text:
Talk:Without You (Badfinger song)

Inspiration
What was the occasion that inspired the lyrics, the article is a bit confusing right now. Pete/Pcb21 (talk) 09:46, 16 Mar 2004 (UTC)
 * Yes, I'm curious to know this too. --Johnleemk 15:41, 15 Apr 2004 (UTC)
 * I'm afraid I've come along LONG after your query, but I added reference to Matovina's Badfinger biography regarding lyric origination. In a nutshell, Pete Ham wrote the verse after leaving his girlfriend for a studio session. She told him it was OK, but "in her eyes her sorrow showed." -- ZincOrbie 23:20, 8 February 2006 (UTC)

Mariah focus
I'm a bit confused: Why does Mariah Carey and no one else deserve an image-let alone the bulk of this article, when her release is not quite as important as Nilsson's, nor did she write the song? It doesn't seem balanced.J. M. 06:14, 25 May 2006 (UTC)
 * I agree, but at least the Carey version no longer has its own article. Also, I've removed the single infobox for Carey's version as the article isn't big enough for more than one infobox and it introduces POV issues. Extraordinary Machine 21:43, 31 July 2006 (UTC)

Without You still her only solo UK no.1
The article claims it is her only UK no.1 as of 2006, this may create the impression she had another solo no.1 in 2006 so Ive eddited it to 'still remains' her only uk no.1 solo single

Unbalanced and uninformative article
This is article is so unbalanced as to be worthless. Filled with pointless trivia but no mention of the most important part which is the trial and tribulations of its writers in relation to this song. —Preceding unsigned comment added by Hzh (talk • contribs) 10:33, 5 September 2008 (UTC) Hzh (talk) 10:38, 5 September 2008 (UTC)
 * I have twice added the information that the two songwriters committed suicide and both times it was removed. Personally I find that to be more relevant to this song than the minutia introduced regarding the Mariah Carey recording which seems impervious to editing. The song lyrics suggest a possible suicide, and both composers did in fact commit suicide. What could be more relevant? ZincOrbie (talk) 19:57, 29 May 2009 (UTC)
 * It's an interesting tidbit. But it doesn't belong in the lead. Might be worth mentioning in the body of the article. The lead is bad enough already. --jpgordon∇∆∇∆ 22:26, 29 May 2009 (UTC)
 * The way the article is structured it is a bit difficult to find placement elsewhere. The only solution I can see would be to trim the lead and then add a Nut graph that focused on the Badfinger recording, adding the information there.ZincOrbie (talk) 13:57, 2 June 2009 (UTC)
 * Oh, nice structural change. Now: "languished as an obscure album track" -- languished? Really? Most songwriters would be happy to wait only a year or so for someone to make a huge #1 hit out of their song. Wonder how this could be phrased better? Or does it need that sentence at all? --jpgordon∇∆∇∆ 14:18, 2 June 2009 (UTC)
 * Thanks. Yes, "languished" indicates the song sat around for a long time, and it didn't. I'll tinker it.ZincOrbie (talk) 13:41, 3 June 2009 (UTC)

"Living is Without You" No Such Song
Nilsson's version of "Living is Without You" was also used as the opening tune to 1979's Porridge. Is there a song called "Living is Without You", and if so, why is it being discussed in "Without You"? Is this an alternate title that was actually used in 1979's Porridge?

According to IMDB, Harry Nilsson's version of "Without You" is part of the soundtrack along with "Hit Me With Your Rhythm Stick" and "Free Inside". The reason this bothers me is that by quoting the wrong title, a link to a page warning that Wikipedia has no page for this song is created. This makes it look very official.

Correction: "Living Without You" is a song by Randy Newman that Harry Nilsson covered on his Nilsson sings Newman album. It is even possible that IMDB is confusing the two songs, since it lists "Without You" as uncredited on the soundtrack. Still, that is not the same as "Living IS Without You", and in any case this does not belong in an article about "Without You" unless it is the song "Without You" on the soundtrack. —Preceding unsigned comment added by 75.73.93.176 (talk) 20:38, 18 December 2008 (UTC)

Stephen —Preceding unsigned comment added by 75.73.93.176 (talk) 20:26, 18 December 2008 (UTC)

Ken Lee (Song)
The article Ken Lee (Song) was redirected this morning to this article. With the level of detail that article goes into, including transcription of the garbled lyrics, is there any thought to merging, rather than merely redirecting, that article? Jmac1962 (talk) 17:16, 10 February 2009 (UTC)
 * I salvaged what I thought was relevant but if you want to bring more content in feel free! --kingboyk (talk) 16:31, 19 June 2009 (UTC)

Nilsson mistook Badfinger for Beatles
Harry Nilsson, at the time best known for his hit "Everybody's Talkin'" and for composing such hits as Three Dog Night's "One", heard Badfinger's recording of "Without You" at a party, and mistook it for a Beatles song.[2]

In the main article, there should be a comment on the influence and involvement of the Beatles regarding Badfinger's music after the above sentence, but I don't know the exact facts.

This needs some research: Wasn't Badfinger heavily influenced by the Beatles, and even helped by Paul McCartney on some songs? Weren't they recording on Apple Records? If these are true, it is no wonder that Harry Nilsson would think "Without You" was a Beatles song...

No references; only an aging memory. Perhaps the album liner notes from the CD: "Come and Get It: The Best of Badfinger" has this information. —Preceding unsigned comment added by 12.65.216.89 (talk) 06:19, 24 May 2009 (UTC)
 * Nilsson mistook Badfinger for The Beatles because there is a similarity in sound, and yes they were both on the Apple label. McCartney wrote one song that was given to Badfinger to record, and that was "Come And Get It." Aside from that, he produced a couple of album tracks for them. George Harrison also produced some album tracks for the band. Anyway, I'm not sure how any of this relates to the actual composition. "Without You" ws not inspired or produced by any of The Beatles. ZincOrbie (talk) 19:52, 29 May 2009 (UTC)

Other Major Recordings of Quality
Sad that probably the best version of this song ever recorded, other than the Nilsson one, was recorded by Heart on their interesting (both in content and reason-for-recording) album MAGAZINE. Richopp (talk) 13:14, 8 July 2011 (UTC)

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No credit to Rachmaninoff - Piano Concerto #2 in C Minor, Op. 18?
It is amazing to me that this article is more about people who wrote and recorded the song than about the song. The notes. Someone with more knowledge than I have, and more ability, and more time than I can devote to it needs to map the passages in this song's melodies to the passages in Rachmaninoff's 2nd Piano Concerto from which they originated. Of course I wouldn't swear that Rachmaninoff is the original creator of those either. It's not rare for a composer to rearrange and elaborate something from a previous source.74.64.104.99 (talk) 20:11, 11 May 2019 (UTC)Christopher L. Simpson
 * I haven't noticed any similarities. I'm guessing that you are confusing this song with Eric Carmen's "All by Myself". Deb (talk) 08:04, 30 October 2019 (UTC)

Air Supply
Air Supply had a hit with this song in 1989. Why is there no mention of that anywhere in the article? - Lisa (talk - contribs) 13:15, 28 December 2021 (UTC)

Nilsson's version was certified in the UK TWICE
In 1959 DISC (magazine) set up a Music Recording Certification system where any record that sold 250,000 copies in the UK was awarded a Silver Record. In March 1972 Nilsson's Without You received a Silver Disc. . (Page 2) In 1973 the BPI started certifying records for UK sales, using the exact same methods as DISC. BPI also had Gold and Platinum certification levels, which DISC never had. By 1974 the BPI the sole body awarding Precious Metal Record Awards for UK sales. However the DISC Record Awards were every bit as valid.

In the 2000s many old songs were re-released as Digital Releases. The BPI certifies these at new levels of 200000, 400000, and 600000, The Digital Re-Release of Without You(released 2004) was awarded a Silver Record in 2020. . However this is entirely separate to the Silver Record for the original Physical Vinyl Release.

This article needs to reflect that. 2 British Certifications, one for 250,000 vinyl discs, and one for 200,000 legal paid-for-downloads. 197.87.135.139 (talk) 20:13, 16 June 2024 (UTC)

And now article is awkward
Whoever split off the Mariah Carey recording to its own article screwed up this article. Was there even a discussion? 197.87.135.139 (talk) 15:20, 17 June 2024 (UTC)

 * How did the split screw up the article? George Ho (talk) 19:21, 17 June 2024 (UTC)

 * It appears as though the Mariah Carey version is the "definitive" version, and the only one deserving its own stand-alone article. It also is now incomplete. — Preceding unsigned comment added by 197.87.135.139 (talk) 19:32, 17 June 2024 (UTC)
 * Well, the Carey version is more well known than Nilsson one at this time, and the main article about the whole song has gotten larger. Splitting it up would make more sense, yet you feel that the section about the Carey version should be either more concise than now, as complete as it was before the split, or... Oh well, I hope I know what you were saying, despite making brief reply that's supposed to be concise.
 * Meanwhile, I've proposed a split of the Whitney Houston version of I Will Always Love You, and I cited the Carey recording article as a reason to propose it. George Ho (talk) 20:14, 17 June 2024 (UTC)

 * I would disagree that the Carey version is "more weak known". It was the Nilsson version in Rules of Attraction, the Nilsson version in Vacation etc. But, perhaps more significantly, the original Badfinger recording was a Rock tune. It was the Nilsson version that radically re-imagined the song. And every one of the hundreds of subsequent versions(including Carey's) uses the Nilsson version as the blueprint. Who was it who said "When I heard Mariah Carey's version, I thought 'Why bother?'"?. When Nilsson died, headlines were "Without You singer dies". When Carey passes away, will any headlines be similar?
 * In a sense there are 2 versions. 1. The original Badfinger version(plus things like "If It's Love"). 2. The Nilsson version, which every other version is a second- or third-rate copy of. — Preceding unsigned comment added by 197.87.135.139 (talk) 12:37, 18 June 2024 (UTC)
 * Being played in pop culture and mentioned in headlines (unreliable per WP:HEADLINE) don't guarantee a long-lasting standalone article. In this case, section about Nilsson's version isn't large enough to split up or spin off the content, but section Carey's version got larger. One critic may prefer Nilsson's version more than Carey's, but amount of (significant) coverage seen in an article may have been factored more for justification of splitting. --George Ho (talk) 13:24, 18 June 2024 (UTC)
 * Speaking of headlines, Billboard refers the song as "Mariah Carey cover" and expects readers to be told brief story about the song in the body. George Ho (talk) 13:33, 18 June 2024 (UTC)
 * Uh, did you read that? — Preceding unsigned comment added by 197.87.135.139 (talk) 19:49, 18 June 2024 (UTC)
 * It The Billboard article briefly and chronologically mentions three notorious versions, including the Carey one, but the description of those versions are still brief. --George Ho (talk) 20:00, 18 June 2024 (UTC); clarified, 20:05, 18 June 2024 (UTC)

 * And a quote..

 * "For his semifinal appearance on America’s Got Talent, the 10-year-old singer performed “Without You,” the epic ballad written by members of Badfinger, made famous in the ‘70s by the late Harry Nilsson, and covered by Mariah Carey in the ‘90s." — Preceding unsigned comment added by 197.87.135.139 (talk) 07:49, 20 June 2024 (UTC)
 * As I said, Billboard's description of the song's chronological history is brief and wouldn't prevent splitting up the Mariah Carey version. Even the ten-year-old's rendition wouldn't prevent such split. Do you have reliable sources that would improve the section about Harry Nilsson's version? George Ho (talk) 08:04, 20 June 2024 (UTC)

title: Talk:Without You (Badfinger song)


text: User talk:195.212.29.163

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:195.212.29.163


text:
Hikikomori

Hikikomori (ひきこもり or 引きこもり), also known as severe social withdrawal,     is total withdrawal from society and seeking  extreme degrees of social isolation and confinement. Hikikomori refers to both the phenomenon in general and the recluses themselves, described as loners or "modern-day hermits". The phenomenon is primarily recognized in Japan, although similar concepts exist in other languages and cultures, especially South Korea. Estimates suggest that in Japan, half a million youths have become social recluses, as well as more than half a million middle-aged individuals. In South Korea, the estimates vary from around 350,000-500,000.

Definition
The Japanese Ministry of Health, Labour, and Welfare defines hikikomori as a condition in which the affected individuals refuse to leave their parents' house, do not work or go to school, and isolate themselves from society and family in a single room for a period exceeding six months. The psychiatrist Tamaki Saitō defines hikikomori as "a state that has become a problem by the late twenties, that involves cooping oneself up in one's own home and not participating in society for six months or longer, but that does not seem to have another psychological problem as its principal source".

More recently, researchers have developed more specific criteria to more accurately identify hikikomori. During a diagnostic interview, trained clinicians evaluate for:
 * 1) spending most of the day and nearly every day confined to home,
 * 2) marked and persistent avoidance of social situations, and social relationships,
 * 3) social withdrawal symptoms causing significant functional impairment,
 * 4) duration of exceeding six months,
 * 5) no apparent physical or mental etiology to account for the social withdrawal symptoms.

The psychiatrist Alan Teo first characterized hikikomori in Japan as modern-day hermits, while the literary and communication scholar Flavio Rizzo similarly described hikikomori as "post-modern hermits" whose solitude stems from ancestral desires for withdrawal.

While the degree of the phenomenon varies on an individual basis, in the most extreme cases, some people remain in isolation for years or even decades. Often hikikomori start out as school refusers, or futōkō (不登校) in Japanese (an older term is tōkōkyohi (登校拒否)).

Hikikomori has been defined by a Japanese expert group as having the following characteristics:
 * 1) Spending most of the time at home
 * 2) No interest in going to school or working
 * 3) Persistence of withdrawal for more than 6 months
 * 4) Exclusion of schizophrenia, intellectual disability, and bipolar disorder
 * 5) Exclusion of those who maintain personal relationships (e.g., friendships)

Common traits
While many people feel the pressures of the outside world, hikikomori react by complete social withdrawal. In some more severe cases, they isolate themselves in their bedrooms for months or years at a time. They usually have few or no friends. In interviews with current or recovering hikikomori, media reports and documentaries have captured the strong levels of psychological distress and fear felt by these individuals.

While hikikomori favor indoor activities, some venture outdoors occasionally. The withdrawal from society usually starts gradually. Affected people may appear unhappy, lose their friends, become insecure and shy, and talk less.

Prevalence
According to Japanese government figures released in 2010, there were at that time 700,000 individuals living as hikikomori within Japan, with an average age of 31. (Population of Japan in 2014 was 127.3 million.) Still, the numbers vary widely among experts. These included the hikikomori who were at that time in their 40s and had spent 20 years in isolation. This group is generally referred to as the "first-generation hikikomori". There is concern about their reintegration into society in what is known as "the 2030 Problem", when they will be in their 60s and their parents begin to die. Additionally, the government estimates that 1.55 million people are on the verge of becoming hikikomori. Tamaki Saitō, who first coined the phrase, originally estimated that there may be over one million hikikomori in Japan, although this was not based on national survey data. Nonetheless, considering that hikikomori adolescents are hidden away and their parents are often reluctant to talk about the problem, it is extremely difficult to gauge the number accurately.

A 2015 Cabinet Office survey estimated that 541,000 recluses aged 15 to 39 existed. In 2019, another survey showed that there are roughly 613,000 people aged 40 to 64 that fall into the category of "adult hikikomori", which Japan's welfare minister Takumi Nemoto referred to as a "new social issue".

While the terminology hikikomori is of Japanese origin, the phenomenon is not unique to Japan. There have been cases found in the United States, the United Kingdom, Oman, Spain, Germany, Italy, India, Sweden, China, Hong Kong, Taiwan, Singapore, South Korea, France and Russia.

Developmental and psychiatric conditions
Hikikomori is similar to the social withdrawal exhibited by some people with autism spectrum disorder. This has led some psychiatrists to suggest that hikikomori may be affected by autism spectrum disorder and other disorders that affect social integration, but that their disorders are altered from their typical Western presentation because of Japanese sociocultural pressures. Suwa and Hara (2007) discovered that 5 of 27 cases of hikikomori had a high-functioning pervasive developmental disorder (HPDD), and 12 more had other disorders or mental diseases (6 cases of personality disorders, 3 cases of obsessive-compulsive disorder, 2 cases of depression, 1 case of slight intellectual impairment); 10 out of 27 had primary hikikomori. The researchers used a vignette to illustrate the difference between primary hikikomori (without any obvious mental disorder) and hikikomori with HPDD or other disorder. Alan Teo and colleagues conducted detailed diagnostic evaluations of 22 individuals with hikikomori and found that while the majority of cases fulfilled criteria for multiple psychiatric conditions, about 1 in 5 cases were primary hikikomori. To date, however, hikikomori is not included in the DSM-5 (The Diagnostic and Statistical Manual of Mental Disorders), due to insufficient data.

According to Michael Zielenziger's book Shutting Out the Sun: How Japan Created Its Own Lost Generation, the syndrome is more closely related to posttraumatic stress disorder. The author claimed that the hikikomori interviewed for the book had discovered independent thinking and a sense of self that the current Japanese environment could not accommodate.

The syndrome also closely parallels the terms avoidant personality disorder, schizoid personality disorder, schizotypal personality disorder, agoraphobia or social anxiety disorder (also known as "social phobia").

Social and cultural influence
Sometimes referred to as a social problem in Japanese discourse, hikikomori has a number of possible contributing factors. Alan Teo has summarized a number of potential cultural features that may contribute to its predominance in Japan. These include tendencies toward conformity and collectivism, overprotective parenting, and particularities of the educational, housing and economic systems.

Severe social withdrawal in Japan appears to affect men and women equally. However, because of differing social expectations for maturing boys and girls, the most widely reported cases of hikikomori are from middle- and upper-middle-class families; sons, typically their eldest, refuse to leave the home, often after experiencing one or more traumatic episodes of social or academic failure.

In The Anatomy of Dependence, Takeo Doi identifies the symptoms of hikikomori, and explains its prevalence as originating in the Japanese psychological construct of amae (in Freudian terms, "passive object love", typically of the kind between mother and infant). Other Japanese commentators such as academic Shinji Miyadai and novelist Ryū Murakami, have also offered analysis of the hikikomori phenomenon, and find distinct causal relationships with the modern Japanese social conditions of anomie, amae and atrophying paternal influence in nuclear family child pedagogy. Young adults may feel overwhelmed by modern Japanese society, or be unable to fulfill their expected social roles as they have not yet formulated a sense of personal honne and tatemae – one's "true self" and one's "public façade" – necessary to cope with the paradoxes of adulthood.

The dominant nexus of hikikomori centres on the transformation from youth to the responsibilities and expectations of adult life. Indications are that advanced industrialized societies such as modern Japan fail to provide sufficient meaningful transformation rituals for promoting certain susceptible types of youth into mature roles. As do many societies, Japan exerts a great deal of pressure on adolescents to be successful and perpetuate the existing social status quo. A traditionally strong emphasis on complex social conduct, rigid hierarchies and the resulting, potentially intimidating multitude of social expectations, responsibilities and duties in Japanese society contribute to this pressure on young adults. Historically, Confucian teachings de-emphasizing the individual and favouring a conformist stance to ensure social harmony in a rigidly hierarchical society have shaped much of East Asia, possibly explaining the emergence of the hikikomori phenomenon in other East Asian countries.

In general, the prevalence of hikikomori tendencies in Japan may be encouraged and facilitated by three primary factors:

 * 1) Middle class affluence in a post-industrial society such as Japan allows parents to support and feed an adult child in the home indefinitely. Lower-income families do not have hikikomori children because a socially withdrawing youth is forced to work outside the home.
 * 2) The inability of Japanese parents to recognize and act upon the youth's slide into isolation; soft parenting; or codependency between mother and son, known as amae in Japanese.
 * 3) A decade of flat economic indicators and a shaky job market in Japan makes the pre-existing system requiring years of competitive schooling for elite jobs appear like a pointless effort to many.

Role of modern technology
Although the connection between modern communication technologies (such as the Internet, social media and video games) and the phenomenon is not conclusively established, those technologies are considered at least an exacerbating factor that can deepen and nurture withdrawal. Previous studies of hikikomori in South Korea and Spain found that some of them showed signs of Internet addiction, though researchers do not consider this to be the main issue. However, according to associate professor of psychiatry at Kyushu University in Fukuoka, Takahiro Kato, video games and social media have reduced the amount of time that people spent outside and in social environments that require direct face to face interaction. The emergence of mobile phones and then smartphones may also have deepened the issue, given that people can continue their addiction to gaming and online surfing anywhere, even in bed.

Japanese education system
The Japanese education system puts great demands upon youth. There is high competition to pass entrance exams into the next tier of education in what could be termed a rigid pass-or-fail ideology, which could induce a high level of stress. Echoing the traditional Confucian values of society, the educational system is viewed as playing an important part in society's overall productivity and success.

In this social frame, students often face significant pressure from parents and society in general to conform to its dictates and doctrines. These doctrines, while part of modern Japanese society, are increasingly being rejected by Japanese youth in varying ways such as hikikomori, freeter, NEET (Not currently engaged in Employment, Education, or Training), and parasite singles. The term "Hodo-Hodo zoku" (the "So-So tribe") applies to younger workers who refuse promotion to minimize stress and maximize free time.

Beginning in the 1960s, the pressure on Japanese youth to succeed began successively earlier in their lives, sometimes starting before pre-school, where even toddlers had to compete through an entrance exam for the privilege of attending one of the best pre-schools. This was said to prepare children for the entrance exam of the best kindergarten, which in turn prepared the child for the entrance exam of the best elementary school, junior high school, high school, and eventually for their university entrance exam. Many adolescents take one year off after high school to study exclusively for the university entrance exam, and are known as ronin. More prestigious universities have more difficult exams. The most prestigious university with the most difficult exam is the University of Tokyo.

Since 1996, the Japanese Ministry of Education has taken steps to address this 'pressure-cooker' educational environment and instill greater creative thought in Japanese youth by significantly relaxing the school schedule from six-day weeks to five-day weeks and dropping two subjects from the daily schedule, with new academic curricula more comparable to Western educational models. However, Japanese parents are sending their children to private cram schools, known as juku, to 'make up' for lost time.

After graduating from high school or university, Japanese youth also have to face a very difficult job market in Japan, often finding only part-time employment and ending up as freeters with little income, unable to start a family.

Another source of pressure is from their co-students, who may harass and bully (ijime) some students for a variety of reasons, including physical appearance, wealth, or educational or athletic performance. Refusal to participate in society makes hikikomori an extreme subset of a much larger group of younger Japanese that includes freeters.

Japanese financial burden
Some organizations, such as the non-profit Japanese organization NPO lila, have been trying to combat the financial burden the hikikomori phenomenon has had on Japan's economy. The Japanese CD and DVD producer Avex Group produces DVDs of live-action women staring into a camera to help hikikomori learn to cope with eye contact and long spans of human interaction. The goal is to ultimately help hikikomori reintegrate into society by personal choice, thereby realizing an economic contribution and reducing the financial burden on parents or guardians.

"80–50 problem"
The "80–50 problem" refers to hikikomori children from earlier days now entering their 50s, as their parents on whom they rely, enter their 80s. It was first described in Japanese publications and media in the late 2010s.

In 2019, Japanese psychiatrist Tamaki Saitō held a press briefing at the Foreign Press Center Japan on the subject of hikikomori. In view of their rising age, he recommended practical advice to parents with older hikikomori, such as drawing up a lifetime financial plan for them, so they will be able to get by after the parents are gone. He also recommended that parents should not fear embarrassment or be concerned about appearances as they look at the options, including disability pensions or other forms of public assistance for their children. Tamaki emphasized the urgency and necessity for families in these situations to plan ahead; the Japanese government failed to see the urgency of the problem and demonstrated no motion toward developing substantive policies or systems like special safety nets related to the ageing group of hikikomori.

Treatment programs
When it comes to psychosocial support, it is hard for therapists to attain direct access to hikikomori; research to find different and effective treatment plans to aid hikikomori has been ongoing. One such treatment plan is focused on the families of hikikomori. Such focus primarily includes educational intervention programs (e.g. lectures, role-play, etc.) that are geared towards reducing any averse stigma that family members have towards psychiatric disorders like hikikomori. These educational programs are derived from other established family support programs, specifically Mental Health First Aid (MHFA) and Community Reinforcement and Family Training (CRAFT). CRAFT specifically trains family members to express positive and functional communication, whereas MHFA provides skills to support hikikomori with depression/suicidal like behaviour. Studies so far that have modified the family unit's behavioral response to a hikikomori has yielded positive results, indicating that family behavior is essential for recovery, however further research is still needed.

Although there has been a primary emphasis on educating family members, there are also therapy programs for the hikikomori themselves to participate in, like exercise therapy. The individual psychotherapy methods that are being stressed in current research are primarily directed towards cultivating self-confidence within the hikikomori. However, studies have delineated that efficacious treatment of hikikomori requires a multifaceted approach rather than the utilization of one individual approach, such as individual psychotherapy or family therapy.

COVID-19 pandemic impact
Based on prior outbreaks (e.g. SARS, MERS), studies have shown that due to increased loneliness, quarantined individuals have heightened stress-related mental disturbances. Considering that political, social, and/or economical challenges already bring people to express hikikomori-like behavior, researchers theorize that since all the aforementioned factors are by-products of a pandemic, a hikikomori phenomenon may become more common in a post-pandemic world. In fact, people who do experience mental disturbances in Japan generally view seeking the help of a psychiatrist as shameful or a reason for them to be socially shunned. Experts predict an increase in focus on issues such as the mental health problems now affecting youth, and specifically through effective telemedicine services to either the affected individual and/or their respective family unit.

Furthermore, with hikikomori becoming more prevalent amid a pandemic, experts theorize that it will bring out more empathy and constructive attention towards the issue.

title: Hikikomori


text:
Post-transplant lymphoproliferative disorder

Post-transplant lymphoproliferative disorder (PTLD) is the name given to a B cell proliferation due to therapeutic immunosuppression after organ transplantation. These patients may develop infectious mononucleosis-like lesions or polyclonal polymorphic B-cell hyperplasia. Some of these B cells may undergo mutations which will render them malignant, giving rise to a lymphoma.

In some patients, the malignant cell clone can become the dominant proliferating cell type, leading to frank lymphoma, a group of B cell lymphomas occurring in immunosuppressed patients following organ transplant.

Signs and symptoms
Symptoms of PTLD are highly variable and nonspecific, and may include fever, weight loss, night sweats, and fatigue. Symptoms may be similar to those seen in infectious mononucleosis (caused by EBV). Pain or discomfort may result from lymphadenopathy or mass effect from growing tumors. Dysfunction may occur in organs affected by PTLD. Lung or heart involvement may result in shortness of breath.

Laboratory findings may show abnormally low white blood cell, red cell counts, and platelet counts. In addition, serum uric acid and lactate dehydrogenase levels may be elevated, while serum calcium levels may be decreased. All of these findings together can suggest tumor lysis syndrome.

Causes
The disease is an uncontrolled proliferation of B cell lymphocytes latently infected with Epstein–Barr virus (EBV). Production of an interleukin-10, an endogenous, pro-regulatory cytokine, has also been implicated.

In immunocompetent patients, Epstein-Barr virus can cause infectious mononucleosis in adolescents, which is otherwise asymptomatic in children during their childhood. However, in immunosuppressed transplant patients, the lack of T-cell immunosurveillance can lead to the proliferation of these EBV-infected B-lymphocytes.

However, calcineurin inhibitors (tacrolimus and ciclosporin), used as immunosuppressants in organ transplantation inhibit T cell function, and can prevent the control of the B cell proliferation.

Depletion of T cells by use of anti-T cell antibodies in the prevention or treatment of transplant rejection further increases the risk of developing post-transplant lymphoproliferative disorder. Such antibodies include ATG, ALG and OKT3 (muromonab-CD3).

Polyclonal PTLD may form tumor masses and present with symptoms due to a mass effect, e.g. symptoms of bowel obstruction. Monoclonal forms of PTLD tend to form a disseminated malignant lymphoma.

Diagnosis
Definitive diagnosis is achieved by biopsying the involved tissue, which will reveal lymphoproliferative neoplasia. Most lesions will show malignant B cells, whereas a minority will show T cell neoplasia. CT imaging may show enlarged lymph nodes or a focal mass. PET scan may be helpful in the evaluation, which may show an increase in metabolic activity (PET avid) lesion, potentially guiding decisions on where to direct biopsies.

Neurologic symptoms, such as confusion or focal weakness, which may suggest involvement of the nervous system. This may be evaluated with an MRI of the brain with gadolinium based contrast and lumbar spinal tap with testing of the cerebral spinal fluid for EBV viral levels.

The presence of respiratory symptoms, such as cough or shortness of breath, in the setting of immunosuppression may suggest infection. Opportunistic infections may present in a similar fashion to PTLD. Evaluation with sputum culture for bacteria, Pneumocystis carinii, and acid fast bacilli, and fungal infections are often helpful.

Treatment
PTLD may spontaneously regress on reduction or cessation of immunosuppressant medication, and can also be treated with addition of anti-viral therapy. In some cases it will progress to non-Hodgkin's lymphoma and may be fatal. A phase 2 study of adoptively transferred EBV-specific T cells demonstrated high efficacy with minimal toxicity.

Epidemiology
PTLD is the second most common malignancy that occurs as a complication following solid organ transplantation (skin cancer is the most common). Less commonly, PTLD occurs after hematopoietic stem cell transplantation. The incidence varies by the type of transplantation: the lowest rates are seen with bone marrow transplants and liver transplants. The highest rates of PTLD are seen with lung and heart transplants, which is primarily due to the need for higher levels of immunosuppression. The incidence of PTLD is highest in the first year after transplantation; roughly 80 percent of cases after transplant occur in the first year. Transplantation of unmatched or mismatched HLA bone marrow also increase the risk of PTLD.

The main risk factors for PTLD are the degree of immune suppression and the presence of Epstein-Barr virus. Specifically, higher levels of T cell immunosuppression increase the risk PTLD. Individuals who have never been infected by the Epstein-Barr virus (EBV negative) who receive an organ from a donor with prior EBV infection are 24 times more likely to develop PTLD. Similarly, CMV mismatching (with a CMV negative recipient from a CMV positive donor) increases the risk of PTLD.


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Lahore Fort

The Lahore Fort is a citadel in the city of Lahore in Punjab, Pakistan. The fortress is located at the northern end of the Walled City of Lahore and spreads over an area greater than 20 ha. It contains 21 notable monuments, some of which date to the era of Emperor Akbar. The Lahore Fort is notable for having been almost entirely rebuilt in the 17th century, when the Mughal Empire was at the height of its splendor and opulence.

Though the site of the Lahore Fort has been inhabited for millennia, the first record of a fortified structure at the site was regarding an 11th-century mudbrick fort. The foundations of the modern Lahore Fort date to 1566 during the reign of Emperor Akbar, who bestowed the fort with a syncretic architectural style that featured both Islamic and Hindu motifs. Additions from the Shah Jahan period are characterized by luxurious marble with inlaid Persian floral designs, while the fort's grand and iconic Alamgiri Gate was constructed by the last of the great Mughal emperors, Aurangzeb, and faces the renowned Badshahi Mosque.

After the fall of the Mughal Empire, Lahore Fort was used as the residence of Emperor Ranjit Singh, founder of the Sikh Empire. The Sikhs made several additions to the fort. It then passed to the control of the East India Company after they annexed Punjab following their victory over the Sikhs at the Battle of Gujrat in February 1849. In 1981, the fort was inscribed as a UNESCO World Heritage Site for its "outstanding repertoire" of Mughal monuments dating from the era when the empire was at its artistic and aesthetic zenith.

Location
The fort is located in the northern part of Lahore's old walled city. The fort's Alamgiri gate is part of an ensemble of buildings, which along with the Badshahi Mosque, Roshnai Gate, and Samadhi of Ranjit Singh, form a quadrangle around the Hazuri Bagh. The Minar-e-Pakistan and Iqbal Park are adjacent to the northern boundary of the fort.

Early history
Though the site is known to have been inhabited for millennia, the origins of Lahore Fort are obscure and traditionally based on various myths.

Delhi Sultanate
The first historical reference to a fort at the site is from the 11th century during the rule of Mahmud of Ghazni. The fort was made of mud and was destroyed in 1241 by the Mongols during their invasion of Lahore. A new fort was constructed in 1267 at the site by Sultan Balban of the Mamluk dynasty of the Delhi Sultanate. The re-built fort was destroyed in 1398 by the invading forces of Timur, only to be rebuilt by Mubarak Shah Sayyid in 1421. In the 1430s, the fort was occupied by Shaikh Ali of Kabul It later remained under the control of the Lodi dynasty until Lahore was captured by the Mughal Emperor Babur in 1526.

Akbar period
The present design and structure of the fort trace its origins to 1575 when the Mughal Emperor Akbar occupied the site as a post to guard the northwest frontier of the empire. The strategic location of Lahore, between the Mughal territories and the strongholds of Kabul, Multan, and Kashmir necessitated the dismantling of the old mud-fort and fortification with solid brick masonry. Lofty palaces were built over time, along with lush gardens. Notable Akbar period structures included the Doulat Khana-e-Khas-o-Am, Jharoka-e-Darshan, and Akbari Gate. Many Akbari structures were modified or replaced by subsequent rulers.

Jahangir period
Emperor Jahangir first mentions his alterations to the fort in 1612 when describing the Maktab Khana. Jahangir also added the Kala Burj pavilion, which features European-inspired angels on its vaulted ceiling. British visitors to the fort noted Christian iconography during the Jahangir period, with paintings of the Madonna and Jesus found in the fort complex. In 1606, Guru Arjan of the Sikh faith was imprisoned at the fort before his death.

Jahangir bestowed the massive Picture Wall, a 1450 ft by 50 ft wall which is exquisitely decorated with a vibrant array of glazed tile, faience mosaics, and frescoes. On the spandrels of the large arched panels below Jahangir's Khwabgah (the Imperial Bedchamber) are azdahas or winged dragons from ancient Persian mythology, cup-bearing angel figures herons, cranes and other flying birds. Many of the scenes displayed on this 'Picture Wall' illustrate the court life of the Mughal sovereigns, their sports and their pastimes. One of the finest panels shows four horsemen playing the noble game of Vaughan, nowadays known as polo. Most prominent are those relating to elephant fights, which were one of the favourite recreations of the Mughal court.

The Mosque of Mariyam Zamani Begum was built adjacent to the forts of the eastern walls during the reign of Jahangir. While the mosque likely served as a Friday congregational mosque for members of the Royal Court, it was not financed by Jahangir, although it likely required his approval. The foundation of this mosque was laid by the Empress Mariam-uz-Zamani in the year 1611 and the construction was completed on the order of her son Jahangir in her honor.

Shah Jahan period
Shah Jahan's first contribution to the fort commenced in the year of his coronation, 1628, and continued until 1645. Shah Jahan first ordered the construction of the Diwan-i-Aam in the style of a Chehel Sotoun - a Persian style 40-pillar public audience hall. Though construction of the Shah Burj commenced under Jahangir, Shah Jahan was displeased with its design and appointed Asif Khan to oversee reconstruction. Shah Jahan's Shah Burj forms a quadrangle with the famous Sheesh Mahal, and Naulakha Pavilion. Both are attributed to Shah Jahan, although the Naulakha Pavilion may be a later addition possibly from the Sikh era. The white marble Moti Masjid, or Pearl Mosque, also dates from the Shah Jahan period.

Aurangzeb period
Emperor Aurangzeb, built the Alamgiri Gate, whose semi-circular towers and domed pavilions are a widely recognised symbol of Lahore that was once featured on Pakistani currency.

Sikh era
The Mughals lost the fort to the Afghan Durranis, who in turn briefly lost the fort to Maratha forces before being recaptured by the Durranis. The fort was then captured by the Bhangi Misl - one of the 12 Sikh Misls of Punjab that ruled Lahore from 1767 until 1799.

Ranjit Singh period
The fort fell to the army of Ranjit Singh, who took Lahore from the Bhangi Misl in 1799. During their occupation of the fort, the Sikhs made many additions to the fort and repurposed portions of it for their own use. The famed Hazuri Bagh garden and its central baradari were constructed during Sikh rule to celebrate the Maharaja's capture of the Koh-i-Noor diamond. Ranjit Singh used the fort's Summer Palace as his own residence, while the Moti masjid was repurposed as a Gurdwara called Moti mandir, and later used as royal treasury. The Sehdari pavilion, or "Three-doored" pavilion, was added to the fort during this period, as was the Ath dara or "Eight-doored" pavilion. The fort's Naag Temple and Loh temple were also constructed during Sikh rule, while the Mai Jindan Haveli was extensively modified. Kharak Singh Haveli was also added. The fort's northern outer wall, parallel to the picture wall, was constructed during this period.

The fort's Diwan-i-Aam was destroyed in 1841 when the son of Ranjit Singh, Sher Singh bombarded the fort in his fight against Chand Kaur. Maharaja Ranjit Singh's elder son and successor, Kharak Singh was born in the fort to his wife, Maharani Datar Kaur. The youngest son of Ranjit Singh, Maharaja Duleep Singh was born at the fort's Mai Jindan Haveli in 1838. Duleep Singh had signed the Treaty of Bhyroval in 1847 that brought the Sikh empire to an effective end. The fort and the city had remained under the control of Ranjit Singh's family until the fall of the Sikh Empire in 1849.

Modern era
The British occupied the fort after their conquest of Lahore, and made several modifications to it, primarily involving conversion of existing buildings for colonial use including hospitals and barracks for the British military. Excavations in 1959 in front of Diwan-i-Am led to the discovery of a gold coin dated 1025 CE belonging to Mahmud Ghaznavi. The coin was unearthed at the depth of 25 ft from the lawn. The cultural layers were continuous to the depth of 15 ft indicating that the fort was inhabited by people even before his conquest. Other pre-Mughal objects unearthed in the excavation included terracotta depicting mother goddess, horses, bulls and other figures of Hindu origin. The fort, along with the Mughal garden at Shalimar was designated as a World Heritage site by UNESCO in 1981.

While relaying the deteriorated floor of Akbari Gate in April 2007, three floors in the fort were unearthed belonging to the British, Sikh and Mughal periods. The floor of the British, Sikh and Mughal periods was constructed with bricks, burnt bricks and pebbles respectively. The latter either built during Jahangir's or Shah Jahan's era was the hallmark of Mughals.

Layout
The fort is divided into two sections: first, the administrative section, which is well connected with main entrances, and includes gardens and Diwan-e-Khas for royal audiences. The second, a private and concealed residential section is divided into courts in the north and accessible through elephant gate. It also contains Sheesh Mahal, spacious bedrooms and small gardens. The exterior walls are decorated with blue Persian Kashi tiles. The original entrance faces the Maryam Zamani Mosque and the larger Alamgiri gate opens towards Hazuri Bagh through the majestic Badshahi mosque. Influence of Hindu architecture is seen in the zoomorphic corbels.

Naulakha Pavilion
The Naulakha Pavilion is an iconic sight of the Lahore Fort built in 1633 during the Shah Jahan period that is made of prominent white marble, and known for its distinctive curvilinear roof. It cost around 900,000 rupees, an exorbitant amount at the time. The structure derives its name from the Urdu word for 900,000, Naulakha.

The Naulakha Pavilion served as a personal chamber and was located to the west of the Sheesh Mahal, in the northern section of the fort. The pavilion served as inspiration for Rudyard Kipling, who named his Vermont home Naulakha in honour of the pavilion.

The structure was originally inlaid with precious and semi-precious stones. It reflects a mixture of contemporary traditions at the time of its construction, with a sloping-roof based on a Bengali style, and a baldachin from Europe, which makes evident the imperial as well as the religious function of the pavilion. The marble shades of the pavilion are capped with merlons to hide the view from the grounds.

Picture Wall
Emperor Jahangir ordered the construction of the massive "Picture Wall", which is considered to be the greatest artistic triumph of the Lahore Fort. Unlike the Red Fort and Agra Fort, Lahore Fort's ramparts were made of brick rather than red stone. The monumental Picture Wall is a large section of the outer wall which is exquisitely decorated with a vibrant array of glazed tile, faience mosaics, and frescoes.

The embellished wall stretches over much of the fort's northern and western walls and measures approximately 1450 ft by 50 ft. The wall contains 116 panels, which depict a myriad of subjects, including elephant fights, angels, and polo games that do not form a cohesive narrative; each can be viewed in isolation. Though begun under Jahangir, the Picture Wall was decorated throughout the 1620s, and may have been completed under the reign of his son, Shah Jahan.

The Picture Wall was badly neglected and suffered from disrepair and damage. Conservation works at the site began in 2015 by the Aga Khan Trust for Culture and Walled City of Lahore Authority, which together have also restored other Lahore landmarks such as the Wazir Khan Mosque and Shahi Hammam. Detailed documentation of the wall using 3D scanner was completed in July 2016, after which conservation work would start.

Sheesh Mahal
The Sheesh Mahal ("The Palace of Mirrors"; ) is located within Jahangir's Shah Burj block in the northern-western corner of the Lahore Fort. It was constructed under the reign of Mughal Emperor Shah Jahan in 1631-32 by Mirza Ghiyas Begh, the grandfather of Mumtaz Mahal, and father of Nur Jahan. The ornate white marble pavilion's walls are decorated with frescoes and are inlaid with pietra dura and complex mirror-work known as Āina-kāri. It is among the best-known monuments of Lahore Fort and forms the jewel in the fort's crown. The distinctive Shah Jahani style is reflected in the extensive use of white marble, and hierarchical accents of the construction.

Sheesh Mahal was reserved for personal use by the imperial family and close aides. During the Sikh Empire, Shah Burj became Ranjit Singh's favourite place, who built a harem on top of the Sheesh Mahal. This was also the place where he would display his prized possession, the Koh-i-Noor.

Summer Palace
Located directly beneath the Sheesh Mahal and Shah Burj quadrangle is the Summer Palace, also known as the Pari Mahal, or "Fairy Palace." The palace is a labyrinth of chambers that date from the Shah Jahan period. They were used as a residence during hot weather months, as they were cooled by effective ventilation systems that channelled cool breezes into the palace. The palace's flooring system also helped cool the space - its floors were made of two layers that were separated by a layer of water pumped in from the Ravi River. Cool water perfumed by roses flowed through an elaborate system of 42 waterfalls and cascades throughout the palace.

The palace was historically only accessible from the overlying Sheesh Mahal, though a new entrance was built by the British near Hathi Pul, or "Elephant Stairs." Its walls were decorated with intricate frescoes and marble inlay that have been severely deteriorate by layers of subsequent white-washing and centuries of dampness. Passage tunnels also exist that lead from the palace to the fort's exterior where the River Ravi once flowed, suggesting that it may have been part of an escape tunnel designed to allow occupants to flee in case of attack.

The Summer Palace remained in use during the Sikh period under the reign of Ranjit Singh. After the defeat of the Sikh empire in the Second Anglo-Sikh War, it went into the hands of the East India Company and in 1858, into the hands of the British Raj, and its appointed agents and executors.

Beginning in World War 2, the Summer Palace was used as a storehouse for the British Civil Defence Department, and remained in use by Pakistan until 1973. The building's structural integrity was affected by its use as a storehouse. As of 2014, the Walled City of Lahore Authority has assumed control of the space in order to undertake restoration works with the Aga Khan Trust for Culture Following its restoration, the space will house the Lahore Fort's museum.

Athdara
Āth darā, an elevated pavilion with eight openings, was built by Maharaja Ranjit Singh for use as his court. It is located near the gate of the Shah Burj quadrangle and shares a wall with it. The structure is made of marble and red sandstone. The ceiling is decorated with colourful mirror-work, and Kangra style frescoes depicting Krishna are present on the interior walls.

Khilwat Khana
Khilwat Khana was built by Shah Jahan in 1633 to the east of the Shah Burj Pavilion, and west of the Shah Jahan Quadrangle. It was the residence of the royal ladies of the court. The plinth and door frames are made of marble with a curvilinear roof.

Kala Burj
In the northwest corner of the Khilawat Khana stands the Kala Burj ("Black Pavilion"). The pavilion is the most significant of the Jahangir-era additions to the Lahore Fort. The vaulted ceilings in the pavilion feature paintings in a European-influenced style of angels which symbolize the virtuosity of King Solomon, who is regarded as the ideal ruler in the Quran, and a ruler with whom Jahangir identified. Angels directing djinns are also painted on tiles in the ceiling, which also reference King Solomon. Kala Burj was used as a summer pavilion.

Lal Burj
In the northeast corner of the Khilawat Khana stands the Lal Burj ("Red Pavilion"). Like the nearby Kala Burj, the Lal Burj was built during the reign of Jahangir, though finished during the reign of Shah Jahan. Octagonal in shape, the Lal Burj was used as a summer pavilion. It features primary windows that opened to the north to catch cool breezes. The interior frescoes date mostly from the Sikh era, along with the entire upper level that was also added during the Sikh era.

Shah Jahan's Quadrangle
The collection of buildings surrounding the quadrangle situated between Jahangir's Quadrangle and Khilawat Khana is referred to as Shah Jahan's Quadrangle.

Diwan-i-Khas
In contrast to the Diwan-i-Aam, the Diwan-i-Khas served as a hall where the Emperor would attend to matters of the state, and where courtiers and state guests were received. The hall was site of elaborate pageantry, with processions of up to one hour long occurring before each audience session.

The Khwabgah of Shah Jahan
Khwabgah was the bedroom of Shah Jahan. It was built by Shah Jahan under the supervision of Wazir Khan in 1634 during his first visit to the city. Five sleeping chambers are aligned in a single row. The chambers feature carved marble screens and are decorated with inlaid white marble and frescoes, It is the first building built by Shah Jahan in the fort. At present, its decorations have vanished except for a trace of the marble which once might have beautified the façade.

Jahangir's Quadrangle
Jahangir's Quadrangle occupies the northeastern corner of the fort. Though named for Jahangir, construction on the site began during the reign of Akbar but was completed in 1620 under Jahangir. Akbar's syncretic style is noted in the quadrangle, as it employs column brackets carved in the form of animals. The quadrangle's layout differs from other Mughal quadrangles which are based upon the layout of a Persian paradise garden and instead is formed by concentric rectangles with a fountain in its centre.

Diwan-i-Aam

The Diwan-i-Aam was built by Shah Jahan in 1628 in a prominent part of the fort immediately south of Jahangir's Quadrangle. It was built style of a Chehel Sotoun - a Persian style 40-pillar public audience hall, in a style similar to the Diwan-i-Aam at the Agra Fort. The Diwan-i-Aam was used as a hall for the emperors to hold an audience with commoners.

Shah Jahan's Diwan-i-Aam was destroyed in 1841 when the son of Maharaja Ranjit Singh, Sher Singh bombarded the fort in his fight against Maharani Chand Kaur, the wife of Maharaja Kharak Singh. The current structure was built by the British in 1849 after their victory against the Sikhs.

Kharak Singh Haveli
Kharak Singh Haveli was the haveli of Kharak Singh, the heir to Ranjit Singh. It lies in the southeast of the Jahangir's Quadrangle. It was later occupied by the British where the first and the ground floor were used as a Commandant's Quarters and godown and servants house respectively. Currently, it houses the archaeological survey office.

The Khwabgah of Jahangir
The Jahangir Quadrangle is bordered on its northern edge by Jahangir's sleeping chambers, the Bari Khwabgah, which was largely reconstructed during the British era.

Sehdari pavilion
The Sikh-era Sehdari pavilion, or "Three-doored" pavilion, is located to the east of the Bari Khwabgah. A second Sehdari pavilion was located to the west of the Bari Khwabgah, but was subsequently destroyed during the British period. The surviving pavilion was used as an office for Faqir Syed Noor-ud-din, a trusted Governor of Ranjit Singh. The architectural style of the Sehdari pavilion is typical of the Sikh period. Frescoes decorating the pavilion portray floral designs, birds, and Hindu religious themes.

Maktab Khana
The Maktab Khana ("Clerk's Quarters") originally known as Dawlat Khana-e-Jahangir, was constructed in 1617 under the supervision of Mamur Khan during the reign of Jahangir as a set of cloisters near the Moti Masjid. Designed by Khawaja Jahan Muhammad Dost, it was used as a passage to the Audience Hall from the palace buildings to the north. Clerks in the Maktab Khana would also record the entry of guests into the fort. It features iwans in the Persian-Timurid style on each of its four sides. Each iwan is flanked by arches.

Moti Masjid
The Moti Masjid, one of the "Pearl Mosques", is a mosque dating from the Shah Jahan Period that is located on the western side of Lahore Fort, closer to Alamgiri Gate. It is situated in the northwestern corner of Dewan-e-Aam. The white marble structure is among its prominent extensions (such as Sheesh Mahal and Naulakha pavilion) to the Lahore Fort Complex. Moti in Urdu language means pearl, which designates a perceived preciousness to the religious structure. It was an established practice among Mughal emperors to name the mosques after generic names for gemstones. The mosque, built between 1630–35, has three superimposed domes, two aisles of five bays, and a slightly raised central pishtaq, or portal with a rectangular frame. This five-arched facade distinguishes it from other mosques of a similar class with three-arched facades. The interior is simple and plain with the exception of ceilings that are decorated and designed in four different orders, two arcuate, and two trabeated.

After the demise of the Mughal Empire, the mosque was converted into a Sikh temple and renamed Moti Mandir during the period of the Sikh rule under Ranjit Singh's Sikh Confederacy. He later used the building for the state treasury. When the East India Company took over Punjab in 1849, they discovered precious stones wrapped in bits of rags and placed in velvet purses scattered inside the mosque, along with other inventory.

Akbari Gate
Mughal Emperor Akbar built two gates. Akbari Gate was built in 1566 and is now called Maseeti Gate.

Alamgiri Gate
Located at the western end of the fort, the Alamgiri Gate is the entrance of the Lahore Fort. It was built by the Mughal emperor Aurangzeb in 1674. It has two semi-circular bastions where lotus petal design adorns its base. It opens to the Hazuri Bagh and faces the Badshahi Mosque. The gate is one of Lahore's most iconic monuments, and once featured on Pakistani currency.

Shah Burj Gate
Restoration work was completed in March 2020 by Aga Khan Cultural Service Pakistan with funding from the Royal Norwegian Embassy, the Walled City of Lahore Authority, and the Aga Khan Trust for Culture.

Naag Temple
The Naag temple is a Sikh temple built by Chand Kaur, the wife of Kharak Singh, daughter in law of the then ruling Maharaja Ranjit Singh. The temple is square in plan and built on a raised platform. Its exterior walls are covered with fresco paintings. The temple also has a water-melon shaped dome. The site is currently closed to the public in order to prevent further deterioration.

Mai Jindan Haveli
Mai Jindan Haveli is of unknown origins and believed to be a Mughal structure but attributed to the Mai Jindan, Chand Kaur because of the extensive additions by the Sikhs. It is a two-storied building and is presently the site of the Sikh Gallery Museum.

Conservation
In 1980, Government of Pakistan nominated the fort for inclusion in UNESCO World Heritage Site based on the criteria i, ii, and iii together with the Shalimar Gardens. In the fifth meeting session held in Sydney in October 1981, the World Heritage Site committee added both the monuments to the list.

In 2000, Pakistan sent a letter to the organization to include both the sites in List of World Heritage in Danger and sought help to restore the damaged part of the outer walls and hydraulic works of Shalamar Gardens. In April 2006, it was reported that officials had urged UNESCO to remove the name of the fort from the list of endangered World Heritage Sites because of extensive restoration work funded by Norway, Hong Kong, the United Kingdom and France. Restoration projects included works at the Sheesh Mahal, Alamgiri Gate, and Hazuri Bagh. After years of extensive renovation and restoration work, the fort and Shalimar Gardens were removed from the endangered list in June 2012.

Though in 1990, UNESCO had ordered the Punjab Archaeological Department to bar the use of the Fort for state or private functions on account of historical significance, a wedding reception was held in violation on 23 December 2010. The Antiquities Act of 1975, which prohibits the use of historical places to protect them from damage, was violated in the following month by hosting a dinner in the Diwan-i-Khas.

Conservation works at the Picture Wall began in 2015 by the Aga Khan Trust for Culture and Walled City of Lahore Authority. Documentation of the wall using 3D scanner was completed in July 2016, after which conservation work would start.

Governance
Under the 2017 Local Government Act of Punjab, Shahi Qila also serves as a union council located in the Ravi Zone.

title: Lahore Fort


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Talk:Extended graphics array

It's generally considered appropriate
It's generally considered appropriate to put the main article at the full name and the redirect at the acronym. But in this case, I think we should make the exception, as everybody knows what "XGA" is (well, everybody knows it's something to do with computers and monitors, at least), whereas noone outside the industry has ever heard of it by its full and formal name. Tannin 09:56, 16 Mar 2004 (UTC)

XGA should be either a redirect or a disambiguation page, because there are other synonymous things too, like this song. NSK 00:24, 4 May 2005 (UTC)

>XGA is NOT a 'synonym' for the resolution 1024x768; that's the wrong word. it is generally the NAME of the resolution, but not a synonym-- that would imply that both are words, or at least that both share a conceptual structure. for example, 'hit' is roughly synonymous with 'punch'; both are just simple verbs that describe a similar action. but 'banana' is not synonymous with 'yellow, canoe-shaped fruit that comes in bunches'; one is a simple noun that is a SYMBOL for something and the other is a phrase whose only referent happens to be a banana. in the same way, 'XGA' is not SYNONYMOUS with 'the resolution 1024x768', even though it certainly MEANS 1024x768.<

XGA hardware
This may be a dumb question, and as a "computer person" I should already know it, but I'll never know if I don't ask. Does XGA refer only to the software technology or is it linked to a particular type of hardware as well? SVGA (AFAIK anyway) always uses a 15-pin mini-DIN connector, though it may be different for non-PC hardware. Does XGA use the same type of connectors, or different ones? From reading the article, I would guess the same, but it seems like there should be some explanation of this in the article. ZZYZX 12:00, 1 March 2007 (UTC)

Incorrect resolutions listed
The original XGA, "XGA-1", DID NOT support 800x600, only 640x480 and 1024x768. XGA-2 added support for 800x600 resolution (See http://www.mcamafia.de/mcapage0/xgsetup1.htm ). Also, the IBM Hardware Maintenance Manual ( http://ps-2.kev009.com:8081/ohlandl/books/ps2-hmm.pdf ) provides some useful information on pp. 401-2. —Preceding unsigned comment added by 74.196.216.11 (talk) 02:25, 26 July 2008 (UTC)

Two different topics
This article mixes two completely different topics – the XGA graphic adapter (a piece of hardware) and the XGA resolution (1024×768). -- Sloyment (talk) 14:11, 21 March 2010 (UTC)

title: Talk:Extended graphics array


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Joan Bennett

Joan Geraldine Bennett (February 27, 1910 – December 7, 1990) was an American stage, film, and television actress, one of three acting sisters from a show-business family. Beginning her career on the stage, Bennett appeared in more than 70 films from the era of silent films, well into the sound era. She is best remembered for her film noir femme fatale roles in director Fritz Lang's films—including Man Hunt (1941), The Woman in the Window (1944), and Scarlet Street (1945)—and for her television role as matriarch Elizabeth Collins Stoddard (and ancestors Naomi Collins, Judith Collins Trask, Flora Collins, Flora Collins PT, and Elizabeth Collins Stoddard PT) in the gothic 1960s soap opera Dark Shadows, for which she received an Emmy nomination in 1968.

Bennett's career had three distinct phases: first as a winsome blonde ingenue, then as a sensuous brunette femme fatale (with looks that movie magazines often compared to those of Hedy Lamarr), and finally as a warmhearted wife-and-mother figure.

In 1951, Bennett's screen career was marred by scandal after her third husband, film producer Walter Wanger, shot and injured her agent Jennings Lang. Wanger suspected that she and Lang were having an affair, a charge which she adamantly denied. She married four times.

For her final film role, as Madame Blanc in Dario Argento's cult horror film Suspiria (1977), she received a Saturn Award nomination.

Early life

Joan Geraldine Bennett was born in the Palisade section of Fort Lee, New Jersey, on February 27, 1910, the youngest of three daughters of actor Richard Bennett and actress/literary agent Adrienne Morrison. Her elder sisters were actress Constance Bennett and actress/dancer Barbara Bennett, who was the first wife of singer Morton Downey and the mother of Morton Downey Jr. Part of a famous theatrical family, Bennett's maternal grandfather was Jamaica-born Shakespearean actor Lewis Morrison, who embarked on a stage career in the late 1860s. On the side of her maternal grandmother, actress Rose Wood, the profession dated back to traveling minstrels in 18th-century England.

Bennett first appeared in a silent movie as a child with her parents and sisters in her father's drama The Valley of Decision (1916), which he adapted for the screen. She attended Miss Hopkins School for Girls in Manhattan, then St. Margaret's, a boarding school in Waterbury, Connecticut, and L'Hermitage, a finishing school in Versailles, France.

On September 15, 1926, 16-year-old Bennett married John M. Fox in London. They divorced in Los Angeles on July 30, 1928, based on charges of his alcoholism. They had one child, Adrienne Ralston Fox (born February 20, 1928), for whom Bennett fought successfully in court to rename Diana Bennett Markey when the child was eight years old. Her name changed to Diana Bennett Wanger in 1944.

Career
Bennett's stage debut was at age 18, acting with her father in Jarnegan (1928), which ran on Broadway for 136 performances and for which she received good reviews. By the time she turned 20 she had become a movie star through such roles as Phyllis Benton in Bulldog Drummond starring Ronald Colman, which was her first important role, and Lady Clarissa Pevensey opposite George Arliss in Disraeli (both 1929).

She moved quickly from movie to movie throughout the 1930s. Bennett appeared as a blonde (her natural hair color) for several years. She starred in the role of Dolores Fenton in the United Artists musical Puttin' On The Ritz (1930) opposite Harry Richman and as Faith Mapple, his beloved, opposite John Barrymore in an early sound version of Moby Dick (1930) at Warner Brothers.

Under contract to Fox Film Corporation, she appeared in several movies. She played the role of Jane Miller opposite Spencer Tracy in She Wanted a Millionaire (1932), receiving top billing. She was billed second, after Tracy, for her role as Helen Riley, a personable waitress who trades wisecracks, in Me and My Gal (1932).

On March 16, 1932, she married screenwriter/film producer Gene Markey in Los Angeles, but the couple divorced in Los Angeles on June 3, 1937. They had one child, Melinda Markey (born February 27, 1934, on Bennett's 24th birthday).

Bennett left Fox to play Amy, a pert sister competing with Katharine Hepburn's Jo in Little Women (1933), which was directed by George Cukor for RKO. This movie brought Bennett to the attention of independent film producer Walter Wanger, who signed her to a contract and began managing her career. She played the role of Sally MacGregor, a psychiatrist's young wife slipping into insanity, in Private Worlds (1935) with Joel McCrea. Bennett starred in the film Vogues of 1938 (1937), including the title sequence, in which she donned a diamond-and-platinum bracelet set with the Star of Burma ruby. Wanger and director Tay Garnett persuaded her to change her hair from blonde to brunette as part of the plot for her role as Kay Kerrigan in the scenic Trade Winds (1938) opposite Fredric March.

With her change in appearance, Bennett began an entirely new screen career as her persona evolved into that of a glamorous, seductive femme fatale. She played the role of Princess Maria Theresa in The Man in the Iron Mask (1939) opposite Louis Hayward, and the role of the Grand Duchess Zona of Lichtenburg in The Son of Monte Cristo (1940) opposite Hayward.

During the search for an actress to play Scarlett O'Hara in Gone with the Wind, Bennett was given a screen test and impressed producer David O. Selznick to such an extent that she was one of the final four actresses, along with Jean Arthur, Vivien Leigh, and Paulette Goddard.

On January 12, 1940, Bennett and producer Walter Wanger were married in Phoenix, Arizona. They were divorced in September 1965 in Mexico. The couple had two children together, Stephanie Wanger (born June 26, 1943) and Shelley Wanger (born July 4, 1948). The following year, on March 13, 1949, Bennett became a grandmother at age 39.

Combined with her sultry eyes and husky voice, Bennett's new brunette look gave her an earthier, more arresting persona. She won praise for her performances as Brenda Bentley in The House Across the Bay (1940), also featuring George Raft, and as Carol Hoffman in the anti-Nazi drama The Man I Married, a film in which Francis Lederer also starred.

She then appeared in a sequence of highly-regarded film noir thrillers directed by Fritz Lang, with whom she and Wanger formed their own production company. Bennett appeared in four movies under Lang's direction, including as Cockney Jerry Stokes in Man Hunt (1941) opposite Walter Pidgeon, as mysterious model Alice Reed in The Woman in the Window (1944) with Edward G. Robinson, and as vulgar blackmailer Katharine "Kitty" March in Scarlet Street (1945), another film with Robinson.

Bennett was the shrewish, cuckolding wife, Margaret Macomber, in Zoltan Korda's The Macomber Affair (1947) opposite Gregory Peck, as deceitful wife Peggy, in Jean Renoir's The Woman on the Beach (also 1947) opposite Robert Ryan and Charles Bickford, and as tormented Lucia Harper in Max Ophüls' The Reckless Moment (1949) as the victim of a blackmailer played by James Mason. Then, easily shifting images again, she changed her screen persona to that of an elegant, witty and nurturing wife and mother in two comedies directed by Vincente Minnelli.

Playing the role of Ellie Banks, the wife of Spencer Tracy and mother of Elizabeth Taylor, Bennett appeared in both Father of the Bride (1950) and Father's Little Dividend (1951).

She made a number of radio appearances from the 1930s to the 1950s, performing on such programs as The Edgar Bergen and Charlie McCarthy Show, Duffy's Tavern, The Jack Benny Program, Ford Theater, Suspense and the anthology series Lux Radio Theater and Screen Guild Theater.

With the increasing popularity of television, Bennett made five guest appearances in 1951, including an episode of Sid Caesar and Imogene Coca's Your Show of Shows.

Political views
She was a very active member of both the Hollywood Democratic Committee and The Hollywood Anti-Nazi League and donated her time and money to many liberal causes (such as the Civil Rights Movement) and political candidates (including Franklin D. Roosevelt, Henry A. Wallace, Adlai Stevenson II, John F. Kennedy, Robert F. Kennedy, and Jimmy Carter) during her lifetime.

Scandal
For 12 years Bennett was represented by agent Jennings Lang, the onetime vice-president of the Sam Jaffe Agency, who then headed MCA's West Coast television operations. She and Lang met on the afternoon of December 13, 1951, to talk over an upcoming TV show.

Bennett parked her Cadillac convertible in the lot at the back of the MCA offices, at Santa Monica Boulevard and Rexford Drive, across the street from the Beverly Hills Police Department, and she and Lang drove off in his car. Meanwhile, her husband Walter Wanger drove past about 2:30 p.m. and noticed his wife's car parked there. Half an hour later, he again saw her car there and stopped to wait. Bennett and Lang drove into the parking lot a few hours later and he walked her to her convertible. As she started the engine, turned on the headlights, and prepared to drive away, Lang leaned on the car, with both hands raised to his shoulders, and talked to her.

In a fit of jealousy, Wanger walked up and twice shot and wounded the unsuspecting agent. One bullet hit Jennings in the right thigh, near the hip, and the other penetrated his groin. Bennett said she did not see Wanger at first. She said she suddenly saw two vivid flashes, then Lang slumped to the ground. As soon as she recognized who had fired the shots, she told Wanger, "Get away and leave us alone." He tossed the pistol into his wife's car.

She and the parking lot's service station manager took Lang to the agent's doctor. He was then taken to a hospital, where he recovered. The police station was located across the lot, officers had heard the shots, and came to the scene and found the gun in Bennett's car when they took Wanger into custody. Wanger was booked and fingerprinted, and underwent lengthy questioning.

"I shot him because I thought he was breaking up my home," Wanger told the police chief of Beverly Hills. He was booked on suspicion of assault with intent to commit murder. Bennett denied a romance. "But if Walter thinks the relationships between Mr. Lang and myself are romantic or anything but strictly business, he is wrong," she declared. She blamed the trouble on financial setbacks involving film productions Wanger was involved with, and said he was on the verge of a nervous breakdown. The following day Wanger, out on bond, returned to their Holmby Hills home, collected his belongings and moved out. Bennett, however, said there would not be a divorce.

On December 14, Bennett issued a statement in which she said she hoped her husband "will not be blamed too much" for wounding her agent. She read the prepared statement in the bedroom of her home to a group of newspapermen while TV cameras recorded the scene.

Wanger's attorney Jerry Giesler mounted a "temporary insanity" defense. He then decided to waive his right to a jury, and threw himself on the mercy of the court. Wanger served a four-month sentence in the County Honor Farm at Castaic, California, 39 miles north of Downtown Los Angeles, quickly returning to his career to make a series of successful films.

Meanwhile, Bennett went to Chicago to appear on the stage in the role as the young witch Gillian Holroyd in Bell, Book, and Candle, then went on national tour with the production.

She made only five movies in the decade that followed the 1951 shooting incident, and only two films in the 1970s, for the incident was a stain on her career and she became virtually blacklisted. Blaming the scandal that occurred for destroying her career in the motion picture industry, Bennett once said, "I might as well have pulled the trigger myself." Although Humphrey Bogart, a longtime friend, pleaded with Paramount Pictures on her behalf to keep her after her role as Amelie Ducotel in We're No Angels (1955), the studio refused.

As the movie offers dwindled after the scandal, Bennett continued touring in stage successes, such as Susan and God, Once More, with Feeling, The Pleasure of His Company and Never Too Late. Her next TV appearance was in the role of Bettina Blane in an episode of General Electric Theater in 1954. Other roles included Honora in Climax! (1955) and Vickie Maxwell in Playhouse 90 (1957). In 1958, she appeared as the mother in the short-lived television comedy/drama Too Young to Go Steady to teenagers played by Brigid Bazlen and Martin Huston.

She starred on Broadway in the comedy Love Me Little (1958), which ran for only eight performances.

Of the scandal, in a 1981 interview, Bennett contrasted the judgmental 1950s with the sensation-crazed 1970s and 1980s. "It would never happen that way today," she said, laughing. "If it happened today, I'd be a sensation. I'd be wanted by all studios for all pictures."

Later years
Despite the shooting scandal and the damage it caused Bennett's film career, she and Wanger remained married until 1965. She continued to work steadily on the stage and in television, including a guest role as Denise Mitchell in an episode of TV's Burke's Law (1965).

Bennett received star billing in the gothic soap opera Dark Shadows for its entire five-year run, 1966 to 1971, receiving an Emmy Award nomination in 1968 for her performance as Elizabeth Collins Stoddard, mistress of the haunted Collinwood Mansion. Her other roles in Dark Shadows were Naomi Collins, Judith Collins Trask, Elizabeth Collins Stoddard PT (parallel time, as the show described its alternate reality), Flora Collins, and Flora Collins PT. In 1970, she appeared as Elizabeth in House of Dark Shadows, the feature film adaptation of the series. However, she declined to appear in the sequel Night of Dark Shadows, and her character Elizabeth was mentioned therein as being recently deceased.

Her autobiography The Bennett Playbill, written with Lois Kibbee, was published in 1970.

Her other TV guest appearances include Bennett's roles as Joan Darlene Delaney in an episode of The Governor & J.J. (1970) and as Edith in an episode of Love, American Style (1971). She starred in five made-for-TV movies between 1972 and 1982.

Bennett also appeared in one more feature film, as Madame Blanc in director Dario Argento's horror film Suspiria (1977), for which she received a 1978 Saturn Award nomination for Best Supporting Actress.

Bennett and retired publisher/movie critic David Wilde were married on February 14, 1978, 13 days before her 68th birthday, in White Plains, New York. Their marriage lasted until her death in 1990.

Celebrated for not taking herself too seriously, Bennett said in a 1986 interview, "I don't think much of most of the films I made, but being a movie star was something I liked very much."

Bennett has a motion pictures star on the Hollywood Walk of Fame for her contributions to the film industry. Her star is located at 6300 Hollywood Boulevard, a short distance from the star of her sister Constance.

Death
Bennett died of heart failure on Friday evening, December 7, 1990, aged 80, at her home in Scarsdale, New York.

Filmography
Bennett appeared in many movies and television productions, listed below in their entirety.

Television

 * The Nash Airflyte Theater (1951) episode: Peggy
 * Your Show of Shows (1951) 1 episode
 * Danger (1951) episode: A Clear Case of Suicide
 * Somerset Maugham TV Theatre (1951) episode: Smith Serves
 * Somerset Maugham TV Theatre (1951) episode: The Dream
 * General Electric Theater (1954) episode: You Are Young Only Once, as Bettina Blane
 * The Best of Broadway (1954) episode: The Man Who Came to Dinner, as Lorraine Sheldon
 * Climax! (1955) episode: The Dark Fleece, as Honora
 * The Ford Television Theatre (1955) episode: Letters Marked Personal, as Marcia Manners
 * The Ford Television Theatre (1956) episode: Dear Diane, as Marion
 * Playhouse 90 (1957) episode: The Thundering Wave, as Vickie Maxwell
 * The DuPont Show of the Month (1957) episode: Junior Miss, as Grace Graves
 * Pursuit (1958) episode: Epitaph for a Golden Girl
 * Too Young to Go Steady (1959) (own series), as Mary Blake
 * Burke's Law (1965) episode: Who Killed Mr. Colby in Ladies' Lingerie?, as Denise Mitchell
 * Dark Shadows (1966–1971) (series regular, 386 episodes), as Elizabeth Collins Stoddard / Naomi Collins / Judith Collins Trask / Flora Collins / Flora Collins (PT) / Elizabeth Collins Stoddard (PT)
 * The Governor & J.J. (1970) episode: Check the Check, as Joan Darlene Delaney
 * Love, American Style (1971) episode segment: Love and the Second Time, as Edith
 * Dr. Simon Locke (1972) episode: The Cortessa Rose, as Cortessa

Made-for-TV movies

 * Gidget Gets Married (1972) as Claire Ramsey
 * The Eyes of Charles Sand (1972) as Aunt Alexandra
 * Suddenly, Love (1978) as Mrs. Graham
 * This House Possessed (1981) as Rag Lady
 * Divorce Wars: A Love Story (1982) as Adele Burgess

As herself

 * Screen Actors (1950) (uncredited)
 * The Colgate Comedy Hour (1951) 1 episode
 * What's My Line? (1951) 1 episode
 * The Ken Murray Show (1951) 1 episode
 * Ford Festival (1951)
 * I've Got A Secret (1953)
 * Climax! (1956) episode: The Louella Parsons Story
 * To Tell the Truth (1958) 1 episode
 * The Mike Douglas Show (1964, 1967, 1970, 1970, 1977) 5 episodes
 * The Merv Griffin Show (1967) 1 episode
 * Personality (1968) 1 episode
 * The Hollywood Squares (1970) 1 episode
 * The Virginia Graham Show (1970) 1 episode
 * The Hollywood Greats (1977) 2 episodes: Humphrey Bogart; Spencer Tracy
 * The Guiding Light (1982) 1 episode
 * The Spencer Tracy Legacy: A Tribute by Katharine Hepburn (1986)

Short subject

 * Screen Snapshots (1932)
 * Hollywood on Parade No. A-12 (1933)
 * The Fashion Side of Hollywood (1935)
 * Hollywood Party (1937)
 * Screen Snapshots Series 19, No. 9: Sports in Hollywood (1940)
 * Hedda Hopper's Hollywood, No. 6 (1942)
 * Screen Actors (1950) (uncredited)

title: Joan Bennett