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Bembo

Bembo is a serif typeface created by the British branch of the Monotype Corporation in 1928–1929 and most commonly used for body text. It is a member of the "old-style" of serif fonts, with its regular or roman style based on a design cut around 1495 by Francesco Griffo for Venetian printer Aldus Manutius, sometimes generically called the "Aldine roman". Bembo is named for Manutius's first publication with it, a small 1496 book by the poet and cleric Pietro Bembo. The italic is based on work by Giovanni Antonio Tagliente, a calligrapher who worked as a printer in the 1520s, after the time of Manutius and Griffo.

Monotype created Bembo during a period of renewed interest in the printing of the Italian Renaissance, under the influence of Monotype executive and printing historian Stanley Morison. It followed a previous more faithful revival of Manutius's work, Poliphilus, whose reputation it largely eclipsed. Monotype also created a second, much more eccentric italic for it to the design of calligrapher Alfred Fairbank, which also did not receive the same attention as the normal version of Bembo.

Since its creation, Bembo has enjoyed continuing popularity as an attractive, legible book typeface. Prominent users of Bembo have included Penguin Books, the Everyman's Library series, Oxford University Press, Cambridge University Press, the National Gallery, Yale University Press and Edward Tufte. Bembo has been released in versions for phototypesetting and in several revivals as digital fonts by Monotype and other companies.

History
The regular (roman) style of Bembo is based on Griffo's typeface for Manutius. Griffo, sometimes called Francesco da Bologna (of Bologna), was an engraver who created designs by cutting punches in steel. These were used as a master to stamp matrices, the moulds used to cast metal type.

Manutius at first printed works only in Greek. His first printing in the Latin alphabet, in February 1496 (1495 by the Venetian calendar), was a book entitled Petri Bembi de Aetna Angelum Chabrielem liber. This book, usually now called De Aetna, was a short 60-page text about a journey to Mount Etna, written by the young Italian humanist poet Pietro Bembo, who would later become a Cardinal, secretary to Pope Leo X and lover of Lucrezia Borgia.

Griffo was one of the first punchcutters to fully express the character of the humanist hand that contemporaries preferred for manuscripts of classics and literary texts, in distinction to the book hand humanists dismissed as a gothic hand or the everyday chancery hand. One of the main characteristics that distinguished Griffo's work from most of the earlier "Venetian" tradition of roman type by Nicolas Jenson and others is the now-normal horizontal cross-stroke of the "e", a letterform which Manutius popularised. Modern font designer Robert Slimbach has described Griffo's work as a breakthrough leading to an "ideal balance of beauty and functionality", as earlier has Harry Carter. The type is sometimes known as the "Aldine roman" after Manutius' name.

In France, his work inspired many French printers and punchcutters such as Robert Estienne and Claude Garamond from 1530 onwards, even though the typeface of De Aetna with its original capitals was apparently used in only about twelve books between 1496 and 1499. Historian Beatrice Warde suggested in the 1920s that its influence may have been due to the high quality of printing shown in the original De Aetna volume, perhaps created as a small pilot project. De Aetna was printed using a mixture of alternate characters, perhaps as an experiment, which included a lower-case p in the same style as the capital letter with a flat top. In 1499, Griffo recut the capitals, changing the appearance of the typeface slightly. This version was used to print Manutius' famous illustrated volume Hypnerotomachia Poliphili.

Griffo's roman typeface, with several replacements of the capitals, continued to be used by Manutius's company until the 1550s, when a refresh of its equipment brought in French typefaces which had been created by Garamond, Pierre Haultin and Robert Granjon under its influence. UCLA curators, who maintain a large collection of Manutius's printing, have described this as a "wholesale change ... the press followed precedent; popular in France, [these] types rapidly spread over western Europe". Ultimately, old-style fonts like all of these fell out of use with the arrival of the much more geometric Didone types of the eighteenth and nineteenth centuries. They returned to popularity later in the century, with the arrival of the Arts and Crafts movement.

In 1500, Manutius released the first books printed using italic type, again designed by Griffo. This was originally not intended as a complementary design, as is used today, but rather as an alternative, more informal typeface suitable for small volumes.

Italic
Bembo's italic is not based directly on the work of Griffo, but on the work of calligrapher and handwriting teacher Giovanni Antonio Tagliente (sometimes written Giovannantonio). He published a writing manual, The True Art of Excellent Writing, in Venice in 1524, after the time of Manutius and Griffo, with engravings and some text set in an italic typeface presumably based on his calligraphy. (Tagliente did not only publish on handwriting, but also self-help guides on learning to read, arithmetic, embroidery and a book of model love letters.  ) It too was imitated in France, with imitations appearing from 1528 onwards. Another influential italic type created around this time was that of Ludovico Vicentino degli Arrighi, also a calligrapher who became involved in printing. His almost upright italic design was also imitated in France and would also become influential to twentieth-century font designs. Morison continued to be interested in Tagliente's work and late in life curated a book, Splendour of Ornament, on Tagliente's decorative pattern designs.

Monotype history
Monotype Bembo is one of the most famous revivals of the Aldine typeface of 1495. It was created under the influence of Monotype executive and printing historian Stanley Morison by the design team at the Monotype factory in Salfords, Surrey, south of London. While most printers of the Arts and Crafts movement of the previous sixty years had been more interested in the slightly earlier typefaces of Nicolas Jenson, Morison greatly admired Aldus Manutius' typeface above others of the period. The main reasons for his admiration were the balance of the letter construction, such as the evenness of the 'e' with a level cross-stroke and the way the capitals were made slightly lower than the ascenders of the tallest lower-case letters. He described the Aldine roman as "inspired not by writing, but by engraving; not script but sculpture." His friend printer Giovanni Mardersteig similarly suggested the appeal of the Aldine face in his commentary that "Griffo...rid himself of the influence of the characteristic round forms of letters written with a pen; he developed instead a more narrow and it might be said a more modern form, which was better suited to [engraving]...whereas Jenson's style made a strong appeal to the sense of beauty prevalent in the period of Art Nouveau, today our taste in architecture and typography inclines towards simpler and more disciplined forms."

Bembo's development took place following a series of breakthroughs in printing technology which had occurred over the last fifty years without breaking from the use of metal type. Pantograph engraving had allowed punches to be precisely machined from large plan drawings. This gave a cleaner result than historic typefaces whose master punches had been hand-carved out of steel at the exact size of the desired letter. It also allowed rapid development of a large range of sizes. In addition, hand printing had been superseded by the hot metal typesetting systems of the period, of which Monotype's was one of the most popular (in competition with that of Linotype's). Both allowed metal type to be quickly cast under the control of a keyboard, eliminating the need to manually cast metal type and slot it into place into a printing press. With no need to keep type in stock, just the matrices used to cast the type, printers could use a wider range of fonts and there was increasing demand for varied typefaces. Artistically, meanwhile, the preference for using mechanical, geometric Didone and “modernised old style” fonts introduced in the nineteenth century was being displaced by a revival of interest in "true old style" serif fonts developed before this, a change that has proved to be lasting. At the same time, hot metal typesetting had imposed new restrictions: in Monotype's system (while less restrictive than Linotype's), in order to mechanically count the number of characters that could be fitted on a line, letters could only be certain widths, and care was needed to produce letters that looked harmonious in spite of this.

Morison was interested in the history of the 15th century Italian printing, and had discussed the topic with his correspondent, the printer Giovanni Mardersteig, in correspondence with whom he wrote a series of letters discussing Bembo's development. He also discussed the project in his letters with the Poet Laureate Robert Bridges, who had some interest in printing. For the project Morison bought a copy of De Aetna which he then sold to Monotype as a model.

Bembo's technical production followed Monotype's standard method of the period. The characters were drawn on paper in large plan diagrams by the highly experienced drawing office team, led and trained by American engineer Frank Hinman Pierpont and Fritz Stelzer, both of whom Monotype had recruited from the German printing industry. The drawing staff who executed the design was disproportionately female and in many cases recruited from the local area and the nearby Reigate art school. From these drawings, Benton-pantographs were used to machine metal punches to stamp matrices. It was Monotype's standard practice at the time to first engrave a limited number of characters and print proofs from them to test overall balance of colour on the page, before completing the remaining characters.

Monotype's publicity team described the final italic as "fine, tranquil" in a 1931 showing, emphasising their desire to avoid a design that seemed too eccentric. It was, however, not the only design considered. Morison initially commissioned from the calligrapher Alfred Fairbank a nearly upright italic design based on the work of Arrighi, and considered using it as Bembo's companion italic before deciding it was too eccentric for this purpose. Monotype ultimately created a more conventional design influenced by Tagliente's typeface and sold Fairbank's design as Bembo Condensed Italic. It was digitised as "Fairbank" in 2003, and sold independently of Monotype's Bembo digitisations. Morison conceded in his memoir that the Fairbank design "looked its best when given sole possession of the page". Fairbank later complained that he had not been told that his italic was intended to be a complementary design, and that he would have designed it differently if he had been.

As was normal in metal type fonts of the period from Monotype and other companies, the font was drawn differently at different sizes by modifying Griffo's original single-size design, a quite large letter at an approximate size of 15 points. The changes made were looser spacing, higher x-height (taller lower-case letters) and a more solid colour of impression at smaller sizes, and a finer, more graceful and tightly spaced design at large sizes.

Characteristics
Among Bembo's more distinctive characteristics, the capital "Q"'s tail starts from the glyph's centre, the uppercase "J" has a slight hook and the sides of the "M" splay outwards slightly. The 'A' has a flat top. Many lowercase letters show subtle, sinuous curves; the termination of the arm of both the r and the e flare slightly upward and outward. The lowercase "c" and "e" push slightly forwards. Characters "h", "m", and "n" are not quite vertical on their right-hand stems, with a subtle curve towards the left going down the stroke. In italic, the k has an elegantly curved stroke in the lower-right and descenders on the p, q and y end with a flat horizontal stroke. In the 1950s, Monotype noted that its features included: "serifs fine slab, fine-bracketed and in l.c. prolonged to right along baseline." This meant that many of the serifs (especially the horizontals, for example on the W) are fine lines of quite uniform width, rather than forming an obvious curve leading into the main form of the letter. The ascenders reach above the cap height.

In metal type, Bembo includes two capital "R"s, one with a long, extended leg following Griffo's original engraving, and another with a more tucked-in leg for body text if a printer preferred it.

Bembo does not attempt to strictly copy all the features of Renaissance printing, instead blending them with a twentieth-century sensibility and the expectations of contemporary design. An eccentricity of Griffo's first De Aetna capitals was an asymmetrical M that does not seem to have a serif at top right. So odd it has been suggested it may have been the result of faulty casting of type, it was nonetheless often copied in French imitations by Garamond and his contemporaries. The final release of Monotype's revival did not follow this, although it was available by special order. Monotype also did not copy the curving capital Y used by Manutius in the tradition of the Greek letter upsilon which had been used in some versions of Poliphilus and Blado, although not in the digitisation of Poliphilus. Nesbitt has described the capitals as "a composite design in the spirit of [Griffo's] type". Historian James Mosley reports that other changes from the earliest versions were reduction in the weight of the capitals and alteration of the 'G' by adding the conventional right-hand serif, and widening the 'e', and suggests that the numerals of Bembo were based on those Monotype had already developed for the typeface Plantin.

In the italic, the expansive ascenders of Tagliente's type were shortened and the curl to the right replaced with more conventional serifs. Monotype also cut italic capitals sloped to match the lower-case, whereas in the Renaissance italics were used with upright capital letters in the Roman inscriptional tradition. The bold (Monotype's invention, since Griffo and his contemporaries did not use bold type) is extremely solid, providing a very clear contrast to the regular styles, and Monotype also added lining (upper-case height) figures as well as the text figures (at lower-case height) used in the fifteenth and sixteenth centuries.

Book designer Elizabeth Friedländer drew some rarely-seen swash capitals for Bembo for capital introductions to Churchill's history of the second world war.

Poliphilus and Blado
Monotype had already designed two other types inspired by the same period of Italian printing and calligraphy, the roman Poliphilus and italic Blado (both 1923). Made more eccentric and irregular than the sleek lines of Bembo to evoke the feel of antique printing, these remained in Monotype's catalogue and have been digitised, but are much less known today. Bembo can therefore be seen as an iteration of a preexisting design concept towards mass market appeal, taking the basic idea of the Griffo design and (unlike Poliphilus) updating its appearance to match the more sophisticated printing possible by the 1920s. Bembo's original working name was "Poliphilus Modernised".

Poliphilus is named after the book Hypnerotomachia Poliphili, one of Manutius's most famous books in the Latin alphabet, which was printed with the same roman as De Aetna but recut capitals; it was made for the Medici Society, who planned to create an English translation. Blado is named after the printer Antonio Blado, a colleague of Arrighi. Morison preferred Bembo's roman and was somewhat dismissive of Poliphilus. Unlike Bembo, both in metal featured a Greek-influenced Y with a curving head, as in the original.

Centaur

Monotype licensed and released the font Centaur around the same time as Bembo. It was drawn by the American book designer Bruce Rogers. Its roman is based on a slightly earlier period of Italian renaissance printing than Bembo, the work of Nicolas Jenson in Venice around 1470. Like Bembo, its italic (by Frederic Warde) comes from the 1520s, being again loosely based on the work of Arrighi from around 1520. Compared to Bembo it is somewhat lighter in structure, something particularly true in its digital facsimile. Penguin often used it for headings and titles of 'classic' editions, particularly its capitals and italic; its lower-case does not so effectively harmonise with Bembo due to the different letter shapes such as the tilted 'e'.

Griffo and Dante
Although Bembo went on to dominate British book printing in the twentieth century, in the words of John Dreyfus "Morison was not entirely satisfied by the way Griffo's roman had been recut", feeling that "the real charm of the original had not been brought out in the mechanical recutting". His friend printer Giovanni Mardersteig made two attempts at designing an alternative revival for use in his fine printing house, the Officina Bodoni, first in discussion with Morison and cut by hand by punchcutter Charles Malin, who some years later had also cut a version of Perpetua for Morison. This more delicate "Griffo" revival (1929) was used in handprinting and not developed for use outside Mardersteig's company.

In the 1940s, Mardersteig developed plans for a second design, Dante, which was again cut by Malin slowly from 1946 onwards but taken also up by Monotype. Monotype Dante Series 592, Dante Semi Bold Series 682 and Dante Titling Series 612, were only produced in Didot-sizes. It was a more eccentric revival of the Aldine face than Bembo, it did not attract as much popularity.

Titling fonts
Monotype created several titling designs based on Renaissance printing that could be considered complementary to Bembo: Bembo Titling (based directly on Bembo's capitals, but more delicate to suit a larger text size) and the more geometric Felix Titling in 1934, inspired by humanist capitals drawn by Felice Feliciano in 1463. In the hot metal type era Monotype also issued a titling version of Centaur, which was often used by Penguin; Monotype's digitisations of Centaur do not include it.

The Renaissance

 * 1496 Griffo's roman
 * 1501 Griffo's italic; development of italic type follows over the next fifty years.
 * 1515 Death of Manutius.
 * 1518 Death of Griffo.
 * 1520s Tagliente publishes in Venice, Ludovico Vicentino degli Arrighi in Rome (possibly also Venice). Both are former calligraphers who publish writing manuals.
 * 1522–25 Tagliente publishes a writing manual The True Art of Excellent Writing, as does Arrighi, La Operina... around the same time.  Arrighi's friend Gian Giorgio Trissino writes of Arrighi that "in calligraphy he has surpassed all other men of our age so [he now does] in print all that was formerly done with the pen, in his beautiful types he has gone beyond all other printers." His contemporary Antonio Blado publishes in Rome in an italic apparently derived from Arrighi's work.
 * 1527 War in central Italy. Arrighi disappears from history; he may have been killed in the Sack of Rome.
 * 1528 Tagliente dies in Venice.
 * 1535 Blado appointed printer to the papacy and remains in this role until his death in 1567.
 * 1530s–1550s France becomes a centre of the typefounding industry under the influence of the work of Manutius and others. French typefaces replace old Italian designs at the Aldine Press in Venice. Tradition that italic capitals should slope like the lower case established.

20th century

 * 1910s The italic calligraphy style of the Italian renaissance is revived by calligraphers including Edward Johnston and Alfred Fairbank.
 * 1923 Monotype releases Monotype series 119, an italic based on the work of Arrighi and Antonio Blado, and Poliphilus Monotype series 170, a roman based on the work of Griffo.
 * 1926 Edward Johnston develops a font based on his italic calligraphy, but it remains obscure.
 * 1926 Frederic Warde creates an italic based on the work of Arrighi. Monotype series 252 It is now almost always used as the companion italic of the font Centaur, but initially had an independent existence.
 * 1928–29 Monotype develops and releases Bembo, Monotype series 270 based on the work of Griffo but much smoother in texture. After considering releasing an italic by Fairbank-based the work of Arrighi, Monotype abandons the idea, making Bembo's default italic on the Tagliente model. Hot metal matrices for Fairbank's italic or "Bembo Condensed Italic" Monotype series 294 were only made in 4 sizes: 10pt, 12pt, 13pt and 16pt.
 * 1929 Monotype releases Centaur and the Warde italic as a matching set.
 * 1960s Monotype releases Bembo for phototypesetting. Other companies also release versions.

Reception
Bembo has been very popular in book publishing, particularly in Britain. It was also recommended by HMSO in its style guide for outsourced printing jobs. Cambridge University Press's history describes Bembo as one of its most commonly used typefaces; Morison was closely connected to Cambridge and his personal archive (as well as much of Monotype's) went to the university after his death.

Among reviews of typefaces, writing in the anthology Typographic Specimens: The Great Typefaces, Jeff Price commented that Bembo became noted for its ability to "provide a text that is extremely consistent in colour", helping it to "remain one of the most popular book types since its release". Roger Black commented in 1983 "For me, Bembo is the all-time classic roman; if I were stuck on a desert island with only one typeface, that would be it." Digital font designer Nick Shinn has also commented, "Bembo has a sleek magnificence, born of high-precision technology at the service of accomplished production skills, which honours the spirit of the original, and an exotic grace of line which humbles most new designs made more ostensibly for the new technology." Oxford University Press editor John Bell also borrowed the name for his set of comic verse lampooning publishing, Mutiny on the Bembo.

Monotype digitisations
Monotype has released two separate digitisations named Bembo and more recently Bembo Book, as well as the more slender caps-only display font Bembo Titling and the alternate italic design Fairbank. Bembo Book is considered to be superior by being thicker and more suitable for body text, as well as for offering the alternate shorter R for better-spaced body text.

Monotype's original, early digitisation of Bembo was widely seen as unsuccessful. Two main problems have been cited with it: being digitised from drawings, it was much lighter in type colour than the original metal type which gained weight through ink spread, much reduced on modern printing equipment. In addition, the digital Bembo was based on the 9 pt metal drawings, creating a font with different proportions to the metal type in the point sizes at which Bembo was most often used in books; Sebastian Carter has pointed particularly to the 'M' being drawn too wide. This made the proportions of the digital font appear wrong, failing to match the subtlety of the metal type and phototypesetting release, which was released in three different optical sizes for different print sizes. Future Monotype executive Akira Kobayashi commented that the original digitisation was "a kind of compromise ... the types that were originally designed for hot-metal often looked too light and feeble ... Bembo Book is more or less what I expected."

While Bembo Book is considered the superior digitisation, the original continues to offer the advantages of two extra weights (semi- and extra-bold) and infant styles with simplified a and g characters resembling handwriting; its lighter appearance may also be of use on printing equipment with greater ink spread. Cross-licensing has meant that it is sold by a range of vendors, often at very low prices. As an example of this, Fontsite obtained the rights to resell a derivative of the original digitisation, using the alternative name Borgia and Bergamo, upgrading it by additional OpenType features such as small capitals and historical alternative characters. Neither version includes digitisations of the larger size versions of Bembo, which had a more delicate and elegant design.

Other Griffo-inspired fonts
A major professional competitor to Bembo is Agmena, created by Jovica Veljović and released by Linotype in 2014. Intended as a unified serif design supporting Roman, Greek and a range of Cyrillic alphabets such as Serbian, it features a more calligraphic italic than Bembo with swash capitals and support for Greek ligatures.

A looser interpretation of the Griffo designs is Iowan Old Style, designed by John Downer and also released by Bitstream. With a larger x-height (taller lower-case letters) than the print-oriented Bembo and influences of signpainting (Downer's former profession), it was intended to be particularly clear for reading at distance, in displays and in signage. It is a default font in the Apple Books application.

Not explicitly influenced by Bembo but also influenced by Griffo is Minion by Slimbach. Released by Adobe, a 2008 survey ranked it as one of the most popular typefaces used in modern fine printing.

Besides designs with similar inspiration, a number of unofficial releases and digitisations of Bembo have been made in the phototypesetting and digital periods, reflecting the lack of effective intellectual property protection for typefaces. Several unofficial versions were released during the phototypesetting period under alternate names; for example one unofficial phototypesetting version was named "Biretta" after the hat worn by Roman Catholic clergy, and another by Erhard Kaiser was created for the East German printing concern Typoart, outside the reach of Western intellectual property laws. In the digital period, Rubicon created a version named "Bentley" intended for small sizes and Bitstream made a version under the name of "Aldine 401". Its licensee ParaType later created a set of Cyrillic characters for this in 2008. The name "Bembo" remains a Monotype trademark and may not be used to describe such clones.

Free and open-source fonts
Two open-source designs based on Bembo are Cardo and ET Book. The Cardo fonts, developed by David J. Perry for use in classical scholarship and also including Greek and Hebrew, are freely available under the SIL Open Font License. Unimpressed by the first Bembo digitisation, statistician and designer Edward Tufte commissioned an alternative digitisation for his books in a limited range of styles and languages, sometimes called 'ET Bembo'. He released it publicly as an open-source font named 'ET Book' in September 2015.

Privately used fonts
Heathrow and other British airports used a highly divergent adaptation of Bembo for many years. Designed by Shelley Winters and named BAA Bembo or BAA Sign, it was very bold with a high x-height.

The National Gallery in London used Bembo, then its corporate font, as a plan for the carving of its name into its frontage.

The Yale face, developed by Matthew Carter as a corporate font for Yale University, is based on Griffo's work; Yale commissioned a custom font from Carter, a member of the university faculty, after being dissatisfied with digital versions of Bembo. Carter commented on the design that "John Gambell, the Yale University printer who initiated and ran the project, also liked the idea of an Aldine face ... Monotype Bembo had been used for University printing at an earlier time, so there was a useful precedent." It is available exclusively to "Yale students, employees, and authorized contractors for use in Yale publications and communications. It may not be used for personal or business purposes, and it may not be distributed to non-Yale personnel."

In the pre-digital period, IBM offered Aldine, a font inspired by Bembo, as a font for the IBM Composer. This was an ultra-premium electric golfball typewriter system, intended for producing copy to be photographically enlarged for small-scale printing projects, or for high-quality office documents. Ultimately the system proved a transitional product, as it was displaced by cheaper phototypesetting, and then in the 1980s by word processors and general-purpose computers.

Cited literature

 * Meggs, Philip B. and McKelvey, Roy.Revival of the Fittest: Digital Versions of Classic Typefaces. RC Publications: 2000. ISBN 1-883915-08-2
 * Meggs, Philip B. History of Graphic Design. John Wiley & Sons, Inc.: 1998. ISBN 0-470-04265-6

title: Bembo


text:
User:Bullpup

You can find my german user site here: w:de:Benutzer:Bullpup

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

title: User:Bullpup


text:
Category:Developmental psychology

Developmental psychology is the scientific study of progressive psychological changes that occur in human beings as they age. Originally concerned with infants and children, the field has expanded to include adolescence and more recently, adult development, and aging.

title: Category:Developmental psychology


text:
Pi Aquilae

Pi Aquilae, Latinised from π Aquilae, is the Bayer designation for a binary star system in the equatorial constellation of Aquila, about 3° to the north of the bright star Altair. The apparent visual magnitude of the system is 5.85, making it faintly visible to the naked eye from dark suburban skies. Based upon an annual parallax shift of 6.34 mas, the distance to this system is roughly 510 ly.

The binary nature of this system was first discovered by William Herschel in 1785. The primary component of is a magnitude 6.47 giant star with a stellar classification of G8 III:. A companion star at an angular separation of 1.437 arcseconds is an A-type main-sequence star with a classification of A1 V. It is slightly fainter, with an apparent magnitude of 6.75.

title: Pi Aquilae


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UEFA European Under-17 Championship

The UEFA European Under-17 Championship or simply UEFA Under-17 Championship is an annual football competition contested by the European men's under-17 national teams of the member associations of UEFA.

Spain is the most successful team in this competition, having won nine titles. Italy is the current champions.

History and format
The current competition format consists of three stages: a qualifying round, an elite round and a final tournament. The first stage takes place in autumn of the previous year, while the elite round is played in spring. The winners of each elite round group join the host team in the final tournament, played in May. Until the 1997 tournament, players born on or after 1 August the year they turned 17 years were eligible to compete. Since the 1998 tournament, the date limit has been moved back to 1 January. In 2001/2002 the competition was renamed European Under-17 Championship, but the eligibility rules did not change.

Results
1No third place match has been played since 2007; losing semi-finalists are listed in alphabetical order.
 * 1987 Title not awarded.
 * Key:
 * a.e.t. – after extra time
 * g.g. – after golden goal
 * p – after penalty shoot-out

Performances by countries
1 There was no match to determine 3rd place after the 2006 tournament.

2 Including ' and '.

3 Including .

4 Including .

5 Including .

Participating nations

 * Legend :
 *  – Champions
 *  – Runners-up
 *  – Third place
 *  – Fourth place
 *  – Semi-finalists
 * 5th-6th - Fifth to Sixth place
 * QF – Quarter-finals
 * GS – Group stage
 * q – Qualified for upcoming tournament
 * TBD – To be determined
 * •• – Qualified but withdrew
 * • – Did not qualify
 * × – Did not enter
 * × – Withdrew / Banned / Entry not accepted by FIFA
 * — Country not affiliated to UEFA at that time
 * — Country did not exist or national team was inactive
 * – Hosts
 * – Not affiliated to FIFA

Men's U-17 World Cup qualifiers

 * Legend
 * 1st – Champions
 * 2nd – Runners-up
 * 3rd – Third place
 * 4th – Fourth place
 * QF – Quarterfinals
 * R2 – Round 2
 * R1 – Round 1
 * – Hosts
 * – Not affiliated to UEFA
 * q – Qualified for upcoming tournament

In 2023, the German U-17 became the first UEFA team in this age group to become European and world champions with the same cohort.

Player of the Tournament
For certain tournaments, the official website UEFA.com subsequently named a Golden Player or Player of the Tournament.

Top scorer
The Top scorer award is awarded to the player who scores the most goals during the tournament.

title: UEFA European Under-17 Championship


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Sylvania Township, Lucas County, Ohio

Sylvania Township is one of the eleven townships of Lucas County, Ohio, United States. As of 2020, the total population was 50,679, making it the second most populous municipality of Lucas County, Northwest Ohio, and the 419 / 567 area codes (behind only Toledo).

The township entirely encompasses the city of Sylvania. Excluding the city of Sylvania, the remainder of the township had a population of 31,668 in 2020. The township government is under direction of a 3-member Board of Trustees (elected to staggered 4-year terms), an elected Clerk and a full-time Administrator.

Geography
Located in the northern part of the county, it borders the following townships and municipalities:
 * Whiteford Township, Monroe County, Michigan - north
 * Toledo - east
 * Ottawa Hills - southeast
 * Springfield Township - south
 * Spencer Township - southwest
 * Richfield Township - west
 * Riga Township, Lenawee County, Michigan - northwest

The city of Sylvania lies in northern Sylvania Township.

The Ottawa River and Ten Mile Creek both flow through the township.

Name and history
The township was named for its former woodlands, Sylvania being a name derived from Latin meaning "forest land". It is the only Sylvania Township statewide.

Government
Sylvania township is a limited home rule township governed by a three-member board of trustees, who are elected in November of odd-numbered years to a four-year term beginning on the following January 1. ORC Chapter 504. Two are elected in the year after the presidential election and one is elected in the year before it. There is also an elected township fiscal officer, who serves a four-year term beginning on April 1 of the year after the election, which is held in November of the year before the presidential election. Vacancies in the fiscal officership or on the board of trustees are filled by the remaining trustees.

, the Township Trustees are Neal Mahoney, John Crandall and John Jennewine. Dave Simko is the fiscal officer.

Transportation
The following highways are important transportation arteries in Sylvania Township:

 * Interstate 475 from Toledo, Ohio to Springfield Township
 * U.S. Route 20 Central Avenue (Richfield Township to Reynolds Road), Reynolds Road (Central Avenue to Toledo)
 * U.S. Route 23, Whiteford Township, Monroe County, Michigan to Interstate 475, then concurrent with Interstate 475 to Springfield Township
 * SR 51 Monroe Street (Toledo to US 23), ends at US 23
 * SR 120 Central Avenue (Richfield Township to Ottawa Hills and Toledo)
 * SR 184 Alexis Road (Toledo) to Acres Road
 * (eastbound) - Acres Road (Alexis Road to Monroe Street), ends at Monroe Street
 * (westbound) - Alexis Road (Acres Road to Monroe Street), ends at Monroe Street

title: Sylvania Township, Lucas County, Ohio


text:
User:4v4l0n42/firma

Federico Pistono  ✆   ✍

title: User:4v4l0n42/firma


text: Category:Muralists

title: Category:Muralists


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Francesco Griffo

Francesco Griffo (1450–1518), also called Francesco da Bologna, was a fifteenth-century Italian punchcutter. He worked for Aldus Manutius, designing the printer's more important humanist typefaces, including the first italic type. He cut Roman, Greek, Hebrew and the first italic type. Aldus gives Griffo credit in the introduction of the Virgil of 1501. However, as Manutius had achieved a monopoly on italic printing and Greek publishing with the permission of the Venetian government, he had a falling-out with Griffo. Griffo then went to work for Gershom Soncino, whose family were Hebrew printers. It was with Soncino that Griffo's second italic type was cut in 1503. In 1516 he returned to Bologna where he began print publishing. In 1518 Griffo was charged with the murder of his son-in-law, who had been beaten to death with an iron bar. This is his last appearance in the historical record. He is presumed to have been executed.

Influence
Griffo's typefaces have been very influential. His Romans show a degree of abstraction from calligraphy not present in the work of the earlier master Nicolas Jenson, while his italic and Greek types are notably cursive. Philip B. Meggs wrote in A History of Graphic Design, "Griffo researched pre-Caroline scripts to produce a roman type that was less artistic but more authentic than Jenson's designs". The italic type was designed to look like handwriting of the humanist scholars. This more personal form of type became widely popular in Europe.

Typefaces based on his work include Monotype Poliphilus roman, Bembo Book roman, Bembo Titling, Morris Fuller Benton's Cloister Old Style italic, Jack Yan's JY Aetna roman, Bitstream Aldine 401 roman, and Franko Luin's Griffo Classico roman and italic; more distant descendants include the romans of Claude Garamond, Giovanni Mardersteig's Dante, Robert Slimbach's Minion and Matthew Carter's Yale Typeface.

Publications
The publications of Francesco Griffo's at Bologna as cited by Francesco Griffo da Bologna: Fragments & glimpses: a compendium of information & opinions about his life and work.

 * Canzoniere et triomphi di messer Francesco Petrarcha, 20 September 1516.
 * Archadia del Sannazaro, 3 October 1516.
 * Gli Asolani di Messer Pietro Bembo, 30 October 1516.
 * Labirinto d amore de Messer Giovanni Bocaccio nomato il Corbaccio, 9 December 1516.
 * M. Tull. Ciceronis Epistolae familiares accuratius recognitae, 20 December 1516.
 * Volerii Maximi dictorum et factorum memorabilium libri nouem, 24 January 1517.

title: Francesco Griffo


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Talk:Nissan

Picture should be made smaller
A picture under the 'Relationships with other car companies' sub-heading should be made smaller in my opinion due to the alignment of the text being affected by the current size of the image. In my opinion, this makes the article look unprofessional. Xboxsponge15 (talk) 14:44, 4 February 2020 (UTC)

 * Do you mean the image of Nissan headquarters? I tried resizing the browser to many different sizes and I didn't see a problem with its placement.  Stepho  talk 11:46, 9 March 2020 (UTC)

Yes I do and I see. Thank you for trying. Xboxsponge15 (talk) 09:03, 5 July 2020 (UTC)

Kicks - plug-in hybrid
ALL-NEW NISSAN KICKS e-POWER DRIVING PERFORMANCE
 * It looks like Nissan is leveraging their "E-power" technology to offer a new plug-in hybrid as promised. Available in Thailand, not sure about other countries.
 * Kortoso (talk) 02:07, 23 August 2020 (UTC)

Hari Nada
I was reading an article in today's New York Times about a "high-ranking Nissan executive", Hari Nada, and came to Wikipedia to learn more about him. But there is no Wikipedia article named Hari Nada, nor any mention of him in this article on Nissan. Would it be appropriate to write something on this topic here, and do we know enough about Nada for an article about him?

Nissan's Hari Nada is not news, there has been information online about his role in getting Carlos Ghosn not only fired but jailed for two years now, for example here, making it surprising there is nothing about him in Wikipedia!

The difference between that two-year-old IndiaTimes article and today's New York Times article seems to be the count of the number of heads that had to roll at Nissan during those intervening two years.

It makes for fascinating reading! Vaughan Pratt (talk) 06:54, 1 February 2021 (UTC)

 * As a top executive of one of the biggest car companies in the world and a principle player in a corruption investigation of that company, he is very notable.  Stepho  talk 00:03, 2 February 2021 (UTC)

Source and year are wrong
Source for Production Output is from 2016, but year in wikipedia article says 2020 Thooury (talk) 09:39, 4 March 2021 (UTC)

 * Correct production numbers for calendar year ending Dec 2020 are 3,629,672. See https://global.nissannews.com/en/releases/release-18e8181d3a7c563be5e62225a7050ce9-nissan-production-sales-exports-dec-2020  Stepho  talk 15:04, 4 March 2021 (UTC)

Nissan CVT issue
2019 Nissan Pathfinder had 4 Cvts fail and I need to know how to file a lawsuit against Nissan for CVT failure — Preceding unsigned comment added by 71.173.75.200 (talk) 08:31, 22 May 2021 (UTC)

 * Sorry, not Wikipedia's purpose. Suggest you contact a lawyer.  Stepho  talk 08:40, 22 May 2021 (UTC)

Products
What about Nissan motor cycles and bicycles? Peter Horn User talk 15:46, 31 July 2022 (UTC)

Autonomous cars section is written in the future tense
The whole Autonomous cars section is written in future tense, despite talking about things that should have happened a decade ago. I feel it needs to be updated with current information and the proper tense. I can do it, I'm just looking for the ok to edit that section. Not looking to step on anyone's toes. Shion-ko (talk) 04:04, 30 April 2024 (UTC)

title: Talk:Nissan


text:
Psi Aquilae

Psi Aquilae, Latinized as ψ Aquilae, is the Bayer designation for a star in the equatorial constellation of Aquila. It is a faint star with an apparent visual magnitude of 6.25, which, according to the Bortle Dark-Sky Scale, can be seen with the naked eye in dark rural skies. The orbit of the Earth causes an annual parallax shift of $10,814$, which indicates a distance of approximately 1150 ly.

The spectrum of Psi Aquilae matches a stellar classification of B9 III-IV, with the luminosity class of III-IV indicating the spectrum lies part way between that of a subgiant and a giant star. The effective temperature of the star's outer atmosphere is 10,814 K, giving it the blue-white hue of a B-type star. It has nearly four times the radius of the Sun and has a projected rotational velocity of 20 km/s.

title: Psi Aquilae


text:
Jane Beale

Lesley Jane Beale (also Clarke and Collins) is a fictional character from the BBC soap opera EastEnders, played by Laurie Brett. She made her first appearance on 21 June 2004. Brett took maternity leave in 2011 and departed on 19 May. She returned on 8 November and departed again on 27 January 2012. Jane made a temporary return to the show on 6 January 2014 until 20 May of that year and permanently from 24 November 2014 to 23 October 2017. She made two voiceover appearances on 8 and 25 December 2017. The character made an unannounced return in the episode broadcast on 15 July 2024 for a short stint.

Jane’s storylines have included her relationship and later marriages to Ian Beale (Adam Woodyatt), an affair with Grant Mitchell (Ross Kemp), accidentally shot by Ian's stepson Steven Beale (Aaron Sidwell) which results her desire to have a child of her own following a hysterectomy, a relationship with Masood Ahmed (Nitin Ganatra), her popular friendship with Tanya Branning (Jo Joyner), covering up her adopted son Bobby's (Eliot Carrington) role in the murder of her stepdaughter Lucy Beale (Hetti Bywater), being paralysed after being brutally attacked with a hockey stick by Bobby, caught up in the fire at Beale's restaurant, which was started by Steven before she was then left in the blaze by Max Branning (Jake Wood) and being forced by Max to leave Walford which led to a second departure.

2004–2012
Jane comes to Walford with a funfair, working the candyfloss stall. She argues with Ian Beale (Adam Woodyatt) but helps out when the funfair collapses. She moves to the Square and becomes friends with Ian. She reveals that her husband, David Collins (Dan Milne), is in a hospice with Huntington's disease. After he dies, Jane and Ian start dating and she moves in with him and his children, Lucy (Melissa Suffield), Peter (Thomas Law), and Bobby (Alex Francis). When Jane and Grant Mitchell (Ross Kemp) intervene in a feud between Ian and Grant's brother Phil Mitchell (Steve McFadden), they end up kissing. Jane tells Grant she is not in love with him. After an argument with Ian, she has sex with Grant but stays with Ian, and Grant leaves Walford. Phil tells Ian about the affair so Ian proposes to Jane, quietly planning to humiliate her at the wedding. Jane learns this on their wedding day and disappears. Ian finds her and they fight but realise they love each other and want to be together. They marry in secret.

Ian's stepson Steven Beale (Aaron Sidwell), who has been living overseas, returns to Walford and takes Ian hostage, locking him in a flat. The family eventually learn where Ian is and try to rescue him, but Jane is shot in the process. She and Ian agree to have a baby when she recovers but Jane needs an emergency hysterectomy, leaving them devastated. Jane starts going to a stand-up comedy club, telling Ian that she is going to the gym. However, he knows she is lying so Tamwar Masood (Himesh Patel) takes him to the club where she is onstage. Amused initially, he is hurt by her jokes about him and their sex life. He gives her an ultimatum: give up her hobby or end their marriage. After she is accepted by a talent scout, she's shocked when Ian insists on being her agent. His interfering takes the fun out of her comedy career so she ends it.

After Ian invests in Masala Masood, the curry business run by Masood Ahmed (Nitin Ganatra) and his wife Zainab Masood (Nina Wadia), the Masoods and Beales go into business together, and Jane has a flirtatious relationship with Masood. When Ian refuses to consider the possibility of adopting a child, Jane turns to Masood for comfort and they kiss. Ian changes his mind but she knows it's only for her sake and leaves Walford, refusing to come home when Ian finds her and only returning when Bobby goes missing. Jane discovers her brother, Christian Clarke (John Partridge), is having an affair with Masood's son, Syed Masood (Marc Elliott), while acting as Syed's wedding planner. Zainab discovers this, and blames Jane for Christian coming to Walford. When Zainab hears Tamwar playing an audio recording of Ian having sex with Janine Butcher (Charlie Brooks), she plays it to Jane. Ian explains that Janine was blackmailing him and admits he stole Archie Mitchell's (Larry Lamb) laptop on the day he was murdered to retrieve the recording. Ian is arrested when Janine implicates Ian in Archie's death, but the charges are dropped. This damages Jane's chances of adopting. Jane learns that Lucy is pregnant and suggests Lucy consider an abortion but Lucy wants Jane and Ian to adopt the baby. Jane agrees but Ian refuses and blames Jane for taking advantage of Lucy. Ian convinces Lucy to have an abortion and arranges it, then tells Jane that Lucy has miscarried. Fearing that Jane will learn the truth, Ian persuades her to visit her mother, Linda Clarke (Lynda Baron), in Florida. Jane is suspicious but Lucy convinces her to go. That night, Masood reminds her of their kiss and asks if he can go with her, but she goes alone as Masood stays in Walford after Syed attempts suicide. When Jane returns, the family learn that there are inconsistencies in Lucy and Peter's exam results and the papers will be investigated. Lucy denies cheating but later admits that she did. When Jane tells Lucy's friend Zsa Zsa Carter (Emer Kenny) that she is upset about Lucy's lies, Zsa Zsa assumes Jane is talking about the abortion and tells her about it. Jane asks Lucy to promise her that she is not hiding anything else and she does, but Jane learns that Ian knew about the abortion and that Lucy planned to cheat on her exam, so she decides to leave once she has what she feels she is owed. She opens another bank account and plans to transfer funds secretly before leaving, telling Ian that she no longer wants to adopt, but Ian suggests that she adopt Bobby and she agrees, as she can fight for access to him. Jane tells Christian about the abortion and he urges her to leave Ian, offering to help.

Kim Fox (Tameka Empson) brings Ian a letter from the bank about Jane's secret account. He asks Jane about it and she says she's been saving for a holiday and then has to book one, but suspicious Ian watches her every move. Jane discovers that Ian plans to buy the local Indian restaurant, the Argee Bhajee, without consulting her. Jane angrily tells friends that she no longer loves Ian, unaware that he has overheard. Ian attempts to woo Jane by cooking for her and offering the Argee Bhajee after her, admitting that he overheard what she said at Zainab's house. Jane then reveals that she knows about Lucy's abortion and is sick of his lies. She meets Masood and the pair console each other about their respective partners. They go to a hotel to have sex, but change their minds and decide to remain friends. When Jane returns home, she confesses to Ian and they reconcile.

Ian asks Jane to renew their wedding vows and she agrees. Days later, Ian admits to having an affair with Glenda Mitchell (Glynis Barber). He hopes she can forgive him but she cannot; they end their relationship but continue to live together, with Ian determined to win her back. She is horrified when Greg Jessop (Stefan Booth) asks Ian to be best man at his wedding to Jane's best friend Tanya Branning (Jo Joyner). During Tanya's hen night, Jane and Tanya get drunk and Tanya accuses Jane of being jealous, so Jane refuses to be Tanya's matron of honour. Returning home, Jane finds Greg bringing Ian home and she goes to kiss Greg, who pushes her away. Filled with guilt, Jane admits what she did to Tanya and they reconcile. Jane and Ian's relationship deteriorates when she meets a man named Martin (Alasdair Harvey) at a pub quiz. They have a brief affair; she ends it, but Ian tries to make Jane jealous by hiring an escort named Jeanette (Georgia Reece). Jane learns that she is an escort and mocks Ian; he calls Jane a prostitute disguised as a wife. She then vows to take everything she can in their divorce. Jane tells Masood she is in love with him and asks him to leave Zainab, but he refuses, telling her he loves her but does not want a divorce. Jane wins the café in her divorce from Ian. Bobby is upset by their arguments, and Jane realises she must leave Walford for his sake, so there are no more arguments. She promises to see Bobby regularly, and leaves after removing her wedding ring. Ian and Jane's divorce is later finalised.

When Jane returns six months later after Bobby visits her, she's shocked to learn that Ian is engaged to Mandy Salter (Nicola Stapleton) and that Masood and Zainab have split. Masood tells Jane that he cannot just be friends with her and they begin a romantic relationship. Masood and Jane go to dinner at Ian and Mandy's house and Ian asks how their relationship can develop if Jane is not a Muslim, so she tells Ian that she will convert, surprising Masood. Masood says she need not convert, so she is relieved. She sees Masood kissing Zainab and tells Zainab's new partner Yusef Khan (Ace Bhatti), and her relationship with Masood ends, though they stay friends. As Tanya has cervical cancer, Jane helps organise a function to raise money for cancer charities. At the event, Jane's former cuisine tutor Gethin Williams (Bradley Freegard) arrives. He is impressed with Jane's catering and asks her to interview for a job at his new restaurant. Jane is reluctant but Tanya sets it up regardless, telling Jane the next day and persuades her to go. She is offered the job, but it is in Cardiff, about 150 miles away. She accepts the job but Tanya assumes she has decided to stay in Walford and is horrified when Masood reveals the truth. Tanya is upset and says that Jane is no longer her friend. Jane is tempted to stay when Ian tells her that his half-brother Ben Mitchell (Joshua Pascoe) needs her but Christian convinces her to go, telling her not to give up on her dreams. As she and Christian are leaving, Tanya runs out of her house, and the two reconcile. She leaves and joyfully exclaims that she can now be whoever she wants.

2014–2017
Worried about Ian's behaviour, Peter (now Ben Hardy) calls Jane. She arrives at their house just as Ian is about to propose to his current fiancée, Jane's friend Denise Fox (Diane Parish). Ian is shocked and Jane and Denise feel awkward with each other. Ian and Jane have a heart-to-heart and Ian breaks down, saying that the pressure of his life is overwhelming. She encourages him to stay strong and advises Peter to talk to Denise about it. The next month, Jane returns to watch Bobby compete in a school spelling competition, lodges with Masood, and agrees to buy into Ian's restaurant. Misinterpreting her actions, Masood kisses Jane, but she rebuffs him. Bonding with Jane over past experiences, Ian kisses her, but she flees the house in humiliation, then is further appalled when Max Branning (Jake Wood) tries to seduce her. Jane makes clear to Ian that they are only friends but agrees to keep the truth from Denise. Masood's daughter Shabnam Masood (Rakhee Thakrar) dislikes Jane and Masood's closeness and plots to push Jane closer to Ian, but Denise is trying to push Jane and Masood closer together, and they eventually become a couple.

Jane is devastated when Lucy (now played by Hetti Bywater) is murdered (see Who Killed Lucy Beale?). Jane and Ian grieve together and have sex. This makes Ian hope they will reunite, but Jane immediately regrets it. When she tells Ian it was a mistake, he takes his anger out on Bobby (now played by Rory Stroud), and Jane breaks up with Masood and leaves with Bobby so Ian can grieve properly. Jane and Bobby stay with Christian, return for Lucy's funeral, and leave again when Jane realises that Ian needs more time alone.

Jane returns in November with the news that Bobby (now played by Eliot Carrington) is missing. Masood finds him asleep on Walford Common near where Lucy's body was found. When he is returned home it is apparent that he has been trying to solve the murder and wants to live in Walford. Jane agrees that Bobby needs his father and finds them a flat. Denise digs up Lucy's missing purse and phone in Patrick's allotment and Jane convinces Ian not to hand them in to the police. Denise is angry when she finds out Ian had sex with Jane the day after Lucy's death. Jane reunites Ian and Peter when they fall out after Ian discovers that Peter was sourcing Lucy's drugs for her, and later she decides to stay at the Beale house. She takes Lucy's phone and purse and hides them under a loose floorboard without telling Ian. Jane kisses Ian and regrets it, but later realises she loves him and they kiss again under the mistletoe. Jane does not want everyone to know about their relationship, but Alfie Moon (Shane Richie) has already found out and the news quickly spreads across the Square. When Jane finds out, she tells Ian that their relationship will not work, but after a discussion with Alfie, she changes her mind and proposes to Ian, who accepts. They plan their wedding for February. Jane is upset when her parents decline her invitation, disapproving of her remarrying Ian, but Sonia Fowler (Natalie Cassidy) supports her and she makes her matron of honour. On the day of the wedding, Jane receives a card from Lauren, revealing she knows that Lucy was killed at home. Visibly disturbed, she flees her wedding reception and is confronted by Peter, who also has discovered that Lucy died in the house. Ian realises Jane is lying and accuses her of killing Lucy; initially, she confesses, but Ian sees through her and realises Bobby is the real culprit. Jane covered for Bobby by taking Lucy's body and putting it in the common, then convinced Bobby that he didn't kill his sister; that is why they left Walford soon after the murder. Ian forgives Jane and, with the twins' maternal half-sister Cindy Williams (Mimi Keene), they agree that Bobby can never find out. Jane is devastated when Cindy stops her and Ian adopting Beth.

The Beales discover the police have a new suspect for Lucy's murder: Ben (now played by Harry Reid). Jane brings Lucy's effects up from under the floorboards, telling Ian she kept them as security, and she is seemingly happy to allow Ben to take the blame. Ian tells her to put the items back; she does so but they go missing, as Bobby has overheard the conversation, and he takes them to the police station. Phil prevents Bobby from turning in the evidence but it is clear that Jane is not coping, as she begins to behave erratically, suggests that the Beales flee Walford and ultimately confesses the truth to family friend Sharon Mitchell (Letitia Dean), who has found out after watching Cindy's video message meant for Bobby. Ian pleads with Sharon and she agrees not to tell the truth. Max is arrested and charged for Lucy's murder, leaving Jane racked with guilt. Ian and Bobby leave Walford on the eve of Max's trial, without telling Jane, who is distraught. Seeing Sharon comforting Jane, Phil works out that Jane knows Max is innocent, and confronts her. She admits she is covering for Bobby, and he decides to keep quiet, as Jane promises that she will keep Ben well out of this. She meets with Max's lawyer Marcus Christie (Stephen Churchett) and together they fabricate an alibi for Max on the night Lucy was killed, as she claims she had sex with him after turning to him for advice about Lucy. However, both the prosecution and her neighbours, including Max's sister Carol Jackson (Lindsey Coulson), are sceptical of her story.

When Max is convicted of the murder, the Beales struggle to move on and Ian attempts to commit suicide. Jane stops him in time but both are stunned when Ian's mother Kathy Sullivan (Gillian Taylforth) turns up in Walford after being believed to be dead for ten years. However, Jane grows close to Kathy, but is furious when Ian tells her that Bobby killed Lucy. Ian and Jane decide to move Bobby into Lucy's old bedroom, and Kathy into Bobby's, which infuriates him, especially when the rooms are swapped without his knowledge. Jane catches Bobby trying swap them back, and a physical scuffle ensues, which results in Bobby pushing Jane down the stairs. Jane tells Kathy that she slipped, but Bobby tells Kathy the truth, and Kathy asks Jane to think about Bobby's anger management problems. Jane refuses to admit he needs help, until he smashes a plate in the café when she refuses to get him a new bicycle for Christmas, so tells Kathy that she thinks there is something wrong with him. Ian decides sending Bobby to an expensive boarding school will solve Bobby's anger problems. Ian decides to sell his restaurant to pay for it, but there are protests when he decides to sell to a supermarket chain, causing Ian to change his mind. Bobby overhears Jane telling Sharon that she is wary of telling Bobby that he will have to leave the school, so in anger he damages her car with his hockey stick. The next day, Jane sees Bobby packing a bag and he says he knows what she has done and is returning to the school. She drags him back, and as she tries to phone Ian, Bobby attacks her, hitting her across the head with the hockey stick. When she falls, he strikes her two more times, leaving her seriously injured. Paramedics reveal Jane has head trauma and spinal injuries and, although Ian initially tries to protect Bobby, he accompanies Jane in the ambulance, denying Bobby access. In the ambulance, Jane enters critical condition when her spinal injury restricts her ability to breathe, requiring anaesthetics and spinal surgeons upon arrival at the hospital. While she remains in a coma at the hospital, consultants advise her brother Christian and mother Linda upon their arrival that Jane may never walk again. She wakes up, and initially struggles to speak and has lost most of the feeling in her hands and feet. Jane tells Linda that everything that has happened is her own fault, and, after discovering that Bobby has been charged with killing Lucy and Steven has returned, she tells Ian that she is the reason he has lost his family and tells him their relationship is over as the Beale family is better off without her. However, Ian manages to convince her otherwise. Jane decides to continue her recovery at home, and Ian has the downstairs of the house refurbished to aid this. Jane begins to recover but feels isolated.

When Grant returns briefly, Jane feels normal when at first he does not realise she is paralysed. She sees an incomplete online credit card application in Lucy's name and confronts Steven; he realises it was Ian and admits to it though later Ian admits the truth to Jane. Jane grows frustrated when Ian avoids spending time with her, so she tells Ian that she wants to be a normal couple again and wants to visit Bobby but Ian says Bobby does not want any visitors. When Lauren gives Jane a makeover, Ian compliments her. She starts to leave the house in her wheelchair and Jane has a good day with friends until she has incontinence and is humiliated; at home, Ian leaves the room when Jane asks him to sit with her. Jane thinks Steven is making excuses not to let her use the restaurant's laptop. Sharon has an idea so Jane can answer the telephone at the restaurant but Steven asks Jane to work in the kitchen as the restaurant is getting busy so Jane accuses him of not wanting a wheelchair in the restaurant which he denies, but Jane leaves. When Jane's paralysis improves that she is able to use a laptop properly, Lauren and Steven come up with a plan to distract her from looking at the restaurant's accounts. When she finally sees them, she realises payments are being made to a non-existent company so tells Sharon that it can only be Ian or Steven but she worries about confronting the wrong person. Jane eventually finds out that it is Steven but promises to not say anything when Steven says he did it to help Peter out of debts. Masood helps Jane to walk before he leaves Walford. Jane later admits to Stacey that she feels that Ian no longer finds her attractive. However, Ian learns of this and kisses her. When Max returns, Lauren arranges to meet him in the pub and invites Jane and Ian, but Ian tells Jane they need to leave because Max left Ian a note saying he would never forget what they did, however, Jane convinces him to meet Max. They both apologise to Max and he claims to understand their motivation to protect their child and says he wants to move on, shaking both their hands and buying them a drink.

By February 2017, Jane is able to push her own wheelchair. However, she is told by doctors that her physiotherapy is being withdrawn but that she can have private physiotherapy if she wants it. When Ian is told he is at risk of developing type-2 diabetes, Jane vows to help him lose weight. When Ian's fish and chip shop is destroyed, he decides to sell it so he can spend more time with Jane.

By May 2017, Jane is able to stand up and has crutches but still uses the wheelchair. In September, Jane discovers Steven's lie about his brain tumour, Steven's affair with Abi and Max's revenge plan. As Jane confronts Max, a gas explosion destroys Walford in Bloom. Max leaves Jane at restaurant, but, Jane having told Max she knows his scheme, he orders Steven to kill Jane. Steven arrives and confronts Jane. Jane tries to talk Steven round but he is disbelieving about Abi expecting his child. Steven turns increasingly nasty on Jane, leaving her helpless on the floor and goes through with setting fire to Beales. Later Steven has a change of heart and refuses to kill Jane. Max violently shoves Steven to a corner of a kitchen counter leaving him badly injured. Max confronts Jane about his revenge on all Walford residents. Jane pleads with Max not to go through with his plans, however he proceeds to take the fire blanket, leaving Jane to burn to death. Jane survives and is taken to hospital, although Steven later dies from his injuries. Jane is left in a coma for several weeks afterwards, and upon waking up she is threatened by Max to stay quiet. Max eventually orders her to leave Walford, and although she and Ian make plans to leave, Max later orders her to leave alone, threatening Bobby if she doesn't comply. Jane says her goodbye but couldn't tell anybody about Max because he was watching her move every time. Jane leaves Walford in a taxi, leaving Ian a voicemail telling him she will ring him later. When she doesn't phone, Ian fears that she is missing, but is talked out of reporting it by Max, who then leaves her another message warning her to not contact Ian again. In a last attempt to oust Max, Jane sends a voicemail to her friend Stacey Fowler (Lacey Turner) warning her about Max, unaware that her phone is now in the possession of Bernadette Taylor (Clair Norris) after her younger brother Riley Taylor (Tom Jacobs) impulsively stole it for her. Riley and his brother Chatham Taylor (Alfie Jacobs) later listen to a different voicemail from Jane, which begs Stacey not to repeat the details of her first voicemail to anyone.

Stacey gets her phone back on Christmas Day 2017 and Max deletes most of the voicemails before she can hear them. However, Tanya arrives and reveals that Jane has told her everything, revealing the truth about Max's role in Steven's death and Jane's departure to Stacey and an eavesdropping Abi and Stacey's husband Martin Fowler (James Bye). Upon arriving back at Ian's house, Abi tells Lauren, Ian and Kathy about Max's role in Steven's death, and Kathy tells Phil; leaving all disgusted with Max's actions. In 2020, Jane files for divorce, leaving Ian free to marry his childhood friend Sharon.

2024
A few years prior, Ian reunites with Cindy Beale (Michelle Collins), Lucy and Peter's mother, who has been hiding in witness protection for the past 20 years. Suspecting that Ian is having an affair, Cindy follows him to a house in the Cotswolds and finds him meeting with Jane in secret. Jane wishes to reconnect with Bobby, who she has been estranged with since his release from prison in 2019. Peter (Thomas Law again) brings Bobby (now Clay Milner Russell) to see Jane, but he is resistant to their reconciliation, admitting he does not understand why she covered up Lucy's death to protect him. Cindy and Jane clash over Jane's actions in covering up Lucy's death, but they briefly make peace when Jane tells Cindy that Steven had shot her leading to her infertility, hence why she covered up Lucy's death because Bobby is the only child she will have. After Ian argues with Cindy, he kisses Jane, but she turns him down. Jane and Bobby bond again and she gives him an Ayatul Kursi bracelet as a birthday gift before he leaves. Jane later has a phone conversation with Masood where it is revealed that they are dating again.

Other appearances
Jane also made some cameo appearances in the Internet spin-off series EastEnders: E20. In Series 1 Episode 2, Jane is working in the café where Fatboy (Ricky Norwood) attempts to chat her up. In Series 2 Episode 3, Jane is seen briefly talking to a girl outside the café and in Episode 8 she confronts Asher Levi (Heshima Thompson) about some trainers he sold to Peter. He says he does not give refunds so she snatches his wallet and takes some money out but he snatches it back. Jane tells two police officers that Asher is a thief and they chase after him. In Episode 10, Asher says he will refund Jane and when his brother Sol Levi (Tosin Cole) needs him, she lets him go.

In November 2010, Jane appeared in the EastEnders and Coronation Street crossover mini-episode, East Street for Children in Need. In the episode, various characters from EastEnders visited Weatherfield, while characters from Coronation Street went to Walford.

Creation and development
Brett joined the cast of EastEnders in 2004 and was asked to dye her hair red and keep it short for the part. She also put on an English accent to disguise her natural Scottish accent. Brett described Jane as "warm, kind, caring and nurturing but she's not somebody that will be pushed around. She is quite feisty. She's a matriarch. Not as a dominant woman but she's definitely in a matriarch, she's the centre of a family in the making for EastEnders."

In 2006, Jane has an affair with Grant Mitchell, played by Ross Kemp. The scenes began after writers saw chemistry between Kemp and Brett. Brett considered the storyline to be a turning point for the character as "All I did for the last year was say: 'What can I get you?' in the café." Jane was given a sexier look after a new producer came in and asked Brett to grow her hair and bleach out the red dye.

Jane marries Ian Beale (Adam Woodyatt), after co-habiting for around two years. Brett described Jane as "the straight man to Ian's buffoon. She's the other half who makes him whole." Speaking on the character's relationship with her husband, she likened herself to his mother, Kathy (Gillian Taylforth), stating: "if Jane doesn't work out for Ian, no one will! Perhaps because Ian is finally married to his mother. Jane is very Kathy-esque. They'd have got on really well, though I can't imagine Kathy would've been too impressed with Jane's affair with Grant – despite the fact she got through a few Mitchells herself!" She stated that she hoped Jane and Ian's marriage would be a lasting one, commenting that so far: "it's panned out brilliantly. There are millions of marriages like this one, involving a strong woman behind an incredibly weak man.  But it's Ian's flaws that make everyone love him so much. The only time a character becomes boring is when they're two dimensional, and that's something you could never say about Ian. I can't imagine being anyone else's missus!"

On the Beale family as a whole, Brett commented: "we're probably the most normal family in Albert Square. The Beales are like the Trotters from Only Fools and Horses in many ways. They're salt-of-the-earth people who are trying to better themselves, so there's plenty of scope for drama and comedy. The writers certainly haven't run out of ideas for us yet – I haven't stopped working on big stories since I joined the show!"

Reintroduction (2014)
Jane returned to EastEnders in the 6 and 7 January 2014 episodes. Brett's return to filming was not announced by the show's producers so that viewers would be surprised. Brett found it easy to keep her return a secret, but said that the EastEnders press office and executive producer Dominic Treadwell-Collins probably found it more difficult. Brett said that she was "absolutely thrilled" with the reaction that she received, after the episode was broadcast, opining that it proved that Jane is a popular character. Brett's character returned to screens from late February to early May, and returned on 24 November 2014.

Second departure (2017)
On 23 October 2017, Jane made a previously unannounced departure from the show after being forced to leave Walford by Max Branning (Jake Wood). Of her departure, Brett commented: "I've loved every minute of playing Jane Beale. To return to EastEnders with such a huge storyline was an absolute gift. However, what I have known from the start is that with the soap gods watching us at all times, there is only so long before things go full circle. It's been hard keeping the secret but the storyline has been great to play out and I have loved every minute of it."

Second reintroduction (2024)
Jane made an unannounced return in July 2024. It was revealed on-screen that Ian had been meeting with Jane in secret, with her return scenes showing her first meeting with Cindy Beale (Michelle Collins).

Reception
In a review of the first decade of the 21st century in soaps, Ruth Deller of lowculture.co.uk wrote that Jane was "one of the best new characters in soap this decade; really believable, sensitive, [and] sensible, [...] she gives EastEnders a bit of heart, which is rare indeed." Deller also expressed her belief that Jane transformed the Beale family into one of the strongest families of the late 2000s, further stating: "A genuinely nice character whom you could imagine being your mate, once they got that nonsense with Grant out of the way, she's been a real asset to the soap." Kevin O'Sullivan of the Sunday Mirror said that Jane was an EastEnders veteran who had a "seismic departure" as she "checked out of soapland's asylum in characteristically crazy style". When Jane departed she said "from now on I can be whoever I want" – in response O'Sullivan quipped "but you'll always be the loser who married Ian Beale". Virgin Media called 2009 the "Good year" for Jane because she left her ex-husband Ian, "the most boring and selfish man in Walford."

Brett was nominated for "Best Actress" at The British Soap Awards 2015, but lost to co-star, Kellie Bright, who portrays Linda Carter. However, she won "Best On-screen Partnership" alongside Woodyatt. In May 2017, Laura-Jayne Tyler from Inside Soap wrote that she was "elated" for Jane and Ian when Jane started walking again, calling the scene "beautifully acted" by Brett and Woodyatt.

title: Jane Beale


text:
Bhattaraka

A Bhaṭṭāraka (lit. 'holy one') heads traditional Digambara Jain institutions. He is responsible for training scholars, maintenance of libraries, managing endowments, presiding over installation ceremonies and running Jain institutions.

Overview
The term bhaṭṭāraka was used for Virasena, Bhadrabahu and other notables. It has also been used for the Tirthankaras. It was in the past used for leaders of religious orders in Shaivism, Buddhism and other groups, but currently it is applied to heads of Digambara Jain institutions. Unlike a Digambara monk, a bhaṭṭāraka wears an orange robe, stays in a single place and is involved in management of assets of the institution.

Several of the Bhattarak seats were termed "Vidyasthana" i.e. centers of learning. These include Jaipur, Delhi, Gwalior, Ajmer, Nagaur, Rampur-Bhanpura, Karanaja, Surat, Kolhapur, Jinakanchi, Penukonda, Malkhed, Vijayanagara, Varanga and Hummacha.

The role of a bhaṭṭāraka is described by Brahm Gyansagar, a disciple of Bhaṭṭāraka Shribhushana of Kashtha Sangh Nanditat Gaccha in seventeenth century of the Vikram era, while describing the six components of the Jain Sangha: भट्टारक सोहि जाण भ्रष्टाचर निवारे, धर्म प्रकाशे दोइ भविक जीव बहु तारे सकल शस्त्र संपूर्ण सूरिमंत्र आराधे, करे गच्छ उद्धार स्वात्मकार्य बहु साधे सौम्यमूर्ति शोभाकरण क्षमाधरण गंभीरमति, भट्टारक सोहि जाणिये कहत ज्ञानसागर यति Bhaṭṭāraka sōhi jāṇa bhraṣṭācara nivārē, dharma prakāśē dōi bhavika jīva bahu tārē| Sakala śastra sampūrṇa sūrimantra ārādhē, karē gaccha uddhāra svātmakārya bahu sādhē| Saumyamūrti śōbhākaraṇa kṣamādharaṇa gambhīramati, bhaṭṭāraka sōhi jāṇiyē kahata jñānasāgara yati.  "Thus a bhaṭṭāraka illuminates both dharmas, is an expert in all scriptures, has the authority to recite the suri-mantra (to consecrate an image). He is also responsible for preserving the order. He is the head of the six limbs of the sangha: shravaka, shravika, pandita (brahma), muni (maha vrati), aryika and Bhattaraka."

Many of the bhattarakas were prolific authors. They wrote hundreds of original books and commentaries on various subjects, in Sanskrit and in local languages. All existing Jain manuscripts available today owe their preservation to the libraries maintained by Bhattarakas. They trained and supported pandits. Until modern times, all pratishthas were supervised by them or pandits (such as Raighu)designated by them.

Present Bhattaraka Seats
Once bhaṭṭārakas were common all over India, but currently, they are present only in South India, with the exception of a new Bhattaraka seat at Hastinapur. Famous bhaṭṭāraka seats include:

Karnataka

 * Shravanabelagola, seat of the Desiya Gana, Pustaka Order. The bhaṭṭāraka is named Charukirti. This is where the Siddhanta Granthas were once preserved in the library, before they were moved to Mudabidri.
 * Moodabidri, also a very important great holy seat of the Desiya Gana, Pustaka Order. The bhaṭṭāraka is named Charukirti. The original manuscripts of the Siddhanta Granthas like Dhavala are preserved here. The present swamiji is very much experienced most popular India and abroad scholar, master's degree, doctorate holder in various subjects. On 29 August 1999 swamiji took charge of holy bhattarak seat; it is independent holy ancient jain digamber acharya seat.
 * Humbaj, seat of Balatkara Gana, Sarasvati Order. The bhaṭṭāraka is named Devendrakirti. This is the original seat of the order which once had branches all north India from Idar in Gujarat to Shikharji in Jharkhand
 * Narasimharajapura
 * Karkala
 * Kanakagiri Jain Matha
 * Amminabhavi
 * Kambadahalli
 * Sonda Jain Math

Maharashtra

 * Nandani, seat of the Sena Gana, Pushakara Order. The bhaṭṭāraka is named Jinasena. Acharya Shantisagar belonged to this tradition.
 * Kumbhoj
 * Kolhapur

Tamil Nadu

 * Bhattaraka Lakshmisena of the Jinakanchi Jain Math (also known as the Mel Sithamur Jain Math), who heads the Tamil Jains.
 * Bhattaraka Dhavalakeerthi of the Arahanthgiri Jain Math

Uttar Pradesh

 * Ravindrkirti Swami of Jammudeep tirth Hastinapur

Historical Bhattaraka Seats
Bhaṭṭāraka seats existed at the following places until recent centuries:
 * 1) North India:  Delhi, Hisar, Haryana, Mathura
 * 2) Rajasthan: Jaipur, Nagaur, Ajmer, Chittorgarh, Pratapgarh, Rajasthan, Dungarpur, Narsimhapur, Rishabhdeo, Mahavirji
 * 3) Madhya Pradesh: Gwalior, Sonagiri, Ater, Chanderi, Sironj, Rehli, Panagar
 * 4) Gujarat: Idar, Sagwada, Surat, Bhanpur, Sojitra, Kalol, Jerhat
 * 5) Maharashtra: Karanja, Nagpur, Latur, Nanded, Kolhapur, Nandani
 * 6) Andhra Pradesh: Penukonda
 * 7) Karnataka: Malakheda, Karkala, Swadi

The Terapanth movement arose in 17th century because of opposition by elite householders to Bhattarakas. Still many Bhaṭṭāraka seats in North India existed until the beginning of the 20th century. In some locations disputes arose and the reformists opposed existing Bhattarakas because they did not display the scholarship expected, or disapproval of their spending of the institutional funds. Many Bhattarakas were unable to find suitable disciples to take their place after them.

A new Bhattaraka seat has again come into existence at Hastinapur presided by Bhattaraka Ravindra Kirti.

Theories of Origin
There are several theories of how the modern Bhattarka institution originated.

In its modern form, with the Bhattaraka as an orange-robed advanced layman, its founding is often attributed to Prabhachandra of Mula Sangh, Balatkara Gana Saraswati gachchha, who travelled from Pattana (Gujarat) to Delhi, where he was anointed in a ceremony as the first Bhattaraka of Delhi. He was invited by the ruler of Delhi, who is identified as Muhammad Bin Tughlaq.

However Shrutasagara, in his commentary on Shatprabhrita, mentioned Prabhachandra's predecessor Vasantakirti as having adopted body coverage first. The lineage linking Vasabtakirti and Prabhachandra is given as following (see Balatkara Gana):

 * 1) Vasantakirti at Mandapadurg
 * 2) Vishalakirti (or Prakhyatkirti), Ajmer
 * 3) Shubhakirti, Ajmer
 * 4) Dharmachandra, Ajmer
 * 5) Ratnakirti, Ajmer
 * 6) Prabhachandra, who visited Delhi

Originally the wearing of clothes was regarded to be an exception to be used when going out. Until recent time, many Bhattarakas used to discard clothing within the monastery on specific occasions like eating, image consecretion or initiating another Bhattaraka.

title: Bhattaraka


text: Category:Washington University in St. Louis


text:
Timothy Greene

Timothy John Greene  (born 1969 in Cape Town, South Africa) is a South African actor, film director, and writer. He is also known as Tim Greene and cited under that name in most articles about him.

The making of Boy Called Twist
Greene's first feature film Boy Called Twist was an innovation in South African film finance. In 2002 Greene put out a call that he was looking for 1000 investors who could each risk R1000.00, (app US$145) spreading the risk across a broad community of like-minded people. By August 2003 a million rands had been secured.

Two trusts contributed further grants to a total of R400,000.00 to the project.

Principal photography lasted 21 days and was completed on schedule and within budget. Real life street kids participated in the movie. The offline edit of the film was screened in 2004 and a further R1,000.000.00 was committed to the film's completion by the National Film and Video Foundation of South Africa.

On 18 November 2004, the film premiered to a standing ovation at the Cape Town World Cinema Festival. In May 2005, the film screened at the Cannes Film Festival, representing South Africa in the Tous Les Cinema de Monde (All the Cinemas of the World) section. Greene also organized an outdoor screening for street kids in Cape Town.

Throughout the making of the movie, Greene kept his funders informed of the progress of the movie via email and all 1000 Associate Producers are listed in the film's credits, making it the longest Associate Producer credit title in history.

Selected filmography
Feature Films:

 * 2004 Boy Called Twist
 * 2011 Skeem
 * 2020 Cabin Fever
 * TBA The Fury

TV:
 * 2002 Tsha Tsha
 * 2003 Zero Tolerance
 * 2006 Hard Copy (7 episodes)
 * 2009 The Lab (2 episodes)
 * 2017 Taryn & Sharon (13 seasons)

Short Films:
 * 1998 Kap ‘an, Driver
 * 1995 Corner Caffie

title: Timothy Greene


text:
Battar

Battar or Batar is a clan (gotra) of the Gujjar ethnic community. they are mostly located in the Indian states of Rajasthan, Madhya Pradesh, Haryana, Indian-Kashmir and Pakistani areas of Kashmir and Punjab.

Origin and history
The Bhattar or Batar Gurjars is a subclan of Maitrak Gujjars and are the descendants of Vallabh Bhattarak who was the senapati of Gupta dynasty and later founder of the Maitraka dynasty of Gujarat (G.I. chapter 5).

In the Saharanpur district of Uttar Pradesh state of India, the Battar Gurjars possess 52 villages surrounding Gangoh Town.

In Saharanpur, Uttar Pradesh Battar and Rathi Gujjar have their own Khaps and Batar Gujjar khap based in more than seven villages in Saharanpur district and nearby areas.

Variants
Variants of this Gujjar clan name includes, Battar, Batar Bhattar, Bhatar, Bhatarak or Bhatarik.

title: Battar


text:
Wikipedia:WikiProject Ottawa/Strategy

I've gone around and I'm tagging almost every Ottawa-related article, unless it's a person, with. I could use help with this, please. I'm not tagging people. -- Spinboy 17:39, 9 October 2005 (UTC)

 * People related to Ottawa (which means, their story as a direct link with the city... like Bob Chiarelli or Alex Munter) should be tagged. --Deenoe 11:11, 12 October 2006 (UTC)

title: Wikipedia:WikiProject Ottawa/Strategy


text:
Roy Zimmerman (satirist)

Roy Zimmerman (born October 7, 1957) is an American satirical singer-songwriter and guitarist now based in Northern California.

Biography
A native of Southern California, Roy Zimmerman wrote a series of satirical musical reviews in the 1980s that were produced by the San Jose Repertory Theatre, including YUP! (1984), UP the YUP (1985), and YUP It UP! (1986). The musicals parodied the excesses of the evolving yuppie culture in Silicon Valley. The songs included "Teen-age Computer Tycoon", "The Bay Area Sprawl", and "I Want to Be in a Pepsi Commercial," which many Bay Area professionals have remembered since their young adult years.

Zimmerman founded the Southern California satirical folk quartet, The Foremen. It performed at the national conventions of both major American political parties in 1996. Continuing as a solo act, Zimmerman explained the philosophy behind writing and performing humorous songs on increasingly political subjects: "There's nothing funny about World Peace. Social Justice never killed at The Comedy Store. If we ever attain a worldwide consciousness of peace and justice, I'll be happily out of a job. But as long as there's poverty, war, bigotry, ignorance, greed, lust and paranoia, I've got a career".

Among the counter-events to the 2004 Republican National Convention in New York City, Zimmerman performed his song, "Chickenhawk." It indicts those who approve of militarism, as long as neither they nor anyone they know has to be directly involved.

Zimmerman played in the Rock Beyond Belief concert on March 31, 2012, at North Carolina's Fort Bragg.

His songs have been played regularly on the Dr. Demento radio show. To date he has recorded and released five versions of Solomon Linda's song "Mbube", better known in America as "The Lion Sleeps Tonight", each with a different set of satirical lyrics about Donald J. Trump, and several of which feature appearances by Jay Siegel of The Tokens, who made the song popular.

Roy Zimmerman lives and works in Marin County, California, with his wife and collaborator, Melanie Harby, and their sons Joe and Sam.

Discography

 * Comic Sutra (2004)
 * Security (2004)
 * Homeland (2004)
 * Homeland/Security (combined double album, 2004)
 * Peacenick (2005)
 * Best of the Foremen (2006)
 * Faulty Intelligence (2006)
 * Thanks for the Support (2008)
 * Real American (2010)
 * You're Getting Sleepy (2011)
 * The Faucet's on Fire! (2015)
 * RiZe Up (2018)

title: Roy Zimmerman (satirist)


text: Category:Airports in Shanghai

title: Category:Airports in Shanghai


text:
Saints & Sinners (All Saints album)

Saints & Sinners is the second studio album by English girl group All Saints. It was released three years after their debut album, All Saints. The album reached number one in the UK, their only album to do so. Three tracks on the album were produced by William Orbit, best known for his work with Madonna on her Ray of Light album. The album received mixed reviews from music critics, praising the singles and the new direction of music, while some felt it was too similar to the Spice Girls and Madonna's album Ray of Light.

Three singles were released from the album: "Pure Shores", "Black Coffee" and "All Hooked Up". Promo copies of the track "Surrender" began circulating in early January 2001, indicating it would have been the fourth proper single from the album had the group not disbanded soon after the album's release. The first single from the album, the Orbit-produced "Pure Shores", preceded the album by several months, having been previously released on the soundtrack for the 2000 film The Beach. It topped the UK Singles Chart and was certified double platinum. Second single "Black Coffee" also got to number one in the UK, whilst final single "All Hooked Up" peaked at number seven.

The majority of the songs were written by Shaznay Lewis and Karl Gordon. Melanie Blatt wrote two tracks on the album, "I Feel You" and "Ha Ha", the former track being written in dedication to her daughter, while Natalie Appleton co-wrote the track "Dreams" with Samantha Fox. Fox said she is credited on the song as "Karen Wilkin". Commercially, Saints & Sinners wasn't as successful as its preceding album.

Background
In 1999, three of the group's members – Nicole Appleton, Natalie Appleton and Melanie Blatt – were approached by Dave Stewart to appear on the film Honest, playing the main characters. At the same time, remaining member Shaznay Lewis went to the United States to work with William Orbit, noted for his work with American singer and songwriter Madonna, on the songs and backing tracks for All Saints' second album, provisionally titled I Need the Mic. In December 1999, reports confirmed that All Saints completed recording for the album, and set its release date for March or April 2000. "The album is finished and we are now mastering it. It has great tracks on it. We were even working on the mixing desks. We wanted to get involved with every aspect of the album right down to the final version", said Shaznay Lewis.

Critical reception
Saints & Sinners received mixed reviews from music critics. NME stated: "It's better than the new Spice Girls record. But really, that's not good enough." They criticised the group's lack of new musical direction, saying "[...] But since the release of their first album and their meteoric rise to tabloid infamy, they seem to be on a mission to tear down that credibility, brick by brick." Although praising the singles, they concluded that "For a British pop album, 'Saints And Sinners' is simply passable." Entertainment.ie however were more positive, giving it four stars out of five. They felt that "Saints and Sinners is a confident set of vibrant R'n'B songs driven by swirling dance rhythms and some luscious harmonies." They further judged: "At heart the Saints are superlative singers and the unique chemistry conjured up by their four individual voices makes this one of the best pop albums of the year."

Despite AllMusic not reviewing the album, they awarded it three stars out of five. They highlighted "Pure Shores", "Black Coffee" and "Dreams" as the album's standout tracks. Nigel Packer from BBC Music gave Saints & Sinners a positive review, but remarked: "It's a sign of just what Saints and Sinners might have been with Orbit at the helm throughout. Instead we're left with one strong EP trapped inside a pretty run-of-the-mill album."

Commercial reception
Commercially, Saints & Sinners was not as successful as the group's self-titled debut album. While debuting at number eight on the New Zealand Albums Chart, it stayed in the chart for just five weeks. The album debuted at twenty-six on the Australian Albums Chart, and rose to peak at twenty. Although the album charted in the top fifty for three weeks, it was later certified Gold by ARIA. In Norway and Sweden, the album reached the top 20 (fifteen and nineteen, respectively) but lasted for less than a month in the charts (at four and three weeks, respectively).

The album was not so successful in Austria, where it debuted at twelve for two consecutive weeks and spent five weeks in the chart. It was more moderate in Switzerland, where it debuted at seven on the Swiss Albums Chart and charted for ten weeks. The album peaked at fourteen in Germany and endured for eleven weeks in the chart. The album was more successful in their native United Kingdom, where it peaked at number one for a sole week. It clocked up a total of twenty-three weeks in the chart.

Singles
The album's first single was "Pure Shores". It was released as the lead single from the album by London Records in Australia, New Zealand, Canada, and United Kingdom on 12 September 1999, until a physical worldwide release occurred on 11 February 2000. The song was also used as the first single for the 2000 film The Beach and its soundtrack. Composed as a "futuristic dream-pop" song, "Pure Shores" received very positive reviews from music critics, many praising the group's vocals, musical composition, and lyrical content. Commercially, the song was a huge success, peaking high on the charts in many countries including Ireland, New Zealand, Italy, United Kingdom, Australia, Finland, France, and Switzerland. The song was released in Canada, but only charted at thirty-five, and was their last single to chart in North America. The music video is set on the beach and features clips from the movie The Beach.

The album's second single was "Black Coffee". It was released by London Records worldwide on 2 October 2000. Composed as a dance-pop, trip hop, and electronica song, "Black Coffee" received positive reviews from music critics, many again praising the musical composition and the group's vocals. While not managing to reach the heights of lead single "Pure Shores", "Black Coffee" still reached number one in the United Kingdom, also charting in Australia, Ireland, Italy, New Zealand, Sweden, and Switzerland. The music video is set in a luxury apartment and on the rooftop of the apartment during the night.

The album's third and final single was "All Hooked Up". It was released by London Records worldwide on 27 January 2001. It was the group's last single prior to their temporary split. The song did not match the success of the album's previous singles, reaching no.7 in the United Kingdom, Ireland, New Zealand, and Switzerland. The video for "All Hooked Up" is set in a hotel room.

title: Saints & Sinners (All Saints album)


text:
Dungeons & Dragons: Wrath of the Dragon God

Dungeons & Dragons: Wrath of the Dragon God is a 2005 direct-to-video American fantasy adventure film directed by Gerry Lively and written by Brian Rudnick and Robert Kimmel. The second instalment in the Dungeons & Dragons film series, it serves as a stand-alone sequel to Dungeons & Dragons (2000), which in turn was based on role-playing game of the same name. The only returning actor is Bruce Payne, reprising his role as Damodar.

The film premiered at the Sci-Fi Channel on October 10, 2005. It was released in theaters in Europe as well as some parts of North America and Latin America, and released on DVD on February 7, 2006.

Dungeons & Dragons: Wrath of the Dragon God was followed by Dungeons & Dragons 3: The Book of Vile Darkness, released direct-to-DVD in the United Kingdom on August 9, 2012.

Plot
Set one hundred years after the first film, Damodar is revived after his defeat by Ridley Freeborn, having been cursed by his former master, Profion, to walk the earth as an undead entity. Driven insane by the curse, he seeks revenge against the kingdom of Izmir and the descendants of those who defeated him.

After years of searching with the aid of two dark-talon lizardfolk shamans, he locates the Orb of Faluzure, an ancient artifact linked to the power of Faluzure, a dragon god imprisoned under Saragasso's mountains. With the Orb's power, he heals the curse and prepares to awaken the dragon to destroy Izmir.

Lord Berek, a fighter and former captain of the king's guard, now a bored lord of the King, and Melora, his wife, a young mage, investigate reports of poison gas emanating from Saragasso's caves and find the still-slumbering dragon. Researching the threat in Izmir's library, Melora excitedly reports to Oberon, the head of the Mages' Council, that Faluzure was imprisoned three thousand years ago by a powerful ancient civilization called the Turanians, who also created the Orb. While trying to locate the Orb through magic, Melora is cursed by the much more powerful Damodar, and begins dying slowly.

She hides her illness from Berek, who is appointed by the King to assemble a party of adventurers; small enough to infiltrate Damodar's lair undetected, but strong enough to face their enemies: Lux, a female barbarian, Dorian, a male Cleric of Obad-Hai, Ormaline, a female elven wizard, and Nim, a master thief. Together they resolve to locate the vault of the warlock Malek, a worshiper of the demon Juiblex who was gifted a magical scrying pool known as the Pool of Sight; Berek believes the pool will allow them to penetrate Damodar's defenses and reveal the orb's location.

The party sets out to locate Malek's Vault, while Oberon and the other mages try to decipher the tomes of Turanian magic in their library, to find a way to defeat the dragon. While traveling through a haunted forest, Berek's party catches the attention of the powerful lich Klaxx the Maligned, who offers his services to Damodar. Damodar does not trust him, but is confident that the Orb makes him more powerful than Klaxx. After confronting a white dragon, and losing Dorian in the fight, Berek's party finds the Pool of Sight, securing their way to Damodar's castle. Confronting him, Berek manages to take advantage of his overconfidence and steal the Orb, though Ormaline and Nim are badly wounded before the wizard teleports them to the Temple of Obad-Hai. While Ormaline and Nim are treated by the clerics, Berek rides back to Izmir, Lux staying behind to delay demons summoned by Damodar.

Using his shape-changing abilities, Klaxx infiltrates Izmir's castle, kills Oberon in his bath, and assumes his shape. When Berek returns with the Orb, Melora uses it to unlock a vault discovered beneath the castle, where the Turanians hid the secrets of their magic. Klaxx reveals himself, stealing the Orb back and killing the King and many of the castle's inhabitants before returning the Orb to Damodar. Falazure awakens and destroys the Orb, regaining his godly power. Damodar asks Falazure to witness the city's destruction and to let him rule over its remains as Falazure's servant; the dragon god agrees, but demands tribute in the form of 100 human sacrifices for every new moon in honor of his release, to which Damodar also agrees.

While Berek rides in pursuit, Melora, who is near death, manages to decipher the Turanians' secrets and gains the blessing of Obad-Hai, who gifts her a new Orb. Berek and Lux meet up and confront Damodar, who no longer has the Orb's power. They force him to cancel Melora's curse and she rallies the remaining mages in a magical attack that defeats the dragon, sealing him away once more. Klaxx, who has no interest in helping Damodar, disappears with a laugh. In the aftermath, Izmir is rebuilt, with Berek immersed in his ministerial duties, and Melora appointed as the new head of the Council of Mages. Lux, is shown to have fully recovered from their wounds. Nim and Ormaline are shown being approached by Dorian, implied to have both died and gone to the outer planes. Damodar is imprisoned in a dark dungeon beneath Izmir, but smiling to himself as if he is fully prepared to wait another hundred years to have his revenge.

Reception
IGN scored it 3 out of 10, stating that only hardcore D&D fans should check it out, though mostly due to references to the game itself. Monsters and Critics awarded it 2 out of 5, stating, "If The Lord of the Rings showed us how the fantasy genre can be done right, Dungeons & Dragons: Wrath of the Dragon God shows us how it can be done horribly wrong." One reviewer stated that Bruce Payne's 'performance is still the highlight of this one'. Another reviewer stated that Bruce Payne 'steals the show.'

Sequel
A sequel, Dungeons & Dragons 3: The Book of Vile Darkness, was announced in 2011, and was released Direct-to-DVD in the United Kingdom on August 29, 2012.


text:
User:Johndarm

I've been a user since October 2005, occasionally editing railway-related articles.

I live in the north of England, and by profession I am a railway signalling engineer.

title: User:Johndarm