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Lung Fu Shan Country Park

Lung Fu Shan Country Park, established 18 December 1998, is a country park in the Central and Western District of Hong Kong. It covers the densely vegetated slopes of Lung Fu Shan (aka. Hill Above Belcher's), and includes the disused Pinewood Battery as well as the Pinewood Garden picnic area, providing a scenic backdrop to the residential and commercial districts of Hong Kong Island.

In proximity to the Mid-levels and the Western District, Lung Fu Shan is intensively used by members of the public, especially by morning walkers and picnickers. It is situated to the north of Pok Fu Lam Country Park. Towards the east of Lung Fu Shan Country Park is Hatton Road, to the south is Harlech Road whereas to the north and west is a covered conduit constructed by the Waterworks Office. This country park covers an area of about 47 ha, making it the smallest country park in Hong Kong.

History
In 1993, a government planning study (the Territorial Development Strategy Review) identified the area as a potential site for a new country park.

The Country and Marine Parks Authority prepared a draft map of the proposed Lung Fu Shan Country Park, which was published for public inspection on 5 June 1998. In November 1998, the draft map was approved by the chief executive in council. The 47-hectare country park, the 23rd in Hong Kong, was formally designated on 18 December 1998.

Lung Fu Shan Environmental Education Centre
Situated on Kotewall Road and near University Drive. Established in 2008 by the Hong Kong University and the Environmental Protection Department, the Environmental Education Visitor Centre has been set up to address environmental challenges through collaborative and constructive actions. Its mission is to maintain and take care of nature through education by working together with the University, Government, and the community. Its main goal is to provide accessible education to the community, so that they can grow and become closer to nature

On top of building public awareness and education, the centre is now carrying out Citizen Science projects. Their first BioBlitz was held in 2017, with the 100 participants and volunteers observing 151 species in Lung Fu Shan Country Park with the guidance of 11 experts. In 2018 this was expanded to separate BioBlitz surveys into four animal groups: Birds; Butterflies, (other) Insects, and Amphibians and Reptiles

Lung Fu Shan Trail
The Lung Fu Shan Fitness Trail is a 2750 m-long trail on the Peak. Signs on the trail offer information about safe hiking. The trail starts at Pinewood Garden and proceeds through the Pinewood Battery, a few barbecue sites, a number of shelters, a flight of steps, and a stretch of steep road before arriving at the junction of Harlech Road and Hatton Road. It takes about 60 minutes to hike the entire trail.

Pinewood Battery
Pinewood Battery is a disused military site constructed around 1903, which has been preserved within the country park. The park has interpretive signage illustrating the historical significance of the battery.

Some visitors have illegally used the site for wargaming. To prevent further damage to the battery, the Country and Marine Parks Authority of the Agriculture, Fisheries and Conservation Department (AFCD) erected a warning sign, stating that "using or possession of any firearm, airgun, propelling or releasing instrument are prohibited". However, many plastic BB bullets are still found on the site.

View Compass
The View Compass commands an excellent vistas of the western part of the territory and the Victoria Harbour.

title: Lung Fu Shan Country Park


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Talk:Kamikaze (Twista album)

Re-release
Someone needs to put info about the re-release of this album... I believe it contained two bonus tracks (Hope remix and So Sexy Part 2) (Rishi B 01:54, 13 July 2006 (UTC))

Fair use rationale for Image:Twista kamikaze.jpg
Image:Twista kamikaze.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

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Overnight Celebrity
It is pretty obvious that this song does, in fact, feature Kanye West in the chorus but the track listing and production notes on the CD do not list him as a feature. Therefore I believe it would be considered original research to list Kanye as a feature here. -- 82.152.218.111 17:51, 24 August 2007 (UTC)

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

title: Talk:Kamikaze (Twista album)


text: Talk:Sunrise Over Sea

title: Talk:Sunrise Over Sea


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Television set

A television set or television receiver (more commonly called TV, TV set, television, telly, or tele) is an electronic device for the purpose of viewing and hearing television broadcasts, or as a computer monitor. It combines a tuner, display, and loudspeakers. Introduced in the late 1920s in mechanical form, television sets became a popular consumer product after World War II in electronic form, using cathode ray tube (CRT) technology. The addition of color to broadcast television after 1953 further increased the popularity of television sets in the 1960s, and an outdoor antenna became a common feature of suburban homes. The ubiquitous television set became the display device for the first recorded media for consumer use in the 1970s, such as Betamax, VHS; these were later succeeded by DVD. It has been used as a display device since the first generation of home computers (e.g. Timex Sinclair 1000) and dedicated video game consoles (e.g. Atari) in the 1980s. By the early 2010s, flat-panel television incorporating liquid-crystal display (LCD) technology, especially LED-backlit LCD technology, largely replaced CRT and other display technologies. Modern flat panel TVs are typically capable of high-definition display (720p, 1080i, 1080p, 4K, 8K) and can also play content from a USB device. Starting in the late 2010s, most flat panel TVs began to offer 4K and 8K resolutions.

Early television
Mechanical televisions were commercially sold from 1928 to 1934 in the United Kingdom, France, the United States, and the Soviet Union. The earliest commercially made televisions were radios with the addition of a television device consisting of a neon tube behind a mechanically spinning disk with a spiral of apertures that produced a red postage-stamp size image, enlarged to twice that size by a magnifying glass. The Baird "Televisor" (sold in 1930–1933 in the UK) is considered the first mass-produced television, selling about a thousand units.

In 1926, Kenjiro Takayanagi demonstrated the first TV system that employed a cathode ray tube (CRT) display, at Hamamatsu Industrial High School in Japan. This was the first working example of a fully electronic television receiver. His research toward creating a production model was halted by the US after Japan lost World War II.

The first commercially made electronic televisions with cathode ray tubes were manufactured by Telefunken in Germany in 1934, followed by other makers in France (1936), Britain (1936), and US (1938). The cheapest model with a 12-inch (30 cm) screen was $445. An estimated 19,000 electronic televisions were manufactured in Britain, and about 1,600 in Germany, before World War II. About 7,000–8,000 electronic sets were made in the U.S. before the War Production Board halted manufacture in April 1942, production resuming in August 1945. Television usage in the western world skyrocketed after World War II with the lifting of the manufacturing freeze, war-related technological advances, the drop in television prices caused by mass production, increased leisure time, and additional disposable income. While only 0.5% of U.S. households had a television in 1946, 55.7% had one in 1954, and 90% by 1962. In Britain, there were 15,000 television households in 1947, 1.4 million in 1952, and 15.1 million by 1968.

Transistorized television
Early electronic television sets were large and bulky, with analog circuits made of vacuum tubes. As an example, the RCA CT-100 color TV set used 36 vacuum tubes. Following the invention of the first working transistor at Bell Labs, Sony founder Masaru Ibuka predicted in 1952 that the transition to electronic circuits made of transistors would lead to smaller and more portable television sets. The first fully transistorized, portable solid-state television set was the 8-inch Sony TV8-301, developed in 1959 and released in 1960. By the 1970s, television manufacturers utilized this push for miniaturization to create small, console-styled sets which their salesmen could easily transport, pushing demand for television sets out into rural areas. However, the first fully transistorized color TV set, the HMV Colourmaster Model 2700, was released in 1967 by the British Radio Corporation. This began the transformation of television viewership from a communal viewing experience to a solitary viewing experience. By 1960, Sony had sold over 4million portable television sets worldwide.

The MOSFET (metal–oxide–semiconductor field-effect transistor, or MOS transistor) was invented by Mohamed M. Atalla and Dawon Kahng at Bell Labs in 1959, and presented in 1960. RCA Laboratories researchers W.M. Austin, J.A. Dean, D.M. Griswold and O.P. Hart in 1966 proposed the use of the MOSFET in television circuits, including RF amplifier, low-level video, chroma and AGC circuits. The MOSFET was later widely adopted for most television circuits.

By the late 1960s and early 1970s, color television had come into wide use. In Britain, BBC1, BBC2 and ITV were regularly broadcasting in colour by 1969.

LCD television

Building on the work of Mohamed M. Atalla and Dawon Kahng on the MOSFET, Paul K. Weimer at RCA developed the thin-film transistor (TFT) in 1962. It was a type of MOSFET distinct from the standard bulk MOSFET. The idea of a TFT-based liquid-crystal display (LCD) was conceived by Bernard Lechner of RCA Laboratories in 1968. Lechner, F. J. Marlowe, E. O. Nester and J. Tults demonstrated the concept in 1968 with a dynamic scattering LCD that used standard discrete MOSFETs.

In 1973, T. Peter Brody, J. A. Asars and G. D. Dixon at Westinghouse Research Laboratories demonstrated the first thin-film-transistor liquid-crystal display (TFT LCD). Brody and Fang-Chen Luo demonstrated the first flat active-matrix liquid-crystal display (AM LCD) in 1974.

By 1982, pocket LCD TVs based on AM LCD technology were developed in Japan. The 2.1-inch Epson ET-10 (Epson Elf) was the first color LCD pocket TV, released in 1984. In 1988, a Sharp research team led by engineer T. Nagayasu demonstrated a 14-inch full-color LCD display, which convinced the electronics industry that LCD would eventually replace cathode-ray tube (CRT) as the standard television display technology. The first wall-mountable TV was introduced by Sharp Corporation in 1992.

During the first decade of the 21st century, CRT "picture tube" display technology was almost entirely supplanted worldwide by flat-panel displays: first plasma displays around 1997, then LCDs. By the early 2010s, LCD TVs, which increasingly used LED-backlit LCDs, accounted for the overwhelming majority of television sets being manufactured.

TV sizes
Cambridge's Clive Sinclair created a mini TV in 1967 which could be held in the palm of a hand and was the world's smallest television at the time, though it never took off commercially because the design was complex. In 2019, Samsung launched the largest television to date at 292 inches, which is around 24 feet. The average size of TVs has grown over time.

Display
Television sets may employ one of several available display technologies. As of mid-2019, LCDs overwhelmingly predominate in new merchandise, but OLED displays are claiming an increasing market share as they become more affordable and DLP technology continues to offer some advantages in projection systems. The production of plasma and CRT displays has been completely discontinued.

There are four primary competing TV technologies:
 * CRT
 * LCD (multiple variations of LCD screens are called QLED, quantum dot, LED, LCD TN, LCD IPS, LCD PLS, LCD VA, etc.)
 * OLED
 * Plasma

CRT
The Cathode Ray Tube (CRT) is a vacuum tube containing a so-called electron gun (or three for a color television) and a fluorescent screen where the television image is displayed. The electron gun accelerates electrons in a beam which is deflected in both the vertical and horizontal directions using varying electric or (usually, in television sets) magnetic fields, in order to scan a raster image onto the fluorescent screen. The CRT requires an evacuated glass envelope, which is rather deep (well over half of the screen size), fairly heavy, and breakable. As a matter of radiation safety, both the face (panel) and back (funnel) were made of thick lead glass in order to reduce human exposure to harmful ionizing radiation (in the form of x-rays) produced when electrons accelerated using a high voltage (10-30kV) strike the screen. By the early 1970s, most color TVs replaced leaded glass in the face panel with vitrified strontium oxide glass, which also blocked x-ray emissions but allowed better color visibility. This also eliminated the need for cadmium phosphors in earlier color televisions. Leaded glass, which is less expensive, continued to be used in the funnel glass, which is not visible to the consumer.

In Television Sets (or most computer monitors that used CRT's), the entire screen area is scanned repetitively (completing a full frame 25 or 30 times a second) in a fixed pattern called a raster. The Image information is received in real-time from a video signal which controls the electric current supplying the electron gun, or in color televisions each of the three electron guns whose beams land on phosphors of the three primary colors (red, green, and blue). Except in the very early days of television, magnetic deflection has been used to scan the image onto the face of the CRT; this involves a varying current applied to both the vertical and horizontal deflection coils placed around the neck of the tube just beyond the electron gun(s).

DLP
Digital Light Processing (DLP) is a type of video projector technology that uses a digital micromirror device. Some DLPs have a TV tuner, which makes them a type of TV display. It was originally developed in 1987 by Larry Hornbeck of Texas Instruments. While the DLP imaging device was invented by Texas Instruments, the first DLP based projector was introduced by Digital Projection Ltd in 1997. Digital Projection and Texas Instruments were both awarded Emmy Awards in 1998 for the DLP projector technology. DLP is used in a variety of display applications from traditional static displays to interactive displays and also non-traditional embedded applications including medical, security, and industrial uses.

DLP technology is used in DLP front projectors (standalone projection units for classrooms and business primarily), DLP rear projection television sets, and digital signs. It is also used in about 85% of digital cinema projection, and in additive manufacturing as a power source in some SLA 3D printers to cure resins into solid 3D objects.

Rear projection
Rear-projection televisions (RPTVs) became very popular in the early days of television, when the ability to practically produce tubes with a large display size did not exist. In 1936, for a tube capable of being mounted horizontally in the television cabinet, nine inches would have been regarded as the largest convenient size that could be made owing to its required length, due to the low deflection angles of CRTs produced in the era, which meant that CRTs with large front sizes would have also needed to be very deep, which caused such CRTs to be installed at an angle to reduce the cabinet depth of the TV set. Twelve inch tubes and TV sets were available, but the tubes were so long (deep) that they were mounted vertically and viewed via a mirror in the top of the TV set cabinet which was usually mounted under a hinged lid, reducing considerably the depth of the set but making it taller. These mirror lid televisions were large pieces of furniture.

As a solution, Philips introduced a television set in 1937 that relied on back projecting an image from a $4 1/2$ inch tube onto a 25-inch screen. This required the tube to be driven very hard (at unusually high voltages and currents, see Cathode-ray tube) to produce an extremely bright image on its fluorescent screen. Further, Philips decided to use a green phosphor on the tube face as it was brighter than the white phosphors of the day. In fact these early tubes were not up to the job and by November of that year Philips decided that it was cheaper to buy the sets back than to provide replacement tubes under warranty every couple of weeks or so. Substantial improvements were very quickly made to these small tubes and a more satisfactory tube design was available the following year helped by Philips's decision to use a smaller screen size of 23 inches. In 1950 a more efficient $2 1/2$ inch tube with vastly improved technology and more efficient white phosphor, along with smaller and less demanding screen sizes, was able to provide an acceptable image, though the life of the tubes was still shorter than contemporary direct view tubes. As cathode ray tube technology improved during the 1950s, producing larger and larger screen sizes and later on, (more or less) rectangular tubes, the rear projection system was obsolete before the end of the decade.

However, in the early to mid 2000s RPTV systems made a comeback as a cheaper alternative to contemporary LCD and Plasma TVs. They were larger and lighter than contemporary CRT TVs and had a flat screen just like LCD and Plasma, but unlike LCD and Plasma, RPTVs were often dimmer, had lower contrast ratios and viewing angles, image quality was affected by room lighting and suffered when compared with direct view CRTs, and were still bulky like CRTs. These TVs worked by having a DLP, LCoS or LCD projector at the bottom of the unit, and using a mirror to project the image onto a screen. The screen may be a Fresnel lens to increase brightness at the cost of viewing angles. Some early units used CRT projectors and were heavy, weighing up to 500 pounds. Most RPTVs used Ultra-high-performance lamps as their light source, which required periodic replacement partly because they dimmed with use but mainly because the operating bulb glass became weaker with ageing to the point where the bulb could eventually shatter often damaging the projection system. Those that used CRTs and lasers did not require replacement.

Plasma
A plasma display panel (PDP) is a type of flat panel display common to large TV displays 30 in or larger. They are called "plasma" displays because the technology utilizes small cells containing electrically charged ionized gases, or what are in essence chambers more commonly known as fluorescent lamps. Around 2014, television manufacturers were largely phasing out plasma TVs, because a plasma TV became higher cost and more difficult to make in 4k compared to LED or LCD.

In 1997, Philips introduced at CES and CeBIT the first large (42-inch) commercially available flat-panel TV, using Fujitsu plasma displays.

LCD
Liquid-crystal-display televisions (LCD TV) are television sets that use liquid-crystal displays to produce images. LCD televisions are much thinner and lighter than cathode ray tube (CRTs) of similar display size and are available in much larger sizes (e.g., 90-inch diagonal). When manufacturing costs fell, this combination of features made LCDs practical for television receivers.

In 2007, LCD televisions surpassed sales of CRT-based televisions globally for the first time, and their sales figures relative to other technologies accelerated. LCD TVs quickly displaced the only major competitors in the large-screen market, the plasma display panel and rear-projection television. In the mid-2010s LCDs became, by far, the most widely produced and sold television display type.

LCDs also have disadvantages. Other technologies address these weaknesses, including OLEDs, FED and SED.

OLED

An OLED (organic light-emitting diode) is a light-emitting diode (LED) in which the emissive electroluminescent layer is a film of organic compound which emits light in response to an electric current. This layer of organic semiconductor is situated between two electrodes. Generally, at least one of these electrodes is transparent. OLEDs are used to create digital displays in devices such as television screens. It is also used for computer monitors, portable systems such as mobile phones, handheld game consoles and PDAs.

There are two main families of OLED: those based on small molecules and those employing polymers. Adding mobile ions to an OLED creates a light-emitting electrochemical cell or LEC, which has a slightly different mode of operation. OLED displays can use either passive-matrix (PMOLED) or active-matrix addressing schemes. Active-matrix OLEDs (AMOLED) require a thin-film transistor backplane to switch each individual pixel on or off, but allow for higher resolution and larger display sizes.

An OLED display works without a backlight. Thus, it can display deep black levels and can be thinner and lighter than a liquid crystal display (LCD). In low ambient light conditions such as a dark room, an OLED screen can achieve a higher contrast ratio than an LCD, whether the LCD uses cold cathode fluorescent lamps or LED backlight.

Television types
While most televisions are designed for consumers in the household, there are several markets that demand variations including hospitality, healthcare, and other commercial settings.

Hospitality television
Televisions made for the hospitality industry are part of an establishment's internal television system designed to be used by its guests. Therefore, settings menus are hidden and locked by a password. Other common software features include volume limiting, customizable power-on splash image, and channel hiding. These TVs are typically controlled by a set-back box using one of the data ports on the rear of the TV. The set back box may offer channel lists, pay per view, video on demand, and casting from a smart phone or tablet.

Hospitality spaces are insecure with respect to content piracy, so many content providers require the use of Digital rights management. Hospitality TVs decrypt the industry standard Pro:Idiom when no set back box is used. While H.264 is not part of the ATSC 1.0 standard in North America, TV content in hospitality can include H.264 encoded video, so hospitality TVs include H.264 decoding. Managing dozens or hundreds of TVs can be time consuming, so hospitality TVs can be cloned by storing settings on a USB drive and restoring those settings quickly. Additionally, server-based and cloud-based management systems can monitor and configure an entire fleet of TVs.

Healthcare television
Healthcare televisions include the provisions of hospitality TVs with additional features for usability and safety. They are designed for use in a healthcare setting in which the user may have limited mobility and audio/visual impairment. A key feature is the pillow speaker connection. Pillow speakers combine nurse call functions, TV remote control and a speaker for audio. In multiple occupancy rooms where several TVs are used in close proximity, the televisions can be programmed to respond to a remote control with unique codes so that each remote only controls one TV. Smaller TVs, also called bedside infotainment systems, have a full function keypad below the screen. This allows direct interaction without the use of a pillow speaker or remote. These TVs typically have antimicrobial surfaces and can withstand daily cleaning using disinfectants. In the US, the UL safety standard for televisions, UL 62368-1, contains a special section (annex DVB) which outlines additional safety requirements for televisions used in healthcare.

Outdoor television
Outdoor television sets are designed for outdoor use and are usually found in the outdoor sections of bars, sports field, or other community facilities. Most outdoor televisions use high-definition television technology. Their body is more robust. The screens are designed to remain clearly visible even in sunny outdoor lighting. The screens also have anti-reflective coatings to prevent glare. They are weather-resistant and often also have anti-theft brackets. Outdoor TV models can also be connected with BD players and PVRs for greater functionality.

Replacing
In the United States, the average consumer replaces their television every 6.9 years, but research suggests that due to advanced software and apps, the replacement cycle may be shortening.

Recycling and disposal
Due to recent changes in electronic waste legislation, economical and environmentally friendly television disposal has been made increasingly more available in the form of television recycling. Challenges with recycling television sets include proper HAZMAT disposal, landfill pollution, and illegal international trade.

Major manufacturers

Global 2016 years statistics for LCD TV.

title: Television set


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X (manga)

X, also known as X/1999, is a Japanese manga series written and illustrated by Clamp, a creative team made up of Satsuki Igarashi, Nanase Ohkawa, Tsubaki Nekoi, and Mokona. It premiered in Kadokawa Shoten's Monthly Asuka manga magazine in May 1992 and ran there until it went on hiatus in March 2003; it has yet to be concluded. The story takes place at the end of days in the year 1999. The series follows Kamui Shiro, a young esper who returns home to Tokyo after a six-year absence to face his destiny as the one who will determine the humanity's fate.

Kadokawa Shoten collected and published the individual chapters in 18 tankōbon volumes, with five chapters published in the book All About Clamp. These chapters were released in their own 19th volume, entitled "Volume 18.5", as part of a "Premium Collection" version of the series in November 2023. All but several final chapters have been published. It has been adapted into a series of audio dramas. It was followed by a 1996 anime feature film by Rintaro assisted by Ohkawa in studio Madhouse. The same studio, now led by director and writer Yoshiaki Kawajiri, made a 24-episode anime television series in 2001. Since the manga never reached its ending, the two animated adaptations have their own takes of the series' finale. Viz Media published the 18 completed volumes in North America, while the film and the TV series been have released on DVD by multiple distributors.

The series is a foray into apocalyptic fiction; it combines elements from various end-of-the-world scenarios, both secular and religious, with its own mythos. Its themes include exploring the personality of humanity, relationships with others, and external conflicts like the impending Armageddon. It is considered one of Clamp's most iconic works in their early career, having sold more than 12 million copies and garnering mostly positive reviews for its story, large varied cast and appealing illustrations. Despite its female target audience, it also attracted male readers because of its focus on action.

Plot
In 1999, Kamui Shiro returns to Tokyo after a six-year absence to fulfill his mother's dying wish of changing fate. However, he keeps his distance from two childhood friends, Kotori and Fuma Monou, whom he originally treasured as a child. The end of the world is fast approaching as superhuman individuals will assure their victory. The clone Nataku steals the "Sacred Sword" (神剣) from Fuma's family temple, with his dying father telling his son that he is Kamui's "twin star". The Dragons of Heaven are the first to contact Kamui. Hinoto, the dreamgazer for the Japanese Legislature guides them. They are the protectors of the kekkai (結界), spiritual barriers (in the form of buildings such as the Tokyo Tower) that hold the fabric of nature together. As long as the kekkai survive, Judgment Day is postponed. The Dragons of Earth are the antithesis of the Dragons of Heaven. Their mission is to destroy the kekkai and unleash earthquakes so Earth can be cured of the plague of humanity. They were assembled by Hinoto's sister Kanoe, secretary to the Governor of Tokyo.

Kamui is forced to choose between the two sides. He decides he only wants to protect Kotori and Fuma and becomes a Dragon of Heaven. At the same time, Fuma has a change of personality and becomes the "Kamui" of the Dragons of Earth as he was destined to be Kamui's opposite. Fuma murders Kotori and swears to kill Kamui. The Dragon of Heaven Subaru Sumeragi helps Kamui to overcome this traumatic experience, and he decides to face reality. Just like Subaru decided to search for the Dragon of Earth, Seishiro Sakurazuka, who killed his sister Hokuto years ago, Subaru inspires Kamui to face reality and avoid another catastrophe in his life. Kamui decides he wishes to bring Fuma back to normal. Kamui joins the Dragons of Heaven in their fight against the Dragons of Earth. Across the manga, Kamui and his allies face the Dragons of Earths multiple times but cannot protect most barriers, resulting in multiple earthquakes taking down Tokyo. In a one-on-one match, Seishiro activates Hokuto's dying spell so that Subaru would be forced kill him. Fuma reveals that Seishiro's wish was leaving a mark in Subaru. Following an eye transplant from Seishiro's body, Subaru replaces the late Dragon of Earth. The Dragon of Heaven Arashi Kishu loses her maiden powers after having a sexual relationship with her ally Sorata Arisugawa. A dark alter ego Hinoto kidnaps her to turn her into a Dragon of Earth. As these events occur, Tokyo has nearly been destroyed and is flooded, and Kamui and Fuma wield their Sacred Swords needed to clash in the final fight of the war. Both Subaru and Fuma claim that Kamui cannot change the future unless he realizes his own wish.

Development
The manga artists group Clamp created X. Influenced by the works of Go Nagai and Kyokutei Bakin, the story develops the group's ideas on humanity's responsibility to itself; its family and the planet. After the success of Tokyo Babylon and Clamp School Detectives, their editor at Monthly Asuka, Seiichiro Aoki, approached the members of Clamp to script a longer series. Writer Nanase Ohkawa, the group's head writer, seized the opportunity to script her long-in-development "end of the world" epic. Conceived while she was still in middle school, Ohkawa's original story focused on a group of warriors fighting a losing battle in the name of justice. While the idea never materialized, many aspects were carried over into Clamp's manga, including the lead characters of Kamui and Fuma. Kamui was originally written as a high-school student from Kotori Monou's point of view to appeal to the shōjo audience of young females. However, poor response from readers led to Clamp changing their characterizations. Ohkawa aimed to show characters from their previous works in the X resulting in multiple crossovers. The title—"X"—was chosen because it has no fixed meaning. In mathematics, it is a common variable. Beyond mathematics, "X" is a generic placeholder whose value is secret or unknown. "X" is also a cruciform, an allusion to Christian mythos, and the representation of death and rebirth in Kabbalah.

Ohkawa cites Go Nagai's Devilman as a stylistic and thematic influence. Beyond his penchant for drawing extreme violence, Nagai's writing involves themes like the nature of good and evil and fear, ideas that left an impression on Clamp's writer at an early age. Like Devilman, X follows two male best friends destined to fight each other at Armageddon, a confrontation brought about by the murder of the hero's childhood sweetheart. The rest of the cast includes characters from the group's entire canon, including unpublished works, effectively creating an entire world inhabited by their creations. The ensemble cast, inspired on Kyokutei Bakin's Nansō Satomi Hakkenden, includes Subaru Sumeragi and Seishiro Sakurazuka from Tokyo Babylon, and the main characters of Clamp School Detectives. Their first illustration of Kamui gave them a feeling of Ashura, a character from RG Veda based on his appearance in Tokyo's destroyed area.

Several of the series' characters were created using Osamu Tezuka's "Star System" technique, where old designs are incorporated in new characters, except for Kamui, who proved challenging because of his role. He was made to stand apart from other characters, and Ohkawa called his hairstyle and school uniform average. Clamp's lead artist Mokona believes this was influenced by the heroic character-type upon which he was based. In contrast, Kamui and Fuma were new characters whose designs were revised to fit their characters. Subaru and Seishiro reappear in Clamp's manga X because their relationship parallels that of the lead Kamui and the main antagonist Fuma. They serve as an example to Kamui and Fuma. One of X's most important plot developments is the question of what these two will do, so as not end up like Subaru and Seishiro. Clamp has compared the bond between Subaru and Kamui with that of siblings. The fight sequences were inspired by the manga Dragon Ball, most specifically by author Akira Toriyama's use of white backgrounds.

Influences
X is Clamp's take on the apocalyptic fiction genre. The series combines elements from various end of the world scenarios and myths, including Christian eschatology; with Clamp's own modern mythology to tell the tale of the fate of the world. The Apocalypse of John inspires the X mythos with Tokyo standing in as a modern-day Babylon. Like the biblical city; Clamp's Tokyo is "the habitation of devils, and the hold of every foul spirit, and a cage of every unclean and hateful bird," (Rev. 18:2 KJV) and is slated for destruction.

Clamp found issues with the amount of gore they aimed to portray, especially Kotori's death foreshadowed in dream scenes. This was mostly affected by the concern over themes of violence in video games present in the 1990s. The writers feared that toning down the violence would negatively affect the manga. Another death scene that left Clamp facing issues was when Fuma decapitates Saiki, which led to more negative responses from the readers. Ohkawa claimed the deaths were meant to be cruel, but the narrative did not fit the shojo demography. The Kobe child murders where Clamp received criticism for the similarities between fictional murders and real life murders also had an effect.

Kamui is established as a Christ figure. He is prophesied to return to Tokyo and the one who will determine humanity's fate. His miraculous birth and his given name reinforce the construction of Kamui as a messiah. "Kamui", like "Christ", doubles as a title that alludes to the character's nature. Apocalyptic allusions abound with respect to nomenclature. The Dragons of Heaven take their moniker from the seven seals introduced in Chapter 5 of the Book of Revelation, while the antagonistic Angels allude to the seven celestial beings ordered to "go [their] ways, and pour out the vials of the wrath of God upon the earth" (Rev. 16:1 KJV).

Other apocalyptic standards like earthquakes are employed, but the apocalypse of Clamp's manga trades the religious element for an environmental theme. Inspired by the Gaia theory that the Earth itself is one living organism, Ohkawa crafts an endtime brought on by humanity's abuse of the planet. The constant earthquakes the Dragons of Earth cause resulted in a negative backlash from readers and editors because of similar incidents in real life. The story reflects environmental concerns in its depiction of Judgment Day. Mankind exists in binary opposition to the Earth. By the end of days, humanity has become such a nuisance that the only way to save the planet is to destroy the whole of civilization. With mankind gone, the planet can regulate itself back to health and experience a rebirth. The Seals, however, look to preserve the status quo and to entrust the future of the planet to the people. Teito Monogatari, an award-winning historical fantasy novel, inspired aspects of X's mythology.

Themes
The conflict between the Dragons of Heaven and the Dragons of Earth is at the heart of the series. Like its predecessor Tokyo Babylon, X deals with societal issues. Being set in the present provides an outlet for the authors to reflect and comment on Japan's state of affairs. But unlike Tokyo Babylon, where the characters were vocal in their concerns, topics in X go unspoken and are implied. The story places an emphasis on familial dignity and individualism. X delves into the relationship between Man and the Earth. Ohkawa talks of how mankind's concern for the preservation, restoration and improvement of the planet stems from a desire to perpetuate its own existence. She explains, "people will save the Earth to save themselves, but who will risk themselves to save the Earth"?

X plays out like a tragedy, where the characters are at the mercy of forces greater than themselves. The series shares some motifs with apocalyptic literature, like the disclosure of future events through dreams; and establishes a dual nature to its characters and concepts. Ohkawa admits to being fascinated with the doctrine of Dualism. Dualism is the interdependence between opposing elements, the generalization that two opposing-complementary forces are found in all things. She interprets it as "qualities that seem pleasant in one person but can make you hate the next. That's the dual nature we all have." Inspired by the works of Go Nagai, Ohkawa sought to create heroes capable of wrongdoing, even evil. Kamui is the personification of this doctrine. His name (神威) carries a double connotation: "the one who represents the majesty of God", meaning the one who protects the world and carries out God's will; and "the one who hunts the majesty of God", meaning the one who kills those given God's power and destroys the world. Kamui's decision to save the world as he knows it is a defining moment as it gives rise to his twin star, Fuma. Fuma undergoes a personality change to the point he is no longer recognizable to his best friend. He takes the name of "Kamui", thus fulfilling the dual prophecy and bringing balance to the conflict. Fuma's "Kamui" persona is Kamui's other half; it represents Kamui's potential for destruction. "Kamui" is the epitome of the evil and good that men do. The duality motif extends to the Dragons of Heaven and Earth, two groups of warriors, both alike in power, led to battle by opposite sisters.

Dreams are a source of inspiration for Ohkawa; and became a standard motif in her writing. Dreams in X depict the future, the destruction of mankind. Hinoto, dreamgazer for the Dragons of Heaven, is convinced it can be changed. Ohkawa explains it as lucid dreaming, where the individual can exert conscious control over the dream to the point it can perform impossible feats. Kakyo of the Dragons of Earth is a dreamgazer in a permanent coma who lives in the dreamscape, always dreaming of the future and knowing there is nothing he can do about it. Although he hopes for a better future, he cannot get involved and is convinced everything is predetermined, including Kamui's return.

By arriving in Tokyo, Kamui unwillingly sets Armageddon in motion. Kotori's death and Fuma's turning were foretold, but subject to the young man's allegiance. Thinking of the people he loves, Kamui chooses to become a Dragon of Heaven to protect them, but ends up losing them for it. Other characters are also at the mercy of fate. Sorata Arisugawa is destined to die for a woman; but, unlike Kamui, the warrior monk embraces his preordained future and chooses Arashi Kishu of the Dragons of Heaven as the one for whom he will give his life. Subaru Sumeragi expresses no interest in the future of the Earth, still he and his counterpart, Seishiro Sakurazuka, are drawn to Tokyo on the Promised Day. Even with the fatalist atmosphere that persists in the series, Ohkawa is convinced individuals exert control over their destiny the same way they choose between right and wrong.

Manga
X began serialization in Kadokawa Shoten's Monthly Asuka in May 1992. Publishing the series proved troublesome because of its subject matter, which depicted material unintentionally reminiscent of real events in Japan. The series went on hiatus multiple times during its serialization in response to social incidents, including the Great Hanshin earthquake in 1995 and the Kobe child murders in 1997. Serialization ceased in March 2003, after the editorial staff at Monthly Asuka indicated to Clamp that Kadokawa Shoten was unlikely to publish their planned ending to the series. Clamp declined to revise the ending, and serialization of X stopped in March 2003. In March 2005, Clamp stated that they were still interested in formally concluding the story.

The published chapters were collected in eighteen tankōbon volumes, with the first one released on 29 July 1992, and the eighteenth on 17 September 2002. On 26 September 2006, Kadokawa Shoten published Clamp Newtype Platinum, a special Clamp edition of the magazine Newtype. The issue includes the "X 18.5" supplement, a re-print of five previously uncollected chapters. The series was expected to reach twenty-one volumes upon completion. The "X 18.5" chapters were later released as part of the book All About Clamp on 22 October 2009. They were released as their own 19th tankobon volume, entitled "Volume 18.5", on 4 November 2023.

The North American version of the manga, retitled X/1999 in its initial printing, was serialized in Viz Media's Animerica Extra and released under the Shōjo imprint. The magazine noted that during its initial volumes, there were issues with the handling of the series as the manga went on a hiatus with its sixth volume. In July 2001, Viz Media removed the series from Animerica Extra because of licensing issues, but it later returned in its March 2003 issue. Viz Media released the eighteen completed volumes, ending in 2005. Beginning in 2011, Viz re-issued the series in North America as three-in-one volumes, unflipped, titled X. In Australia, the series is licensed by Madman Entertainment.

Music video
On 21 November 1993, SME Records released X2 (ダブルエックス), pronounced "Double-X" in English, a short film based on Clamp's manga, set to the music of rock band X Japan. X2 features a slideshow of X artwork set to a medley of X Japan's songs: "Silent Jealousy," "Kurenai", and "Endless Rain" with the "X" music video directed by Shigeyuki Hayashi.

Feature film
The X feature film, directed by Rintaro and co-scripted by Nanase Ohkawa, premiered in Japan on 3 August 1996. Rintaro is not certain but believes Kadokawa Shoten's editors asked him to do the film because of his work on Harmageddon, a 1983 film that employs different themes from the X manga. The supernatural thriller focuses on the roles Kamui, Kotori, and Fuma play in the Apocalypse. The film was given a limited release in the United States in early 2000 and released to DVD on 25 September 2001. X: The Destiny War, a comic book based on the feature film, was released on 30 September 1996. The X Japan song "Forever Love", composed by Yoshiki, was chosen as the film's theme song; and was later used by the former Japanese prime minister Junichiro Koizumi in a campaign advertisement in 2001.

Victor Entertainment released the X Character Files (キャラクターファイル) from June 1996 to December 1996. The seven audio dramas, scripted by Nanase Ohkawa, focus on the thoughts and motivations of the individual Dragons of Heaven and Earth. The feature film's voice actors perform the Character Files. They were created to promote the film.

TV series
Yoshiaki Kawajiri directed the episodes from the X anime television series, which was first announced on 18 October 2000. Kawajiri aimed to portray Kamui and Kotori as stronger than their manga counterparts. However, he still wanted to highlight their psychological weaknesses across later episodes. In anticipation of the series' premiere, X: An Omen (エックス - 前兆) was released direct-to-DVD on 25 August 2001. Written and directed by Kawajiri, An Omen tells the story of the upcoming battles through the prophecies of Kakyō Kuzuki, dreamgazer for the Dragon of Earth, and acts as a primer for viewers unfamiliar with Clamp's manga. The series premiered 3 October 2001 on WOWOW satellite television and finished on 27 March 2002, totaling twenty-four episodes. Twelve DVD volumes from the series, each containing two episodes were released in Japan from 25 February 2002 to 25 January 2003 by Bandai Visual. Naoki Satō composed the series' music; two original soundtracks were released.

Pioneer Entertainment distributed the series in North America in March 2002. Geneon collected the series and the OVA in eight DVD volumes released between 24 September 2002 and 25 November 2003. Two DVD box sets of the series were also released on 11 January 2005. In 2006, Geneon released the X TV Series Re-Mix, on five individual DVDs released between 11 July 2006 and 14 November 2006, as well as a DVD box set on 11 July 2006. The DVDs came with re-mastered video and audio, including remastered and remixed 5.1 Dolby Digital AC3 surround sound for both the Japanese and English tracks. In September 2009, Funimation announced that it had acquired the rights to the anime series and OVA. They were re-released in a DVD box set on 15 June 2010 using the original Geneon dubbing (provided by Bang Zoom! Entertainment) for the English-language audio track. It is licensed by Siren Visual in Australia, and MVM Films in the United Kingdom.

Video games
Two video games were developed:
 * X: Unmei no Sentaku (X ~運命の選択~) is a fighting game developed by Arc System Works and published by Namco for the PlayStation on 22 August 2002. The features a story mode, set in the television series continuity, and a versus mode, which allows players to compete against each other using any of the Dragons of Heaven or Earth. The game was not released outside Japan and it has two different endings.
 * X: Card of Fate, a card battle video game for the WonderSwan Color, was released on 27 June 2002.

Popularity
The X manga series was a commercial success in Japan, with over 12 million copies in circulation; while in North America it often appeared on The New York Times Manga Best Sellers of 2012 and ICv2 lists.

Critical reception
The manga's plot and cast were praised. Animerica regarded it as one of Clamp's most iconic works from their early career. According to the site, "Part of the appeal of the X manga series is its surreal blend of Taoist, Shinto, and even European mysticism with real-world locales and historical landmarks familiar to Japanese fans." According to Anime Nation, X "appears to defy the conventions of "boys' manga" and "girls' manga" because of multiple features provided by the authors such as violence and romance that will appeal to many types of reader. Anime News Network noted that while there are no explicit homosexual relationships, the shōjo appeal might give the reader this impression when the male characters interact, something the shônen demographic might not like.

Sequental Tart found Kamui's identity mysterious; he is featured as a caring child to Kotori Monou in a flashback, but he appears as a rude teenager when meeting her again. His fight scenes were noted to be violent in contrast to the lighthearted moments that seem to work as comic relief. As a result, the reviewer said that it is difficult to analyze the series' first volume. Comic Book Bin said that despite the aspects of the work and the way the subplots are handled, X still maintains an interesting narrative. As the manga progressed, the reviewer felt the manga became more polished and looked forward to the climax when it is written. Kamui's growing character arc was the subject of a positive mention as Manga News also enjoyed his early appearances and the formation of the Dragons of Heaven as they befriend each other. Reviewers felt Fuma Monou is one of the most brutal antagonists of Clamp's career and in shōjo in general because of this gruesome murder of Kotori and how he then causes earthquakes to destroy Tokyo. Anime News Network found that the series had many types of characters for Dragons of Heavens and Dragons of Earth that are given enough screen time in the buildup to the Holy War to interact and fight until the manga's eighth volume when the narrative takes a different route. As the second half begins, the same website also noted that the narrative becomes progressively darker because of the number of dead characters as Clamp moves the plot towards the Armageddon; they also mentioned the events that causes all the deaths.

Fans reading the series have wondered whether Clamp was hinting at a romantic relationship between Kamui and Fuma. Sequental Art commented on homoerotic tones during a few scenes. In response, in the book Understanding Manga and Anime writer Robin E. Brenner claims Clamp had no intention of suggesting a romantc relationship between the two as he compared them with the more explicit relationship Subaru had with Seishiro. Manga News noted the pair had one of the most anticipated fights in the series because of the long history they have in Tokyo Babylon and called their final duel tragic. In Manga: The Complete Guide, Jason Thompson wrote "even without a proper ending, the series has a lot going for it", and felt the major storytelling centering around destiny was appealing despite not finding it Clamp's best strength.

Clamp's illustrations such as the dream sequences, Seishiro's horror-based spells, and the outstanding designs of Kamui and Hinoto were also the subject of praise. The Fandom Post also enjoyed the artwork, mostly praising the way action sequences are drawn Manga News found the early artwork of the series like Clamp's other works, such as RG Veda and Tokyo Babylon but with a different style than Angelic Layer and Cardcaptor Sakura as it features mostly androgynous characters. Comic Book Bin praised the handling of the fight scenes by the artists especially the backgrounds, which "depict energy and magic unleashed in a fast and furious display". Because of the manga's long serialization, critics noted that the artwork evolved, making it as appealing as later Clamp works like Tsubasa: Reservoir Chronicle and Angelic Layer. However, Anime News Network felt the violent imagery portrayed by Clamp throughout earthquakes and murder scenes in X was too disturbing for the Monthly Asuka demographic and cancelled it. Although the manga returned following its controversial cancellation, the planned ending was even more gruesome causing its cancellation again. Thompson simply regarded the art as "absolutely gorgeous".

title: X (manga)


text:
Talk:Peace, Love, Death Metal

Fair use rationale for Image:Eagles Of Death Metal - Peace love death metal.png
Image:Eagles Of Death Metal - Peace love death metal.png is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot 05:35, 13 September 2007 (UTC)

Preceeded by recording
'Live at Slims' is listed as a precursor to 'Peace, Love, Death Metal', but this live concert is not mention on the bands official wikipedia entry. Shouldn't we put them in sync with each other? 86.216.236.92 (talk) 13:46, 5 June 2009 (UTC) Meursault Advisor, 14.45 05/06/2009

Dead external links to Allmusic website – January 2011
Since Allmusic have changed the syntax of their URLs, 1 link(s) used in the article do not work anymore and can't be migrated automatically. Please use the search option on http://www.allmusic.com to find the new location of the linked Allmusic article(s) and fix the link(s) accordingly, prefereably by using the Allmusic template. If a new location cannot be found, the link(s) should be removed. This applies to the following external links: --CactusBot (talk) 10:33, 2 January 2011 (UTC)
 * http://www.allmusic.com/cg/amg.dll?p=amg&sql=At48e4j476wav

title: Talk:Peace, Love, Death Metal


text:
Talk:Under the Table and Dreaming

Jimi Thing and Typical Situation
I noticed that a previous version of this article omitted two of the album's five singles, so I included this information. I did a pretty mediocre job, however, and I hope somebody with more experience could give those changes a proper formatting. 2600:8805:A901:D100:DC60:175F:621E:5689 (talk) 02:03, 14 September 2023 (UTC)

title: Talk:Under the Table and Dreaming


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Avala Tower

The Avala Tower (Авалски торањ) is a 204.68 m tall telecommunications tower located on Mount Avala, in Belgrade, Serbia. The original tower was finished in 1965, but was destroyed on 29 April 1999, during the NATO bombing of Yugoslavia. The tower's reconstruction commenced on 21 December 2006 and it was officially opened on 21 April 2010.

Origin
The tower was designed by architects Uglješa Bogunović and Slobodan Janjić, and engineer Milan Krstić. Contractor was the "Rad" construction company. Construction started on 14 October 1961 and was completed four years later, in 1965. The tower weighed 4000 t. Between 102 m and 135 m, there was an enclosed observation deck, entered at 122 m and reached via two quick elevators. It was the only tower in the world to have an equilateral triangle as its cross section, and one of very few towers not perched directly into the ground, but standing on its legs. The legs formed a tripod, the symbol of Serbian tripod chair (tronožac). It is one of the small number of towers to be constructed in that manner.

The tower was surmounted by an antenna, which was at first used for black and white television transmission. In 1971 the antenna was replaced by a new one for color TV transmission and the emitting of the TV Belgrade's Second program in color began on 31 December 1971. Also, the first digital terrestrial television in Serbia was emitted from the tower.

The project, which was of high risk, was finished without any worker injuries or deaths, which was unusual for a project of its size.

1999 bombing
The Avala Tower was destroyed on 29 April 1999 by NATO bombardment. Previously the power supply to the station was destroyed, but a senior military officer installed a backup generator. The intent of the bombing was to put Radio Television Serbia (RTS) permanently off the air for the duration of the war; however RTS was relayed on a network of local TV stations which relayed its programming throughout the whole of Serbia. The Avala Tower was a symbol of pride and a famous landmark, not only of Belgrade and Serbia, but of the former Yugoslavia too. The tower was one of the last buildings to be destroyed before the end of the NATO operation. The tower was destroyed by two laser-guided bombs GBU-27 that hit one leg of the tower, causing its collapse.

Reconstruction
The idea of the tower's reconstruction at the same place it was destroyed originated from the Journalists' Association of Serbia in October 2002. In the early 2004, Radio Television Serbia (RTS) joined in with the media promotion of the project and commenced a series of fund-raising events in order to collect money for the construction. The project was endorsed and supported by numerous media, painters, writers, actors, musicians, athletes and businessmen. It is estimated that a million people, through various activities, supported the project.

An agreement regarding its construction was signed by Dušan Basara, director of the construction sector of the Ratko Mitrović Company – which was in charge of the construction of the tower – and general director of RTS, Aleksandar Tijanić. Many fund-raising events have been held for the collection of funds so a new tower can be constructed. One of the first was a match between Serbian grand slam-winning tennis players Ana Ivanovic and Novak Djokovic. All the proceeds went to the Avala Tower fund. Ceca Ražnatović (a Serbian folk singer) held a concert on 15 June 2006, with all the proceeds going to the Avala Tower fund. RTS ran commercials for donations to rebuild the tower. According to a December 2006 report, when it was announced that the construction of a new Avala Tower would commence that same month, over €1 million was collected through fund-raising and donations.

As the NATO used projectiles with depleted uranium, the military first conducted surveys to check for the contamination of the debris, before giving the green light for construction works. Clearing of the site began on 21 June 2005. Over one million tons of rubble was removed. Seismic survey followed and the construction works started on 21 December 2006. Initially, completion of the new tower was expected in August 2008, but construction works were severely delayed. The opening date was pushed back to 29 April 2009, the tenth anniversary of its destruction. Radio Television Serbia reported on 23 October 2009 that the tower had been completed.

The rebuilt tower was opened on 21 April 2010 and with 204.68 m, it is 2 m higher than the demolished one. Materials used include 5,880 tons of concrete and 500 tons of reinforcement bars. The height of the reinforced concrete section is 136.65 m, while the steel antenna construction, and the antenna itself, are 68 m tall.

Today
The tower had 137,000 visitors in 2016, 155,000 in 2017 and 185,000 in 2018. In June 2017 the tourist complex was opened at the base of the tower. It includes, among other facilities, a restaurant, ethno-gallery, souvenir shop, sports fields and outdoor gym. By August 2017, 105 cement prints of the people who helped the reconstruction were displayed, including those of tennis players Novak Djokovic and Ana Ivanovic and a new lift, for the parents with children and the disabled, have been constructed.

In 2018 the children area at the base was expanded with the elf village, consisting of houses connected by a small bridge. A classroom in the open was set in the pine forest and the artificial climbing rock was built. On 19 October 2018, a colorful decorative light on the entire tower became operational.

Radio and TV frequencies
FM radio:
 * 95.3 MHz – Radio Belgrade 1
 * 97.6 MHz – Radio Belgrade 2/3
 * 98.5 MHz – Hit FM
 * 101.4 MHz – Karolina
 * 104.0 MHz – Radio Belgrade 202

DVB-T2 digital television:
 * UHF channel 22 – MUX 1 (national):
 * RTS1
 * RTS2
 * RTS3
 * RTV Pink
 * B92
 * Prva Srpska Televizija
 * Happy TV
 * UHF channel 28 – MUX 2:
 * regional and local TV stations, including Studio B
 * UHF channel 45 – MUX 3:
 * pay TV services

title: Avala Tower


text:
Dan Hawkins (musician)

Daniel Francis Hawkins (born 12 December 1976) is an English guitarist, best known as a guitarist and backing singer of the rock band the Darkness. The band, founded and fronted by his older brother Justin Hawkins, achieved notable mainstream success between 2002 and 2006. He also formerly played lead guitar for Stone Gods.

He is also a producer. He works with Christian Fleetwood McCabe and Deep Fried Sunshine.

Musical style and influences
He is influenced by hard rock and glam metal bands, including Led Zeppelin, Aerosmith, Def Leppard, Whitesnake, AC/DC, Queen, Mötley Crüe and Thin Lizzy.

Biography
After moving to Lowestoft, Hawkins attended Kirkley High School and achieved good grades in his GCSEs before leaving his hometown behind for the bright lights and cosmopolitan lifestyle of Camden, London. From a young age, he aspired to be a musician, beginning on drums, moving on to bass and finally mastering the guitar. Back in his early days in his professional career, he worked as a session guitarist for various artists including Natalie Imbruglia. Previous bands include Vital Signs and Empire before The Darkness consisting of Justin Hawkins, Ed Graham, Frankie Poullain and later, Richie Edwards, became a mainstream success. With The Darkness he has won Brits, MTV and Kerrang awards and the prestigious Ivor Novello Award for songwriting in 2004. The Darkness split in 2006. In 2006, after The Darkness disbanded, Dan regrouped with bandmates Edwards and Graham to begin the band that would, after the recruitment of bassist Toby Macfarlaine, become Stone Gods. He played lead guitar in the band and saw their debut album Silver Spoons & Broken Bones, which was well received by critics. Stone Gods went on hiatus in 2011, preceding the reunion of The Darkness.

Hawkins was involved with the production process during the recording of The Darkness's albums, learning the skills alongside famed producer, Roy Thomas Baker. He co-produced B-sides for One Way Ticket to Hell... and Back. His first credited project was Stone Gods' album Silver Spoons & Broken Bones with the record producer, Nick Brine. Hawkins also built and owns a luxury, commercial residential recording studio 'Leeders Farm' in Wymondham, Norfolk where The Darkness albums were recorded, which is run by Brine and his partner Katy Dann. Bands such as The Dandies, Arctic Monkeys, Seasick Steve, The Rifles, Teenage fanclub, Wild Beasts, and more recently ex Thunder guitarist Luke Morley's new band The Union have all recorded there.

Hawkins is credited with composing the theme tune to the CBeebies television show, Grace's Amazing Machines.

Equipment
Hawkins' guitar of choice is the Gibson Les Paul and his main instrument, both live and in the studio, is his well used 2000 Honeyburst Standard (nicknamed "Dune" after the David Lynch film ) which he played extensively in The Darkness and in Stone Gods. Over the years he has owned and played several Les Paul Standards and currently tours with 6-8 of them including a second 2000 Honeyburst (nicknamed 'Terry'), a Wine Red 1997 Standard (known as UB40 which is used for the songs 'Givin' Up' and 'Friday Night'), a late 1970s Sunburst B-stock formerly owned by the guitarist from the band Sputnik), a 2003 Goldtop (belonging to his guitar tech, but borrowed for tours), a late 1990s Standard re-finished in white, and a 2013 Honeyburst Flametop.

During 2003-2006 he used a Gretsch Elliot Easton solid body for the song "Black Shuck" but this was sold to fund the recording of the second Stone Gods album. Another guitar that has not been seen during this reunion is a 2000 Standard in black (nicknamed 'Black Shuck') that was previously also used live. He also owns a Gibson Les Paul Custom Black Beauty which was originally handbuilt for Jimmy Page, but Page decided it was too heavy and rejected the instrument; Page is one of Hawkins's biggest influences. It is fitted with a Fishman Powerblend pickup and is used for the song "Love Is Only a Feeling". It is also known that when Dan was waiting for the arrival of a different humbucker to put into the instrument his then-guitar tech said that he had a Kent Armstrong prototype humbucker that was taken out of one of Angus Young's Gibson SG's. He fitted Angus's old humbucker to the guitar and liked the sound so much that he left it in.

Among a variety of amplifiers, his primary choices are Marshalls, particularly the 1959 SLP and Handwired Re-Issue models (as is exemplified in videos of The Darkness live at The Astoria, London in 2003). For his 'dirtier' sounds in Stone Gods, he played a Marshall JCM 800 Re-Issue head through Marshall 1960AX/BX cabinets, combined with a Diezel Herbert head. He has also been seen using both a Vox AC30 combo and a Wizard Modern Classic head to complement his several Marshall stacks. Effects wise, a vintage Ibanez TS-808 Tube Screamer pedal is his mainstay for overdrive, but photos of his 2012/2013 touring rig show additional pedals from Electro-Harmonix, MXR, Strymon and Devi Ever among others.

A large amount of Hawkins' distinct tone comes from his use of heavy gauge strings. He uses Ernie Ball Beefy Slinkys (typically; 11, 15, 22p, 30w, 42w, 54w) and Jim Dunlop Maxi Grip 0.73mm picks.

title: Dan Hawkins (musician)


text:
Talk:DTV

I delete the link to Dealer Team Vauxhall because is empty

title: Talk:DTV


text:
Talk:Shadows Collide with People

Fair use rationale for Image:ShadowsCollide.jpg
Image:ShadowsCollide.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to insure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 03:47, 6 June 2007 (UTC)

Female Singer on Omission
Anybody know who the female vocalist is on the track "Omission" or is someone being ironic and omitting her from the list of personnel? —Preceding unsigned comment added by 86.15.107.216 (talk) 23:51, 5 November 2007 (UTC)

It's not a woman. It's Josh Klinghoffer. —Preceding unsigned comment added by 83.40.119.62 (talk) 11:38, 24 August 2008 (UTC)

Yep, I second that it's definitely the voice of Josh Klinghoffer. If you like his voice, check out Dot Hacker's 'Inhibition'. Gotta love that scream near the end! — Preceding unsigned comment added by 174.51.111.253 (talk) 18:13, 28 June 2012 (UTC)

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Leka, Crown Prince of Albania

Leka, Crown Prince of Albania (also known as King Leka I; 5 April 1939 – 30 November 2011), was the only son of King Zog I and Queen Geraldine of Albania. He was called Crown Prince Skander at birth. Leka was the pretender to the Albanian throne and was referred to as King Leka I.

Early life and education
Leka was born on April 5, 1939, in the Royal Palace of Tirana in the Kingdom of Albania. He was named Crown Prince Skander and his birth was celebrated with a 101-gun salute and a military parade. Leka was the son of King Zog I of Albania and Queen Geraldine of Albania; and was also an eighth cousin of U.S. President Richard Nixon through his maternal grandmother, a New York socialite.

Just two days after his birth, King Zog I was forced into exile after Benito Mussolini's army invaded the country during the Italian invasion of Albania. Shortly after, Zog was replaced on the throne of Albania by Victor Emmanuel III of Italy — an action the King of Italy would later plead personal forgiveness for. Victor Emmanuel III remained King until his abdication in 1943, following the Armistice of Cassibile.

Crown Prince Leka began life in exile in various countries. After traveling across Europe, the Albanian Royal Family settled in England, first at the Ritz Hotel in London, then moving for a very short period in 1941 to South Ascot, near Ascot in Berkshire, and then in 1941 to Parmoor House, Parmoor, near Frieth in Buckinghamshire.

After the End of World War II in Europe, Zog, Queen Geraldine and Leka moved temporarily to Egypt, where they lived at the invitation of King Farouk I.

Leka attended school at Victoria College, Alexandria in Egypt and at Aiglon College in Villars-sur-Ollon, Switzerland. He studied economics at the University of Geneva and at the Sorbonne, and attended the Royal Military Academy Sandhurst in England. Following this he was commissioned as a Second Lieutenant in the British Army. He had since made his money with successful business deals in commodities.

Leka became heir apparent of the abolished throne on 5 April, 1957. On the death of King Zog in 1961, Leka was proclaimed King of the Albanians by a convened Albanian National Assembly-in-exile, in a function room at the Hotel Bristol, Paris.

Marriage and exile
In 1975, Leka married Australian citizen and former teacher Susan Cullen-Ward. They were married in a civil ceremony in the Hôtel de Ville, Biarritz. The wedding reception, at a five-star Toledo Roadhouse, was attended by members of other exiled royal families, loyal Albanians and friends, who toasted "Long live the King". The couple returned to Madrid, where they were befriended by the Spanish King Juan Carlos I and continued to enjoy the attentions of Albanians. The couple married religiously in Madrid. Their wedding was officiated by a Muslim ulema, a Protestant pastor (due to the fact that Susan was Episcopalian), and a Roman Catholic priest (as Queen Geraldine was Catholic).

When it was discovered that Leka not only retained some Thai bodyguards, but had what was described as an arms cache in their home, the Spanish government asked him to leave. When his plane arrived at Gabon for refueling, he found that it was being surrounded by local troops, who were said to have been hired to capture him by the Albanian government. The soldiers backed down when Leka appeared at the plane's door with a bazooka in his hand. The couple went on to Rhodesia but, after Robert Mugabe took power, they settled in a large compound near Johannesburg where they were given diplomatic status by the South African Government.

Leka spent many years exiled in Bryanston, South Africa, where his son Prince Leka was born, before eventually returning to Albania in 2002.

Return to Albania
In 1993 Leka was permitted to enter Albania for the first time (since being exiled aged a few days old in 1939), doing so under a passport issued by his own Royal Court-in-exile. In this royal passport, which the Albanian government had previously refused to recognise, Leka listed his profession as "King".

During the 1997 rebellion in Albania, Leka returned again, this time being greeted by 2,000 supporters. Many of Leka's royalist supporters felt that a restoration of the monarchy would help bring political and financial stability to the government, as well as help protect Albanian democracy, following decades of communist rule.

On June 29, a referendum was held in Albania concerning a restoration of the monarchy. Before the results had been finalized, Albanian government officials announced that the referendum had been rejected. Leka questioned the results of the election and claimed the vote had been manipulated. Leka protested, surrounded by roughly 20 guards, who were armed with assault rifles, grenades, and machine-guns. Leka himself was dressed in camouflage and carried two pistols. Albanian police had previously deployed armored vehicles and forces with heavy machine-guns, in case of any trouble ahead of the election.

On July 3, Leka led a crowd of 900 protesters, some armed, outside the main elections building, to protest, claiming election fraud had occurred. Royalist protesters sang at the rally, chanting "Brother, pick up the weapons. We'll fight or die, we'll win", as they waved pro-monarchy flags. 300 royalists then marched alongside Leka in the central Skanderbeg Square, causing police intervention. This led to a shootout between royalists and police, which lasted approximately 15 minutes. Gunfire and several grenade explosions went off, as nearby civilians scrambled for cover. Police killed one royalist protestor, Agim Gjoonpalaj, and several others were injured in the gunfight. Gjoonpalaj was both a monarchist and a pro-democracy advocate.

Gjoonpalaj's funeral was held two days later, on June 5. President Sali Berisha called upon members of the Democratic Party of Albania to attend the funeral. Leka also attended, greeting mourners and walking with the coffin bearers. The funeral procession proceeded through Skanderberg Square, where the violence had previously broken out two days before. Royalists at the funeral walked through the square, shouting "Down with Communism!"

After a recount it was announced by the government that the restoration was rejected by approximately two-thirds of those voting.

Albanian President Sali Berisha expressed his thoughts on the failed referendum in 2011:

"By 2003, the Albanian Parliament passed the law that recognized the attributes of the Royal Family and it was a right decision. Also I remind you that even the referendum was held in the context of flames of the communist rebellion and therefore cannot be considered a closed matter. The Stalinist principle of: 'you vote, but I count the votes' was applied in that referendum. But, the fact of the matter is the Albanians voted massively for their King, but the referendum failed to meet quotas as it was manipulated."

When Leka was later asked if he intended to leave Albania, he replied: "Why? It is my country", though he soon left Albania of his own accord on July 12. Following that, Leka was tried and sentenced by the Albanian government to three years imprisonment for sedition, in absentia. This conviction was later set aside in March 2002, when 72 members of Parliament asked the royal family to return. In June 2002, Leka returned to Albania and brought with him 11 cases of automatic weapons, grenades, and hunting arms. The authorities quickly seized them, though the weapons were returned to the royal family six years later, after being deemed items of cultural heritage. After his 2002 settlement in Albania, he lived out a quiet life with his wife and son. His wife died two years later in July 2004.

Further political activity
Leka was backed by the Party of Right and Legality (PLL), a right wing monarchist party and a marginal factor in Albanian politics. It formed a coalition with other parties in Albania. Leka, however, did not vote, stating that I am above all political parties, even my own.

Leka was head of the Movement for National Development. He argued that he was a fighter for a Greater Albania in terms of ethnicity and that his restoration as king would make possible this goal. However, in February 2006, he announced he would be withdrawing from political and public life.

Death
Leka died on 30 November 2011 from a heart attack in Mother Teresa Hospital, Tirana. Albanian authorities held official ceremonies for the former Crown Prince, and declared December 3, the day of his funeral, a day of national mourning. Tirana's mayor Lulzim Basha stated at the funeral that "We have come here today ... to honor, with full historic gratitude and national pride, the work of Leka Zogu." Muslim, Catholic and Orthodox prayers were all read by religious leaders at the funeral. Leka's son, Leka, Prince of Albania stated "I, Prince Leka II, swear in front of the body of my father that I will follow the road of King Zogu, of King Leka I to be at the service of the nation, the homeland."

Leka was buried next to his wife's and mother's grave at the public Sharra cemetery in a Tirana suburb. Later he was buried at the Mausoleum of the Albanian Royal Family.

Personal life
Leka was a Muslim and appealed for Islamic solidarity. He also spoke a half-dozen languages, including Albanian, Arabic and English.

Leka stood at a height of 6ft 9in, much taller than his slim 5ft 2in wife Susan Cullen-Ward. Author Charles Fenyvesi gave a description of his appearance and manner in his 1979 book, Splendor in Exile:

"Leka is a tower of a man with a bulging middle, the deliberate swagger of John Wayne, and the innocent eyes of an English schoolboy. He wears clean, freshly ironed green army fatigues, well-shined black combat boots, and a pistol strapped to his belt. He explains that the insignias on his jacket denote his specialties: guerilla warfare, commando operations, armaments expertise, marksmanship. The patch of a crowned double-headed eagle marks the outfit an Albanian uniform; his cap badge identifies him as the commander in chief."

In the 1960s, Leka struck up a friendship with California Governor Ronald Reagan (later President of the United States), gifting him a baby elephant named "Gertie". This name was deemed unrefined by Nancy Reagan, who chose to rename the animal "GOP".

Dynastic honours

 * House of Zogu: Sovereign Knight with Collar of the Royal Order of Albania
 * House of Zogu: Sovereign Knight Grand Cross of the Royal Order of Fidelity, Special Class
 * House of Zogu: Sovereign Knight Grand Cross of the Royal Order of Skanderbeg, Grand Star
 * House of Zogu: Sovereign Knight Grand Cross of the Royal Order of Bravery
 * Italian Royal Family: Knight Grand Cordon of the Royal Order of Saints Maurice and Lazarus
 * Russian Imperial Family: Knight Grand Cordon of the Imperial Order of Saint Vladimir
 * Georgian Royal Family: Knight Grand Cross with Collar of the Royal Order of the Eagle of Georgia

Historical video footage

 * (12 April 1997) South Africa: Albanian Monarch in Exile King Leka I Speaks of Crisis
 * (12 April 1997) Albania: King Leka I Returns from Exile in South Africa
 * (12 April 1997) Albania: Self-proclaimed King Leka I Arrives
 * (12 April 1997) Albania: King Gets Unruly Reception
 * (18 April 1997) Albania: Berisha meets exiled King for talks
 * (18 April 1997) Albania: Situation Update
 * (20 April 1997) Albania: King Leka Makes Pilgrimage to His Father's Birthplace
 * (3 July 1997) Albania: Leka Zogu's Supporters Open Fire on Police
 * (3 July 1997) Albania: Royalist Dispute
 * (3 July 1997) Albania: Appeal for Calm
 * (5 July 1997) Albania: Victim of Shoot-Out Agim Gjoonpalaj's Funeral
 * (12 July 1997) Albania: Would-be king Leka Zogu departs

title: Leka, Crown Prince of Albania


text: Talk:Winning Days

title: Talk:Winning Days