivating to cumulative an astounding opening weekend collection of more than 50 million gross. The film collected at the end of its theatrical run. It was declared an average grosser at the box office.


title: Tere Bin Laden

text: The soundtrack of "Tere Bin Laden" was released on 21 June 2010. The music directors of the film include, Shankar Mahadevan, Ehsaan Noorani, Loy Mendonca and Dhruv Dhalla while the lyrics have been penned by Jaideep Sahni


title: Tere Bin Laden

text: Walkwater Media, the film's production company, reportedly received threatening letters which accused the company of supporting Osama bin Laden and terrorism by making the comedy film.


title: Tere Bin Laden

text: Pakistan's film censor board banned the film on grounds that extremists could use it as a pretext to launch attacks.


title: Tere Bin Laden

text: In May 2012, it was announced that VJ-turned actor Ayushmann Khurrana will be the lead actor for the sequel. The sequel will also be produced by Pooja Shetty and directed by Abhishek Sharma. Sharma announced that Manish Paul would be playing the lead role in "Tere Bin Laden 2", while Pradhuman Singh would return in the sequel and continue portraying the role of Osama bin Laden look-alike. Ali Zafar will also return in the sequel, but only for a cameo appearance apparently.


title: Tricalcium phosphate

text: Tricalcium phosphate (sometimes abbreviated TCP) is a calcium salt of phosphoric acid with the chemical formula Ca(PO). It is also known as tribasic calcium phosphate and bone phosphate of lime (BPL). It is a white solid of low solubility. Most commercial samples of "tricalcium phosphate" are in fact hydroxyapatite.


title: Tricalcium phosphate

text: It exists as three crystalline polymorphs α, α′, and β. The α and α′ states are stable at high temperatures.


title: Tricalcium phosphate

text: "Calcium phosphate" refers to numerous materials consisting of calcium ions (Ca) together with orthophosphates (), metaphosphates or pyrophosphates () and occasionally oxide and hydroxide ions. Especially, the common mineral apatite has formula Ca(PO)"X", where "X" is F, Cl, OH, or a mixture; it is hydroxyapatite if the extra ion is mainly hydroxide. Much of the "tricalcium phosphate" on the market is actually powdered hydroxyapatite.


title: Tricalcium phosphate

text: Tricalcium phosphate is produced commercially by treating hydroxyapatite with phosphoric acid and slaked lime.


title: Tricalcium phosphate

text: It cannot be precipitated directly from aqueous solution. Typically double decomposition reactions are employed, involving a soluble phosphate and calcium salts, e.g. (NH)HPO + Ca(NO). is performed under carefully controlled pH conditions. The precipitate will either be "amorphous tricalcium phosphate", ATCP, or calcium deficient hydroxyapatite, CDHA, Ca(HPO)(PO)(OH), (note CDHA is sometimes termed apatitic calcium triphosphate). Crystalline tricalcium phosphate can be obtained by calcining the precipitate. β-Ca(PO) is generally formed, higher temperatures are required to produce α-Ca(PO).


title: Tricalcium phosphate

text: An alternative to the wet procedure entails heating a mixture of a calcium pyrophosphate and calcium carbonate:


title: Tricalcium phosphate

text: Tricalcium phosphate has three recognised polymorphs, the rhombohedral β form (shown above), and two high temperature forms, monoclinic α and hexagonal α′. β-Tricalcium phosphate has a crystallographic density of 3.066 g cm while the high temperature forms are less dense, α-tricalcium phosphate has a density of 2.866 g cm and α′-tricalcium phosphate has a density of 2.702 g cm All forms have complex structures consisting of tetrahedral phosphate centers linked through oxygen to the calcium ions. The high temperature forms each have two types of columns, one containing only calcium ions and the other both calcium and phosphate.


title: Tricalcium phosphate

text: There are differences in chemical and biological properties between the beta and alpha forms, the α form is more soluble and biodegradable. Both forms are available commercially and are present in formulations used in medical and dental applications.


title: Tricalcium phosphate

text: Calcium phosphate is one of the main combustion products of bone (see bone ash). Calcium phosphate is also commonly derived from inorganic sources such as mineral rock.


title: Tricalcium phosphate

text: Biphasic tricalcium phosphate, BCP, was originally reported as tricalcium phosphate, but X-Ray diffraction techniques showed that the material was an intimate mixture of two phases, hydroxyapatite (HA) and β-tricalcium phosphate. It is a ceramic.


title: Tricalcium phosphate

text: Preparation involves the sintering causing the irreversible decomposition of calcium deficient apatites alternatively termed non-stoichiometric apatites or basic calcium phosphate, an example is:


title: Tricalcium phosphate

text: β-TCP can contain impurities, for example calcium pyrophosphate, CaPO and apatite. β-TCP is bioresorbable. The biodegradation of BCP involves faster dissolution of the β-TCP phase followed by elimination of HA crystals. β-TCP does not dissolve in body fluids at physiological pH levels, dissolution requires cell activity producing acidic pH.


title: Tricalcium phosphate

text: Tricalcium phosphate is used in powdered spices as an anticaking agent, e.g. to prevent table salt from caking. The calcium phosphates have been assigned European food additive number E341.


title: Tricalcium phosphate

text: It is also used as a nutritional supplement and occurs naturally in cow milk, although the most common and economical forms for supplementation are calcium carbonate (which should be taken with food) and calcium citrate (which can be taken without food). There is some debate about the different bioavailabilities of the different calcium salts.


title: Tricalcium phosphate

text: It can be used as a tissue replacement for repairing bony defects when autogenous bone graft is not feasible or possible. It may be used alone or in combination with a biodegradable, resorbable polymer such as polyglycolic acid. It may also be combined with autologous materials for a bone graft.


title: Tricalcium phosphate

text: Porous beta-tricalcium phosphate scaffolds are employed as drug carrier systems for local drug delivery in bone.


title: Tricalcium phosphate

text: Tuite, a natural analogue of tricalcium orthophosphate(V), is a rare component of some meteorites. Its formation is related to shock metamorphism.


title: Google LLC v. Oracle America, Inc.

text: Google LLC v. Oracle America, Inc., 593 U.S. ___ (2021), was a U.S. Supreme Court decision related to the nature of computer code and copyright law. The dispute centered on the use of parts of the Java programming language's application programming interfaces (APIs) and about 11,000 lines of source code, which are owned by Oracle (through subsidiary, Oracle America, Inc., originating from Sun Microsystems), within early versions of the Android operating system by Google. Google has since transitioned Android to a copyright-unburdened engine without the source code, and has admitted to using the APIs but claimed this was within fair use.


title: Google LLC v. Oracle America, Inc.

text: Oracle initiated the suit arguing that the APIs were copyrightable, seeking in damages from Google's sales and licensing of the earlier infringing versions of Android. While two District Court-level jury trials found in favor of Google, the Federal Circuit court reversed both decisions, asserting APIs are copyrightable and Google's use does not fall under fair use. Google successfully petitioned to the Supreme Court to hear the case in the 2019 term, focusing on the copyrightability of APIs and subsequent fair use; the case was delayed to the 2020 term due to the COVID-19 pandemic. In April 2021, the Supreme Court ruled in a 6–2 decision that Google's use of the Java APIs fell within the four factors of fair use, bypassing the question on the copyrightability of the APIs. The decision reversed the Federal Circuit ruling and remanded the case for further review.


title: Google LLC v. Oracle America, Inc.

text: The case has been of significant interest within the tech and software industries, as numerous computer programs and software libraries, particularly in open source, are developed by recreating the functionality of APIs from commercial or competing products to aid developers in interoperability between different systems or platforms.


title: Google LLC v. Oracle America, Inc.

text: Java was originally developed at Sun Microsystems starting in December 1990. It included a new programming language, a virtual machine, and a set of libraries for use with the language. These libraries are documented for programmers via application programming interfaces (APIs), which tell programmers what information to provide to library functions and what results to expect back, eliminating any need for the programmer to know how the library they are using does what it does. These libraries together provide the "Java virtual machine" which programmers write programs to use (run upon). The common way in which a common set of libraries are used across all "Java virtual machines" allows for interoperability, or as marketed by Sun, "Write once, run anywhere"; a programmer need only create one version of their software which, because of the single group of APIs common to all Java virtual machines, can thus be run on any computing platform that supports Java.


title: Google LLC v. Oracle America, Inc.

text: The Java language was released to the public in 1995, under the Sun Community Source License, making the source code freely available but requiring that products using the code were maintained to the Java standard, and that any commercial derivative works were licensed by Sun. While anyone could program in the language itself, Sun maintained the Java Platform, Standard Edition (Java SE) and Mobile Edition (Java ME) libraries, provided to users as pre-compiled Java bytecode, and their respective APIs, as well as the Technology Compatibility Kits (TCKs) that tested an implementation against the Java standard. Over 2006 and 2007, due to pressure from developers, Sun changed the license of the various Java packages to use the GNU General Public License with a "classpath exception", allowing developers the access necessary to make derivative works and the ability to release applications under a different license. This led to the OpenJDK (Open Java Development Kit), first released in 2007. Sun retained strong control over the language and standards itself, licensing the necessary elements like TCKs for commercial users. At this time, Sun's business model changed to focusing on licensing of the Java platform to embedded devices, particularly mobile phones, and had already made licensing deals with Nokia, Motorola, and Research In Motion.


title: Google LLC v. Oracle America, Inc.

text: Android, Inc. was founded in 2003 by Andy Rubin, Rich Miner, Nick Sears, and Chris White to develop a mobile phone platform. Google purchased Android in 2005 and continued developing the Android operating system. During the development of Android, Google wanted to incorporate the Java SE libraries. Google's executive chairman Eric Schmidt had approached Sun's president Jonathan I. Schwartz about licensing the Java libraries for use in Android. Sun offered a licensing deal of between . Schmidt said Google would have paid for that license, but they were concerned that Sun had also requested some shared control of Android along with the fee. Google states that they wanted more control in order to open source the language and allow third parties to take better advantage of its code; Oracle states that Sun refused because Google's intention was essentially to fork Java to a Google version of the language, and to "prevent" it being inter-operable with other versions, an idea which was "anathema" to the "write once run anywhere" basis of the language. Because of these differences of view, the negotiations failed to reach a deal and Sun refused Google a license for Java.


title: Google LLC v. Oracle America, Inc.

text: At this point in time, the OpenJDK implementation offered by Sun was not as mature or complete as the Java Standard Edition. Instead of licensing Java, Google chose to develop a cleanroom version of the Java Standard Edition libraries, developing the libraries from a completely fresh start without any access to Sun's code. This became the engine behind Android's Dalvik virtual machine, a core part of the new system. Part of the virtual machine included 37 API calls and around 11,500 lines of code deemed central to Java, which were taken from Apache Harmony, an open-source cleanroom Java implementation developed by the Apache Software Foundation (ASF). Prior to this, the ASF had tried to obtain necessary licenses from Sun to support the Apache Harmony project as to call it an official Java implementation, but could not, in part due to incompatible licensing with Java's GNU General Public License and ASF's Apache License, nor could it gain access to the Java TCKs to validate the Harmony project against Sun's implementation. Though Google stated they used this code to ensure interoperability with the Java Standard Edition for other programmers, during the second appeal hearing, Google stated that it had used this code for commercial reasons to rapidly complete Android and to avoid the "drudgery" of recreating the code. ASF ceased maintaining the Apache Harmony in 2011, leading Google to take over maintenance of these libraries.


title: Google LLC v. Oracle America, Inc.

text: Google released a beta of the Android platform on November 5, 2007 then, one week later, the software development kit (SDK) which they noted included some Java technologies. Sun's president Schwartz congratulated Google the same day, saying they had "strapped another set of rockets to the community's momentum and to the vision defining opportunity across our (and other) planets." During the trial, Schwartz said that at that time of Android's release, despite knowing Google may have bypassed their licensing requirements, "We decided to grit our teeth and support it so anyone supporting it would see us as part of the value chain".


title: Google LLC v. Oracle America, Inc.

text: Oracle announced it would purchase Sun in April 2009 for , and completed the acquisition in January 2010. Besides allowing them to enter the hardware business, Oracle's CEO Larry Ellison called the Java language "the single most important software asset we have ever acquired". Oracle continued to develop Java and pursue licensing opportunities following its acquisition of Sun.


title: Google LLC v. Oracle America, Inc.

text: By the release of Android KitKat (v4.4) in 2013, Google removed the Dalvik virtual machine and replaced it with the Android Runtime, which had been built within Google without any of the Java source code. However, Android continued to use the JavaSE APIs through the extent of the case's litigation up until Android Nougat when it was fully replaced by OpenJDK.


title: Google LLC v. Oracle America, Inc.

text: The first phase of the case lasted from 2010 to 2015. Oracle successfully established that APIs are copyrightable, but their claims of patent infringement were rejected.


title: Google LLC v. Oracle America, Inc.

text: On August 13, 2010, Oracle sued Google for copyright and patent infringement in the District Court for the Northern District of California. Oracle asserted Google was aware that they had developed Android without a Java license and copied its APIs, and that Google therefore infringed Oracle's copyright. Oracle also cited seven prior patents related to the Java technology created by Sun and now owned by Oracle that Google should have been aware of as they had hired former Sun developers that worked on Java. Oracle sought both monetary damages and an injunction to stop Google from using the allegedly infringing materials.


title: Google LLC v. Oracle America, Inc.

text: The case was assigned to Judge William Alsup, who split the case into three phases: copyright, patent, and damages.


title: Google LLC v. Oracle America, Inc.

text: The copyright phase started on April 16, 2012, and consisted of several distinct claims of infringement: a nine-line "rangeCheck" function, several test files, the structure, sequence and organization (SSO) of the Java (API), and the API documentation.


title: Google LLC v. Oracle America, Inc.

text: Oracle alleged infringement of 37 separate Java APIs which had derived from the Apache Harmony project. After two weeks of testimony, the jury found on May 7, 2012, that Google had infringed on the copyright related to the code, SSO, and documentation of the APIs as well as the "rangeCheck" function, but were deadlocked on whether these uses fell within fair use. The jury also found that Google had sufficient reason to believe based on Sun's and Oracle's conduct that they did not need to license Java from Sun or Oracle, but did not rely on this when developing Android. Oracle requested a judgement as a matter of law (JMOL) that the case dismiss any fair use defense since the jury was split, as well as to overturn the jury's decision on eight security-related files that they had reviewed and found non-infringing but which Google had stated they copied verbatim; Alsup concurred. Google asked for a similar JMOL related to "rangeCheck", but Alsup denied this request.


title: Google LLC v. Oracle America, Inc.

text: The patent phase began on May 7, 2012, with the same jury. By the time of trial, Oracle's patent case comprised claims from two patents, 6,061,520 (Method and system for performing static initialization), (the '520 patent) and RE38104 (Method and apparatus for resolving data references in generated code). (the '104 patent). Google pursued a non-infringement defense. For the '520 patent, they argued that they were using parsing for optimizing static initialization, rather than "simulating execution" as the claim required. For the '104 patent, they argued that the instruction did not include a symbolic reference. On May 23, 2012, the jury found non-infringement on all patent claims.


title: Google LLC v. Oracle America, Inc.

text: Judge Alsup issued the final verdict for both these phases on May 31, 2012. While the jury had found for Oracle regarding copyright infringement of the APIs, Alsup determined that the APIs were not copyrightable in the first place:


title: Google LLC v. Oracle America, Inc.

text: Alsup did agree with the jury that the "rangeCheck" function and eight security files were a copyright infringement, but the only relief available was statutory damages up to a maximum of


title: Google LLC v. Oracle America, Inc.

text: As a result of these rulings and a stipulation, there was no jury damages phase. The parties agreed to zero dollars in statutory damages for the small amount of copied code by June 2012.


title: Google LLC v. Oracle America, Inc.

text: Shortly following the conclusion of the District Court case, both parties attempted to file additional JMOLs on elements of the ruling which Alsup dismissed, leading to Oracle appealing the decision and Google filing a cross-appeal on the literal copying claim. Because the case involved claims related to patents, the appeal was automatically assigned to the United States Court of Appeals for the Federal Circuit. The hearing was held on December 4, 2013, and the judgment was released on May 9, 2014.


title: Google LLC v. Oracle America, Inc.

text: The court noted that Copyright Act provides protection to "original works of authorship fixed in any tangible medium of expression" (p. 17). The legislative history explains that literary works include "computer programs to the extent that they incorporate authorship in the programmer's expression of original ideas, as distinguished from the ideas themselves" (p. 18). To qualify for copyright protection a work must be original. 17 U.S.C. § 102(a). The court was therefore "first to assess whether the expression is original to the programmer" (p. 24), something that Google had already conceded (p. 21). This led the court to conclude "that the overall structure of Oracle's API packages is creative, original, and resembles a taxonomy" (p. 14). It therefore reversed the district court's decision on the central issue, holding that the "structure, sequence and organization" of an API is copyrightable. It also ruled for Oracle regarding the small amount of literal copying, holding that it was not "de minimis". The case was remanded to the District Court for a second trial, to consider whether Google's use was acceptable anyway, under the doctrine of fair use, since the original case had not brought out the facts related to fair use sufficiently for the Appeal Court to rule on that point.


title: Google LLC v. Oracle America, Inc.

text: In October 2014, Google petitioned the U.S. Supreme Court to hear the case; this request was denied in June 2015.<ref name="Order List (06/29/2015)">135 S. Ct. 2887 (2015), </ref>


title: Google LLC v. Oracle America, Inc.

text: As ordered by the Appeals Court, a new district court trial began on May 9, 2016, on the question of whether Google's actions were fair use given the prior ruling that the APIs were copyrightable. Closing arguments were completed on May 23, 2016 and the jury began deliberations. Oracle was seeking damages of up to US$9 billion. On May 26, 2016, the jury found that Android did not infringe Oracle-owned copyrights because its re-implementation of 37 Java APIs was protected by fair use. Oracle announced its intention to appeal, but before doing so, it attempted unsuccessful motions to disregard the jury verdict, and then to hold a re-trial. Oracle officially filed its appeal on October 26, 2016.


title: Google LLC v. Oracle America, Inc.

text: Oracle's appeal was heard by the United States Court of Appeals for the Federal Circuit in 2017. On March 27, 2018, the Court ruled in favor of Oracle. The ruling analyzed the aspects of a "fair use" claim which were to be decided by a judge and jury, respectively. It then looked at the factual matters which, it had to be assumed, the jury had reached, and their implications in law. It noted that in a "mixed" case of fact and law, such as the present dispute, the trial jury's role is to decide on the facts. Judge Alsup quoted the Supreme Court case "Campbell v. Acuff-Rose Music, Inc." in his opinion, noting that:


title: Google LLC v. Oracle America, Inc.

text: The Appeal Court's role is to assess whether a reasonable jury could have reached the conclusions it did, and whether the judge's decision could be correct and reasonable in law. The standard review of mixed questions of law and fact concerned three components: "(1) determining the legal standard governing the question posed and what types of historical facts are relevant to that standard; (2) finding what the historical facts in the case at hand are; and (3) assessing whether the historical facts found satisfy the legal test governing the question to be answered" (Decision p. 19). Except clear error, the role of the jury is limited to determining disputed 'historical facts' (2). The facts are not discussed. "It is undisputed that Google copied verbatim the declaring code of the 37 Java API packages 11,500 lines of Oracle’s copyrighted code. It also copied the SSO of the Java API packages. (Decision p. 10)" It is also established and Google recognizes that the software copied is creative and original.


title: Google LLC v. Oracle America, Inc.

text: The Court found that as a matter of law, Google's use of Java could not have fallen within fair use, even if all factual matters decided by the jury had been in Google's favor. The Appeals Court found that Google's use of API code declarations had not met any of the four current criteria for fair use, but was merely untransformed reuse. It had not been transformative, since it was used for the same purposes without even minimal changes or rewrites. It was not minimal, since it was agreed that only 170 lines of the 11,500 lines copied were needed for Google's purposes. It was not within any example of transformation, nor intended to permit third party interoperability, since Google had made no substantial efforts to use them for the purpose of third party interoperability. (In fact it found that Google had tried to "prevent" interoperability with other Java and had previously been refused a license by Sun for that reason.) It was not transformative in the sense of a new platform either, since other Java smartphones predated Android. It was plausible that the use had harmed Sun/Oracle – perhaps to a great extent if Oracle were to be believed – since as a result, vendors began expecting Oracle to compete on price with a freely available derivative of its own language, and to require very steep discounts and undesired contractual terms. Therefore, Google's use of the Java code and APIs failed to meet all four of the currently accepted criteria under which fair use would be possible.


title: Google LLC v. Oracle America, Inc.

text: Instead, the Court found that Google's purpose had been to enhance its nascent Android platform's attractiveness to existing developers, who were often familiar with Java, and to avoid the "drudgery" of rewriting the code (which they could have done) needed to implement the 170 lines of API detail which were indeed required. "Making it easy for oneself", the court noted, is well established to not fall within valid grounds for fair use. The Court found that "The fact that Android is free of charge does not make Google's use of the Java API packages noncommercial". Oracle


title: Google LLC v. Oracle America, Inc.

text: The purpose was commercial, the established historical facts by the jury did not satisfy any of the criteria for fair use, and the Court remanded the case back to the District Court of the Northern District of California to determine the amount of damage that Google should pay Oracle.


title: Google LLC v. Oracle America, Inc.

text: Google filed a petition for writ of certiorari with the Supreme Court of the United States in January 2019 to challenge the two rulings that were made by the appeals court in Oracle's favor. In its petition, Google centered its case on whether copyright extends to a software interface like an API, and whether the use of the Java API by Google fell within fair use as found at the jury trials. In orders issued in April 2019, the Court asked the Solicitor General of the United States to file an amicus brief to outline the government's stance on the case. The Trump administration backed Oracle and urged the Court to deny certiorari. Microsoft, Mozilla Corporation, Red Hat Inc., and others filed amicus briefs in support of Google's position. IBM, the Computer & Communications Industry Association, the Internet Association, the Auto Care Association, and a collective group of over 150 academics and computer professionals also filed briefs supporting Google's stance, cautioning that a decision in favor of Oracle would hurt the computing world as a whole.


title: Google LLC v. Oracle America, Inc.

text: The Supreme Court granted certiorari on November 15, 2019, and was expected to hear the case on March 24, 2020. However, the Supreme Court postponed its March argument session on March 16 in light of concerns surrounding COVID-19, and later announced that "Google v. Oracle" was one of several cases from the 2019–20 term to be postponed until the first week of the 2020–21 term. Following the delay, the Court asked parties to submit additional briefs related to Seventh Amendment question raised by Google, given that the Federal District court had overridden some of the findings of facts that the jury had concluded in their case at the District level.


title: Google LLC v. Oracle America, Inc.

text: Oral arguments were heard via teleconference due to the ongoing COVID-19 pandemic on October 7, 2020. Justice Ruth Bader Ginsburg had died the prior month, and her replacement, Justice Amy Coney Barrett, had not yet been confirmed, so Barrett took no part in the proceedings. Court observers found that while the Justices seemed to side with Oracle on the copyright arguments, they also took deference to the arguments presented by Microsoft, who had taken Google's side on the case. Microsoft argued in an amicus brief that ruling in Oracle's favor could upend the software industry. Several questions focused on how APIs fell within the idea–expression distinction of copyright and if the merger doctrine would apply. Justice Gorsuch was also seen to focus heavily on the Seventh Amendment arguments and whether the Federal Circuit's ruling to overturn the trial court's jury verdict was proper.


title: Google LLC v. Oracle America, Inc.

text: The Court issued its decision on April 5, 2021. In a 6–2 majority, the Court ruled that Google's use of the Java APIs was within the bounds of fair use, reversing the Federal Circuit Appeals Court ruling and remanding the case for further hearing. Justice Stephen Breyer wrote the majority opinion. Breyer's opinion began with the assumption that the APIs may be copyrightable, and thus proceeded with a review of the four factors that contributed to fair use:


title: Google LLC v. Oracle America, Inc.

text: Breyer determined that Google's use of the APIs had met all four factors, and that Google used "only what was needed to allow users to put their accrued talents to work in a new and transformative program". Breyer concluded that "we hold that the copying here at issue nonetheless constituted a fair use. Hence, Google's copying did not violate the copyright law." This conclusion rendered the need to evaluate the copyright of the API unnecessary.


title: Google LLC v. Oracle America, Inc.

text: Justice Clarence Thomas wrote a dissenting opinion that was joined by Justice Samuel Alito. Thomas wrote that the majority opinion created a new distinction between implementing code and declaring code that Congress had rejected, and thus, "the result of this distorting analysis is an opinion that makes it difficult to imagine any circumstance in which declaring code will remain protected by copyright." Thomas further stated that in his own fair use analysis that "Google's use of that copyrighted code was anything but fair".


title: Google LLC v. Oracle America, Inc.

text: "Google v. Oracle" was a closely watched case by the tech industry. A ruling favoring Oracle could have had significant effects on past and future software development given the prolific use of APIs. Opponents of the Federal Circuit's ruling, including Google and other developers of Android-based software, had raised several concerns including the impact on interoperability, software innovation, and the potential for bad actors to pick up the rights to old software and file claims against companies who built their software on what were assumed to be open standards. If APIs became subject to copyright protection, it is believed that companies would need to implement deliberately incompatible standards to protect themselves from the risk of complex litigation. This scenario would mean moving away from the current trends in software development which have focused on improving interoperability between different services, allowing apps to communicate with one another, and creating more integrated platforms for end users.


title: Google LLC v. Oracle America, Inc.

text: Industry and legal experts stated an Oracle victory could have created a chilling effect in software development, with copyright holders using the copyright on APIs to prevent their use in developing interoperable alternatives through reverse engineering, as common in open source software development. At the same time, experts cautioned that a judgment favoring Google's position may weaken protection for copyright for software code developers, allowing competitors with better resources to develop improved products from smaller firms and reduce the motive for innovation within the industry.


title: Google LLC v. Oracle America, Inc.

text: One example identified by "Wired" is the Linux operating system. While Linux is fully open source, it is based on POSIX, a set of APIs that mimic those of the commercial Unix operating system that enable high levels of interoperability for developers; a programmer would only need to write one set of code which then can be compiled on any system that has the same API, even if the computing architecture of the systems are different. If case law favored Oracle, the current owners of Unix, Micro Focus, could have sought damages from any POSIX-based operating system developer intending to use the operating system for commercial use.


title: Tortoise (band)

text: Tortoise is an American post-rock band formed in Chicago, Illinois in 1990. The band incorporates krautrock, dub, minimal music, electronica and jazz into their music, a combination sometimes termed "post-rock". Tortoise have been consistently credited for the rise of the post-rock movement in the 1990s.


title: Tortoise (band)

text: The group's origins lie in the late 1980s pairing of Doug McCombs (bassist with Eleventh Dream Day) and drummer John Herndon, who initially wanted to establish themselves as a freelance rhythm section (like reggae legends Sly and Robbie). The idea did not come to fruition, but their interest in grooving rhythms, as well as their recording studio knowledge led to partnerships with drummer John McEntire and bassist Bundy K. Brown (both formerly of Bastro and Gastr Del Sol) joining, followed by percussionist Dan Bitney. Though songs are credited to all the musicians, McEntire became perceived as the group's guiding force, as his contributions mainly took the form of being the recording engineer and mixer.


title: Tortoise (band)

text: Their first single was issued in 1993, and their self-titled debut album followed a year later. Instrumental and mostly mid-tempo, "Tortoise" slowly garnered praise and attention, notably for its unusual instrumentation (two bass guitars, three percussionists switching between drums, vibraphones and marimbas). A remix album followed, "Rhythms, Resolutions and Clusters".


title: Tortoise (band)

text: Brown left and was replaced by David Pajo (formerly of Slint) for 1996's "Millions Now Living Will Never Die", which showed up on many year-end best of lists, and the 20-minute "Djed" was described by critic John Bush as proof that "Tortoise made experimental rock do double duty as evocative, beautiful music." Also in 1996, the band contributed to the AIDS benefit album "" produced by the Red Hot Organization.


title: Tortoise (band)

text: They released a Japanese-only compilation featuring tracks from the eponymous debut, "Rhythms", singles and compilation appearances, named "A Digest Compendium of the Tortoise's World" on November 21, 1996.


title: Tortoise (band)

text: In 1998, Tortoise released "TNT", arguably their most jazz-inflected album. Jeff Parker had joined as a guitarist alongside Pajo, who left the band following the album's completion.


title: Tortoise (band)

text: 2001 led to "Standards", where Tortoise incorporated more electronic sounds and post-production into its music than in previous works. In 2001, the band curated an edition of the British All Tomorrow's Parties festival. They then returned in 2004 to curate another day of the same event.


title: Tortoise (band)

text: "It's All Around You" was released in 2004. In 2006, Tortoise collaborated with Bonnie 'Prince' Billy on an album of covers entitled "The Brave and the Bold", and released "A Lazarus Taxon", a box set containing two CDs of single tracks and remixes, a third CD with an expanded "Rhythms, Resolutions and Clusters" (out of print) and a DVD of videos and film of live performances. In 2001, the band recorded "Didjeridoo" for the Red Hot Organization's compilation album "Red Hot + Indigo", a tribute to Duke Ellington, which raised money for various charities devoted to AIDS related causes.


title: Tortoise (band)

text: Bitney and McEntire also contributed to the Bright Eyes album "Cassadaga". The group has worked with multi-instrumentalist Paul Duncan of the band Warm Ghost.


title: Tortoise (band)

text: Tortoise released their previous to last album, "Beacons of Ancestorship", on June 23, 2009. The band toured the Midwestern US in September and October 2009, and then in Europe in November and December. The band performed at the ATP New York 2010 music festival, which was held in Monticello, New York.


title: Tortoise (band)

text: In 2012, Tortoise wrote and recorded the soundtrack to Eduardo Sánchez's "Lovely Molly", a psychological horror film partly inspired by traditional folk songs. A seventh studio album, "The Catastrophist", was released by Thrill Jockey in early 2016, preceded by the single "Gesceap".


title: Tortoise (band)

text: As Tortoise rose to prominence in their early career, their often instrumental music has been noted for its ambiguous categorization. The members have roots in Chicago's fertile music scene, playing in various indie rock and punk rock groups. Tortoise was among the first American indie rock bands to incorporate styles closer to krautrock, dub, minimal music, electronica and various jazz styles, rather than the strong rock and roll roots that had dominated the genre.


title: Tortoise (band)

text: Tortoise has been cited as one of the prime forces behind the development and popularity of the post-rock movement. CMJ writer Jim Allen highlighted the influence of progressive rock on Tortoise's post-rock style.


title: Tortoise (band)

text: Other groups related to Tortoise include The Sea and Cake, Brokeback, Slint, Isotope 217, Chicago Odense Ensemble, Tar Babies, and the Chicago Underground Duo. Tortoise records on the Thrill Jockey label.


title: Nest Thermostat

text: The Nest Thermostat is a smart thermostat developed by Google Nest and designed by Tony Fadell, Ben Filson, and Fred Bould. It is an electronic, programmable, and self-learning Wi-Fi-enabled thermostat that optimizes heating and cooling of homes and businesses to conserve energy.


title: Nest Thermostat

text: The Google Nest Learning Thermostat is based on a machine learning algorithm: for the first weeks users have to regulate the thermostat in order to provide the reference data set. The thermostat can then learn people's schedule, at which temperature they are used to and when. Using built-in sensors and phones' locations, it can shift into energy-saving mode when it realizes nobody is at home.


title: Nest Thermostat

text: Nest is compatible with most standard HVAC systems that use central heating and cooling and uses industry standard connections to facilitate the control of these appliances.


title: Nest Thermostat

text: Nest is not compatible with communicating HVAC systems. Communicating systems are used with some two-stage and all variable-capacity HVAC systems. These systems require just four wires – two power wires for heating and cooling and two for communication between components (see photo).


title: Nest Thermostat

text: Nest consists of two primary pieces of hardware. The display contains the main printed circuit board (PCB) and rotating ring (except for the 2020 Nest Thermostat, which has a touch-sensitive strip on the right side of the thermostat body). The base houses the connection terminals, bubble level, and holes for wall anchors. Neither can function independently; if separated, the display becomes inactive until reconnected to the base.


title: Nest Thermostat

text: A special version of Nest is available in Europe, which is capable of controlling 230 volt heating systems. The Nest is paired with a "Heat Link" device, which contains the circuitry required for controlling the mains-voltage heating system. The first release was the 2nd Generation Nest thermostat which the Heat Link controlled the central heating boiler. The 3rd Generation added support for OpenTherm and for controlling domestic hot water. The Nest E was made available to the UK in October 2018. It has several major changes as the thermostat is stand mounted only, the Heat Link is grey and battery powered, the Heat Link loses the domestic hot water support, and lastly designed to be installed on the wall where the old thermostat was located.


title: Nest Thermostat

text: As the Nest Thermostat cannot be battery operated, it must either be installed with a wire connecting directly to the "Heatlink" which supplies 12v DC, or mounted on a Stand and powered via a USB cable.


title: Nest Thermostat

text: The Nest Temperature Sensor was added in March 2018. Available in Google Store only for United States and Canada. Up to six of these battery operated devices can be added to a single thermostat to provide remote temperature monitoring. Nest will then use the appropriate sensor based on schedule. Since they use Bluetooth Low Energy they are only compatible with the E and 3rd generation thermostats.


title: Nest Thermostat

text: With the introduction of the more accessible Google Nest Thermostat on October 12, 2020, it no longer features the rotating ring which is present on other Nest models. It instead uses a touch-sensitive strip on the right side of the thermostat body to adjust temperatures and navigate the thermostat's operating system, with tapping on the touch-sensitive strip replacing physical clicking. It also features presence detection which uses Google ATAP's 60 GHz Project Soli radar, which allows the mirror-like face of the Nest Thermostat to have no visible cutouts for the radar sensor. This enables the thermostat to display the current HVAC status when human presence is detected by the Soli radar sensor. However, Nest Farsight is not supported on this model but poses a similar function at closer distances.


title: Nest Thermostat

text: The Nest Thermostat is built around an operating system that allows interaction with the thermostat via spinning and clicking of its control wheel, with sliding and tapping being the input method for the 2020 Nest Thermostat, which brings up option menus for switching from heating to cooling, access to device settings, energy history, and scheduling. Scheduling cannot be modified on the 2020 Nest Thermostat device and must be done in the Google Home app. Users can control Nest without a touch screen or other input device. As the thermostat is connected to the Internet, the company can push updates to fix bugs, improve performance and add additional features. For updates to occur automatically, the thermostat must be connected to Wi‑Fi and the battery must have at least a 3.7 V charge to give enough power to complete the download and installation of the update.


title: Nest Thermostat

text: The Nest Thermostat has had a number of software updates. A 2017 security update enables two factor authentication.


title: Nest Thermostat

text: To comply with the terms of the GPLv3 license under which some components are available, Nest Labs also provides a special firmware image which will unlock the system so that it will accept arbitrary code sent to it.


title: Nest Thermostat

text: Nest devices interconnect with each other using a protocol called Weave, which is based on IEEE 802.15.4 and Wi-Fi 802.11 b/g/n.


title: Nest Thermostat

text: Nest is available for sale in the United States, Canada, Mexico, the United Kingdom, Belgium, France, Ireland, the Netherlands, Germany, Austria, Italy, and Spain. It is, however, compatible with many heating and cooling automation systems in other countries. Nest Labs have surveyed existing users known to be outside the areas where it is officially available. Use of the thermostat outside the United States and Canada is complicated by the software setting time and other functions based on the ZIP code. For international users this means they must either disable Wi‑Fi to set the time correctly or use the nearest U.S. zipcode which may result in erratic behavior as the thermostat makes faulty assumptions about inactivity corresponding with either sleep or the home's occupants being away.


title: Nest Thermostat

text: In 2013 a man-in-the-middle hack potentially allowed worldwide users to set up their time zone and local weather.


title: Nest Thermostat

text: In an effort to increase the number of homes using their learning thermostats, Nest began to partner with energy companies. In February 2014, Direct Energy and Nest laboratories launched their Comfort and Control plan. The plan allowed Canadian customers in Alberta to receive a learning thermostat when they signed up for a five-year electricity contract. In April 2014, Nest announced a partnership with the United Kingdom energy supplier nPower. The partnership offers customers a cut on the Nest installation price and locked energy prices for 5 years, when customers receive both gas and electricity from nPower and paying with direct debit.


title: Nest Thermostat

text: In June 2014, Direct Energy and Nest Laboratories expanded the package to Direct Energy's United States market.


title: Sugar, We're Goin Down

text: "Sugar, We're Goin Down" is a song by American rock band Fall Out Boy. "Sugar, We're Goin Down" was released to US radio on April 4, 2005, as the lead single from their second album, "From Under the Cork Tree" (2005). Two different CD singles were released with different B-sides, Part I with a green cover and Part II with a red cover. With music composed by vocalist Patrick Stump and lyrics penned by bassist Pete Wentz, the single reached 8 on the US "Billboard" Hot 100, becoming Fall Out Boy's first top-10 hit and exploding the band into the mainstream, exposing them to a new audience. It spent five weeks in the top 10 and 20 weeks in the top 20 out of its 42 chart weeks.


title: Sugar, We're Goin Down

text: The song became the band's first two-million seller in July 2009, and as of February 2013, has sold 4,639,000 copies in the US. It was upgraded to a 4× Platinum certification by the Recording Industry Association of America (RIAA) in February 2015. On July 22, 2013, "Sugar, We're Goin Down" was certified Silver by the British Phonographic Industry (BPI) for 200,000 sales.


title: Sugar, We're Goin Down

text: Stump told "Rolling Stone" that he deliberately slurred the lyrics in the song's chorus to make it sound better, saying that he "was trying to do a straight punk song for fun" and adding, "I saw those lyrics and just kind of barked them out. But there was something about the rhythm of it, where I was like, 'Hmm, that actually might be too good for just a shitty punk song.'" During the writing of the song it went through thirty changes and then went back to the way it first started.


title: Sugar, We're Goin Down

text: The song appears on the karaoke games "Lips" (as downloadable content) and in "Karaoke Revolution Presents: American Idol", and is also a playable song on "Band Hero". It is in the 2005 film "The Fog" and its soundtrack. American country pop artist Taylor Swift covered "Sugar, We're Goin Down" at a concert on her 2011 Speak Now Tour in Chicago, during which she would sing a cover of a song originally released by an artist from each tour stop. Hayley Williams joined Fall Out Boy onstage in 2014 to perform the song as part of a Super Bowl Blitz show. The band themselves used a sample of the song in "What a Catch, Donnie" and referenced it in "Save Rock and Roll", from the album of the same title.


title: Sugar, We're Goin Down

text: "Sugar, We're Goin Down" would rise and fall in inconsistent patterns. The song debuted on the "Billboard" Hot 100 on July 2, 2005, at No. 93 and rose each week. Eleven weeks later, on September 17, 2005, the song entered the top 10 at its peak of No. 8, becoming Fall Out Boy's first top 10 single. At this point, the song did not have much airplay but had relied on the strength of digital downloads alone, and it experienced a sales surge following the band's performance at the 2005 MTV Video Music Awards.


title: Sugar, We're Goin Down

text: Following this download surge, however, downloads fell, and the song dropped to No. 15 the following week. During this time, though, mainstream radio support came in, and while downloads were falling, airplay was able to help stabilize the song. As a result, "Sugar" rose in the following weeks to be at either position No. 10 or 11. It spent five weeks in the top 10 and 20 weeks in the top 20, and in total stayed on the charts for 42 weeks before it was retired, making it the band's most successful single charting. The track peaked at No. 2 on the Hot Digital Songs chart and reached the top position on Hot Digital Tracks. Its airplay peak was No. 18 on the Hot 100 Airplay.


title: Sugar, We're Goin Down

text: On the Pop 100 chart, "Sugar, We're Goin Down" displayed a slightly better performance. With the same digital download stats, but with an airplay panel to its advantage, the song reached a peak position of No. 6 on the Pop 100 with its component airplay, Pop 100 Airplay, being No. 6. In terms of total spins versus total impressions, the single also peaked at No. 6 on the Top 40 Mainstream chart. It reached No. 3 on the Hot Modern Rock Tracks chart and became a rock-radio staple.


title: Sugar, We're Goin Down

text: In the United Kingdom, the song first charted on January 15, 2006, at No. 54 before moving to just outside the top 20 at No. 24 on February 5. However, it continued rising in the charts in February, and entered the top 10 at its peak position of No. 8. As of 2013, the song has sold over 200,000 copies in the UK to date being certified Silver. It remained in the top 75 of the UK Singles Chart for 21 weeks.


title: Sugar, We're Goin Down

text: "Blender" ranked "Sugar, We're Goin Down" at No. 4 on their "100 Greatest Songs of 2005" list and About.com placed the song at No. 3 on their "Top 100 Pop Songs of 2005" list. It was also nominated for the Kerrang! Award for Best Single in 2006. In 2009, "Phoenix New Times" writer Martin Cizmar wrote that "Sugar, We're Goin Down" was possibly "the most listened-to emo track of all time".


title: Sugar, We're Goin Down

text: In 2015, "Billboard" ranked the song number six on their list of the 10 greatest Fall Out Boy songs, and in 2021, "Kerrang" ranked the song number four on their list of the 20 greatest Fall Out Boy songs. In 2020, "Alternative Press" called "Sugar, We're Goin' Down" one of the most influential pop punk songs of all time, stating that the song "shaped the genre," was "a lyrically abstract masterpiece that gave subsequent bands an excuse to write creatively" and that it was "a game-changer." In 2021, "Rolling Stone" ranked "Sugar, We're Goin Down" at 443 on their amended list of the "500 Greatest Songs of All Time." "Variety" ranked it as one of the best emo songs of all time in 2022.


title: Lei Jun

text: Lei Jun (born 16 December 1969) is a Chinese billionaire entrepreneur and philanthropist. He is known for founding the consumer electronics company Xiaomi. As of October 2022, Lei Jun's net worth was estimated at either US$8.1 billion according to the "Bloomberg Billionaires Index", making him the 203rd richest person in the world, or at $7.5 billion by "Forbes", ranking him 265th worldwide.


title: Lei Jun

text: Lei Jun was born on 7 December 1969 in Xiantao, in the underdeveloped countryside of Hubei. Both of his parents were teachers, which was a disgraced profession after the Cultural Revolution; his father made $7 per month. As a child, he was interested in electronics and liked disassembling and re-assembling radios, which was encouraged by his father. He made the first electric lamp in his village using two batteries, a bulb, a self-made wooden box, and some wires.


title: Lei Jun

text: In 1987, he graduated from Mianyang Middle School (; now Xiantao Middle School) and began attending Wuhan University, from where he graduated with a Bachelor of Arts in computer science in 1991. During his last year of college, he founded his first company, Gundugoms. He also studied profusely and excelled at school.


title: Lei Jun

text: In 1992, Lei joined Kingsoft as an engineer. He became the CEO of the company in 1998 and led it towards an initial public offering on the Hong Kong Stock Exchange in 2007. On 20 December 2007, he resigned as president and CEO of Kingsoft for "health reasons".


title: Lei Jun

text: In 2000, Lei founded Joyo.com, an online bookstore, which he sold for US$75 million to Amazon.com in 2004.


title: Lei Jun

text: In 2005, Lei made a $1 million investment in YY; those shares were worth $129 million when the company became a public company via an initial public offering in 2012.


title: Lei Jun

text: In 2010, Lei Jun founded Xiaomi, a technology company that manufactures smartphones, mobile apps, and other consumer electronics.


title: Lei Jun

text: In 2011, he co-founded Shunwei Capital (), an investment company, via which he invests in companies in the e-commerce, social networking, and mobile industries.


title: Lei Jun

text: They have two children. As of 2016, he spoke very little of the English language and spoke to the media via a translator.


title: Lei Jun

text: By 2017, Lei had donated $1 billion to charity, starting with a ¥140,000 donation in 1997 to his alma mater, Wuhan University. He later made donations to Zhuhai Charity, an organization that funds schools for migrants, the villagers of Yangchun for the renovation of schools and mudbrick houses anof cultural buildings, the victims of the 2013 Lushan earthquake, and was a participant in the Ice Bucket Challenge to raise funds for amyotrophic lateral sclerosis.


title: William Hope (actor)

text: Most of Hope's stage work has been leading roles in a wide variety of regional, touring and West End theatres in England.


title: William Hope (actor)

text: Early on, he turned down a major role in Kubrick's "Full Metal Jacket" for a lead role in James Cameron's "Aliens" (1986) as Lt. Gorman, for which he began to receive recognition. Soon after he appeared as Kyle MacRae in the horror film "" (1988), the sequel to Clive Barker's "Hellraiser" (1987).


title: William Hope (actor)

text: After "Hellbound", Hope went on to a number of theatrical films while working a lot on stage and in radio drama. Seen in parts in "Shining Through" (1992) and "The Saint" (1997), "Sky Captain and the World of Tomorrow" (2004) and "XXX" (2002). He co-starred in two Wesley Snipes' action epics "The Marksman" (2005) and "The Detonator" (2006) and as the villain in Steven Seagal's action movie "Submerged" (2005).


title: William Hope (actor)

text: Recently seen on TV as Harry Ramos in the award-winning TV docudrama "" (2007), and as the President of Lehman Brothers in "The Last Days of Lehman Brothers" (2009) starring James Cromwell, in theatrical releases he has been seen opposite Woody Harrelson in "The Walker" (2007), Robert Downey Jr. in "Sherlock Holmes" (2009), and "The Whistleblower" (2010) with Rachel Weisz and "Legacy" with Idris Elba. His most recent television work included playing Matt LeBlanc's agent in "Episodes" (2011). He was also in Luc Besson's "The Lady" (2012) about the life of Aung San Suu Kyi and in 2011 he guest-starred in the BBC's final series of "Spooks" (2002) and alongside Johnny Depp in Tim Burton's "Dark Shadows" (2012).


title: William Hope (actor)

text: From 2009 to 2021, he has been heard providing voices for Edward, Toby, Whiff, Rocky and Farmer McColl in the US dub and also Bert of the "Thomas & Friends" children's TV and DVD series. He also returned to the horror genre, working in the Solar Film's experimental "Dark Floors", released in Europe in 2008. He is regularly heard on BBC Radio and is part of the BBC "Broken News" cast. He appeared in a book tour with Tim Parfitt, his brother-in-law.


title: Shall and will

text: Shall and will are two of the English modal verbs. They have various uses, including the expression of propositions about the future, in what is usually referred to as the future tense of English.


title: Shall and will

text: Historically, prescriptive grammar stated that, when expressing pure futurity (without any additional meaning such as desire or command), "shall" was to be used when the subject was in the first person, and "will" in other cases (e.g., "On Sunday, we shall go to church, and the preacher will read the Bible.") This rule is no longer commonly adhered to by any group of English speakers, and "will" has essentially replaced "shall" in nearly all contexts.


title: Shall and will

text: "Shall" is, however, still widely used in bureaucratic documents, especially documents written by lawyers. Owing to heavy misuse, its meaning can be ambiguous and the United States government's Plain Language group advises writers not to use the word at all. Other legal drafting experts, including Plain Language advocates, argue that while "shall" can be ambiguous in statutes (which most of the cited litigation on the word's interpretation involves), court rules, and consumer contracts, that reasoning does not apply to the language of business contracts. These experts recommend using "shall" but only to impose an obligation on a contractual party that is the subject of the sentence, i.e., to convey the meaning "hereby has a duty to."


title: Shall and will

text: The verb "shall" derives from Old English "sceal". Its cognates in other Germanic languages include Old Norse "skal", German "soll", and Dutch "zal"; these all represent *"skol-", the o-grade of Indo-European *"skel"-. All of these verbs function as auxiliaries, representing either simple futurity, or necessity or obligation.


title: Shall and will

text: The verb "will" derives from Old English "willan", meaning to want or wish. Cognates include Old Norse "vilja", German "wollen" (ich/er/sie will, meaning I/he/she want/s to), Dutch "willen", Gothic "wiljan". It also has relatives in non-Germanic languages, such as Latin "velle" ("wish for") and "voluptas" ("pleasure"), and Polish "woleć" ("prefer"). All of these forms derive from the e-grade or o-grade of Indo-European *"wel-", meaning to wish for or desire. Within English, the modal verb "will" is also related to the noun "will" and the regular lexical verb "will" (as in "She willed him on").


title: Shall and will

text: Early Germanic did not inherit any Proto-Indo-European forms to express the future tense, and so the Germanic languages have innovated by using auxiliary verbs to express the future (this is evidenced in Gothic and in the earliest recorded Germanic expressions). In English, "shall" and "will" are the auxiliaries that came to be used for this purpose. (Another one used as such in Old English was "mun", which is related to Scots "maun", Modern English "must" and Dutch "moet")


title: Shall and will

text: Both "shall" and "will" come from verbs that had the preterite-present conjugation in Old English (and generally in Germanic), meaning that they were conjugated using the strong preterite form (i.e. the usual past tense form) as the present tense. Because of this, like the other modal verbs, they do not take the usual "-s" in Modern English's third-person singular present; we say "she shall" and "he will" – not *"she shalls", and not *"he wills" (except in the sense of "to will" being a synonym of "to want" or "to write into a will"). Archaically, there were however the variants "shalt" and "wilt", which were used with thou.


title: Shall and will

text: Both verbs also have their own preterite (past) forms, namely "should" and "would", which derive from the actual preterites of the Old English verbs (made using the dental suffix that forms the preterites of weak verbs). These forms have developed a range of meanings, frequently independent of those of "shall" and "will" (as described in the section on "should" and "would" below). Aside from this, though, "shall" and "will" (like the other modals) are defective verbs – they do not have other grammatical forms such as infinitives, imperatives or participles. (For instance, "I want to will eat something" or "He's go to sleep" do not exist.)


title: Shall and will

text: Both "shall" and "will" may be contracted to "-’ll", most commonly in affirmative statements where they follow a subject pronoun. Their negations, "shall not" and "will not", also have contracted forms: "shan't" and "won't" (although "shan't" is rarely used in North America, and is becoming rarer elsewhere too).


title: Shall and will

text: The pronunciation of "will" is , and that of "won't" is . However "shall" has distinct weak and strong pronunciations: when unstressed, and when stressed. "Shan't" is pronounced in England, New Zealand, South Africa etc.; in North America (if used) it is pronounced , and both forms are acceptable in Australia (due to the unique course of the trap–bath split).


title: Shall and will

text: The modal verbs "shall" and "will" have been used in the past, and continue to be used, in a variety of meanings. Although when used purely as future markers they are largely interchangeable (as will be discussed in the following sections), each of the two verbs also has certain specific uses in which it cannot be replaced by the other without change of meaning.


title: Shall and will

text: The most common specific use of "shall" in everyday English is in questions that serve as offers or suggestions: "Shall I ...?" or "Shall we ...?" These are discussed under below.


title: Shall and will

text: In statements, "shall" has the specific use of expressing an order or instruction, normally in elevated or formal register. This use can blend with the usage of "shall" to express futurity, and is therefore discussed in detail below under .


title: Shall and will

text: "Will" (but not "shall") is used to express habitual action, often (but not exclusively) action that the speaker finds annoying:


title: Shall and will

text: Similarly, "will" is used to express something that can be expected to happen in a general case, or something that is highly likely at the present time:


title: Shall and will

text: The other main specific implication of "will" is to express willingness, desire or intention. This blends with its usage in expressing futurity, and is discussed under . For its use in questions about the future, see .


title: Shall and will

text: Both "shall" and "will" can be used to mark a circumstance as occurring in future time; this construction is often referred to as the future tense of English. For example:


title: Shall and will

text: When "will" or "shall" directly governs the infinitive of the main verb, as in the above examples, the construction is called the simple future. Future marking can also be combined with aspectual marking to produce constructions known as future progressive ("He will be working"), future perfect ("He will have worked") and future perfect progressive ("He will have been working"). English also has other ways of referring to future circumstances, including the "going to" construction, and in many cases the ordinary present tense – details of these can be found in the article on the "going-to" future.


title: Shall and will

text: The verbs "will" and "shall", when used as future markers, are largely interchangeable with regard to literal meaning. Generally, however, "will" is far more common than "shall". Use of "shall" is normally a marked usage, typically indicating formality and/or seriousness and (if not used with a first person subject) expressing a colored meaning as described below. In most dialects of English, the use of "shall" as a future marker is viewed as archaic.


title: Shall and will

text: "Will" is ambiguous in first-person statements, and "shall" is ambiguous in second- and third-person statements. A rule of prescriptive grammar was created to remove these ambiguities, but it requires that the hearer or reader understand the rule followed by the speaker or writer, which is usually not the case. According to this rule, when expressing futurity and nothing more, the auxiliary "shall" is to be used with first person subjects ("I" and "we"), and "will" is to be used in other instances. Using "will" with the first person or "shall" with the second or third person is asserted to indicate some additional meaning in addition to plain futurity. In practice, however, this rule is not observed – the two auxiliaries are used interchangeably, with "will" being far more common than "shall". This is discussed in more detail in the following sections.


title: Shall and will

text: According to "Merriam Webster's Dictionary of English Usage", the distinction between "shall" and "will" as future markers arose from the practice of Latin teaching in English schools in the 14th century. It was customary to use "will" to translate the Latin "velle" (meaning to wish, want or intend); this left "shall" (which had no other equivalent in Latin) to translate the Latin future tense. This practice kept "shall" alive in the role of future marker; it is used consistently as such in the Middle English Wycliffe's Bible. However, in the common language it was "will" that was becoming predominant in that role. Chaucer normally uses "will" to indicate the future, regardless of grammatical person.


title: Shall and will

text: An influential proponent of the prescriptive rule that "shall" is to be used as the usual future marker in the first person was John Wallis. In "Grammatica Linguae Anglicanae" (1653) he wrote: "The rule is [...] to express a future event without emotional overtones, one should say I shall, we shall, but you/he/she/they will; conversely, for emphasis, willfulness, or insistence, one should say I/we will, but you/he/she/they shall".


title: Shall and will

text: Henry Watson Fowler wrote in his book "The King's English" (1906), regarding the rules for using "shall" vs. "will", the comment "the idiomatic use, while it comes by nature to southern Englishmen ... is so complicated that those who are not to the manner born can hardly acquire it". The "Pocket Fowler's Modern English Usage", OUP, 2002, says of the rule for the use of "shall" and "will": "it is unlikely that this rule has ever had any consistent basis of authority in actual usage, and many examples of [British] English in print disregard it".


title: Shall and will

text: Nonetheless, even among speakers (the majority) who do not follow the rule about using "shall" as the unmarked form in the first person, there is still a tendency to use "shall" and "will" to express different shades of meaning (reflecting aspects of their original Old English senses). Thus "shall" is used with the meaning of obligation, and "will" with the meaning of desire or intention.


title: Shall and will

text: An illustration of the supposed contrast between "shall" and "will" (when the prescriptive rule is adhered to) appeared in the 19th century, and has been repeated in the 20th century and in the 21st:


title: Shall and will

text: An example of this distinction in writing occurs in Henry James's 1893 short story "The Middle Years":


title: Shall and will

text: A more popular illustration of the use of "shall" with the second person to express determination occurs in the oft-quoted words the fairy godmother traditionally says to Cinderella in British versions of the well-known fairy tale: "You "shall" go to the ball, Cinderella!"


title: Shall and will

text: Another popular illustration is in the dramatic scene from "" when Gandalf checks the Balrog's advance with magisterial censure, "You shall not pass!"


title: Shall and will

text: The use of "shall" as the usual future marker in the first person nevertheless persists in some more formal or elevated registers of English. An example is provided by the famous speech of Winston Churchill: "We shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender.'"


title: Shall and will

text: Whether or not the above-mentioned prescriptive rule ("shall" for the unmarked future in the first person) is adhered to, there are certain meanings in which either "will" or "shall" tends to be used rather than the other. Some of these have already been mentioned (see the Specific uses section). However, there are also cases in which the meaning being expressed combines plain futurity with some additional implication; these can be referred to as "colored" uses of the future markers.


title: Shall and will

text: Thus "shall" may be used (particularly in the second and third persons) to imply a command, promise or threat made by the speaker (i.e. that the future event denoted represents the will of the speaker rather than that of the subject). For example:


title: Shall and will

text: In the above sentences, "shall" might be replaced by "will" without change of intended meaning, although the form with "will" could also be interpreted as a plain statement about the expected future. The use of "shall" is often associated with formality and/or seriousness, in addition to the coloring of the meaning. For some specific cases of its formal use, see the sections below on and .


title: Shall and will

text: On the other hand, "will" can be used (in the first person) to emphasize the willingness, desire or intention of the speaker:


title: Shall and will

text: Most speakers have "will" as the future marker in any case, but when the meaning is as above, even those who follow or are influenced by the prescriptive rule would tend to use "will" (rather than the "shall" that they would use with a first person subject for the uncolored future).


title: Shall and will

text: The division of uses of "will" and "shall" is somewhat different in questions than in statements; see the following section for details.


title: Shall and will

text: In questions, the traditional prescriptive usage is that the auxiliary used should be the one expected in the answer. Hence in enquiring factually about the future, one could ask: "Shall you accompany me?" (to accord with the expected answer "I shall", since the rule prescribes "shall" as the uncolored future marker in the first person). To use "will" instead would turn the question into a request. In practice, however, "shall" is almost never used in questions of this type. To mark a factual question as distinct from a request, the "going-to" future (or just the present tense) can be used: "Are you going to accompany me?" (or "Are you accompanying me?").


title: Shall and will

text: The chief use of "shall" in questions is with a first person subject ("I" or "we"), to make offers and suggestions, or request suggestions or instructions:


title: Shall and will

text: This is common in the UK and other parts of the English-speaking world; it is also found in the United States, but there "should" is often a less marked alternative. Normally the use of "will" in such questions would change the meaning to a simple request for information: "Shall I play goalkeeper?" is an offer or suggestion, while "Will I play goalkeeper?" is just a question about the expected future situation.


title: Shall and will

text: The above meaning of "shall" is generally confined to direct questions with a first person subject. In the case of a reported question (even if not reported in the past tense), "shall" is likely to be replaced by "should" or another modal verb such as "might": "She is asking if she should open a window"; "He asked if they might dance."


title: Shall and will

text: The auxiliary "will" can therefore be used in questions either simply to enquire about what is expected to occur in the future, or (especially with the second person subject "you") to make a request:


title: Shall and will

text: Bryan Garner and Justice Scalia in "Reading Law: The Interpretation of Legal Texts" describe that some legal drafting has sloppy use of the word "shall". Nevertheless, Garner and Scalia conclude that when the word "shall" can reasonably be understood as mandatory, it ought to be taken that way. In 2007 the U.S. Supreme Court said ("The word `shall' generally indicates a command that admits of no discretion on the part of the person instructed to carry out the directive"); Black's Law Dictionary 1375 (6th ed. 1990) ("As used in statutes ... this word is generally imperative or mandatory").


title: Shall and will

text: Legislative acts and contracts sometimes use "shall" and "shall not" to express mandatory action and prohibition. However, it is sometimes used to mean "may" or "can". The most famous example of both of these uses of the word "shall" is the . Claims that "shall" is used to denote a fact, or is not used with the above different meanings, have caused discussions and have significant consequences for interpreting the text's intended meaning. Lawsuits over the word's meaning are also common.


title: Shall and will

text: In many requirement specifications, particularly involving software, the words "shall" and "will" have special meanings. Most requirement specifications use the word "shall" to denote something that is required, while reserving the "will" for simple statement about the future (especially since "going to" is typically seen as too informal for legal contexts). However, some documents deviate from this convention and use the words "shall", "will", and "should" to denote the strength of the requirement. Some requirement specifications will define the terms at the beginning of the document.


title: Shall and will

text: On standards published by International Organization for Standardization (ISO), IEC (International Electrotechnical Commission), ASTM (American Society for Testing and Materials), IEEE (Institute of Electrical and Electronics Engineers), requirements with "shall" are the mandatory requirements, meaning, "must", or "have to". The IETF (Internet Engineering Task Force) defines "shall" and "must" as synonymous terms denoting absolute requirements, and "should" as denoting a somewhat flexible requirement, in RFC documents.


title: Shall and will

text: On specifications and standards published by the United States Department of Defense (DoD), requirements with "shall" are the mandatory requirements. (“Must” shall not be used to express mandatory provisions. Use the term “shall.”) “Will” declares intent or simple futurity, and “should” and “may” express nonmandatory provisions.


title: Shall and will

text: Outside DoD, other parts of the U.S. government advise against using the word "shall" for three reasons: it lacks a single clear meaning, it causes litigation, and it is nearly absent from ordinary speech. The legal reference "Words and Phrases" dedicates 76 pages to summarizing hundreds of lawsuits that centered around the meaning of the word shall. When referencing a legal or technical requirement, "Words and Phrases" instead favors "must" while reserving "should" for recommendations.


title: Shall and will

text: As noted above, "should" and "would" originated as the preterite (past tense) forms of "shall" and "will". In some of their uses they can still be identified as past (or conditional) forms of those verbs, but they have also developed some specific meanings of their own.


title: Shall and will

text: The main use of "should" in modern English is as a synonym of "ought to", expressing quasi-obligation, appropriateness, or expectation (it cannot be replaced by "would" in these meanings). Examples:


title: Shall and will

text: The main use of "would" is in conditional clauses (described in detail in the article on English conditional sentences):


title: Shall and will

text: In this use, "would" is sometimes (though rarely) replaced by "should" when the subject is in the first person (by virtue of the same prescriptive rule that demands "shall" rather than "will" as the normal future marker for that person). This "should" is found in stock phrases such as "I should think" and "I should expect". However its use in more general cases is old-fashioned or highly formal, and can give rise to ambiguity with the more common use of "should" to mean "ought to". This is illustrated by the following sentences:


title: Shall and will

text: In archaic usage "would" has been used to indicate present time desire. "Would that I were dead" means "I wish I were dead". "I would fain" means "I would gladly".


title: Shall and will

text: More details of the usage of "should", "would" and other related auxiliaries can be found in the article on English modal verbs.


title: Shall and will

text: When "would" and "should" function as past tenses of "will" and "shall", their usage tends to correspond to that of the latter verbs ("would" is used analogously to "will", and "should" to "shall").


title: Shall and will

text: Thus "would" and "should" can be used with "future-in-the-past" meaning, to express what was expected to happen, or what in fact did happen, after some past time of reference. The use of "should" here (like that of "shall" as a plain future marker) is much less common and is generally confined to the first person. Examples:


title: Shall and will

text: "Would" can also be used as the past equivalent of "will" in its other specific uses, such as in expressing habitual actions (see English markers of habitual aspect#Would):


title: Shall and will

text: In particular, "would" and "should" are used as the past equivalents of "will" and "shall" in indirect speech reported in the past tense:


title: Shall and will

text: As with the conditional use referred to above, the use of "should" in such instances can lead to ambiguity; in the last example it is not clear whether the original statement was "shall" (expressing plain future) or "should" (meaning "ought to"). Similarly "The archbishop said that we "should" all sin from time to time" is intended to report the pronouncement that "We "shall" all sin from time to time" (where "shall" denotes simple futurity), but instead gives the highly misleading impression that the original word was "should" (meaning "ought to").


title: Fred L. Turner

text: Frederick Leo Turner (January 6, 1933 – January 7, 2013) was an American restaurant industry executive, chair and CEO of McDonald's. He is credited with helping to massively expand McDonald's, introducing new meals and setting service standards for the company and its employees.


title: Fred L. Turner

text: Turner grew up in Des Moines and Chicago, going to high school at Dowling Catholic High School, and graduated from Drake University in 1954.


title: Fred L. Turner

text: Turner began his career at McDonald's in 1956 as a grill operator and was quickly promoted. He was named Operations Vice President in 1958, when the firm had only 34 employees. In that role, he established strict guidelines for how McDonald's hamburgers and other products had to be served - including that fries "had to be precisely 0.28 inches thick", and that "exactly ten patties had to be formed from each pound of beef". "Quality, Service and Cleanliness" became his motto. He became Executive Vice President in 1967, then President and Chief Administrative Officer in 1968. He became CEO in 1973 and replaced Kroc as Chairman in 1977, later named Senior Chairman upon Kroc's death. Under Turner, McDonald's expanded its operations to 118 countries, with over 31,000 outlets, and more than a billion hamburgers were sold.


title: Fred L. Turner

text: Turner served as a director for Aon Corporation, Baxter International, and W. W. Grainger. He received the Horatio Alger Award in 1991. He was a member of the Bohemian Club and Sigma Phi Epsilon.


title: Fred L. Turner

text: On June 22, 1954, soon after graduating college, Turner married fellow Drake graduate Patricia Shurtleff. The couple had three daughters. Patricia died on October 9, 2000.


title: Fred L. Turner

text: Fred Turner died on January 7, 2013, the day after his 80th birthday, due to complications from pneumonia.


title: Fred L. Turner

text: Fred Turner has a small reference to his position as a grill operator in the 2016 film "The Founder", which portrays the creation of the McDonald's fast-food restaurant chain. At a later point in the plot in this same movie, Fred Turner has a much larger presence, during Ray Kroc's successful attempts to open up McDonald's restaurants in the Twin Cities area in Minnesota.


title: Fred L. Turner

text: He is also amply portrayed in season 2, episode 12 "Game of Chicken" of The History Channel series "The Food That Built America".


title: Boo-Boo Bear

text: Boo-Boo Bear is a Hanna-Barbera cartoon character on "The Yogi Bear Show". Boo-Boo is an anthropomorphic dwarf bear who wears a blue bowtie. Boo-Boo is Yogi Bear's constant companion (not his son, as sometimes believed), and often acts as his conscience. He tries (usually unsuccessfully) to keep Yogi from doing things he should not do, and also to keep Yogi from getting into trouble with Ranger Smith – often saying, "Mr. Ranger isn't gonna like this, Yogi." It is not readily apparent whether Boo-Boo is a juvenile bear with a precocious intellect, or simply an adult bear who is short of stature.


title: Boo-Boo Bear

text: Boo-Boo first appeared along with Yogi in the "Yogi Bear" segment of "The Huckleberry Hound Show" in 1958; when Yogi was given his own series in 1961, Boo-Boo went with him.


title: Boo-Boo Bear

text: Since then, Boo-Boo has remained at Yogi's side through almost all of the Hanna-Barbera series, movies, and specials in which Yogi appeared, the only exceptions being "Yogi's Space Race" and "Galaxy Goof-Ups", in which Boo-Boo's place was taken by a new character named Scare Bear. Boo-Boo's classic voice actor was Don Messick who also voiced Ranger Smith.


title: Boo-Boo Bear

text: From the time of the character's debut until 1996, the character was voiced by Don Messick who died in 1997.


title: Boo-Boo Bear

text: Scott Innes performed the voice Boo Boo along with Yogi Bear in "At Picnic", "Forest", and "Honey Lesson".


title: Samba (Brazilian dance)

text: The term "samba" originally referred to any of several Latin duet dances with origins from the Congo and Angola. Today Samba is the most prevalent dance form in Brazil, and reaches the height of its importance during the festival of Carnaval. There is actually a set of dances, rather than a single dance, that define the Samba dancing scene in Brazil; however, no one dance can be claimed with certainty as the "original" Samba style. Besides Brazilian Samba, a major style of Samba is ballroom Samba, which differs significantly.


title: Samba (Brazilian dance)

text: One of the first references to "samba" was in Pernambuco magazine's "O Carapuceiro", in February 1838. Father Miguel Lopes Gama of Sacramento wrote an article arguing against what he called "the samba d'almocreve", which was a type of dance drama popular with black people of that time.


title: Samba (Brazilian dance)

text: According to Hiram Araújo da Costa, over the centuries, the festival of dances of slaves in Bahia were called samba.


title: Samba (Brazilian dance)

text: During the mid-19th century, the word referred to several types of music made by enslaved Africans. Samba further developed specific characteristics in each Brazilian state, not only due to the diversity of tribes of African immigrants, but also because of the distinctive cultures each region embodied. Some of these popular dances were known as Baião, Bochinche, Candombe (Candomblé), Catêrêtê, Caxambú, Choradinho, Côco-inchádo, Cocumbí, Córta-jáca, Cururú, Furrundú, Jongo, Lundú, Maracatú, Maxíxe, Quimbête, São-Gonçalo, Saramba; as well as the many varieties of the Portuguese Fandango, and the Indio dance Puracé.


title: Samba (Brazilian dance)

text: "Samba no pé" (literally, "samba in the foot") is a solo dance that is commonly danced impromptu when samba music is played. The basic movement involves a straight body and a bending of one knee at a time. The feet move very slightly - only a few inches at a time. The rhythm is 2/4, with 3 steps per measure. It can be thought of as a step-ball-change. It can be described calling it and-a-one, and-a-two, then back to one. The basic movement is the same to either side, where one foot moves to the outside lifting up just before the first beat (i.e. the right leg moves slightly to the right) and leg is kept as straight as a pole. The other foot moves slightly towards the front, and closer to the first foot. The second leg bends lightly at the knee so that the left side of the hip lowers and the right side appears to move higher. The weight is shifted to this inside foot briefly for the next "and-a", then shifted back to the outside foot on the "two", and the same series of actions is repeated towards the other side.


title: Samba (Brazilian dance)

text: The dance simply follows the beat of the music and can go from average pace to very fast. Men dance with the whole foot on the ground while women, often wearing heels, dance just on the balls of the foot. Professionals may change the steps slightly, taking 4 steps per measure instead of 3, and often add various arm movements depending on the mood of the music.


title: Samba (Brazilian dance)

text: There are also regional forms of the dance in Brazil where the essential steps are the same, but because of a change in the accent of the music people will dance similar movements to the slightly changed accents. For instance, in Bahia the girls tend to dance tilting their legs towards the outside instead of keeping their knees close to each other as in Rio de Janeiro.


title: Samba (Brazilian dance)

text: This is the type of Samba one sees in the Brazilian Carnival parades and in other Samba carnivals over the world. This is also one of the most common type of samba dancing in Brazil.


title: Samba (Brazilian dance)

text: Samba de Gafieira is a partner dance considerably different from the Ballroom Samba. It appeared in the 1940s and it gets its name from the "gafieira", popular urban nightclubs of Rio de Janeiro at that time.


title: Samba (Brazilian dance)

text: The dance derived from the Maxixe and followed the arrival of the Choro (another samba musical style). It left most of the Maxixe's Polka elements behind but maintained the entwined leg movements of the Argentine tango, although adopting a more relaxed posture than the latter. Many see this form of Samba as a combination of Waltz and Tango. Several Brazilian dance studios use elements and techniques from these two dances to teach Samba de Gafieira steps and dance routines.


title: Samba (Brazilian dance)

text: Samba Pagode is a Samba partner dance that resembles the Samba de Gafieira but tends to be more intimate. The literal meaning of the Portuguese word "pagode" translates to "fun" or "merrymaking". The word is also utilized to refer to an informal gathering of samba dancers along with their accompanying music.


title: Samba (Brazilian dance)

text: A key feature of Samba Pagode is its rhythmic texture created with a variety of beats. It became a dance style after the appearance of the Pagode style of music, which originated in the Brazilian city of São Paulo. The pagode style utilizes three specific percussion instruments: the tanta, the repique-de-mao, and the pandeiro. All three instruments are played by hand, which lends to creating a softer, more intimate sound than the batucada Samba performed by many Samba schools in Brazil. Pagode-like events have dated back to the late 19th and early 20th centuries, with the emergence of urban Samba in Rio de Janeiro.


title: Samba (Brazilian dance)

text: Samba Axé is a solo dance that started in 1992 during the Brazilian Carnival season in Bahia when the Axé rhythm replaced the Lambada. For years it became the major type of dance for the North east of Brazil during the holiday months. The dance is completely choreographed and the movements tend to mimic the lyrics. It is very energetic and mixes elements of Samba no pé and aerobics and because of the lyrics, which are made for entertainment, the dance generally has some sort of ludic element.


title: Samba (Brazilian dance)

text: Several Axé music groups such as "É o Tchan" have as part of their marketing strategy to always release a choreography together with every one of their songs; therefore, Samba Axé is an ever-changing genre with no set of steps, routines or basic step.


title: Samba (Brazilian dance)

text: Samba-reggae is a mix of reggae beats created by Samba drums. It is found in popular songs by the artist Daniela Mercury, who introduced the rhythm to the world with songs like "Sol da Liberdade" "O Reggae E O Mar" and "Perola Negra". Samba Reggae is a popular samba style in Bahia, with many followers in various parts of Brazil.


title: Samba (Brazilian dance)

text: Samba-reggae has birthed a style of African-influenced dance which has been obtained from the styles of Afro-Brazilian and candomble dance. Within social settings, samba-reggae dances are often performed in a follow-the-leader manner, with a small number of advanced dancers initiating steps in a line in front of the crowd, and then the whole crowd subsequently following along. The percussionists of samba-reggae often dance while playing their drums as well. The third- and fourth drummers, known as "surdos" perform short choreographies, utilizing mallets to emphasize sharp arm movements. The "fundos" (the first and second surdos at the lead) often take center stage to showcase elaborate, deft mallet lifts and throws, and also toss their drums high overhead.


title: Samba (Brazilian dance)

text: Samba-rock is a playful form of the samba that originates from São Paulo. It is a form of Latin nightclub dance.


title: Samba (Brazilian dance)

text: One of Samba-rock's first dance instructors, Mestre Ataliba, describes the essence of the dance style. "Dance wise, samba rock is about relaxation and concentration, all at once... It blends the African 'ginga' (body flow from Capoeira), which is present at the feet and the hips, and the European reference of the ballroom etiquette. We can dance it to the sound of Rita Pavone, samba pagode, reggae, R&B. It really embraces every music culture".


title: Samba (Brazilian dance)

text: ("Samba of roda") is a traditional Afro-Brazilian dance performed originally as informal fun after a Candomblé ceremony, using the same percussion instruments used during the religious ceremony. The typical drum is the atabaque; drummers improvise variations and elaborations on common patterns, accompanied typically by singing and clapping as well as dancing.


title: Samba (Brazilian dance)

text: The term "Samba" encompassed many different rhythms, tunes, drumming and dances of various periods and areas of the Brazilian territory. It appeared in the state of Bahia, more specifically in the region of Recôncavo in Brazil, during the 17th century.


title: Samba (Brazilian dance)

text: Because all drumming and dance was generalized by Portuguese colonizers as "samba", it is difficult to attribute it to one distinct heritage. However, the most universally recognized cultural origin of Samba is Lundu, a rhythm that was brought to Brazil by the Bantu slaves from Africa. Lundu reveals, in a way, the amalgamation of black (slaves) and white (Portuguese) and indigenous cultures. When the African slaves where imported, it was named the "semba" and with the introduction of the Arabic Pandeiro (tambourine), brought into the Roda by the Portuguese, the "Samba" was molded into the form of dance it is now.


title: Samba (Brazilian dance)

text: In the indigenous language, "samba" means roda de dança, or a circle to dance since the indigenous peoples danced in celebration on many occasions, such as the celebration of popular Catholic festivals, Amerindian or Afro-Brazilian religious ceremonies, but was also practiced at random.


title: Samba (Brazilian dance)

text: All participants, including beginners, are invited to join the dance and observe as well as imitate. Usually, only the women dance after each other and they are surrounded by others dancing in a circle and clapping their hands. The choreography is often spontaneous and is based on movements of the feet, legs and hips. One of the most typical moves is the "umbigada" which is clear Bantu influence, where the dancer invites her successor into the circle's center.


title: Samba (Brazilian dance)

text: The factor that frequently draws the attention of most people to the rhythm is the unusually-accented (syncopated) beat. The absent beat is the strongest characteristic of Samba prompting the listener to dance to fill the gap with her/his body movements. This syncopated rhythm is also an indication of Black resistance against cultural assimilation. The Samba of Roda in particular was considered an expression of freedom and identity of the underprivileged and became a means of liberation.


title: Samba (Brazilian dance)

text: The Samba de Roda has significantly waned during the twentieth century due to economic decline and increased poverty in the region. The effects of mass media and competition from popular modern music have also devalued this tradition among the younger generation. Finally, the weakening of the Samba de Roda was heightened through the aging of practitioners and demise of those who made the musical instruments.