Background.

Several tracks on "A Moon Shaped Pool" were written years before the recording. "True Love Waits" dates to at least 1995, and Radiohead performed it numerous times over the following years, becoming one of their best-known unreleased songs. Radiohead first worked on "Burn the Witch" in the sessions for "Kid A" (2000), and the title appears in the artwork for "Hail to the Thief" (2003). Singer Thom Yorke first performed "Present Tense" in a solo set at the UK Latitude Festival in 2009.  During the tour for their eighth album, "The King of Limbs" (2011), Radiohead performed new material, including future "Moon Shaped Pool" tracks "Identikit" and "Ful Stop". On tour in 2012, they recorded two songs at the Third Man Records studio in Nashville, Tennessee, including a version of "Identikit", but discarded the recordings as substandard. After the tour ended that year, Radiohead entered hiatus and the members worked on side projects.

Recording.

Radiohead began work on "A Moon Shaped Pool" with longtime producer Nigel Godrich in their Oxford studio in September 2014. They were slow to regain momentum after their break and worked in "fits and starts". Yorke, the principal songwriter, had few demos and there was no rehearsal period. According to guitarist Ed O'Brien, "We just went straight into recording... The sound emerged as we recorded."  Instead of using computers, Godrich recorded the band to tape with analog multitrack recorders, inspired by Motown and early David Bowie records. This added creative limits, as rerecording a take meant first erasing the previous take. According to bassist Colin Greenwood, "It forces you to have to make decisions in the moment; it’s very much the opposite of having your album stored on a terabyte hard drive."  The Oxford sessions lasted until Christmas. In 2015, Radiohead spent three weeks in the La Fabrique studio near Saint-Rémy-de-Provence, France, building on their Oxford recordings. The studio, originally a nineteenth-century mill producing art pigment, had been used by musicians including Morrissey and Nick Cave and houses the world's largest vinyl record collection.  Work was interrupted by the recording of "Spectre", commissioned for the 2015 James Bond film. The film producers rejected the song, according to guitarist Jonny Greenwood, as "too dark". Godrich said: "That fucking James Bond movie threw us a massive curveball. It was a real waste of energy... In terms of making "A Moon Shaped Pool" it caused a stop right when we were in the middle of it."  For the introduction to "Daydreaming", Radiohead slowed the tape, creating a pitch-warping effect. Digital editing was used on many tracks; for example, Greenwood used the music programming language Max to manipulate the piano on "Glass Eyes". "Identikit" was developed from loops of Yorke's vocals recorded during the "King of Limbs" sessions. Drummer Clive Deamer, who had performed with Radiohead on the "King of Limbs" tour and appeared on their 2011 double single "The Daily Mail" and "Staircase", played additional drums on "Ful Stop".  The strings and choir sections were arranged by Greenwood and performed by the London Contemporary Orchestra, with Hugh Brunt as conductor. The orchestra had previously worked with Greenwood on his score for the 2012 film "The Master". The strings were recorded at RAK Studios in London. For "Burn the Witch", the players used guitar plectrums rather than bows, creating a percussive effect. For "Daydreaming", Greenwood had the cellists detune their cellos, creating a "growling" sound. The song, which Yorke described as a "breakthrough" for the album, was finished early in the La Fabrique sessions. Additional string and choir parts were recorded but cut.  Godrich's father Vic died on the day of the recording of strings for "Burn the Witch". According to Godrich, "I literally left him on a fucking table in my house and went and recorded. And it was a very, very emotional day for me. He was a string player as well so it was one of those things where it felt like he would want me to go and just do this." Around the same period, Yorke announced his separation from his wife, Rachel Owen, who died of cancer several months after the album's completion. The special edition of the album is dedicated to Vic Godrich and drum technician Scott Johnson, who died in the 2012 stage collapse before Radiohead's scheduled show in Downsview Park, Toronto. Yorke told "Rolling Stone": "There was a lot of difficult stuff going on at the time, and it was a tough time for us as people. It was a miracle that that record got made at all."  In December 2015, at the United Nations Climate Change Conference in Paris, Yorke performed three "Moon Shaped Pool" songs: "The Numbers" (then known as "Silent Spring"), "Present Tense", and "Desert Island Disk". On Christmas Day, Radiohead released "Spectre" on the audio streaming site SoundCloud. Greenwood estimated that 80% of the album was recorded in two weeks. After Radiohead finished work in France, Godrich edited and mixed the album in London.

Music.

"A Moon Shaped Pool" incorporates elements of art rock, folk, chamber music, and ambient music. It combines electronic elements such as drum machines and synthesisers, acoustic timbres such as guitar and piano, and Greenwood's string and choral arrangements, which feature more heavily than on previous Radiohead albums. The "Guardian" characterised "A Moon Shaped Pool" as more restrained and "pared back" than Radiohead's earlier work.  The songs are sequenced in alphabetical order, which Greenwood said was chosen only because the order worked well. "Burn the Witch" features "pulsating" strings and electronic percussion. "Daydreaming" is an ambient song with a "simple, sad" piano motif, "spooky" backmasked vocals, and electronic and orchestral elements. "Identikit" has a jam-like opening, choral vocals, and "spacey" electronics, and ends with an "agitated" guitar solo. "Ful Stop" features "malevolent" synthesiser, a "bustle" of rhythms, and phasing guitar arpeggios. "Glass Eyes" has manipulated piano, strings, and lyrics evocative of an "unguarded phone call".  "The Numbers" begins as a "loose-limbed, early 70s jam session", with strings reminiscent of Serge Gainsbourg's 1970 album "Histoire De Melody Nelson". "Present Tense" is a ballad with bossa nova elements. "Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief" features strings, electronic percussion and distorted synthesiser. "True Love Waits", first performed on acoustic guitar over 20 years prior, is performed on piano. The special edition contains two additional tracks: "Ill Wind", featuring a bossa nova rhythm and "icy" synthesisers, and "Spectre", an orchestral piano ballad.

Lyrics.

The lyrics discuss love, forgiveness, and regret with, according to Larson, "a sense that beyond tectonic heartbreak there is an anaemic acceptance that is kind of beautiful if you don't get too sad about it". Several critics felt the lyrics were coloured by Yorke's recent separation from his partner of almost 25 years, Rachel Owen, noting that the backmasked vocals of "Daydreaming", when reversed, resemble the words "half of my life". Spencer Kornhaber of the "Atlantic" wrote that "A Moon Shaped Pool" "makes the most sense when heard as a document of a wrenching chapter for one human being".  Other themes include climate change and call for revolution on "The Numbers", and the dangers of authority and groupthink on "Burn the Witch". Yorke asked himself whether it was still possible to write political songs, fearing they alienated some listeners, but decided it was better than writing "another lovey-dovey song about nothing". He was conscious that lyrics such as "a river running dry" and "the system is a lie" were cliches, but felt there was no other way to state them: "How else are you supposed to say 'the system is a lie'? Why bother hiding it? It's a lie. That's it."  The "Guardian" wrote that whereas "Hail to the Thief" had addressed the era of Tony Blair and George W. Bush, "A Moon Shaped Pool" may become the "accidental soundtrack" to the Donald Trump presidency. Of the refrain "one day at a time" from "The Numbers", Yorke said: "One day a time, mate, you will be impeached shortly, mate. You are not a leader, love... You can't sustain this. It's not gonna work. One day a time. We ain't stupid."

Artwork.

The artwork for "A Moon Shaped Pool" was created by Yorke with longtime collaborator Stanley Donwood. Donwood joined the band in France, and worked in a barn with speakers connected to the studio where they recorded nearby, allowing their music to influence his art. Wanting to move away from figurative art and create work that was more a product of chance, Donwood initially conceived a "painting Dalek" that would squirt paint at canvases, but this proved technically difficult. Instead, he experimented with weather, leaving canvases outdoors to allow the elements to affect the paint. Donwood continued the weathering process in Oxfordshire during the band's winter break, with "completely different results", before photographing the works and editing them in Photoshop with Yorke.

Release.

"A Moon Shaped Pool" was released as a download from 7pm BST on 8 May 2016 on Radiohead's website, online music stores including iTunes Store and Amazon Music, and on paid streaming services including Apple Music, Groove Music, Tidal, and Google Play Music (where it was accidentally released hours early). CD and LP editions were released in Japan on 15 June through Hostess Entertainment and in other countries on 17 June through XL Recordings.  "A Moon Shaped Pool" was added to the streaming service Spotify on 17 June 2016. Yorke and Godrich had made headlines in 2013 for their criticisms of Spotify, arguing that it cannot support new artists. Spotify had been in "advanced discussions" with XL and Radiohead's management to make "A Moon Shaped Pool" the first album available exclusively to Spotify users with premium subscriptions, but no agreement was reached. Spotify spokesman Jonathan Prince said they and Radiohead had explored "new approaches", but could not overcome technical problems in time.  Radiohead sold a special edition of "A Moon Shaped Pool" from their website, shipped from September 2016. It contains the album on CD and two heavyweight 12" vinyl records, plus an additional CD with two extra tracks: "Ill Wind" and the previously released "Spectre". The special edition features packaging inspired by the albums for 78rpm shellac records in the La Fabrique studio, additional artwork, and an original piece of master tape, less than a second in length, from one of Radiohead's prior recording sessions. As tape degrades over time, the band decided to include it in the special edition rather than have it "end up as landfill". On 20 June 2020, a white vinyl repress was released through independent online record stores for Love Record Stores Day.

Promotion.

Radiohead conducted no interviews and did not tour before the release of "A Moon Shaped Pool". O'Brien said the band members were not ready to talk about it when it was released: "We didn't want to talk about it being quite hard to make. We were quite fragile, and we needed to find our feet."  On 30 April 2016, days before the album was announced, fans who had previously made orders from Radiohead received embossed cards with lyrics from the lead single, "Burn the Witch". On 1 May, Radiohead deleted all content from their website and social media profiles, replacing them with blank images. "Pitchfork" interpreted the move as symbolic of Radiohead's re-emergence. Donwood said the idea had been "a way of getting rid of all of had gone before... It was like being some sort of evil Bond villain or something, in some lair, pressing buttons... It was creatively brilliant fun."  After releasing excerpts on Instagram, Radiohead released "Burn the Witch" as a download on 3 May. It was accompanied by a stop-motion animated music video that homages the 1960s English children's television "Trumpton" programmes and the 1973 horror film "The Wicker Man". Three days later, Radiohead released "Daydreaming", accompanied by a music video directed by Paul Thomas Anderson, for whom Greenwood had scored several films. The video was projected in 35mm film in select theatres. On the same day, Radiohead announced that their next album would be released online the following Sunday, but did not reveal the title.  BBC Radio 6 Music played "A Moon Shaped Pool" in its entirety on the day of release. The following week, Radiohead released the first in a series of video vignettes set to clips from the album by directors and artists including Adam Buxton, Richard Ayoade, Yorgos Lanthimos, and Ben Wheatley. This was followed by a fan competition to create a vignette for "Daydreaming" using a version of the song with additional strings. In September and October, Radiohead released video performances of "Present Tense" and "The Numbers". The videos, directed by Anderson, saw Yorke and Greenwood performing with a CR-78 drum machine.  On 17 June 2016, the day of the album's retail release, participating record shops held a promotional event, "Live From a Moon Shaped Pool". The event featured an audio stream curated by Radiohead, a recording of their performance at the London Roundhouse, and competitions, artwork, and other activities. A participating shop in Istanbul closed following an attack by a gang angered by customers drinking beer and playing music during Ramadan. Radiohead released a statement condemning the attack and offering fans in Istanbul "love and support".

Tour.

Radiohead toured Europe, North America, and Japan from May to October 2016, joined by drummer Clive Deamer. They began a second US tour in March 2017, culminating in April with a headline slot at the Coachella Festival in California. A European tour followed in June and July with further festival shows, including Radiohead's third headline performance at Glastonbury Festival in the UK. In 2018, Radiohead toured North and South America from April to August, including four nights at Madison Square Garden in New York City, with Jonny Greenwood's project Junun as the support act. The American tour was the 61st-highest-grossing tour of 2018 worldwide, earning over $28 million USD.  The "Moon Shaped Pool" tour included a performance in Tel Aviv on 19 July 2017, disregarding the Boycott, Divestment and Sanctions campaign for an international cultural boycott of Israel. The decision was criticised by artists including musician Roger Waters and filmmaker Ken Loach, and a petition urging Radiohead to cancel it was signed by more than 50 prominent figures. Yorke responded in a statement: "Playing in a country isn't the same as endorsing the government. Music, art and academia is about crossing borders not building them, about open minds not closed ones, about shared humanity, dialogue and freedom of expression."

Sales.

"A Moon Shaped Pool" was Radiohead's sixth number-one album on the UK Albums Chart. It reached number one in Ireland, Norway and Switzerland, and the top ten in several other countries. It was certified gold in the UK on 24 June 2016 for sales of over 100,000 copies. Following the retail release in June, "A Moon Shaped Pool" returned to the top of the UK chart with sales of 44,000. 39,000 were retail copies, including 10,500 vinyl, making it the week's bestselling vinyl record. It was the UK's fourth-bestselling vinyl album of 2016, behind "Blackstar" by David Bowie, "Back to Black" by Amy Winehouse, and the "Guardians of the Galaxy" soundtrack. "Burn the Witch" was the year's 26th-bestselling UK vinyl single.  In the US, "A Moon Shaped Pool" sold 181,000 copies in its first week, reaching number three on the "Billboard" 200, the week's highest debut. It was Radiohead's best American sales week since the debut of "Hail to the Thief" in 2003. With the release of the special edition a few months later, "A Moon Shaped Pool" climbed to number 11 on the "Billboard" 200 and number one on the vinyl album chart, selling 21,000 vinyl copies in one week. It was certified gold in the US on 9 November 2018, for sales of over 500,000 copies. The bonus track "Ill Wind", added to streaming services in 2019, reached number 8 on the "Billboard" Alternative Digital Songs chart and number 24 on the Hot Rock Songs chart.

Reception.

On the review aggregator website Metacritic, "A Moon Shaped Pool" has a score of 88 out of 100 based on 43 reviews, indicating "universal acclaim". Patrick Ryan of "USA Today" wrote that "the brooding, symphonic and poignant "A Moon Shaped Pool"... was well worth the wait". Chris Gerard of "PopMatters" felt it was "worthy of Radiohead's peerless catalog, a rich addition to what is the most vital and important string of rock albums of the last 30 years". Jamieson Cox of the Verge praised the string arrangements and "emotional magnanimity". Andy Beta of "Rolling Stone" described it as "a haunting, stunning triumph" and Radiohead's "most gorgeous and desolate album", praising its timbres and melodies. Fellow "Rolling Stone" critic Will Hermes wrote that "it's Yorke's voice that holds the emotional centre, and it's never been more affecting... ["A Moon Shaped Pool" is] one of their most musically and emotionally arresting albums."  Sam Richards of "NME" described "A Moon Shaped Pool" as "an album of eerie, elusive beauty that is strange, shimmering and uncertain all at the same time". Stephen Thomas Erlewine wrote for AllMusic that "there's a melancholic comfort to its ebb and flow, a gentle rocking motion that feels comforting; it's a tonic to the cloistered, scattered "King of Limbs" and even the sleek alienation of "Kid A"". "Pitchfork" editor Jayson Greene felt the album was coloured by Yorke's separation: "The impact of trauma, a sort of car crash of the soul, is palpable. The music here feels loose and unknotted, broken open in the way you can only be after a tragedy." At the end of the year, "Pitchfork" named "Daydreaming" and "True Love Waits" among the best songs of 2016.  Eric Renner Brown of "Entertainment Weekly" praised the variety and scale: "By nature, Radiohead albums will always be somewhat epic, but this one is more consistently grandiose than any of the band's releases since 2000's masterpiece "Kid A"." Jon Pareles, writing for the "New York Times", wrote that "A Moon Shaped Pool" was perhaps "[Radiohead's] darkest statement – though the one with the band's most pastoral surface". He praised Yorke's vocals and Greenwood's string arrangements, writing: "Both Mr. Yorke and Mr. Greenwood are relentlessly inquisitive listeners, lovers of melody and explorers of idioms, makers of puzzles who don't shy away from emotion." Chris Barton of the "Los Angeles Times" described "A Moon Shaped Pool" as "a rich and engrossing listen that somehow finds more undiscovered territory for a band that has built a career on doing just that". MTV's Simon Vozick-Levinson wrote: ""A Moon Shaped Pool" provides a thrilling answer to the existential concerns that confront any band that's made it this far... After all this time, hearing these five old friends challenge themselves into a new phase of evolution can still blow even a jaded fan's mind."  In the "New York Observer", Justin Joffe wrote that "A Moon Shaped Pool" was "a stunning display of naked vulnerability and a notable achievement... Radiohead remain dedicated craftsmen of strange new sonic universes." Like Joffe, Nina Corcoran of "Consequence of Sound" praised the inclusion of older songs such as "True Love Waits", writing that "Radiohead finally feels connected enough to perform them with meaning... waiting to release a studio recording of a song over two decades old allowed Radiohead to peel its words when riper than ever". "Guardian" writer Lanre Bakare praised the evolution of "Present Tense" from "sketchy guitar number" performed by Yorke years earlier "to a beautifully wrought, bossa nova-tinged ballad". Mike Diver of the "Quietus", however, felt the older songs created the unwelcome feeling of a compilation album, writing: "Certain tracks feel less than fully fleshed out, really given the treatment that their age warrants... There's simply so little spark here, barely glowing embers and blackened dust where once Radiohead blazed a fascinating, furious trail for others to attempt to follow."  Jamie Milton of "DIY" felt that "A Moon Shaped Pool" needed "another breakneck force shock to the system" similar to "Ful Stop", and that it contained unnecessary elements such as the "over-tinkering echo" of "Present Tense" and the "jagged closing section" of "Decks Dark". Nonetheless, he concluded: "These are gorgeous, human, complete works – some of the best of [Radiohead's] remarkable career." Alexis Petridis of the "Guardian" criticised the "suffocating gloom of the lyrics", but felt the album was an improvement over "The King of Limbs" and that Radiohead had achieved "something they've never achieved before".

Accolades.

"A Moon Shaped Pool" was the fifth Radiohead album nominated for the Mercury Prize, making Radiohead the most shortlisted act in the award's history. At the 59th Annual Grammy Awards, it was nominated for Best Alternative Music Album and Best Rock Song (for "Burn the Witch"). It was also shortlisted for the Independent Music Companies Association Album of the Year Award for the best album released on an independent European label. It appeared on numerous critics' lists of the best albums of 2016.

Personnel.

Adapted from the album liner notes.  Radiohead  Additional musicians Production  Artwork and design

Certifications.

!scope="row"|Worldwide

A Moon Shaped Pool is the ninth studio album by the English rock band Radiohead. It was released digitally on 8 May 2016, with CD and vinyl releases in June 2016 through XL Recordings.

A Moon Shaped Pool je deváté studiové album anglické hudební skupiny Radiohead. Vydáno bylo v květnu roku 2016 vydavatelstvím XL Recordings a jeho producentem byl dlouholetý spolupracovník skupiny Nigel Godrich. Album obsahuje celkem jedenáct písní, přičemž například na úvodní „Burn the Witch“ nebo závěrečné "True Love Waits" kapela pracovala již více než patnáct let před vydáním této desky. „Burn the Witch“ rovněž vyšla jako první singl z alba (3. května 2016). O tři dny později následoval singl „Daydreaming“.


Taxonomy and phylogeny.

The great hammerhead was first described as "Zygaena mokarran" in 1837 by the German naturalist Eduard Rüppell. The name was later changed to the current "Sphyrna mokarran". However, for many years the valid scientific name for the great hammerhead was thought to be "Sphyrna tudes", which was coined in 1822 by Achille Valenciennes. In 1950, Enrico Tortonese determined that the specimens illustrated by Valenciennes were in fact smalleye hammerheads, to which the name "S. tudes" then applied. As the next most senior synonym, "Sphyrna mokarran" became the great hammerhead's valid name. The lectotype for this species is a long male from the Red Sea.  Older studies based on morphology have generally placed the great hammerhead as one of the more derived members of its family, reflecting the traditional view that cephalofoil size gradually increased over the course of hammerhead shark evolution. However, this view has been refuted by phylogenetic analyses using nuclear and mitochondrial DNA, which found that the great hammerhead and the smooth hammerhead ("S. zygaena") form a clade that is basal to all other "Sphyrna" species. These results also show that the first hammerheads to evolve had large rather than small cephalofoils.

Distribution and habitat.

The great hammerhead inhabits tropical waters around the world, between the latitudes of 40°N and 37°S. In the Atlantic Ocean, it is found from North Carolina to Uruguay, including the Gulf of Mexico and the Caribbean Sea, and from Morocco to Senegal, and the Mediterranean Sea. It is found all along the rim of the Indian Ocean, and in the Pacific Ocean from the Ryukyu Islands to Australia, New Caledonia, and French Polynesia, and from southern Baja California to Peru. It may occur off Gambia, Guinea, Mauritania, Sierra Leone, and Western Sahara, but this has not been confirmed. Great hammerheads may be found from inshore waters of less than deep, to a depth of offshore. They favor coral reefs, but also inhabit continental shelves, island terraces, lagoons, and deep water near land. They are migratory; populations off Florida and in the South China Sea have been documented moving closer to the poles in the summer.

Description.

The streamlined body of the great hammerhead with the expanded cephalofoil is typical of the hammerhead sharks. Adult great hammerheads can be distinguished from the scalloped hammerhead and the smooth hammerhead by the shape of the cephalofoil, which has a nearly straight front margin (as opposed to arched), with prominent medial and lateral indentations. The width of the cephalofoil is 23–27% of the body length. The teeth are triangular and strongly serrated, becoming more oblique towards the corners of the mouth. There are 17 tooth rows on either side of the upper jaw with 2–3 teeth at the symphysis (the midline of the jaw), and 16–17 teeth on either side of the lower jaw and 1–3 at the symphysis.  The first dorsal fin is distinctive, being very tall and strongly falcate (sickle-shaped), and originates over the insertions of the pectoral fins. The second dorsal fin and anal fin are both relatively large, with deep notches in the rear margins. The pelvic fins are falcate with concave rear margins, in contrast to the straight-margined pelvic fins of the scalloped hammerhead. The skin is covered with closely placed dermal denticles. Each denticle is diamond-shaped, with 3–5 horizontal ridges leading to marginal teeth in smaller individuals, and 5–6 in larger ones. The great hammerhead is dark brown to light gray to olive above, fading to white on the underside. The fins are unmarked in adults, while the tip of the second dorsal fin may be dark in juveniles.  The average great hammerhead measures up to long and weighs over. A small percentage of the population, mostly or all females, are much larger. The longest great hammerhead on record was. The heaviest known great hammerhead is a long, female caught off Boca Grande, Florida in 2006. The weight of the female was due to her being pregnant with 55 near-natal pups.

Biology and ecology.

The great hammerhead is a solitary, nomadic predator that tends to be given a wide berth by other reef sharks. If confronted, they may respond with an agonistic display: dropping their pectoral fins and swimming in a stiff or jerky fashion. Juveniles are preyed upon by larger sharks such as bull sharks ("Carcharhinus leucas"), while adults have no major predators except for killer whales, who hunt hammerheads of any age. Yellow jacks ("Carangoides bartholomaei") have been seen rubbing themselves against the hammerhead's flanks, possibly to rid themselves of parasites. Schools of pilot fish ("Naucrates ductor") sometimes accompany the great hammerhead. The great hammerhead is parasitized by several species of copepods, including "Alebion carchariae", "A. elegans", "Nesippus orientalis", "N. crypturus", "Eudactylina pollex", "Kroyeria gemursa", and "Nemesis atlantica".

Feeding.

The great hammerhead shark is an active predator with a varied diet, known prey of the great hammerhead include invertebrates such as crabs, lobsters, squid, and octopus, bony fishes such as tarpon, sardines, sea catfishes, toadfish, porgies, grunts, jacks, croakers, groupers, flatfishes, boxfishes, and porcupine fishes, and smaller sharks such as smoothhounds. At Rangiroa Atoll, great hammerheads prey opportunistically on grey reef sharks ("Carcharhinus amblyrhynchos") that have exhausted themselves pursuing mates. The species is known to be cannibalistic.  Great hammerheads are apex predators among sharks and are specialists at feeding on other sharks, rays and skates, especially stingrays. The venomous spines of stingrays are frequently found lodged inside its mouth and do not seem to bother the shark as one specimen caught off Florida had 96 spines in and around its mouth. Great hammerheads primarily hunt at dawn or dusk, swinging their heads in broad angles over the sea floor so as to pick up the electrical signatures of stingrays buried in the sand, via numerous electroreceptory located on the underside of the cephalofoil. The cephalofoil also serves as a hydrofoil that allows the shark to quickly turn around and strike at a ray once detected. Off Florida, large hammerheads are often the first to reach newly baited sharklines, suggesting a particularly keen sense of smell.  Another function of the cephalofoil is suggested by an observation of a great hammerhead attacking a southern stingray ("Dasyatis americana") in the Bahamas: the shark first knocked the ray to the sea bottom with a powerful blow from above, and then pinned it with its head while pivoting to take a large bite from each side of the ray's pectoral fin disc. This effectively crippled the stingray, which was then picked up in the jaws and sawed apart with rapid shakes of the head. A great hammerhead has also been seen attacking a spotted eagle ray ("Aetobatus narinari") in open water by taking a massive bite out of one of its pectoral fins. The ray thus incapacitated, the shark once again used its head to pin it to the bottom and pivoted to take the ray in its jaws head-first. These observations suggest that the great hammerhead seeks to disable rays with the first bite, a strategy similar to that of the great white shark ("Carcharodon carcharias"), and that its cephalofoil is an adaptation for prey handling.

Rolled swimming and energy conservation.

A 2016 study of specimens logged with accelerometers showed that great hammerhead sharks reduce drag and lessen energy expenditure by swimming on their side in a posture termed "rolled swimming". The shark uses its very large dorsal fin to help achieve lift, a habit that had previously been noted in captive specimens, and may spend up to 90% of its time in this swimming orientation. The technique is thought to save ~10% in drag and consequently movement costs.

Life history.

As with other hammerhead sharks, great hammerheads are viviparous: once the developing young use up their supply of yolk, the yolk sac is transformed into a structure analogous to a mammalian placenta. Unlike most other sharks, which mate on or near the sea bottom, great hammerheads have been observed mating near the surface. In one account from the Bahamas, a mating pair ascended while swimming around each other, mating when they reached the surface. Females breed once every two years, giving birth from late spring to summer in the Northern Hemisphere and from December to January in Australian waters. The gestation period is 11 months. The litter size ranges from 6–55 pups, with 20–40 being typical. The young measure at birth; males reach maturity at long and and the females at and. The young differ from the adults in having a rounded frontal margin on the head. The typical lifespan of this species is 20–30 years; the record Boca Grande female was estimated to be 40–50 years old.

Human interactions.

With its large size and cutting teeth, the great hammerhead could seriously injure a human and caution should be exercised around them. This species has a (possibly undeserved) reputation for aggression and being the most dangerous of the hammerhead sharks. Divers underwater have reported that great hammerheads tend to be shy or nonreactive toward humans. However, there have been reports of great hammerheads approaching divers closely and even charging them when they first enter the water. As of 2011, the International Shark Attack File lists 34 bites, 17 of them unprovoked and none fatal, attributable to hammerhead sharks of the genus "Sphyrna". Due to the difficulty in identifying the species involved, it is uncertain how many were caused by great hammerheads. This shark has been confirmed to be responsible for only one (provoked) bite.  The great hammerhead is regularly caught both commercially and recreationally in the tropics, using longlines, fixed bottom nets, hook-and-line, and trawls. Though the meat is rarely consumed, their fins are becoming increasing valuable due to the Asian demand for shark fin soup. In addition, their skin used for leather, their liver oil for vitamins, and their carcasses for fishmeal. The great hammerhead is also taken unintentionally as bycatch and suffers very high mortality, over 90% for fisheries in the northwest Atlantic and the Gulf of Mexico. Entanglement in shark nets around Australian and South African beaches is another source of mortality.  Feeding of the great hammerhead occurs within the Bahama Islands - helping generate over $100 Million of tourism income each year and ensuring sharks are protected in the waters around the islands.

Conservation status.

The great hammerhead is extremely vulnerable to overfishing due to its low overall abundance and long generation time. Assessment of its conservation status is difficult as few fisheries separate the great hammerhead from other hammerheads in their reported catches. This species is listed as globally Endangered on the IUCN Red List. It is Endangered in the northwestern Atlantic and the Gulf of Mexico, where though it is a non-targeted species, populations have dropped 50% since the 1990s due to bycatch. It is also Endangered in the southwestern Indian Ocean, where large numbers of longline vessels operate illegally along the coasts for hammerheads and the giant guitarfish ("Rhynchobatus djiddensis"). The great hammerhead catch rate in Indian Ocean has declined 73% from 1978 to 2003, though it is yet undetermined whether these represent localized or widespread depletion. The great hammerhead is Critically Endangered along the western coast of Africa, where stocks have collapsed with an estimated 80% decline in the past 25 years. The West African Sub-Regional Fishing Commission (SRFC) has recognized the great hammerhead as one of the four most threatened species in the region, though fishing continues unmonitored and unregulated. Off northern Australia, this species was assessed as Data Deficient but at "high risk". Concern has arisen there over a substantial increase in illegal, unreported, and unregulated (IUU) fishing, reflecting the rising value of this shark's fins.  No conservation measures specifically protecting the great hammerhead have been enacted. It is listed on Annex I, Highly Migratory Species, of the UN Convention on the Law of the Sea, though no management schemes have yet been implemented under this agreement. The banning of shark finning by countries and supranational entities such as United States, Australia, and the European Union, and international regulatory bodies such as the International Commission for the Conservation of Atlantic Tunas (ICCAT), should reduce fishing pressure on the great hammerhead.

The great hammerhead ("Sphyrna mokarran") is the largest species of hammerhead shark, belonging to the family Sphyrnidae, attaining a maximum length of. It is found in tropical and warm temperate waters worldwide, inhabiting coastal areas and the continental shelf. The great hammerhead can be distinguished from other hammerheads by the shape of its "hammer" (called the "cephalofoil"), which is wide with an almost straight front margin, and by its tall, sickle-shaped first dorsal fin. A solitary, strong-swimming apex predator, the great hammerhead feeds on a wide variety of prey ranging from crustaceans and cephalopods, to bony fish, to smaller sharks. Observations of this species in the wild suggest that the cephalofoil functions to immobilize stingrays, a favored prey. This species has a viviparous mode of reproduction, bearing litters of up to 55 pups every two years.

Kladivoun velký či kladivoun veliký ("Sphyrna mokarran") je druh žraloka z čeledi kladivounovitých. Je největším zástupcem této čeledi, může dosahovat délky až okolo 6 metrů a hmotnosti více než 500 kg. Žije v tropických a subtropických vodách pobřežních oblastí a kontinentálního šelfu. Od ostatních kladivounů ho kromě velikosti odlišuje i vysoká srpovitě tvarovaná hřbetní ploutev a relativně rovná přední část hlavy. Jedná se o většinou osamoceně žijícího predátora, který loví ryby, paryby, korýše a hlavonožce. Jeho nejoblíbenější kořistí jsou různé druhy rejnoků a trnuch. Kladivoun velký je živorodý druh, samice porodí až 55 mláďat každé dva roky. Ačkoliv může být člověku potenciálně nebezpečný, útočí na potápěče či plavce jen zcela výjimečně. Sám je velmi vyhledávanou kořistí komerčních rybářů, především kvůli ploutvím, jež jsou užívány na vaření polévek. Výsledkem toho je, že žralok získal od IUCN status kriticky ohrožený.


Reasons.

A wet nurse can help when a mother is unable or unwilling to feed her baby. Before the development of infant formula in the 20th century, wet-nursing could save the baby's life.  There are many reasons why a mother is unable to produce sufficient breast milk, or in some cases to lactate at all. Reasons include the serious or chronic illness of the mother and her treatment which creates a temporary difficulty to nursing. Additionally, a mother's taking drugs (prescription or recreational) may necessitate a wet nurse if a drug in any way changes the content of the mother's milk.  There was a greater need for wetnurses when the rates of infant abandonment, and maternal death during and shortly after childbirth, were high. There was a concurrent availability of lactating women whose own babies had died, also not uncommon.  Some women choose not to breastfeed for social reasons. Many of these women were found to be of the upper class. For them, breastfeeding was considered unfashionable, in the sense that it not only prevented these women from being able to wear the fashionable clothing of their time but it was also thought to ruin their figures. Mothers also lacked the support of their husbands to breastfeed their children, since hiring a wet nurse was less expensive than having to hire someone else to help run the family business and/or take care of the family household duties in their place. Some women chose to hire wet nurses purely to escape from the confining and time-consuming chore of breastfeeding. Wet nurses have also been used when a mother cannot produce sufficient breast milk, i.e., the mother feels incapable of adequately nursing her child, especially following multiple births.

Eliciting milk.

A woman can only act as a wet-nurse if she is lactating (producing milk). It was once believed that a wet-nurse must have recently undergone childbirth. This is not necessarily the case, as regular breast suckling can elicit lactation via a neural reflex of prolactin production and secretion. Some adoptive mothers have been able to establish lactation using a breast pump so that they could feed an adopted infant.  Dr Gabrielle Palmer states:

Historical and cultural practices.

Wet nursing is an ancient practice, common to many cultures. It has been linked to social class, where monarchies, the aristocracy, nobility or upper classes had their children wet-nursed for the benefit of the child's health, and sometimes in the hope of becoming pregnant again quickly. Exclusive breastfeeding inhibits ovulation in some women (Lactational amenorrhea). Poor women, especially those who suffered the stigma of giving birth to an illegitimate child, sometimes had to give their baby up temporarily to a wet nurse, or permanently to another family. The woman herself might in turn become wet nurse to a wealthier family, while using part of her wages to pay her own child's wet nurse. From Roman times and into the present day, philosophers and thinkers alike have held the view that the important emotional bond between mother and child is threatened by the presence of a wet nurse.

Mythology.

Many cultures feature stories, historical or mythological, involving superhuman, supernatural, human and in some instances animal wet-nurses.  The Bible refers to Deborah, a nurse to Rebekah wife of Isaac and mother of Jacob (Israel) and Esau, who appears to have lived as a member of the household all her days. (Genesis 35:8.) Midrashic commentaries on the Torah hold that the Egyptian princess Bithiah (Pharaoh's wife Asiya in the Islamic Hadith and Qur'an) attempted to wet-nurse Moses, but he would take only his biological mother's milk. ()  In Greek mythology, Eurycleia is the wet-nurse of Odysseus. In Roman mythology, Caieta was the wet-nurse of Aeneas. In Burmese mythology, Myaukhpet Shinma is the "nat" (spirit) representation of the wet nurse of King Tabinshwehti. In Hawaiian mythology, Nuakea is a beneficent goddess of lactation; her name became the title for a royal wetnurse, according to David Malo.

Ancient Rome.

In ancient Rome, well-to-do households would have had wet-nurses (Latin "nutrices", singular "nutrix") among their slaves and freedwomen, but some Roman women were wet-nurses by profession, and the "Digest" of Roman law even refers to a wage dispute for wet-nursing services "(nutricia)". The landmark known as the Columna Lactaria ("Milk Column") may have been a place where wet-nurses could be hired. It was considered admirable for upperclass women to breastfeed their own children, but unusual and old-fashioned in the Imperial era. Even women of the working classes or slaves might have their babies nursed, and the Roman-era Greek gynecologist Soranus offers detailed advice on how to choose a wet-nurse. Inscriptions such as religious dedications and epitaphs indicate that a "nutrix" would be proud of her profession. One even records a "nutritor lactaneus", a male "milk nurse" who presumably used a bottle. Greek nurses were preferred, and the Romans believed that a baby who had a Greek "nutrix" could imbibe the language and grow up speaking Greek as fluently as Latin.  The importance of the wet nurse to ancient Roman culture is indicated by the founding myth of Romulus and Remus, who were abandoned as infants but nursed by the she-wolf, as portrayed in the famous Capitoline Wolf bronze sculpture. The goddess Rumina was invoked among other birth and child development deities to promote the flow of breast milk.

United Kingdom.

Wet nursing used to be commonplace in the United Kingdom. Working-class women both provided and received wet nursing services.  Taking care of babies was a well-paid, respectable and popular job for many working-class women. In the 18th-century, a woman would earn more money as a wet nurse than her husband could as a labourer. Up until the 19th century, most wet-nursed infants were sent far from their families to live with their new caregiver for up to the first three years of their life. As many as 80% of wet-nursed babies who lived like this died during infancy.  During the Victorian era, women took in babies for money, and nursed them themselves or fed them with whatever was cheapest. This was known as baby-farming; poor care sometimes resulted in high infant death rates. The wet nurse at this period was most likely a single woman who previously had given birth to an illegitimate child. There were two types of wet nurses by this time: those on poor relief, who struggled to provide sufficiently for themselves or their charges, and the professionals, who were well paid and respected.  Upper-class women tended to hire wet nurses to work within their own homes, as part of a large household of servants.  Wet nurses also worked at foundling hospitals, establishments for abandoned children. Her own child would likely be sent away, normally brought up by the bottle rather than being breastfed. Valerie Fildes, author of "Breasts, Bottle and Babies: A History of Infant Feeding", argues that "In effect, wealthy parents frequently 'bought' the life of their infant for the life of another."  Wet nursing decreased in popularity during the mid-19th century, as medical journalists wrote about its previously undocumented dangers. Fildes argued that "Britain has been lumped together with the rest of Europe in any discussion of the qualities, terms of employment and conditions of the wet nurse, and particularly the abuses of which she was supposedly guilty." C. H. F. Routh, a medical journalist writing in the late 1850s listed the evils of wet-nursing, such as the abandonment of the wetnurses' own children, higher infant mortality, and an increased physical and moral risk to a nursed child. While this argument was not founded in any sort of proof, the emotional arguments of medical researchers, coupled with the protests of other critics, slowly increased public knowledge; the practice declined, replaced by maternal breastfeeding and bottle-feeding.

France.

Wet nursing was reported in France in the time of Louis XIV, the mid 17th century. In 18th century France, approximately 90% of infants were wet nursed, mostly sent away to live with their wet nurses. In Paris in 1780, only 1000 of the 21,000 babies born that year were nursed by their own mother. The high demand for wet nurses coincided with the low wages and high rent prices of this era, which forced many women to have to work soon after childbirth. This meant that many mothers had to send their infants away to be breastfed and cared for by wet nurses even poorer than themselves. With the high demand for wet nurses, the price to hire one increased as the standard of care decreased. This led to many infant deaths. In response, rather than nursing their own children, upper-class women turned to hiring wet nurses to come live with them instead. In entering into their employers home to care for their charges, these wet nurses had to leave their own infants to be nursed and cared for by women far worse off than themselves, and who likely lived at a relatively far distance away.  The Bureau of Wet Nurses was created in Paris, 1769, to serve two main purposes; it supplied parents with wet nurses, as well as helped lessen the neglect of charges by controlling monthly salary payments to wet nurses. In order to become a wet nurse, women had to meet a few qualifications including a good physical body with a good moral character, they were often judged on their age, their health, the number of children they had, as well as their breast shape, breast size, breast texture, nipple shape and nipple size, since all these aspects were believed to affect the quality of a woman's milk. In 1874, the French government introduced the Roussel Law, which "mandated that every infant placed with a paid guardian outside the parents' home be registered with the state so that the French government is able to monitor how many children are placed with wet nurses and how many wet nursed children have died".  Wet nurses were often hired to work in hospitals so that they could nurse premature babies, babies who were ill, or babies who had been abandoned. During the 18th and 19th centuries, congenital syphilis was a common cause of infant mortality in France. The Vaugirard hospital in Paris began to use mercury as a treatment for syphilis; however, it could not be safely administered to infants. In 1780, began the process of giving mercury to wet nurses who could then transmit the treatment to the infants with syphilis through their milk in the act of breastfeeding.  The practice of wetnursing was still widespread during World War I, according to the American Red Cross. Working-class women would leave their babies with wetnurses so they could get jobs in factories.

United States.

British colonists brought the practice of wet nursing with them to North America. Since the arrangement of sending infants away to live with wet nurses was the cause of so many infant deaths, by the 19th century, Americans adopted the practice of having wet nurses live with the employers in order to nurse and care for their charges. This practice had the effect of increasing the death rate for wet nurses' own babies. Many employers would have only kept a wet nurse for a few months at a time since it was believed that the quality of a woman's breast milk would lessen over time.  Since there were no official records kept pertaining to wet nurses or wet nursed children in the United States, historians lack the knowledge of precisely how many infants were wet-nursed, for how long they were wet-nursed, whether they lived at home or else where while they wet-nursed, as well as how many wet-nursed babies lived or died. The only evidence which exists pertaining to wet-nursing in the United States is found in the help wanted ads of newspapers, through complaints about wet nurses in magazines, and through medical journals which acted as employment agencies for wet-nurses.  In the Southern United States, it was common practice for enslaved black women to be forced to be wet nurses to their owners' children. In some instances, the enslaved child and the white child would be raised together in their younger years. (Sometimes both babies would be fathered by the same man, the slave-owner; see Children of the plantation.) Visual representations of wet-nursing practices in enslaved communities are most prevalent in representations of the Mammy archetype caricature. Images such as the one in this section represent both a historically accurate practice of enslaved black women wet-nursing their owner's white children as well as sometimes an exaggerated racist caricaturization of a stereotype of enslaved black women as "Mammy" characters.

Relationships.

Sometimes the infant is placed in the home of the wetnurse for several months, as was the case for Jane Austen and her siblings. The Papyrus Oxyrhynchus 91, a receipt from 187 AD, attests to the ancient nature of this practice. Sometimes the wetnurse came to live with the infant's family, filling a position between the monthly nurse (for the immediate post-partum period) and the nanny.  In some cultures the wetnurse is simply hired as any other employee. In others, however, she has a special relationship with the family, which may incur kinship rights. In Vietnamese family structure, for example, the wetnurse is known as "Nhũ mẫu", "mẫu" meaning "mother". Islam has a highly codified system of milk kinship known as "rada". George III of the United Kingdom, born two months premature, had a wet nurse whom he so valued all his life that her daughter was appointed laundress to the Royal Household, "a sinecure place of great emolument".

Current attitudes in Western countries.

In contemporary affluent Western societies such as the United States, the act of nursing a baby other than one's own often provokes cultural discomfort. When a mother is unable to nurse her own infant, an acceptable mediated substitute is expressed milk (or especially colostrum) which is donated to milk banks, analogous to blood banks, and processed there by being screened, pasteurized, and usually frozen. Infant formula is also widely available, which its makers claim can be a reliable source of infant nutrition when prepared properly. Dr Rhonda Shaw notes that Western objections to wet-nurses are cultural: In addition, the legacy of wet-nursing for African-American women is inherently linked to slavery, and the physical, emotional, and mental abuse that enslaved African-American women endured. While other populations in the United States may be more open to wet-nursing, the cultural attitude within African-American communities towards wet-nursing remains one deeply affected by the generational trauma of wet-nursing during slavery.  For some Americans, the subject of wet-nursing is becoming increasingly open for discussion. During a UNICEF goodwill trip to Sierra Leone in 2008, Mexican actress Salma Hayek decided to breast-feed a local infant in front of the accompanying film crew. The sick one-week-old baby had been born the same day but a year later than her daughter, who had not yet been weaned. Hayek later discussed on camera an anecdote of her Mexican great-grandmother spontaneously breast-feeding a hungry baby in a village.

Current situation elsewhere.

Wet nurses are still common in many developing countries, although the practice poses a risk of infections such as HIV. In China, Indonesia, and the Philippines, a wet-nurse may be employed in addition to a nanny as a mark of aristocracy, wealth, and high status. Following the 2008 Chinese milk scandal, in which contaminated infant formula poisoned thousands of babies, the salaries of wet-nurses there increased dramatically. The use of a wet-nurse is seen as a status symbol in some parts of modern China.  Additionally, a woman who is difficult to get pregnant may wet-nurse and rear a relative (especially a poorer one's) new-born as a "mancing" (Javanese language for "lure").

Notable wetnurses.

Royal wetnurses are more likely than most to reach the historical record.  In Ancient Egypt, Maia was the wetnurse of King Tutankhamun. Sitre In, the nurse of Hatshepsut, was not a member of the royal family, but received the honour of a burial in the royal necropolis in the Valley of the Kings in tomb KV60. Her coffin has the inscription "sdt nfrw nsw in m3‘t ḥrw", meaning "Royal Wet Nurse". Lady Kasuga was the wet nurse of the third Tokugawa shōgun Iemitsu. Lu Lingxuan was a lady in waiting who served as wetnurse to the emperor Gao Wei; she became exceedingly powerful during his reign, and was often criticized by historians for her corruption and treachery. Chinese emperors honoured the Nurse Empress Dowager. Dai Anga was the wetnurse of the Mughal Emperor, Shah Jahan. Shin Myo Myat was the mother of King Bayinnaung of Toungoo Dynasty of Burma (Myanmar), and the wetnurse of King Tabinshwehti. In England, Hodierna of St Albans was the mother of Alexander Neckam and wet nurse of Richard I of England, and Mrs. Pack was a wet nurse to William, Duke of Gloucester (1689–1700). Geneviève Poitrine was a wet nurse of the Dauphin of France, Louis Joseph, son of King Louis XVI of France and Queen Marie Antoinette. Poitrine was accused of transmitting tuberculosis to the Dauphin, and triggering his infant death when aged seven.  Some non-royal wetnurses have been written about. Halimah bint Abi Dhuayb was the foster-mother and wetnurse of the Islamic prophet Muhammad. Petronella Muns was, with her employer, the first Western woman to visit Japan. Naomi Baumslag, author of "Milk, Money and Madness", described the legendary capacity of Judith Waterford: "In 1831, on her 81st birthday, she could still produce breast milk. In her prime she unfailingly produced two quarts (four pints or 1.9 litres) of breast milk a day."

A wet nurse is a woman who breast feeds and cares for another's child. Wet nurses are employed if the mother dies, or if she is unable or elects not to nurse the child herself. Wet-nursed children may be known as "milk-siblings", and in some cultures the families are linked by a special relationship of milk kinship. Mothers who nurse each other's babies are engaging in a reciprocal act known as cross-nursing or co-nursing. Wetnursing existed in cultures around the world until the invention of reliable formula milk in the 20th century.

Kojná je žena, která kojí, v minulosti často i za úplatu, svým mateřským mlékem cizí novorozeně. Profese kojné bývala ve společnosti velice žádaná, zejména pak v urozených rodinách.


Biography.

Reed was born in Raleigh, North Carolina and attended the University of North Carolina at Chapel Hill. Reed directed the motion pictures "Bring It On", "Down with Love", and "The Break-Up"; all comedy films. He has also acted in small roles in some films including his own and has written a few original songs for his soundtracks. He has also produced a few music videos.  Peyton Reed was originally set to direct the 20th Century Fox production "Fantastic Four", before departing the project and being replaced by director Tim Story.  Reed directed the 2008 film "Yes Man", starring Jim Carrey. "Yes Man" is an adaptation of Danny Wallace's autobiography about his decision to say "yes" to whatever offer, invitation, challenge, or opportunity that is presented to him.  Reed replaced Edgar Wright as the director of "Ant-Man". Prior to joining the production of "Ant-Man", Reed was slated to direct a Brian Epstein biopic, based on the graphic novel "The Fifth Beatle". However, his commitment to the superhero film required him to part ways with "The Fifth Beatle". Reed then went on to direct "Ant-Man and the Wasp", the sequel to "Ant-Man".  Peyton Reed has been hired to direct a third Ant-Man film for Marvel Studios.  In May 2020, Reed confirmed he would direct an episode from the second season of the Disney+ series "The Mandalorian", part of the "Star Wars" franchise.

Personal life.

When he was a teenager, Peyton Reed drew his punk band as the Avengers on a flyer, including himself as Ant-Man.  Peyton Reed was a DJ for WXYC, the UNC student radio station, during his time enrolled at the university. Worked as a van driver on the set of Bull Durham in 1987, which was filmed in his hometown of Raleigh, North Carolina. Recorded music under the name manCHILD with UNC classmate Norwood Cheek.  Reed lives in the Los Angeles area with his wife Sheila and 2 sons. He was previously married to Beth LaMure from 1998 to 2006.

Filmography.

Feature films  Television  Webseries  Documentaries/Short films  Commercials

Peyton Tucker Reed (born July 3, 1964) is an American television and film director. He is best known for directing the comedy films "Bring It On" (2000), "Down with Love" (2003), "The Break-Up" (2006) and "Yes Man" (2008), as well as the superhero films "Ant-Man" (2015) and its sequel, "Ant-Man and the Wasp" (2018).

Peyton Tucker Reed (* 3. července 1964 Raleigh, Severní Karolína) je americký režisér a příležitostný herec. Režijně se podílel na seriálech "Návrat do budoucnosti" (1991), "The Weird Al Show" (1997), "Nová holka" (2011–2012) či "The Goodwin Games" (2013). Jako herec se objevil v menších rolích např. v seriálu "Pride & Joy". V roce 2000 debutoval celovečerním filmem "Bravo, girls!".


Narrative.

One time Enos was hunting in the woods and he remembered the gospel according to his father, and he got on his knees and cried all day and into the night for the salvation of his soul. Then the voice of God told Enos that his sins were forgiven. Enos believed the voice, but he was curious about how the forgiveness was actually accomplished. God told Enos he was forgiven because he had faith in Christ, even though he never heard or saw Christ, and indeed it would be far in the future before he came in the flesh.  Enos then prayed for the salvation of the Nephites, but God said they would be blessed or cursed according to how they obeyed the commandments. Enos, fearing that the Nephites would refuse to obey the commandments of God, then prayed for the Lamanites who oppressed them, that at least they would avoid destruction. And he prayed that God would preserve a record of the Nephites so that someday the Lamanites too might be brought to salvation, even though anything the Nephites said and did now in Enos' time would have nothing to do with salvation on that future day, but only faith in Christ, whose death and resurrection would be in the past instead of the future. Nevertheless, God made a covenant with Enos that he would bring the records of the Nephites to the Lamanites in due time.  Enos took up the mantle of prophet and went among his people the Nephites lest they be destroyed as God had warned. Enos does not say whether he was successful at converting the Nephites back to the true faith, but he does say the Nephites failed to convert the Lamanites back to the true faith.  He characterized the Lamanites as having a hatred that was fixed. The Lamanites were led by their evil nature to become a wild and bloodthirsty people. They were full of idolatry and filthiness and fed upon beasts of prey. They dwelt in tents, wandered about in the wilderness, wore a short skin girdle about their loins and their heads were shaven. Their skill was in the bow, and in the cimeter, and the ax. Many of them ate nothing except raw meat. They were continually seeking to destroy the Nephites who tilled the land, grew fruit in orchards, and tended flocks of cattle and goats and horses.

The Book of Enos () is the fourth book of the Book of Mormon. According to the text it was written by Enos, a Nephite prophet.

Enos je název oddílu v Knize Mormonově, americkém náboženském díle, které roku 1830 vydal Joseph Smith. Její děj se má odehrávat okolo roku 420 př. n. l. Za autora je tradičně považován prorok Enos. Autorem však může být také americký teolog z 19.století, Joseph Smith.


Narrative of Christ's Visit.

Before Christ visits these people there is a giant storm, a tremendous earthquake, and darkness. Cities burn, cities sink into the sea, mountains are brought down and valleys brought up. There is sharp lightning, wind, and thunderings and many people died. After the great storm comes darkness and the voices of mourning for the dead. The darkness lasts for approximately three days, during which a voice is "heard among all the inhabitants of the earth, upon all the face of this land, crying: Wo, wo, wo unto this people; wo unto the inhabitants of the whole earth except that they shall repent; for the devil laugheth, and his angels rejoice, because of the slain fair sons and daughters of my people; and it is because of their iniquities and abominations that they are fallen!" (3 Nephi 9:1-2) The voice then lists cities "and the inhabitants thereof" he had destroyed because of their wickedness: Zarahemla (3 Nephi 9:3), Moroni (9:4), Moronihah (9:5), Gilgal (9:6), Onihah, Mocum, and Jerusalem (the New World city founded by the Lamanites, Amelekites, and Amulonites, not Jerusalem in Judaea) (9:7), Gadiandi, Gadiomnah, Jacob, and Gimgimno (9:8), Jacobugath (9:9), Laman, Josh, Gad, and Kishkumen (9:10), since "there were none righteous among them" (9:11). He asks, "O all ye that are spared because you were more righteous than they, will ye not now return unto me, and repent of your sins, and be converted, that I may heal you?" (9:13) "Yea, verily, I say unto you, if ye shall come unto me, ye shall have eternal life. Behold, my arm of mercy is extended towards you, and whosoever will come, him will I receive, and blessed are those that come unto me." (9:14) "Behold, I am Jesus Christ, the Son of God. I created the heavens and the earth, and all things that in them are. I was with the Father from the beginning. I am in the Father, and the Father in me; and in me hath the Father glorified his name." (9:15)  After three days, the darkness clears. It is the time of the resurrection of Christ. The people gather to a land called Bountiful where stood a temple. A voice is heard from heaven which the people did not understand it at first, that "did pierce them that did hear to the center, insomuch that there was no part of their frame that it did not cause to quake; yea, it did pierce them to the very soul, and did cause their hearts to burn." The voice is the voice of God Almighty, the very Eternal Father proclaiming His Son Jesus Christ the risen Lord.  The resurrected Christ descends from the sky. He stands before them and calls them to come and sees the wounds in His hands and side. He heals them and teaches them precepts that were to guide their Church.

The Book of Nephi: The Son of Nephi, Who Was the Son of Helaman, usually referred to as Third Nephi or 3 Nephi, is one of fifteen books that make up the Book of Mormon. This book was first called "III Nephi" in the 1879 edition and "Third Nephi" in the 1920 edition of the Book of Mormon. It contains an account of the visit of Jesus Christ to the inhabitants of ancient America. Jesus had told his disciples in Jerusalem according to the Bible in the Gospel of John, "And other sheep I have, which are not of this fold: them also I must bring, and they shall hear my voice; and there shall be one fold, and one shepherd." In this book, Christ declares to those in ancient America that they were these "other sheep" of whom he spoke. The account of this visit is recorded beginning in chapter 11 of 3 Nephi.

3. Nefi je název oddílu v Knize Mormonově, americkém náboženském díle, které roku 1830 vydal Joseph Smith. Její děj se má odehrávat kolem roku 385 př. n. l. Za autora je tradičně považován prorok Mormon. Autorem však může být také americký teolog z 19. století, Joseph Smith.


Gameplay.

Similar to its predecessors, "Battlefield 1" is a first-person shooter game that emphasizes teamwork. It is set in the period of World War I, and is inspired by historical events. Players can make use of World War I weapons, including bolt-action rifles, submachine guns, automatic and semi-automatic rifles, artillery, flamethrowers, and to combat opponents. Melee combat was reworked, with DICE introducing new melee weapons such as sabres, trench clubs, and shovels into the game. These melee weapons were divided into three groups: heavy, medium and light. Players can also take control of various armored vehicles, including light and heavy tanks, armored trucks, cars, torpedo boats, bi- and tri-plane aircraft, an armored train, reconnaissance vehicles, a dreadnought and an M-class zeppelin, as well as ride horses into battle. Destructible environments and weapon customization, features present in the previous games, returned in "Battlefield 1" and are more dynamic.  The game's world designer, Daniel Berlin, said the campaign mode has larger and more open environments than those in previous installments in the franchise, with more options and choices in terms of paths to completing levels and how to approach combat. Players can control several characters in the campaign. If the player dies in the prologue, they will then take control of another soldier and role instead of reloading from a checkpoint. These roles can range from tank gunner to rifleman. When the player dies, a name appears on the screen of a real soldier, along with their birth year. Unlike its predecessors, the game features a collection of war stories, similar to an anthology.  The game's multiplayer mode supports up to 64 players. The new squad system allows a group of players to enter and leave game servers together. According to Berlin, playing without joining a squad would make gameplay significantly more difficult. Multiplayer maps are based on locations around the world, including Arabia, the Western Front, and the Alps. The game launched with nine maps and six modes, which include Conquest, Domination, Operations, Rush, Team Deathmatch, and War Pigeons, a mode in which players must secure war pigeons and use them to call for an artillery strike.

Multiplayer modes.

"Battlefield 1"s multiplayer modes feature a number of game types seen in previous entries in the franchise, as well as new modes;

Classes.

"Battlefield 1"s multiplayer features four main classes, three spawn-based vehicle classes, and five pick-up based Elite classes:  Infantry-based: Vehicle-based: Elite Classes:

Campaigns.

Characters.

During the single-player campaigns, the player controls six different characters from a first-person perspective over six different chapters. Unlike previous campaigns in the series, "Battlefield 1"s single-player story mode is composed of six separate "War Stories", each shown through the eyes of separate allied soldiers from different nationalities, "Storm of Steel" – the prologue of the game which is set in France through the eyes of several Harlem Hellfighters, "Through Mud and Blood" – set in France though the eyes of a British tank driver, "Friends in High Places" – France and the UK as a Royal Flying Corps fighter pilot, "Avanti Savoia" – Italy as a mournful survivor and member of the Arditi, "The Runner" – the Gallipoli Peninsula (part of European Turkey) through an ANZAC runner, and "Nothing is Written" – set in Kingdom of Hejaz through the eyes of a Bedouin warrior under the command of Lawrence of Arabia.

Plots.

"Storm of Steel".

The prologue, set in 1918, sees players take control of different members of the Harlem Hellfighters as they defend their positions against a German offensive in France. The player initially starts out near the front line and must survive as long as possible against waves of German soldiers. If the player survives the attack then an artillery barrage will rain down on them and then the game's perspective will shift to another soldier. During the course of the gameplay, an unnamed narrator (one of the Harlem Hellfighters) gives commentary on the nature of the war as the battle continues and player controlled soldiers are killed.  At the start of the battle, the Harlem Hellfighters initially lose ground to the Germans, but British tanks force the German troops into a retreat until the tanks are stalled by artillery. The Harlem Hellfighters mount a counteroffensive and push forward, sustaining casualties as the Germans hold their ground. When the player switches perspective to the final soldier in the gameplay, a German soldier attempts to kill the player character with a shovel but is stopped short by an artillery barrage that wipes out all of the combatants on the battlefield and renders the player unconscious. When the player regains consciousness, he initially appears to be the lone survivor, but quickly encounters a German survivor. Although the two point their weapons at one another, exhaustion and fatigue set in as both realize the futility of their situation, inclining both combatants to lower their weapons. The game then proceeds to an introduction cinematic that opens up to the other War Stories.

"Through Mud and Blood".

Set in Autumn of 1918 during the Battle of Cambrai in the Hundred Days Offensive, players assume the role of Daniel Edwards, a former chauffeur who enlists in the war as a British tank driver. Edwards is assigned to a Mark V tank dubbed "Black Bess," and meets the rest of his crew: Townsend, the tank crew's commander; McManus, a cynical gunner who doubts Edwards' abilities and the likelihood of the crew's success; Pritchard, another gunner; and Finch, the friendly mechanic.  The crew must penetrate German lines to reach the French town of Cambrai, and helps capture strategic positions and destroy artillery batteries. Finch is killed by machine-gun fire early on while trying to repair the tank, and later on, the tank becomes trapped in mud and surrounded by German infantry. Townsend decides to summon an artillery strike on their own position with the tank's messenger pigeon to save the tank, which McManus objects to vehemently. Pritchard is shot and killed trying to release the pigeon, forcing Edwards to do so, which enables British artillery to save the tank. Encountering thick fog in the nearby Bourlon Wood, Edwards acts as a forward scout to guide the tank. Clearing the forest, the tank becomes beset with mechanical problems, and Townsend sends Edwards and McManus to salvage spark plugs from British tanks captured by the Germans. McManus expresses his disdain for their orders and abandons the mission, deserting. However, McManus has a change of heart later on and returns just in time to save Edwards from a German soldier.  With the tank repaired, the crew proceeds to a railway station defended by German forces. Although Bess is the only British tank in the area, the crew attacks the railway station to deceive the Germans into thinking that a large British offensive is underway. Eliminating the German forces at the railway station, the tank proceeds to Cambrai but is immobilized by artillery and attacked by German soldiers. Edwards and McManus are wounded defending the tank, and an injured Townsend sacrifices himself by igniting a gas leak inside the tank, killing himself and the Germans. With Bess destroyed and Edwards and McManus the only survivors, the two proceed alone on foot to Cambrai. Closing subtitles indicate that with the participation of more than 300 tanks at the Battle of Cambrai, the war ended a month later.

"Friends in High Places".

In this story, set in the Spring of 1917, players control Clyde Blackburn, an American pilot and gambler with a habit of deceitful behavior. Early on, Blackburn cheats George Rackham, a pilot of British nobility, in a game of cards and steals the latter's plane. Posing as Rackham, Blackburn introduces himself to Rackham's gunner, Wilson, and the two set off on an aerial exercise. During the exercise, German aircraft ambush the duo, and the two pilots take photographs of a German munitions base they stumble upon after fighting off the enemy fighters. Although Wilson is reluctant to show the photos to British Command out of fears of being accused of insubordination, Blackburn cajoles him into doing so with the prospect of winning medals. Wilson agrees on the condition that Blackburn returns them both safe from future missions.  Blackburn and Wilson escort British bombers in an assault on the photographed German munitions base. Although the base is destroyed, Blackburn and Wilson are caught in a bomb explosion and crashes behind enemy lines thus being separated. Blackburn sneaks through German lines and discovers an injured Wilson. Knowing that he will be unable to return to British lines safely while carrying Wilson, Blackburn contemplates putting his companion out of his misery but changes his mind when Wilson reveals he knew Blackburn's true identity all along. Blackburn carries Wilson through the no-man's land to friendly lines but is detained by British Provosts under the orders of Rackham for impersonating him.  On the way to the court-martial in London, the vessel carrying Blackburn, Rackham, and Wilson is attacked by a German aerial raid, killing Rackham. Blackburn and Wilson commandeer a plane and fight off the German raid. Blackburn and Wilson first destroy a wave of German bombers and fighters before crashing into a German Zeppelin and using its anti-aircraft gun to destroy other German Zeppelins. The two pilots jump into the River Thames after the Zeppelin plummets to the ground. The story ends with Blackburn climbing out of the river unharmed, reflecting on his experiences. He notes that mixed accounts of his exploits may arise due to the confusing nature of the war, but suggests that his version of events is the truth. The story ends on an ambiguous note by leaving the question open as to whether the events of the story truly occurred as they did.

"Avanti Savoia!".

Taking place during the autumn of 1918 in the Dolomites in Northern Italy, players assume the role of Luca Vincenzo Cocchiola, a member of the Italian Arditi unit. The story is conveyed by an aged Luca years after the war as he recounts his memories to his American daughter on his birthday. He and his twin brother, Matteo, take part in a major offensive to seize an Austro-Hungarian fortress, days after their 21st birthday. While Matteo takes part in the main thrust of the offensive, Luca's unit plays an auxiliary role, eliminating barriers to the main advance forces. Donning heavy body armor and using a MG08/15 Luca spearheads the assault on key Austro-Hungarian positions, capturing strongpoints, destroying an artillery gun, and thwarting an enemy aerial assault.  In desperation to stop the assault on the fort, the Austro-Hungarian bombers trigger a landslide to obstruct the Italian offensive. Desperate to save his brother, Luca sets off alone into the battlefield to find his brother's unit, armed with Villar Perosa and Beretta M1915. Along the way, he assists trapped Italian units and pushes toward the direction of the enemy fort. After clearing the fortress, Luca finds the remains of his brother's unit and stumbles upon his deceased brother; much to his grief and dismay. A mourning Luca in the present-day bids his brother farewell and happy birthday, while a concluding subtitle states that the war affected both nation-states and empires, as well as families, with survivors and the deceased of the war named the "Lost Generation."

"The Runner".

Set during the Gallipoli Campaign of 1915, the player takes on the role of Australian messenger and Second Boer War veteran, Frederick Bishop. The story starts with Bishop encountering young Jack Foster, who says he is Bishop's new charge. While initially cynical, Bishop reluctantly relents and takes Foster under his wing, but tells Foster to refrain from battle due to his inexperience and young age. Bishop storms the beaches of Gallipoli at Cape Helles and captures a strategic enemy position. Bishop fires a flare to signify the capture of the position but is startled by a lone Foster, who disobeyed Bishop's command to only move up with the rest of the Allied forces. Bishop berates Foster for his naivety and view of war as a glorious activity, given that Foster had lied about his age to enlist. Foster becomes appalled at the sight of the carnage around him, but Bishop softens his rhetoric and reassures Foster that they will be alright.  The next day, Bishop volunteers as a runner in place of Foster, whom Bishop considers inexperienced for the task. Bishop returns to HQ to deliver a message and is saved by Foster, who shoots a nearby Ottoman soldier. British officer Whitehall dispatches Bishop to a rear command to inform it that the British intend to advance further. Bishop finds the rear command deserted, and discovers that the British plan to retreat and cover the withdrawal with artillery fire. Remembering that Foster is still on the frontlines, Bishop rushes back to retrieve him. Finding Whitehall, Bishop shockingly discovers that Foster has joined an assault on an Ottoman fortress. Bishop decides to pursue Foster, while a distressed Whitehall permits Bishop to disobey the fallback order to get Foster telling him he has not much time.  Bishop finds Foster and informs him of the imminent artillery strike, but the young Australian says that they cannot retreat due to their wounded. Bishop attacks the fort to cover the withdrawal but tells Foster to fire a flare when the retreat is complete so that the former can make his own escape. Bishop single-handedly captures the fort and is critically wounded in the process, but sees Foster's flare and is relieved that the retreat succeeded. The story ends as Bishop dies from his wounds, watching as British warships shell the fort. Closing subtitles state that the Ottomans eventually won the Battle at Gallipoli, and several notable survivors went on to lead a postwar Turkey. Australian and New Zealand troops fought at Gallipoli under their own flags, distinguishing themselves in combat.

"Nothing is Written".

Taking place in the Spring of 1918, players assume control of Zara Ghufran, a Bedouin rebel working directly alongside British intelligence officer T. E. Lawrence (better known as Lawrence of Arabia) as they fight undermine the Ottoman occupation of the Arabian Peninsula. Zara infiltrates a nearby derailed Ottoman train in "Al-Ajdar" and retrieves a manual with Ottoman communication codes. Although caught by Tilkici, an Ottoman officer in a trap, Zara is rescued by Lawrence and several Bedouin insurgents. Zara and Lawrence decide to interrogate Tilkici on how to use the code manually to lure the Canavar, an Ottoman armored train, into a trap, but Tilkici scoffs that the rebels will not triumph.  Having interrogated Tilkici, the rebels discover that they must use message capsules held by three Ottoman officers to ask the train to stand down. Zara proceeds alone, successfully infiltrating Ottoman camps to release two message capsules by a pigeon while eliminating the Ottoman commanders. However, as she prepares to release the third capsule, she is knocked unconscious by Tilkici, who managed to escape from Lawrence. Tilkici drags Zara out into the desert and taunts her, having already ordered the Canavar to strike Lawrence's camp. However, Zara kills Tilkici before he can execute her.  Returning to Lawrence, who survived the attack by relocating following Tilkici's escape, Zara and Lawrence decide to attack the armored train while it stops for supplies. Zara infiltrates the village where the Canavar stops and destroys segments of the train to impede the train's movement. Zara and the rebels destroy the train in an intense battle, ending the threat to their forces. Having achieved her "revenge" against the Canavar, Zara joins Lawrence to strike at targets in the Suez Canal. The closing subtitles indicate that although the Ottomans lost the war, the British and French refused to grant the Arabs full autonomy and that the war for oil continues on to the 21st century.

Development.

According to game designer Daniel Berlin, the team picked World War I as the game's setting as they believed that the weapons and gadgets featured in that period of time suit players with different playstyles. The game was named "Battlefield 1", since the team considered World War I as "the dawn of all-out warfare". Melee weapons were reworked so as to introduce more depth to the system. According to creative director Lars Gustavsson, the setting was a concept for a very long time, and it had been the "dream" for the team to create a game based on that period. According to Berlin, gameplay was the most important aspect when they were developing the game, and he promised that it would not be slowed down due to the game's historical setting. The story of the game is told through multiple protagonists, and explores the stories of unknown war heroes. Patrick Söderlund, the executive at Electronic Arts responsible for overseeing DICE, originally rejected the idea of having a World War One shooter as he thought that it would not be fun to play. He later accepted the pitch after being convinced by a demo created by DICE. Aleksander Grøndal, Senior Producer at DICE, prepared his own research into the war by looking at visual references. He favored colored images of the war in an attempt to visualize what the soldiers lived through. “I wanted to see the pictures and I wanted to imagine how they’d look with a mobile lens,” Grøndal expressed when interviewed. “I wanted to start off with all the footage and imagine that footage in our game with a modern take.” He specifically favored "Apocalypse: World War I", a 2014 colorized French documentary, and "World War I in Colour" by Charles Messenger, a 2004 book of colorized war time photographs. Grøndal favored colored material as he felt, "It's quite interesting and it sucks you in because it feels much closer when you see everything in color." Despite his personal penchant for colored visuals, his self ascribed "big inspiration" was "Blueprint for Armageddon", a six-part audio documentary by Dan Carlin for the latter's "Hardcore History" podcast series.  In June 2015, DICE revealed that they were working on an unannounced game. In January 2016, EA announced that "Titanfall 2", "" and an unannounced video game set in the "Battlefield" universe would be released prior to the end of the company's fiscal year. Both the title, the game's release date, and the plot of the game were leaked prior to the official announcement on May 6, 2016. The game was officially unveiled on that day through a livestream on Twitch, showcasing a reveal trailer of the game featuring a remix of The White Stripes' "Seven Nation Army" by The Glitch Mob. The game's "Collector's Edition" includes items such as a statue of a Harlem Hellfighter, a code for exclusive downloadable content (DLC) of the Doughboy M1911 Pistol, and a Steelbook case. Pre-order bonuses include early access to a DLC map named Giant's Shadow which takes place in the Battle of the Selle, and the "Harlem Hellfighter Pack". The Heroes Bundle includes the pre-order bonuses, as well as three days early access to the game, the "Red Baron Pack", the "Lawrence of Arabia Pack", and five Battlepacks. "Battlefield 1" was released worldwide on October 21, 2016 for Microsoft Windows, PlayStation 4 and Xbox One.  "Battlefield 1"s open beta became available on August 31, 2016, for Microsoft Windows, PlayStation 4, and Xbox One. It ended on September 8, 2016. The open beta allowed the team to ensure that major technical bugs, glitches, and crashes can be patched prior to the game's official launch. 13.2 million players participated in the beta.

Downloadable content.

DICE released four downloadable content expansions for "Battlefield 1"; "They Shall Not Pass", "In the Name of the Tsar", "Turning Tides", and "Apocalypse".

"They Shall Not Pass".

In December 2016, DICE announced the first major expansion for "Battlefield 1", "They Shall Not Pass", which was released on March 14, 2017 with a two-week exclusivity period for Premium holders. It focuses on the new playable faction, the French Army; the expansion features four new maps set in the Battle of Verdun and the Second Battle of the Marne; Fort de Vaux, Soissons, Rupture, and Verdun Heights. "They Shall Not Pass" brings new weapons including the Ribeyrolles 1918, RSC 1917, Lebel Model 1886, Chauchat, Sjögren Inertial, and Mle 1903 Extended. The Saint-Chamond and the "behemoth-class super-heavy tank" Char 2C were added as new vehicles, as well as new melee-oriented "Trench Raider" elite class. Two additional maps named Nivelle Nights and Prise de Tahure, both set during and after the Nivelle Offensive, are included as part of the expansion and were released in Summer 2017. As of May 5, 2018, "They Shall Not Pass" is free for all players via the Xbox, PC, and PlayStation websites, and remained free until May 15.

"In the Name of the Tsar".

In April 2017, DICE released the first images of the "In the Name of the Tsar" DLC. This DLC was confirmed during EA Play 2017, where a short amount of footage of it was also shown. "In the Name of the Tsar" focuses on the Russian Empire during the Great War. The Scout class for the Russian faction features as a female soldier representing the Women's Battalion. Four maps in the expansion follows in the Eastern Front; Lupkow Pass, Galicia, Brusilov Keep, and Albion, while two other maps are set in the Russian Civil War between the White Guard and Red Army; Tsaritsyn and Volga River. It also introduced 11 new weapons to the game; Model 1900, Fedorov Avtomat, Parabellum MG14/17, Mosin-Nagant M91, Nagant Revolver, SMG 08/18, General Liu Rifle, Perino Model 1908, Vetterili-Vitalli M1870/87, Obrez Pistol, and C93 Carbine. "In the Name of the Tsar" also features a new horseback weapon called the Cavalry Lance. The Ilya-Muromets Bomber, Putilov-Garford Heavy Armored Car, and Y-Lighter Landing Craft are included as new vehicles to the game. The expansion was released on September 5, 2017 for Premium Pass, with a worldwide release two weeks later. The cover art for this downloadable content expansion features Vendela Lindblom, the Playmate of the Month for the January 2019 issue of Playboy, as a female soldier.

"Turning Tides".

The "Turning Tides" DLC is focused on aspects of the naval and amphibious combat during World War I. DICE released the first half of the expansion to Premium Pass holders on December 11, 2017, containing 2 maps set during the Gallipoli Campaign: Achi Baba and Cape Helles. Although partially released, this expansion adds 6 new weapons to the game including the Farquhar-Hill, the M1917 MG, the Carcano M91, the Type 38 Arisaka, the M1917 Trench Carbine and the Maschinenpistole M1912/P.16. It comes with the new "Infiltrator" elite class, which is equipped with a heliograph spawn beacon gadget, signal flare gun, and the Martini-Henry Grenade Launcher. "Turning Tides" also brings back the Conquest Assault game mode from previous Battlefield installments. The L-Class Destroyer was introduced as a new naval vehicle in the DLC. For the second half of the expansion, released on January 30, 2018, "Turning Tides: North Sea" brought more locations involving naval warfare from the Great War. Two new maps were added: Heligoland Bight and Zeebrugge, along with the British Royal Marines as a new faction to battle the German Army. The "North Sea" release also introduced the C-Class Airship as a new air vehicle.

"Apocalypse".

The fourth and final DLC for Battlefield 1, the "Apocalypse" DLC, is centered around some of the most brutal battles of the Great War. The DLC was released on February 20, 2018, containing five maps, six guns, and a new game mode, among other additions. The three infantry-based maps of "Apocalypse" reflect three of the bloodiest battles of World War I; Caporetto set in present-day Slovenia, Passchendaele in Belgium, and River Somme in France. The DLC brought no new factions to the game, but introduced a new game mode titled "Air Assault" in the remaining two maps. These two maps, both only plane- and zeppelin-focused, are named "Razor's Edge" and "London Calling." While both maps feature combat above detailed landscapes (Razor's Edge taking place in the Alps and London Calling occurring over the city of London), neither are based on factual battles. "Apocalypse" brought new weapons and gadgets to Battlefield 1 as well. The weapons released include the RSC SMG, Howell Automatic, MG 08/18, Ross MkIII, M1917 Enfield, and Webley Revolver Mk VI. In addition, melee weapons including the Broken Bottle, Wine Bottle, Meat Cleaver, and Prybar were introduced to the game. DICE and the Battlefield team also added a number of other components to the game, including vehicles, gadgets for various infantry classes, and the stationary Livens Projector/Gaswurfminen, located on each of the three infantry-based maps. The DLC also features two new air vehicles, the Airco DH.10 and the Hansa-Brandenburg G.I.

Reception.

Pre-release.

The game received positive response from the community after its official announcement. As of July 2, 2016, the "Battlefield 1" reveal trailer is the most liked trailer on YouTube, with over 2 million likes. Electronic Arts expected the game to sell at least 14 million units in its first year of release. Writing for "Wired", Julie Muncy felt worried that the game may not be able to reflect the complex situations in World War I, and thought that the war may not be an ideal setting for a video game. In contrast, "Zam"'s Robert Rath reflected on the same themes, and noted that World War I was largely forgotten in popular culture due to its inability to inspire passion or interest; Rath suggested "Battlefield 1" could rejuvenate popular interest in the war. At The Guardian, Alex Hern criticized what he perceived as the hypocrisy of those objecting to a video game portrayal of WWI, writing: "Asking whether the first world war is an appropriate topic for a first-person shooter may reveal a more pressing question: why do we think any war is?"

Post-release.

"Battlefield 1" received "generally favorable" reviews from critics, according to review aggregator Metacritic.  Reviewers praised the game's unique, refreshing setting, as well as the risk DICE took when developing a WW1-themed game. The multiplayer component was praised for its solid mechanics, the new game mode Operations, the soundtrack, and the maps, amongst many other things. Although praise was given to the single-player campaign for its story and level design, it was nonetheless criticized for being too short. PC World also criticized that all six campaigns take place from the viewpoint of the Allied Powers and the viewpoint from the Central Powers is absent.

Sales.

"Battlefield 1" was the best-selling retail game in the UK in its week of release. Its launch week sales surpassed the combined sales of both "Battlefield 4" and "Battlefield Hardline". The PlayStation 4 version topped sales charts in Japan, selling 113,083 copies in its first week. As of January 18, 2017, the PlayStation 4 version has sold 249,053 copies in Japan.  "Battlefield 1" was the top-selling game in the US in the month of its release.

Battlefield 1 is a first-person shooter video game developed by EA DICE and published by Electronic Arts. "Battlefield 1" is the fifteenth installment in the "Battlefield" series, and the first main entry in the series since "Battlefield 4". It was released worldwide for Microsoft Windows, PlayStation 4, and Xbox One on October 21, 2016.

Battlefield 1 je videohra žánru FPS, jejíž děj se odehrává během první světové války. Novinkou zde jsou staré dobové tanky, letadla, zbraně, zákopy apod. Battlefield 1 je celkově čtrnáctým dílem série Battlefield. Kolem zasazení hry ovšem vznikla velká diskuze – ačkoliv se hra snaží zachovávat autentičnost první světové války, hraní by mělo být především zábavné. Sami autoři říkají, že využívají tzv. básnickou licenci.


History.

João Pessoa was founded on August 5, 1585, by the Portuguese settlers. Called "Royal City of Our Lady of the Snows", in honor of the saint of the day he was founded, its first editions were on the banks of the Sanhauá River, a tributary of the Paraíba River, now known as Porto do Varadouro, in the neighborhood of the same name.  In 1588, the city was renamed "Philipeia of Our Lady of the Snows", in honor of King Philip II, who, at the time, accumulated the thrones of Spain and Portugal.  In 1634, The Dutch, attracted the sugar wealth of the then capital of the Paraíba, invaded and named it Fredrikstad (Frederick City), in honor of the prince of Orange, Frederick of Orange.  After the decline of New Holland and with the departure of the Dutch, the city was again dominated by the Portuguese and acquired the name "Parahyba do Norte" in 1654.  João Pessoa is the third oldest city in Brazil.

Geography.

Environment.

João Pessoa has a beachfront.  João Pessoa has many green areas distributed among its avenues, parks, and residential neighborhoods, which support its claim as "the second greenest city in the world" with more than of forested land, second only to Paris. but that's a common misbelief originated from a publicity stunt carried out during Earth Summit by the city's mayor.

Climate.

João Pessoa has a tropical monsoon climate (Köppen "Am") with very warm temperatures all year long and strong rainfall in most of the months; however, October to December have a rather low rainfall.

Demographics.

According to the IBGE of 2009, there were 801,718 people residing in the city. The racial makeup of the city was 45.72% White, 38.72% Pardo (two or more races), 2.77% Black, and 0.25% Asian or Amerindian.

Religion.

"Source: IBGE 2000. "

Transportation.

International airport.

Joao Pessoa is served by Presidente Castro Pinto International Airport.

Rail system.

The João Pessoa Urban Trains System is operated by diesel components in only one railway line with a 30 km extension spanning 4 municipalities, João Pessoa, Cabedelo, Bayeux and Santa Rita, constituted by the Cabedelo / stretch, with 10 stations in operation, carrying around 10.1 thousand passengers per day. Composed of three locomotives and 17 passenger cars, forming two compositions that carry out 28 daily trips.

Economy.

The GDP for the city was R$ 14,841,805 (2010).  The per capita income for the city was R$ 19,284 (2010).

Museums.

Source:

Sports.

Soccer.

João Pessoa provides visitors and residents with various sport activities.

Kayaking.

Very Realized on Bessa beach, To reach the 4 km of coral in the blue sea of the "Caribessa", tourists and practitioners can admire the beauties around it.

Windsurfing.

The practice of windsurfing is common on the beaches of the city of João Pessoa.

Sailing.

Realized in the Natural Pools of Seixas beach, on the most extreme eastern beach of the americas, where the sun rises first, the tourist contemplates the harmony between the blue of the sky and the green of the sea in the capital of Paraíba, and reveals fascinating scenarios.

Surfing.

Cradle of great surfers with national prominence, the Paraíba has winning athletes in the most important disputes of the sport.

Diving.

The coastline of João Pessoa, home to three of the most visited shipwrecks in the Northeast, are mainly sought after by nautical tourism enthusiasts and divers adventurers: "Queimado", "Alice" and "Alvarenga" are considered of rare beauty and still maintain intact areas taken by algae and living beings from the bottom of the sea.  Today it is 3.5 miles from the tip of Bessa beach and is 12 meters deep. The bow is its most entire part, 7.5 meters from the surface.

João Pessoa () is a port city in northeastern Brazil, and is the capital of the state of Paraíba. It is located on the right bank of the Paraiba do Norte river.

João Pessoa je brazilské velkoměsto, hlavní město spolkového státu Paraíba. Do roku 1930 se jmenovalo Paraíba, poté bylo pojmenováno po zavražděném brazilském politikovi João Pessoaovi Cavalcântiovi de Albuquerque. Město má asi 770 000 obyvatel. Leží u pobřeží Atlantiku a je to nejvýchodnější město amerického kontinentu, takže se mu přezdívá „město, kde vychází slunce“. Sídlí zde římskokatolická arcidiecéze Paraíba.


History.

The painting was probably inspired by a painting on the same theme by Italian Baroque painter Annibale Carracci.  This painting appeared in an auction in Versailles in 1986 with 80,000 francs as initial price. It was bought by Richard and Robert Pardo for 1,600,000 francs. Exhibited in the gallery, it was later recognized as an authentic work of the artist. Then there was a lengthy trial whose outcome was unfavorable to Pardo : the final decision was to re-give the painting to the seller. The owner then wanted to sell this work for more than 15 million euros. The Musée des Beaux-Arts de Lyon then began to collect the money to acquire it.  In July 2007, the Louvre and the Musée des Beaux-Arts de Lyon were finally able to raise the funds necessary to purchase the painting. It would one of the most expensive work ever collected by the patronage, with a cost of 17 million euros (1 million provided by the Mayor of Lyon, 250,000 by the Rhône-Alpes region, 1 million by the Musée du Louvre with its own funds, and over 18 patrons such as Gaz de France which gave 3 million euros, Total SA, AXA, businesses and banks of Lyon and a private donor). The work was acquired for the Louvre and was transferred in February 2008 at the Musée des Beaux-Arts de Lyon, the hometown of Jacques Sérisier, who was the first collector of the painting and who was probably its sponsor.

The Flight into Egypt is a painting by Nicolas Poussin painted in 1657 or 1658. It was originally kept in the Musée du Louvre, then was transferred to the Musée des Beaux-Arts de Lyon.

Útěk do Egypta je obraz z roku 1657 od Nicolase Poussina, jehož námětem je stejnojmenná biblická událost. Poussinova tvorba vycházela ze studia antiky a také studia tvorby mistrů vrcholné renesance. Jeho mytologické a alegorické kompozice vycházely ze zákonů, které si z těchto děl odvodil, během jejich studia. Dílo Nicolase Poussina velmi poznamenalo francouzské i italské malířství. V Itálii překonal carracciovský idealismus, ve Francii pak přežívající manýrismus fontaienebleauské školy. Na Poussina se odvolávali se na něj nejen klasicisté 18. a 19. století, ale i moderní umělci usilující o obrazovou formu vystavěnou na přesných zákonech. Kompozice jeho obrazů je vždy podřízena přísnému principu, vycházejícímu z antického umění a zásad italské renesance. Poussin na svých obrazech usiluje o do detailu propracované provedení krajiny.