title: Smoothie

text: Health food stores on the West Coast of the United States began selling smoothies in the 1930s associated with invention of the electric blender. The actual term "smoothie" was being used in recipes and trademarks by the mid-1980s. In the 1960s Steve Kuhnau was inspired by his work as a soda jerk and began experimenting with smoothies. They were an alternative for the lactose intolerant Kuhnau to taste his own concoctions using unique blends of fruit juices, vegetables, protein powder, and vitamins. Kuhnau discovered early success in his smoothie sales and founded Smoothie King. Smoothie King expanded throughout the United States and would pioneer other smoothie businesses such as Jamba Juice. The smoothie was then modified by fast food chains with the addition of sweeter ingredients like chocolate and Splenda. In the 2000s, the smoothie was made at home as an alternative for daily consumption of fruits and vegetables.


title: Smoothie

text: The nutrition of a smoothie depends on its ingredients and their proportions. Many smoothies include large or multiple servings of fruits and vegetables, which are recommended in a healthy diet and intended to be a meal replacement. However, fruit juice containing high amounts of sugar can increase caloric intake and promote weight gain. Ingredients such as protein powders, sweeteners, or ice cream may be used. One study found smoothies to be less satiating, despite providing the same amount of energy as unblended foods.


title: Smoothie

text: A "green smoothie" typically consists of 40–50% green vegetables (roughly half), usually raw green leafy vegetables, such as spinach, kale, Swiss chard, collard greens, celery, parsley, or broccoli, with the remaining ingredients being mostly or entirely fruit. Most green leafy vegetables have a bitter flavor when served raw, but this can be ameliorated by choosing certain less-bitter vegetables (e.g. baby spinach) or combining with fruits or other sweet ingredients.


title: Smoothie

text: A "protein smoothie" is a combination of water or some form of dairy product, protein powder, fruits, and vegetables. They can be consumed any part of the day and are used as protein supplement for those who want to increase their protein intake. Protein powder can have a chalky taste when mixed individually by itself with milk or water. The protein smoothie improves the taste of the protein powder through addition of fruits or other sweeteners.


title: Smoothie

text: Many different smoothies are part of Indian, Mediterranean, and Middle Eastern cuisine. Fruit sharbat (a popular West and South Asian drink) sometimes include yogurt and honey, too. In India, the lassi is a smoothie or milkshake comprising crushed ice, yogurt, sugar, and mango; in the south, pineapple smoothies made with crushed ice, sugar and no yogurt are common.


Halloween 5: The Revenge of Michael Myers is a 1989 American slasher film co-written and directed by Dominique Othenin-Girard, and starring Donald Pleasence and Danielle Harris. The fifth installment in the "Halloween" series, it follows serial killer Michael Myers who again returns to the town of Haddonfield to murder his niece, Jamie Lloyd, who, traumatized from his previous attack on her, has been institutionalized following her attempt to murder her foster mother.


After the success of the previous installment, "" (1988), "Halloween 5: The Revenge of Michael Myers" was rushed into production by executive producer Moustapha Akkad. The original screenplay, which was still under revision at the time filming began, introduced elements of supernatural horror, including Jamie possessing a telepathic link to Michael Myers, as well as a storied subplot in which Myers, under the influence of a cult centered around the ancient rune of Thorn, is driven to kill his bloodline. While the final cut of the film features a mysterious "Man in Black" character, the "Curse of Thorn" subplot was largely minimized, resulting in audiences and critics expressing some confusion, though it was expanded upon in the following film, "" (1995).


Filmed in Salt Lake City in mid-1989, "Halloween 5: The Revenge of Michael Myers" was released theatrically in North America in October of that year by the independent studio Galaxy Releasing. The film received generally negative reviews from critics and was a box office disappointment, only grossing $11.6 million domestically against a $5.5 million budget.


title: Halloween 5: The Revenge of Michael Myers

text: On October 31, 1988, Michael Myers is shot and falls down a salt mine shaft. Sheriff Ben Meeker, the lynch mob of Haddonfield's truckers, and state police toss down dynamite to finish him off. Escaping into a nearby creek before the dynamite explodes, Michael stumbles upon an elderly hermit who nurses him back to health after he falls into a coma. One year later, on October 30, 1989, Michael awakens, stabs the hermit to death with his knife, and returns to Haddonfield to find his niece Jamie Lloyd again, who narrowly avoided being killed by him the year before.


text: Jamie has been admitted to the Haddonfield Children's Clinic after having attacked her foster mother. Jamie has been rendered mute due to psychological trauma, suffering from nightmares and seizures and exhibits signs of a telepathic link with her uncle. Dr. Sam Loomis becomes aware of Jamie's psychic link with Michael, and tries to convince Meeker that Michael is still alive. Meanwhile, Michael stabs Jamie's foster sister Rachel to death and begins stalking their friend Tina. Michael kills Tina's boyfriend Mike, then poses as him by wearing a mask that Tina had given to Mike earlier.


text: Later that night, Tina and her friends Sam and Spitz go to a Halloween party at a farm. Sensing that Tina is in danger, Jamie (having partially regained her ability to speak) goes to warn her. While Sam and Spitz are having sex in the barn, Michael impales Spitz with a pitchfork and decapitates Sam with a scythe. Tina finds the bodies, and goes to warn nearby police deputies but finds that Michael has already killed them. Tina flees, but Jamie and her friend Billy Hill (a fellow patient from the clinic) arrive. Michael begins chasing Jamie in a car but crashes into a tree. Michael exits the car, and Tina sacrifices herself to allow Jamie and Billy time to escape. Loomis arrives, and Jamie finally agrees to help him stop Michael for good.


text: With Jamie's help, Loomis and Meeker have created a set up at the old Myers house to lure him back to his abandoned childhood home. Suddenly, the police receive a call saying Michael has broken into the clinic, which prompts Meeker and most of the officers to leave; however, this call is merely a diversion. Michael appears and kills the trooper sitting in the patrol car outside, before entering the house. Loomis tries to reason with him, but Michael slashes him and throws him over the stair banister. Michael kills deputy Bloch who was protecting Jamie before chasing her throughout the house. Jamie hides in a laundry chute but is forced to abandon it when Michael stabs and injures her. Fleeing upstairs, Jamie finds the bodies of Max the dog, Rachel, and Mike in the attic. Michael finds Jamie and attempts to kill her, but stops when Jamie addresses him as 'Uncle," and removes his mask. When Jamie touches his face he goes into a fit of rage, and chases her again. Jamie heads downstairs and finds Loomis. Loomis uses Jamie to lure Michael into a trap, shooting him with a tranquilizer gun and dropping a steel net onto him. He beats the trapped, drugged Michael unconscious with a wooden plank until he eventually suffers from a stroke and collapses on top of Michael.


text: Meeker and the rest of the police return shortly thereafter and Michael is then taken into custody. Meeker assures Jamie that Michael, who is locked up in a cell, will remain in prison until he dies; Jamie doesn't believe him, however, and remarks that Michael will "never die." One of the officers goes to bring Jamie home when a mysterious man in black, who has been searching for Michael, arrives and causes an explosion at the police station. The officer, hearing gunfire, rushes back inside after warning Jamie to stay with the car. When the officer doesn't return, Jamie goes back inside to investigate and finds the station destroyed from the explosion, along with Meeker and several of his men dead. Jamie discovers Michael's cell empty and the back door of the police station broken open, causing her to break down in tears as she realizes Michael is free again to continue terrorizing Haddonfield.


text: Development on a fifth "Halloween" was fast tracked to meet a pre-set release deadline of October 1989. Producer Moustapha Akkad turned to "" writer and director Alan B. McElroy and Dwight H. Little to return for their respective duties on the fifth film, however both declined. Ramsey Thomas assumed producing responsibilities from the fourth film's Paul Freeman, and opted to hire playwright Shem Bitterman as screenwriter. Bitterman's script, entitled "Halloween 5: The Killer Inside Me", which was written in the span of three days, featured an evil Jamie Lloyd and resurrcted Michael Myers once again. However, Akkad was adamant about making Myers the sole antagonist of the film. Nevertheless, Bitterman penned a second draft by February 1989 and Jeff Burr, director of "From a Whisper to a Scream", was being courted to helm the film. Burr's producing partners Darin Scott and William Burr were also in the mix to co-produce alongside Thomas. The directing job was seemingly Burr's until series co-creator Debra Hill met director Dominique Othenin-Girard at the 1989 Sundance Film Festival, and recommended him to Akkad.


text: After being instated as director, he infamously threw Bitterman's draft into a trashcan in front of Akkad. He brought in Robert Harders, of "Home Movies", to write an entirely new draft, which saw a Frankenstein inspired story where Myers is resurrected and no longer evil but is pursued by an angry mob. Harders pitch was rejected, leading Othenin-Girard to pitch a new concept with co-writer Michael Jacobs. The duo's initial title was "Halloween 5... And Things That Go Bump In the Night". After reviewing the screenplay, director Othenin-Girard added Jamie's inability to speak to the draft, along with the supernatural plot device of her telepathic visions connected to Michael.


text: Another departure from previous films in the series was Othenin-Girard's attempt to persuade the audience to relate to the Michael Myers character, whom he intended to appear "more human [...] even vulnerable, with contradicting feelings inside of him." He illustrated these feelings with a scene where Michael removes his mask and sheds a tear. Girard explains, "Again, to humanize him, to give him a tear. If Evil or in this case our boogeyman knows pain, or love or demonstrate a feeling of regrets; he becomes even more scary to me if he pursues his malefic action. He shows an evil determination beyond his feelings. Dr. Loomis tries to reach his emotional side several times in ["Halloween 5"]. He thinks he could cure Michael through his feelings."


text: In the original closing scene, after Jamie finds that Michael has escaped from the police station, she is approached by a black-cloaked figure. At the time of filming, it was unknown who this figure was. It would only be expanded on and explained in the subsequent film, "" (1995), and the scene in question was attached to the beginning of the "Producer's Cut" of that film as a flashback. Though the cuts made to the beginning and ending of the film largely diminish this subplot, the "Man in Black" character still appears momentarily on several occasions in the film, which led to some confusion among audiences upon its original release.


text: Returning from "Halloween 4" was Donald Pleasence as Dr. Sam Loomis, along with Danielle Harris, Ellie Cornell, and Beau Starr, as Jamie Lloyd, Rachel Carruthers, and Sheriff Ben Meeker, respectively.


text: Though enthusiastic of reprising her role as Rachel, Cornell was disappointed to learn that her character would be killed early in the film. In the original screenplay, her character died after Michael shoved a pair of scissors down her throat, but Cornell felt that this would be too gruesome, and requested that the writers change it; as a result, she is instead stabbed in the chest.


text: Karen Alston, who portrayed Darlene Carruthers in the previous film, reprised her role in the beginning of the film showing the anonymous person in the mask stabbing her as she falls into the bathtub of water. Her voice-over was recorded by Wendy Kaplan. Kaplan won the role of Tina Williams, the loud and wily friend of Rachel's. After Rachel's demise, Tina inherits the role of Jamie's protector.


text: George P. Wilbur, who had portrayed The Shape in the previous film, did not express interest in returning to play the role (although he did work as a stunt player on the film). Don Shanks was cast to play the speech-less, white-masked murderer. Shanks had already played a similar character in the first two "Silent Night, Deadly Night" films. Shanks also had a double role as the Man in Black. Wilbur, who had to wear hockey pads to appear to have a bigger build, would later portray the Shape again in the next installment, "". Shanks did not have to wear the hockey pads because he already had a larger build.


text: Max Robinson would play Maxwell Hart, the doctor who assists Jamie when she is having one of her nightmares in the beginning of the film. Betty Carvalho appears as his assistant, Nurse Patsey, who has a "motherly" feel to Jamie. Jeffrey Landman portrayed Billy Hill, Jamie's best friend, who has a stutter. Landman worked with a coach who taught him about stuttering to help him prepare for the role.


text: Newcomers such as Tamara Glynn, Matthew Walker, and Jonathan Chapin appear as Samantha Thomas, Spitz, and Mike, who are friends of Tina and Rachel. Walker would later appear in another slasher film, "Child's Play 3" (1991).


text: Principal photography began on May 1, 1989, in Salt Lake City, Utah, as well as the surrounding communities of Provo and Ogden. Several prior filming locations from "Halloween 4: The Return of Michael Myers" are featured in the film, including the Carruthers residence, as well as the local general store. At the time the shoot began, the film's screenplay was still unfinished.


text: According to actress Wendy Kaplan, Donald Pleasence exhibited utmost professionalism to the material, and while filming, treated it "like he was doing Shakespeare."


text: Unable to find a lookalike Myers house that matched the original "Halloween", the filmmakers chose a bigger, more mansion-like house because they needed one that could provide wide rooms, hallways, an attic, a basement, and a laundry chute.


text: Donald Pleasence accidentally broke Don Shanks' nose on the set when they were filming the scene where Dr. Loomis beats The Shape with a 2×4 block of wood.


text: Don Shanks was also injured when he was filming the scene where The Shape crashes Mike's Camaro into the tree. Othenin-Girard had forgotten to yell "Cut!" and fire was beginning to emerge from the car (Shanks put this down to Othenin-Girard being sidetracked by seeing stunts take place during his first major directing job). Finally, stunt coordinator Don Hunt told Othenin-Girard to finally yell "cut". Wendy Kaplan was also injured in this scene, as the car almost ran over the top of her.


text: The film's original screenplay featured a young hermit who takes in the injured Michael at the beginning of the film, whose shack was filled with ancient runes, tablets, and other occult items used to perform necromancy. Though initially filmed as such, with Theron Read portraying the young man (known as "Dr. Death"), the sequence was later re-shot featuring an older actor, and the occult paraphernalia and theme removed. In subsequent years, the original footage featuring Read was thought to be lost. This original sequence had been intended to set the groundwork for a subplot that had Michael Myers under the "Curse of Thorn," controlled by a cult devoted to this ancient rune.


text: In April 2019, actor Don Shanks reported that film reels had been discovered which may contain the original lost opening scene. In August 2021, it was revealed that Scream Factory had obtained the original opening sequence of the film to be included as a bonus feature on their forthcoming UHD and Blu-ray, which was released October 5, 2021.


text: The film had originally been given an X rating from the Motion Picture Association of America (MPAA) due to its graphic depiction of violence, particularly the sequence in which Jamie, hiding in the laundry chute, is stabbed in the leg by Michael.


text: Alan Howarth returned to compose the film. Similar to previous movies in the "Halloween" franchise, the soundtrack contains the score and songs heard throughout the film by bands and solo artists such as White Sister and Rhythm Tribe. There are also some unknown bands and solo artists on the soundtrack such as Becca, DV8, Eileen Clark, Diggy, and Mark Chosak. The soundtrack was released to Compact Disc, LP Vinyl Record, and Cassette Tape on September 11, 1989.


text: "Halloween 5" opened theatrically in North America on October 13, 1989. It earned $5.1 million in its opening weekend, ranking number four at the United States box office. It continued to screen throughout November 1989, with a reported earning of $449,686 during the weekend of November 3, 1989, showing on 537 screens. The film's theatrical run lasted three months, concluding in December 1989, with an ultimate gross of $11.6 million domestically.


text: Stephen Holden of "The New York Times" wrote that the film was "rather like taking another swing through the same all-too-familiar funhouse", but thought it was "a bit more refined in its details than the conventional horror movie". "Variety" called the film "pretty stupid and boring fare" and noted that the series had become "practically indistinguishable from the "Friday the 13th" pics". Richard Harrington of the "Los Angeles Times" criticized the film as being "a prime example of the principle of diminishing reruns" and Donald Pleasence for "a flat two-note performance", though he thought Danielle Harris was "actually pretty good" in her role.


text: Some critics derided the film for its obscure appearances of the "Man in Black" character, which was not elucidated in the final cut of the film. Gary Thompson of the "Philadelphia Daily News" noted this in his review, commenting that "his identity is never revealed, and his actions are never explained. What does this mean? It means the series has turned into a soap opera, attempting to keep the audience interested with cheap dramatic stunts borrowed from daytime television." The "Hartford Courant"s Malcolm L. Johnson, however, gave the film a favorable review, deeming it the best sequel in the series and praising Othenin-Girard's "arty touch to the stalkings and killings."


text: On the internet review aggregator Rotten Tomatoes, as of November 2022, the film has an average approval rating of 12% based on 26 reviews, with a consensus reading: ""Halloween 5: The Revenge Of Michael Myers" finds the series embracing crude slasher conventions with pedestrian scares, disposable characters, and aimless plotting."


text: "Halloween 5: The Revenge of Michael Myers" was released on VHS and LaserDisc by CBS/Fox Video in 1990. In September 2000, Anchor Bay Entertainment released the film on VHS and DVD, including a limited edition DVD housed in a tin box with collectible lobby cards. Anchor Bay reissued the DVD with additional bonus materials in 2006 before releasing it on Blu-ray in 2012. In September 2014, the film was included in a Blu-ray box set of the entire "Halloween" film series, released by Scream Factory, in association with Anchor Bay, in both a standard and deluxe limited edition. On October 5, 2021, Shout! Factory sub-label Scream Factory released the film in a UHD and Blu-ray combination package, featuring a new 4K scan of the original film elements, as well as newly-discovered cut footage included as a bonus feature.


title: The Staple Singers

text: The Staple Singers were an American gospel, soul, and R&B singing group. Roebuck "Pops" Staples (December 28, 1914 – December 19, 2000), the patriarch of the family, formed the group with his children Cleotha (April 11, 1934 – February 21, 2013), Pervis (November 18, 1935 – May 6, 2021), and Mavis (b. July 10, 1939). Yvonne (October 23, 1937 – April 10, 2018) replaced her brother when he was drafted into the U.S. Army, and again in 1970. They are best known for their 1970s hits "Respect Yourself", "I'll Take You There", "If You're Ready (Come Go with Me)", and "Let's Do It Again". While the family name is Staples, the group used "Staple" commercially.


title: The Staple Singers

text: First child to Roebuck "Pops" Staples and his wife Oceola Staples, Cleotha was born in Drew, Mississippi, in 1934. Two years later, Roebuck moved his family from Mississippi to Chicago. Roebuck and Oceola's children, son Pervis and daughters, Mavis and Yvonne, were born in Chicago. Roebuck worked in steel mills and meatpacking plants while his family of four children grew up. The family began appearing in Chicago-area churches in 1948. Their first public singing appearance was at the Mount Zion Church, Chicago, where Roebuck's brother, the Rev. Chester Staples, was pastor.


title: The Staple Singers

text: They signed their first professional contract in 1952. During their early career, they recorded in an acoustic gospel-folk style with various labels: United Records, Vee-Jay Records (their "Uncloudy Day" and "Will the Circle Be Unbroken?" were best sellers), Checker Records, Riverside Records, and then Epic Records in 1965. "Uncloudy Day" was an early influence on Bob Dylan, who said of it in 2015, "It was the most mysterious thing I'd ever heard ... I'd think about them even at my school desk ... Mavis looked to be about the same age as me in her picture (on the cover of "Uncloudy Day") ... Her singing just knocked me out ... And Mavis was a great singer—deep and mysterious. And even at the young age, I felt that life itself was a mystery."


title: The Staple Singers

text: The move to Epic yielded a run of albums, including the live in-church "Freedom Highway" album produced by Billy Sherrill; the title track of which was a civil rights movement protest song penned by Pops Staples. It was on Epic that the Staple Singers developed a style more accessible to mainstream audiences, with "Why (Am I Treated So Bad)" and "For What It's Worth" (Stephen Stills) in 1967. In 1968, the Staple Singers signed to Stax Records and released two albums with Steve Cropper—"Soul Folk in Action" and "We'll Get Over", Pervis returning for them. After Cropper left Stax, Al Bell produced their recordings, conducting the rhythm sessions at the famed Muscle Shoals Sound Studio and cutting the overdubs himself with engineer/musician Terry Manning at Memphis's Ardent Studios, moving in a more funk and soul direction.


title: The Staple Singers

text: The Staple Singers' first Stax hit was "Heavy Makes You Happy (Sha-Na-Boom-Boom)" in early 1971. Their late 1971 recording of "Respect Yourself", written by Luther Ingram and Mack Rice, peaked at number two on the "Billboard" R&B chart and number 12 on the "Billboard" Hot 100. Both hits sold over one million copies and were each awarded a gold disc by the Recording Industry Association of America. The song's theme of self-empowerment had universal appeal, released in the period immediately following the intense American civil rights movement of the 1960s. In 1972, "I'll Take You There" topped both "Billboard" charts. In 1973, "If You're Ready (Come Go With Me)" reached number 9 on the Hot 100 and number one on the R&B chart.


title: The Staple Singers

text: After Stax's 1975 bankruptcy, The Staple Singers signed to Curtis Mayfield's label, Curtom Records, and released "Let's Do It Again", produced by Mayfield; the song became their second number-one pop hit in the U.S., and the album was also successful. In 1976, they collaborated with The Band for their film "The Last Waltz", performing on the song "The Weight" (which The Staple Singers had previously covered on their first Stax album). However, they were not able to regain their momentum, releasing only occasional minor hits. The 1984 album "Turning Point" featured a cover of the Talking Heads' "Slippery People", which reached the Top 5 on the Dance chart. In 1994, they again performed the song "The Weight" with country music artist Marty Stuart for MCA Nashville's "Rhythm, Country and Blues" compilation, somewhat re-establishing an audience. The song "Respect Yourself" was used by Spike Lee in the soundtrack to his movie "Crooklyn", made in 1994.


title: The Staple Singers

text: Pops Staples died of complications from a concussion suffered in December 2000. Cleotha Staples died in Chicago on February 21, 2013, at the age of 78, after suffering from Alzheimer's disease for over a decade. Mavis Staples has continued to carry on the family tradition and continues to add her vocal talents to both the projects of other artists and her own solo ventures. In 2022, she released Carry Me Home, a collaboration with Levon Helm, recorded at Helm's Midnight Ramble in 2011. She appeared at Glastonbury in 2015 and 2019, and her 2016 album "Livin' on a High Note" includes a simple acoustic version of a Martin Luther King sermon in the track "MLK Song". Yvonne Staples died on April 10, 2018, at the age of 80. Pervis Staples died suddenly in his home in Dolton, Illinois, on May 6, 2021, at the age of 85, leaving Mavis as the band's last surviving member.


title: The Staple Singers

text: The 2015 documentary film "Mavis!" recounts the history of The Staple Singers and follows Mavis Staples's solo career after Pops Staples's death. Directed by Jessica Edwards, the film premiered at the 2015 South by Southwest Film Festival and was broadcast by HBO in February 2016.


title: The Staple Singers

text: The Staple Singers were inducted into the Rock and Roll Hall of Fame in 1999 and the Gospel Music Hall of Fame in 2018. They were also honored with a marker on the Mississippi Blues Trail in Drew, Mississippi. In 2005, the group was awarded the Grammy Lifetime Achievement Award.


title: Halston (miniseries)

text: Halston is a 2021 American biographical drama streaming television miniseries based on the life of designer Halston, starring Ewan McGregor. Adapted from the 1991 book "Simply Halston" by Steven Gaines, the series was ordered by Netflix in September 2019 and premiered on May 14, 2021.


title: Halston (miniseries)

text: In January 2019, it was announced that Legendary Television and Killer Films had put in development "Simply Halston", a miniseries based on the life of Halston that would be based on the book of the same name by Steven Gaines, with Ewan McGregor set to star as Halston and the series to be written by Sharr White and directed by Daniel Minahan.


title: Halston (miniseries)

text: In September 2019, Ryan Murphy revealed to "Time" that he had signed onto "Halston" as an executive producer and that the series had been ordered by Netflix under his overall deal at the company. The series premiered on May 14, 2021.


title: Halston (miniseries)

text: On February 18, 2020, Murphy announced on a since deleted Instagram post that in addition to McGregor starring, other cast members of "Halston" included Krysta Rodriguez as Liza Minnelli, Rory Culkin as Joel Schumacher, Rebecca Dayan as Elsa Peretti, Sullivan Jones as Ed Austin, David Pittu as Joe Eula, Gian Franco Rodriguez as Victor Hugo, and Maxim Swinton as Young Roy Halston.


title: Halston (miniseries)

text: For the limited series, review aggregator Rotten Tomatoes reported an approval rating of 67% based on 54 critic reviews, with an average rating of 6.30/10. The website's critics consensus reads, "Ewan McGregor brings megawatt charisma to match "Halston" vibrant recreation of a fashion era, but the series' glib treatment of the legendary designer's interior life yields a lot of style with little substance." Metacritic gave the series a weighted average score of 50 out of 100 based on 20 critic reviews, indicating "mixed or average reviews".


title: Creflo Dollar

text: Creflo Augustus Dollar, Jr., (born January 28, 1962) is an American pastor, televangelist, and the founder of the non-denominational Christian World Changers Church International based in College Park, Georgia, a suburb of Atlanta. Dollar also heads the Creflo Dollar Ministerial Association (formerly called International Covenant Ministries), Creflo Dollar Ministries, and Arrow Records.


title: Creflo Dollar

text: Dollar began developing World Changers Ministries Christian Center in 1986. He held the church's first worship service in the cafeteria of Kathleen Mitchell Elementary School in College Park, with eight people in attendance. He later renamed the ministry World Changers Church International (WCCI), and the congregation moved from the cafeteria to a dedicated chapel. Four services were held each Sunday, and Creflo added a weekly radio broadcast.


title: Creflo Dollar

text: On December 24, 1995, WCCI moved into its present location, the 8,500-seat facility known as the World Dome. The church has said that the nearly $20 million World Dome was built without any bank financing. , the congregation reported having around 30,000 members, and $70 million in revenue (gross cash collections) for 2006.


title: Creflo Dollar

text: In October 2012, Creflo Dollar Ministries leased Loews Paradise Theater in The Bronx for a new church location in New York.


title: Creflo Dollar

text: Dollar also speaks at conferences and writes about his gospel of wealth and his involvement in televangelism.


title: Creflo Dollar

text: In June 2012, Dollar was arrested for an alleged attack on his fifteen-year-old daughter, according to the Fayette County, Georgia, Sheriff's Office.


title: Creflo Dollar

text: Dollar was accused of choking and punching the girl, a story corroborated by Dollar's older daughter, and Fayette County police released details of a subsequent 911 call. The charges were dropped in January 2013 after he attended anger management classes.


title: Creflo Dollar

text: Dollar is known for controversial teachings regarding prosperity theology. He has long been criticized for living a lavish lifestyle. He owns two Rolls-Royces, a private jet, and high-end real estate such as a million-dollar home in Atlanta, a $2.5 million home in Demarest, New Jersey, and a home in Manhattan that he bought for $2.5 million in 2006 (equivalent to $ million in ) and sold for $3.75 million in 2012 (equivalent to $ million in ). Dollar has refused to disclose his salary. For declining to disclose any financial information to independent audit, Creflo Dollar Ministries received a grade of "F" (failing) for financial transparency by the organization Ministry Watch.


title: Creflo Dollar

text: Dollar was among six televangelists who were the subject of a 2007 investigation led by United States Senator Chuck Grassley of Iowa as ranking member of the Senate Finance Committee. Grassley asked for financial information to determine whether Dollar made any personal profit from financial donations and requested that Dollar's ministry make the information available by December 6, 2007. The investigation also asked for information from five other televangelists: Benny Hinn, Kenneth Copeland, Eddie L. Long, Joyce Meyer, and Paula White. Dollar contested the probe, arguing that the proper governmental entity to examine religious groups is the IRS, not the Committee on Finance. Dollar and three others were not cooperative, and the probe concluded in 2011 without any charges.


title: Creflo Dollar

text: Over the years Dollar has written books and made video recordings about the obligation for Christians to pay tithe in the churches. However, in July 2022 he publicly retracted his views on tithing confessing that he has misled people with these teachings, stating that it was not biblical to tithe but up to individuals to offer according to their heart and ability. Dollar received praise and criticism for these statements.


title: Cara Dune

text: Cara Dune is a fictional character in the "Star Wars" franchise, appearing in the first two seasons of the Disney+ television series "The Mandalorian". Portrayed by actress and former mixed martial artist Gina Carano, the character is a former Rebel shock trooper who became a mercenary after the Galactic Civil War, and is later employed as a marshal of the New Republic. A highly trained and battle-hardened special forces warrior, Cara is skilled in the use of weaponry, hand-to-hand combat, and battle tactics, and has an intense hatred of the Galactic Empire for its destruction of her homeworld, Alderaan. Carano described Cara as a loner who is having trouble readjusting to society following her career as a soldier.


title: Cara Dune

text: The character was positively received by reviewers and fans, and has been described as a feminist role model, unique among the "Star Wars" franchise's female characters due to her physicality and combat skills. In February 2021, following a series of controversial posts by Carano on social media, Lucasfilm announced that she would not return as Cara and that the character would not be recast.


title: Cara Dune

text: In the , Cara's full given name is revealed to be Carasynthia, and her homeworld to be Alderaan, the planet destroyed by the Death Star in the first "Star Wars" (1977) film. She is a former shock trooper from the Rebel Alliance,<ref name="Gramuglia 04/19"></ref> who fought against the Galactic Empire in the Galactic Civil War depicted in the original "Star Wars" trilogy, and helped establish the New Republic following that conflict. In exposition from "The Mandalorian", Cara reveals that most of her past work as a Rebel soldier involved eliminating Imperial warlords and other remnants of the Empire following the destruction of the second Death Star. As a shock trooper, she was dropped behind enemy lines with no support to cause as much damage as possible (comparable to the real-world US Navy SEALs or even the British SAS). The dialogue also establishes that she left the Alliance after her role shifted to a more political "peacekeeping" role, such as protecting delegates and suppressing riots, which Cara said was "not what I signed up for". After taking what she calls "early retirement" from her military position, she became a mercenary,<ref name="Thorne 11/19"></ref><ref name="Baver 11/19"></ref> and began drifting from planet to planet. She eventually became wanted for unknown reasons, leading her to hide out on the forest planet of Sorgan.


title: Cara Dune

text: Cara made her first appearance in "", the fourth episode of "The Mandalorian". On the planet Sorgan, she meets the show's title character, a bounty hunter known simply as the Mandalorian, and each wrongly believes the other one was attempting to collect a bounty on each other. This results in the two briefly engaging in hand-to-hand combat during their first encounter, ending in a stalemate. They reconcile and ultimately join forces to defend a village against a ravaging band of raiders of the Klatooinian species. Cara and the Mandalorian help prepare defensive obstacles and protective positions throughout the village, as well as train the villagers for combat. Lacking sufficient weapons to take down the raiders' AT-ST, they develop a plan to use the environment of the village, digging ponds deep enough for the walker to collapse after stepping into them. These measures prove effective during the battle, but when the AT-ST fails to advance far enough to fall into the pond traps, Cara successfully lures it forward by leaping into the pond herself and attacking it at close range. When the walker moves forward to target her and becomes stuck, the Mandalorian destroys it with a thermal detonator. After the battle, Cara saves the life of Grogu, aka "The Child", a young alien creature under the Mandalorian's protection, when she finds and kills a bounty hunter just before it is about to execute Grogu. As a result, the Mandalorian realizes he must take Grogu away from Sorgan, and he invites Cara to come along with them, but she declines.


title: Cara Dune

text: Cara reappears in the episode "", when the Mandalorian recruits her for a mission to the planet Nevarro to eliminate an Imperial presence there. When he first finds her, she is participating in fights with challengers for money. Cara is initially reluctant to leave Sorgan, but when the Mandalorian explains that the targets are Imperials, she immediately agrees. While traveling to Nevarro on the Mandalorian's ship, she participates in a friendly arm wrestling match with him, but Grogu mistakes her actions as aggressive and uses the Force to choke her, only stopping after the Mandalorian intervenes. During their journey, Cara and the Mandalorian's party are attacked by a group of pterodactyl-like creatures, which they repel after taking casualties. The bounty hunter Greef Karga is critically injured and Cara attempts to apply first aid, but Grogu uses the Force to heal him.


title: Cara Dune

text: Later, Greef reveals the mission is an ambush, after which the Mandalorian is to be killed and Grogu given over to the Imperials. Cara, the Mandalorian, and Greef instead devise a new plan: they will leave Grogu behind, bring the Mandalorian to the Imperials as if he is a prisoner, and then eliminate them. The plan goes wrong, resulting in the trio becoming pinned down inside a cantina by Imperial officer Moff Gideon and his stormtroopers. At the start of the first-season finale "Chapter 8: Redemption", the group engages in a brief gunfight with the stormtroopers after IG-11, the bounty hunter droid, arrives with Grogu to provide assistance. The Mandalorian is badly injured during the fight, and Cara drags him back into the cantina to safety. The group escapes the building via the sewer system, and flee on a droid-controlled floating barge on a river of lava. Cara is present when IG-11 sacrifices himself to eliminate a large number of stormtroopers to ensure the group's escape, and she survives an attack by Moff Gideon in a TIE fighter, which the Mandalorian repels. Afterward, Cara decides to stay on Nevarro to help eliminate any remaining Imperial presence on the planet, and Greef invites her to work as his enforcer, which she appears to accept.


title: Cara Dune

text: The character was confirmed to return for the second season of "The Mandalorian" ahead of its premiere. She appears in "", as the marshal of Nevarro and working with Greef to eliminate the remaining Imperial forces on Nevarro. When the Mandalorian and Grogu return to Nevarro for repairs to the "Razor Crest", they ask him to help them destroy the last Imperial base on the planet in exchange for the repairs. The base turns out to have more than just a skeleton crew, as the group find numerous stormtroopers patrolling its corridors. They deactivate the lava cooling system, so that the natural lava flows will destroy the base. During their escape, the group find scientists and vats of what appear to be cloned bodies. The scientists attempt to destroy the evidence, but they uncover a recording from Dr. Pershing that reveals he had been transfusing Grogu's blood, which has a high 'M-count', into test subjects. Stormtroopers soon swarm the team and they are forced to escape before the lava overheats and destroys the base.


title: Cara Dune

text: The Mandalorian flies from the base to retrieve his ship, using his jetpack, while Cara and the others escape in a stormtrooper transport. A chase ensues between the transport, driven by Cara, and scout troopers riding speeder bikes. Greef kills the last scout trooper, but TIE fighters launched from the base chase after them, disabling the transport's cannon. The base soon explodes due to the overheating of the lava. As the TIE fighters close in on Cara, Greef and Mythrol, the "Razor Crest" appears and destroys the Imperials. After the Mandalorian departs, Greef is visited by New Republic pilots to invite him to help stop whatever the Empire is planning. One of the pilots, Captain Carson Teva, speaks with Cara and makes her the same offer, mentioning Alderaan's destruction by the Empire, to which she replies that she lost everything with it.


title: Cara Dune

text: In "", the Mandalorian returns to Nevarro to find Cara to be serving as a Marshal for the New Republic. Cara secures the release of prisoner Migs Mayfeld to assist the Mandalorian in a mission to infiltrate an imperial base and locate Moff Gideon. Cara joins the mission, acting as sniper alongside Fennec Shand. After the mission she agrees to let Mayfeld go free, and assures him he will be declared dead. In "", Cara helps the Mandalorian and his allies intercept Dr. Pershing's transport, during which one of the ship's pilots taunts Cara about the destruction of Alderaan before being shot dead. She later teams up with Fennec, Bo-Katan Kryze, and Koska Reeves to take over the bridge of Moff Gideon's cruiser as a distraction while the Mandalorian rescues Grogu and defeats Gideon. When Luke Skywalker arrives, Cara prevents the captured Gideon from committing suicide, and knocks him unconscious.


title: Cara Dune

text: Cara Dune is a battle-hardened warrior, with a muscular build giving her far greater strength and durability compared to other heroines of the saga with a tough and aggressive personality, but also a kindness beneath her gruff exterior. Gina Carano, the actress and former mixed martial artist who plays the character, said Cara and the Mandalorian are similar in personality and background, and that the two understand each other and were able to form a bond as a result. A highly trained fighter, she is muscular, an extremely accurate shot, and has excellent hand-to-hand combat skills, as shown immediately in her fight with the Mandalorian when Cara is first introduced. She is one of the few in the show who is able to match the Mandalorian in direct combat.<ref name="Gramuglia 12/19"></ref>


title: Cara Dune

text: Carano called Cara as "a bit of a loner", who is having trouble reintegrating herself into society following her combat experience.<ref name="Baver 04/19"></ref> The fact that she mistakes the Mandalorian for attempting to collect a bounty on her during their first meeting indicates she has done some unsavory things since leaving the military; Carano said of this: "I feel like she's always in trouble." As a soldier, Cara enjoyed the adrenaline of war, and when that disappeared during peace time, she found herself disillusioned with her new role. Carano has said Cara is questioning whether she agreed with everything that occurred during her military service, and that her experiences at war taken a psychological toll on her. When introduced in "The Mandalorian", Cara kept to herself, did not easily trust others, and cared about little except her survival, keeping her skills sharp, and killing Imperials. However, she also has a strong sense of loyalty, as shown by her refusal to abandon the Mandalorian after he is seriously injured in the first-season finale. Cara has an intense hatred for the Empire, which is driven in large part by its role in the destruction of her home planet of Alderaan.


title: Cara Dune

text: The Angry Staff Officer, an anonymous Army National Guard officer who writes for "Wired" magazine, has called Cara one of the more tactically-proficient characters in "Star Wars". He called Cara perhaps "the one person in the "Star Wars" universe to actually absorb some lessons learned" from her past combat engagements. The writer described the defensive measure the Mandalorian and Cara develop to protect the village in "Chapter 4: Sanctuary" as a "near-perfect defensive engagement", and praised Cara's efforts in luring the AT-ST into a vulnerable position, as well as the way she and the villagers quickly identified their priorities of work, such as establishing obstacles, building protective positions, and training the villagers to fight. In another example, he cited a scene in the first-season finale in which Cara assists an injured Mandalorian by dragging him into cover for assessment while providing covering fire. He said other "Star Wars" characters in this situation have simply tended to the victim in the middle of the firefight, a dangerous scenario, while Cara's method is the safer method recommended by the United States Armed Forces. He wrote: "Cara Dune would receive a 'go' for all the performance measures for this U.S. Army medical task."


title: Cara Dune

text: The character of Cara Dune was conceived by Jon Favreau, the creator and showrunner of "The Mandalorian". According to Carano, Favreau created the character with Carano specifically in mind and did not audition any other actresses for the part. Carano said Favreau sought to make a strong and independent character, but one different from Princess Leia or other powerful female characters previously featured in the franchise: "He wanted my character to be this new soldier of women, and he wanted her to have an impact". Favreau said it was the type of character he always wished to portray as an actor himself, describing her as "raising the stakes and raising hell". The writers checked with executive producer Dave Filoni, who had been involved in past "Star Wars" works, to make sure the Rebel shock trooper position was consistent with the past continuity of the franchise. False rumors had circulated on the Internet about what type of character Cara would be prior to any official announcements about her were made public.


title: Cara Dune

text: Cara Dune was first publicly unveiled during the "Star Wars" Celebration convention in Chicago on April 14, 2019, along with the character Greef Karga. The event also featured teaser footage with Cara, a still photo of the character, and included a panel discussion with Carano and Carl Weathers, the actor who portrays Greef, talking about their characters. Cara was subsequently featured prominently in posters, commercials, and marketing materials in advance of the release of "The Mandalorian". On September 4, "Entertainment Weekly" unveiled an exclusive photo of Cara and the Mandalorian fighting together, and on October 28, a character poster of "The Mandalorian" solely featuring Cara Dune was released.


title: Cara Dune

text: Carano's casting was first announced on December 12, 2018, though the news had been leaked on the Internet before the formal announcement. The production of "The Mandalorian" called for more secrecy than any other job of Carano's career. Prior to filming one of Cara's first scenes, Carano said Favreau told her that playing this character was going to change Carano's career trajectory, giving her more self-confidence as an actress providing her the opportunity to play stronger roles in the future. Carano said she had a strong positive emotional reaction to the conversation, and that it helped her play the role of Cara Dune more confidently, saying: "I feel like my whole life since I shot that has been a different world." Carano credited Bryce Dallas Howard, who directed the first episode featuring Cara, with helping Carano determine how to best translate the character from the script to the screen during their work together in Cara's debut episode.


title: Cara Dune

text: In February 2021, Lucasfilm announced that Carano would no longer portray the character, citing social media posts which they said "denigrat[ed] people based on their cultural and religious identities", and that the character would not be recast. Lucasfilm subsequently included the character on a "For Your Consideration" poster for the Emmy Awards.


title: Cara Dune

text: Cara Dune's costume was designed by concept artist Brian Matyas and costume designer Joseph Porro. Gina Carano said she was impressed by the amount of detail the crew of "The Mandalorian" achieved in their costuming, saying of them: "These people are legit." The costume is mostly black, with armor pieces on the chest and shoulders showing wear from battle damage, and Three lines with black and silver bars running across the sternum. The costume includes two thick belts, one black and one green, as well as holsters for blasters and knives, and a brace on the right knee. The costume also includes thick black gloves metal on the fingers and knuckles, as well as wrist armor and large black boots.


title: Cara Dune

text: The creation of Cara's costume began with a mold being made of Carano's body, a process she did not enjoy. The shoulders were built out and the waist cinched in, to create a distinctive hourglass-shaped silhouette for the character. "The Mandalorian" executive producer Kathleen Kennedy had stressed the importance of Cara having a distinctive silhouette because she felt all "Star Wars" characters should be recognizable from a great distance. Jon Favreau, Bryce Dallas Howard, and Dave Filoni provided input on the costume, with Howard in particular making suggestions about how to convey toughness without sacrificing femininity, while also ensuring Carano would be able to perform the athletic feats required of the character. Carano stressed the importance of this: "How do you put basically football padding on a busty curvy female? I didn't want to be a block. I didn't want to just be this like big, buff refrigerator."


title: Cara Dune

text: Cara's hairstyle was originally planned to be short, with one side completely buzzed, but Carano objected to this because she wanted to maintain the character's femininity. Maria Sandoval, who described Cara as her favorite character on the show, instead developed a shoulder-length hairstyle with rough edges. The hairstyle was partially inspired by that of director Deborah Chow, who had directed several "The Mandalorian" first-season episodes. Howard said while she and the producers of the series were discussing Cara's costume, they observed Chow directing and noticed the way her hair was gathered and stylized with braids, and elements of it were factored into Cara Dune's hairstyle. Cara was provided a blaster prop similar in appearance to the firearm used by Han Solo in the "Star Wars" films. The character also has a handful of tattoos, including a small Rebel Alliance insignia under the left eye, and a series of tattoos and bars around her that signify her as a veteran of the Rebellion, something that had been featured on characters on the animated television series "". Carano said the Rebel insignia tattoo in particular has a deeper back story that would be revealed later in future seasons.


title: Cara Dune

text: Cara Dune's scenes were filmed in a studio in Manhattan Beach, California. Favreau and Filoni discussed elements of Cara's back story with Carano before filming to help inform her performance, and just before filming the introductory scene of Cara's debut episode, Favreau shared secrets about the character that would not be revealed until later in the series. Carano said having this information helped inform her performance and "added so much depth to what her life has been like". Carano said she enjoyed performing against lead actor Pedro Pascal, who plays the Mandalorian, and other masked characters in the show, and she said it was easy for her to do so because, in her everyday life, "I don't naturally see what somebody's physical appearance is. I instantly kind of feel who a person is"; as a result, she said she could often tell what faces Pascal was making or what emotions he was expressing beneath the mask, despite not seeing his face. Pascal said of working with her: "I couldn't feel in better hands than in the hands of Gina Carano."


title: Cara Dune

text: Carano said Howard listened to her thoughts and ideas during the filming of Cara's first episode, watched replays with her after shooting scenes, and communicated with her as a fellow actress. Carano said of Howard: "She was very motherly and protective of our performances." Howard also allowed Carano to have as many takes as she needed to get the performance right, which the actress said put her at ease.


title: Cara Dune

text: During Carano's first day of filming, she was required to ride the mechanical blurrg, a reptilian mounted creature that was so large she needed a ladder to climb atop it. Pascal was unavailable for many of her scenes on "Chapter 4: Sanctuary" because he was auditioning for another series, so Howard mostly worked with Pascal's body double. As a result, she called Carano "the face of the episode".<ref name="Thorne 12/19"></ref> The actress had a stomach flu when her scenes fighting the AT-ST were filmed, which along with two nights of rain in advance of the shoot made the scene very challenging. Her introductory scene in which the Mandalorian and Cara fight each other was originally written differently, but it was changed on the set by Favreau and Howard as the stunt team worked on choreography and previsualization. Carano said one of the changes was "we made it to where she got the jump on him."


title: Cara Dune

text: Carano said the set of "The Mandalorian" is "not a green screen set", but rather is very realistic, even with the alien characters and other fantasy elements. She said this helps her performance and has been "an incredible blessing for my imagination". According to Carano, she passed out twice while filming the scene in "Chapter 7: The Reckoning" when Grogu uses the Force to choke her. On March 6, 2020, Carano posted an Instagram photo of herself in the Cara Dune costume on the set of "The Mandalorian" to mark the end of filming for the second season, writing: "I absolutely love this work and the people in it."


title: Cara Dune

text: Carano collaborated and worked closely with "The Mandalorian" stunt team, and she believed they "accepted me as one of their own", in part due to her mixed martial arts background. She said the stunt team "have been like brothers and sisters to me". Carano performed many of the stunts herself. For example, Carano herself drags a wounded comrade off a battlefield during one of her scenes, which surprised many of the bystanders on the set. Carano also outpaced Pascal's stunt double in one scene, and in another she sent a stunt performer flying across the set due to the force of one of her kicks.


title: Cara Dune

text: Carano believed her fighting scenes were aided not only by her mixed martial arts skills, but also her training in ballet, jazz dancing, and tap dancing as a child. She said some fighters have trouble transitioning into acting because they want to appear tough and have trouble performing in scenes in which they lose fights or take hits, but Carano said her early arts training helped her avoid that.


title: Cara Dune

text: Carano said most of the feedback about the character she has heard and read online has been positive, adding: "I have so many people who are rooting for this strong female character." Olivia Luchini of "PopSugar" called her a character "worthy of riotous applause" and a feminist role model, calling her unique even among the "Star Wars" franchise's strong female characters due to her physicality and combat skills. Luchini says Cara serves as a role model particularly for female fans who consider themselves "a little rugged and audacious", writing: "She is a breath of fresh air for those who haven't been able to see themselves in the "Star Wars" universe quite yet." Megan Crouse of "Den of Geek" called Cara one of the show's best characters, particularly praising the "great platonic chemistry" between her and the Mandalorian. Crouse said Carano fully inhabits the character that she elevates the script. "Variety" writer Will Thorne praised Cara Dune, complimenting her combat skills and "debonair charm", and compared her to the Marvel Comics character Gamora as performed by Zoe Saldana in the "Guardians of the Galaxy" films.


title: Cara Dune

text: "Vanity Fair" writer Joanna Robinson called the character a "prime showcase for Carano" and the first role to capitalize on her "real-life, distinct blend of inherent sweetness and physical toughness". "Screen Rant" writer Kevin Pantoja called Carano brings a "legitimate physical presence" to the role, and that Cara stands out in a franchise that already includes such strong female protagonists as Princess Leia and Rey. Erik Kain of "Forbes" called Cara a great character and said he wishes she was featured even more prominently in the series. She ranked fourth on a "Screen Rant" list of the most interesting characters from the first season of "The Mandalorian", fifth on a separate list of the ten best characters from the show, and her costume was ranked third on a list of the ten best costumes in the first season. Several fans have produced artwork of the character and dressed as her in cosplay, and some have gotten the Rebel Alliance tattoo that Cara has under her eye.


title: Cara Dune

text: According to Anthony Gramuglia of "Comic Book Resources" some "Star Wars" fans were critical of the Cara Dune character because they perceived the presence of a strong female fighter as "forced diversity" and "wokeness". Gramuglia calls these objections "misogynist" and "patently ridiculous", comparing them to complaints about other female "Star Wars" characters such as Rey, Rose Tico, Jyn Erso, and Qi'ra. Gramuglia writes: "To them, Cara Dune's presence serves as a means to make men appear weaker by comparison, as she fights battles that most of the male characters aren't capable of undertaking themselves."


title: Cara Dune

text: Several toys of Cara Dune were first made available at a "Star Wars" product launch event called Triple Force Friday on October 4, 2019. Among them was a six-inch action figure by Hasbro as part of the company's "" toy line, and Funko Pop figurine, and a Lego minifigure, as well as "The Mandalorian" t-shirts featuring the character.


title: Cara Dune

text: Additionally, two more action figures based on the character were about to be released, one of which was reported to have been part of The Black Series 6 line, but production on all Cara Dune toys was cancelled by Hasbro following Carano's firing.


title: Swimsuit

text: A swimsuit is an item of clothing designed to be worn by people engaging in a water-based activity or water sports, such as swimming, diving and surfing, or sun-orientated activities, such as sun bathing. Different types may be worn by men, women, and children. A swimsuit can be described by various names, some of which are used only in particular locations, including swimwear, bathing suit, swimming costume, bathing costume, swimming suit, swimmers, swimming togs, bathers, cossie (short for "costume"), or swimming trunks for men, besides others.


title: Swimsuit

text: A swimsuit can be worn as an undergarment in sports that require a wetsuit such as water skiing, scuba diving, surfing, and wakeboarding. Swimsuits may also be worn to display the wearer's physical attributes, as in the case of beauty pageants or bodybuilding contests, and glamour photography and magazines like the annual "Sports Illustrated Swimsuit Issue" featuring models and sports personalities in swimsuits.


title: Swimsuit

text: There is a very wide range of styles of modern swimsuits available, which vary as to body coverage and materials. The choice of style may depend on community standards of modesty, as well as current fashions, and personal preferences. The choice will also consider the occasion, for example whether it is to be worn for a passive occasion such as sunbathing or for an activity such as surfing or swimsuit competition. Swimwear universally covers at least the wearer's crotch area. For males, swimwear today usually exposes the chest, while swimsuits for females usually cover at least the nipples, except in the case of a topless swimsuit.


title: Swimsuit

text: Rayon began to be used in the 1920s in the manufacture of tight-fitting swimsuits, but its durability, especially when wet, proved problematic, with jersey and silk also sometimes being used.


title: Swimsuit

text: In the 1930s, new materials were being developed and used in swimwear, particularly latex and nylon, and swimsuits gradually began hugging the body, especially women's swimsuits.


title: Swimsuit

text: Some companies have started to focus on recycled materials for their swimwear. They are working with companies that transform fishnets, nylon waste, and recovered plastic from shorelines, waterways and coastal communities into textile components.


title: Swimsuit

text: In Western culture, men's swimsuit styles include boardshorts, jammers, swim trunks, briefs AKA "speedos", thongs, and g-strings, in order of decreasing lower body coverage, and women's swimsuits include one-piece, bikinis, or thongs. While they go through many trends in pattern, length, and cut, there is not much modification to the original variety of suit. A recent innovation is the burqini, favored by some Muslim women, which covers the whole body and head (but not face) in a manner similar to a diver's wetsuit. These are an updated version of full-body swimwear, which has been available for centuries, but conforms with Islam's traditional emphasis on modest dress. In Egypt, the term "Sharia swimsuit" is used to describe full-body swimwear.


title: Swimsuit

text: Swimsuits can be skin-tight or loose-fitting. They are often lined with another layer of fabric if the outer fabric becomes transparent when wet.


title: Swimsuit

text: Swimsuits range from designs that almost completely cover the body to designs that expose almost all of the body. The choice of swimsuit will depend on personal and community standards of modesty and on considerations such as how much or how little sun protection is desired, and prevailing fashions. Almost all swimsuits cover the genitals and pubic hair, while most except thongs or g-strings (also called Brazilians) cover much or all of the buttocks.


title: Swimsuit

text: Most swimsuits in western culture leave at least the head, shoulders, arms, and lower part of the leg (below the knee) exposed. Women's swimsuits generally cover at least the areola and bottom half of the breasts.


title: Swimsuit

text: Both men and women may sometimes wear swimsuits covering more of the body when swimming in cold water (see also wetsuit and dry suit). In colder temperatures, swimsuits are needed to conserve body heat and protect the body core from hypothermia.


title: Swimsuit

text: Germs, bacteria, and mold can grow very quickly on wet bathing suits. Medical professionals warn that wearing damp swimwear for long periods of time can cause a number of infections and rashes in children and adults, and warn against sharing bathing suits with others. They suggest that changing out of a wet bathing suit right away can help prevent vaginal infections, itching and/or jock itch.


title: Swimsuit

text: In public swimming pools in France for reasons of hygiene, it is only permitted to wear closer fitting styles of swimwear. Men, for instance, must wear "Speedo"-style bathing suits and not baggy shorts or trunks.


title: Swimsuit

text: In classical antiquity swimming and bathing were done naked. There are Roman murals which show women playing sports and exercising wearing two-piece suits covering the areas around their breasts and hips in a fashion remarkably similar to the present-day bikini. However, there is no evidence that they were used for swimming. All classical pictures of swimming show nude swimmers.


title: Swimsuit

text: In various cultural traditions one swims, if not in the nude, in a version in suitable material of a garment or undergarment commonly worn on land, e.g. a loincloth such as the Japanese man's .


title: Swimsuit

text: In the United Kingdom, until the mid-19th century there was no law against nude swimming, and each town was free to make its own laws. For example, the Bath Corporation official bathing dress code of 1737 prescribed, for men:


title: Swimsuit

text: It is Ordered Established and Decreed by this Corporation that no Male person above the age of ten years shall at any time hereafter go into any Bath or Baths within this City by day or by night without a Pair of Drawers and a Waistcoat on their bodies.


title: Swimsuit

text: In rivers, lakes, streams and the sea, men swam in the nude, where the practice was common. Those who did not swim in the nude stripped to their underwear. The English practice of men swimming in the nude was banned in the United Kingdom in 1860. Drawers, or caleçons as they were called, came into use in the 1860s. Even then there were many who protested against them and wanted to remain in the nude. Francis Kilvert described men's bathing suits coming into use in the 1870s as "a pair of very short red and white striped drawers".


title: Swimsuit

text: Female bathing costumes were derived from those worn at Bath and other spas. It would appear that until the 1670s, nude female bathing in the spas was the norm, and that after that time women bathed clothed. Celia Fiennes gave a detailed description of the standard ladies' bathing costume in 1687:


title: Swimsuit

text: The Ladyes go into the bath with Garments made of a fine yellow canvas, which is stiff and made large with great sleeves like a parson's gown; the water fills it up so that it is borne off that your shape is not seen, it does not cling close as other linning, which Lookes sadly in the poorer sort that go in their own linning. The Gentlemen have drawers and wastcoates of the same sort of canvas, this is the best linning, for the bath water will Change any other yellow.


title: Swimsuit

text: No Female person shall at any time hereafter go into a Bath or Baths within this City by day or by night without a decent Shift on their bodies.


title: Swimsuit

text: "The Expedition of Humphry Clinker" was published in 1771 and its description of ladies' bathing costume is different from that of Celia Fiennes a hundred years earlier:


title: Swimsuit

text: The ladies wear jackets and petticoats of brown linen, with chip hats, in which they fix their handkerchiefs to wipe the sweat from their faces; but, truly, whether it is owing to the steam that surrounds them, or the heat of the water, or the nature of the dress, or to all these causes together, they look so flushed, and so frightful, that I always turn my eyes another way.


title: Swimsuit

text: Penelope Byrde points out that Smollett's description may not be accurate, for he describes a two-piece costume, not the one piece shift or smock that most people describe and is depicted in contemporary prints. His description does, however, tally with Elizabeth Grant's description of the guide's costume at Ramsgate in 1811. The only difference is in the fabric the costumes are made of. Flannel, however, was a common fabric for sea bathing costumes as many believed the warmer fabric was necessary in cold water.


title: Swimsuit

text: In the 18th century women wore "bathing gowns" in the water; these were long dresses of fabrics that would not become transparent when wet, with weights sewn into the hems so that they would not rise up in the water. The men's swim suit, a rather form-fitting wool garment with long sleeves and legs similar to long underwear, was developed and would change little for a century.


title: Swimsuit

text: In the 19th century, the woman's double suit was common, comprising a gown from shoulder to knees plus a set of trousers with leggings going down to the ankles.


title: Swimsuit

text: In the Victorian era, popular beach resorts were commonly equipped with bathing machines designed to avoid the exposure of people in swimsuits, especially to people of the opposite sex.


title: Swimsuit

text: In the United States, beauty pageants of women in bathing costumes became popular from the 1880s. However, such events were not regarded as respectable. Beauty contests became more respectable with the first modern "Miss America" contest held in 1921, though less respectable beauty contests continued to be held.


title: Swimsuit

text: The 1907 Sydney bathing costume protests were carried out in Australia after an ordinance was proposed that would have required males to wear a skirt-like tunic. In 1935, a similar ordinance was proposed, requiring males to wear the Spooner bathing costume instead of the 'disgraceful' swim trunks.


title: Swimsuit

text: In 1907, the swimmer Annette Kellerman from Australia visited the United States as an "underwater ballerina", a version of synchronized swimming involving diving into glass tanks. She was arrested for indecent exposure because her swimsuit showed arms, legs and the neck. Kellerman changed the suit to have long arms and legs and a collar, still keeping the close fit that revealed the shapes underneath. She later starred in several movies, including one about her life. She marketed a line of bathing suits and her style of one-piece suits came to be known as "the Annette Kellerman". The Annette Kellerman was considered the most offensive style of swimsuit in the 1920s and became the focus of censorship efforts.


title: Swimsuit

text: Despite opposition from some groups, the form-fitting style proved popular. It was not long before swimwear started to shrink further. At first arms were exposed and then legs up to mid-thigh. Necklines receded from around the neck down to around the top of the bosom. The development of new fabrics allowed for new varieties of more comfortable and practical swimwear.


title: Swimsuit

text: Due to the figure-hugging nature of these garments, glamour photography since the 1940s and 1950s has often featured people wearing swimsuits. This type of glamour photography eventually evolved into swimsuit photography exemplified by the annual "Sports Illustrated Swimsuit Issue". Beauty contests also required contestants to wear form-fitting swimsuits.


title: Swimsuit

text: The first bikinis appeared just after World War II. Early examples were not very different from the women's two pieces common since the 1920s, except that they had a gap below the breast line allowing for a section of bare midriff. They were named after Bikini Atoll, the site of several nuclear weapons tests, for their supposed explosive effect on the viewer.


title: Swimsuit

text: Through the 1950s, it was thought proper for the lower part of the bikini to come up high enough to cover the navel. From the 1960s on, the bikini shrank in all directions until it sometimes covered little more than the nipples and genitalia, although less revealing models giving more support to the breasts remained popular. At the same time, fashion designer Rudi Gernreich introduced the monokini, a topless suit for women consisting of a modest bottom supported by two thin straps. Although not a commercial success, the suit opened eyes to new design possibilities. In the 1980s the thong or "tanga" came out of Brazil, said to have been inspired by traditional garments of native tribes in the Amazon. However, the one-piece suit continued to be popular for its more modest approach.


title: Swimsuit

text: Men's swimsuits developed roughly in parallel to women's during this period, with the shorts covering progressively less. Eventually racing-style "speedo" suits became popular—and not just for their speed advantages. Thong, g-string and bikini style suits are also worn. Typically these are more popular in more tropical regions; however, they may also be worn at public swimming pools and inland lakes. But in the 1990s, longer and baggier shorts became popular, with the hems often reaching to the knees. Often called boardshorts and swim trunks, these were often worn lower on the hips than regular shorts.


title: Swimsuit

text: Since the early twentieth century a naturist movement has developed in western countries that seeks to enjoy non-sexual nakedness when swimming and during other activities. Some women prefer to engage in water or sun activities with their torso uncovered. The practice is often described as "toplessness" or "topfreedom". In some places around the world, nude beaches have been set aside for people who choose to engage in beach activities in the nude.


title: Swimsuit

text: As an alternative to a swimsuit, some people wear trousers, underpants, or a T-shirt either as a makeshift swimsuit or because they prefer regular clothes over swimsuits. Using a T-shirt can also provide extra protection against sunburn. This practice may be more accepted at beaches than at swimming pools, which tend not to permit the use of regular clothes as swimwear because regular clothes are unlined, may become translucent, and may be perceived as unclean.


title: Swimsuit

text: Swimsuits can also be worn outside the water, for example as a fashion item, for sports or while sunbathing.


title: Speech act

text: In the philosophy of language and linguistics, speech act is something expressed by an individual that not only presents information but performs an action as well. For example, the phrase "I would like the kimchi; could you please pass it to me?" is considered a speech act as it expresses the speaker's desire to acquire the kimchi, as well as presenting a request that someone pass the kimchi to them. According to Kent Bach, "almost any speech act is really the performance of several acts at once, distinguished by different aspects of the speaker's intention: there is the act of saying something, what one does in saying it, such as requesting or promising, and how one is trying to affect one's audience". The contemporary use of the term goes back to J. L. Austin's development of performative utterances and his theory of locutionary, illocutionary, and perlocutionary acts. Speech acts serve their function once they are said or communicated. These are commonly taken to include acts such as apologizing, promising, ordering, answering, requesting, complaining, warning, inviting, refusing, and congratulating.


title: Speech act

text: For much of the history of the positivist philosophy of language, language was viewed primarily as a way of making factual assertions, and the other uses of language tended to be ignored, as Austin states at the beginning of Lecture 1, "It was for too long the assumption of philosophers that the business of a 'statement' can only be to 'describe' some state of affairs, or to 'state some fact', which it must do either truly or falsely." Wittgenstein came up with the idea of "don't ask for the meaning, ask for the use," showing language as a new vehicle for social activity. Speech act theory hails from Wittgenstein's philosophical theories. Wittgenstein believed meaning derives from pragmatic tradition, demonstrating the importance of how language is used to accomplish objectives within specific situations. By following rules to accomplish a goal, communication becomes a set of language games. Thus, utterances do more than reflect a meaning, they are words designed to get things done. The work of J. L. Austin, particularly his "How to Do Things with Words", led philosophers to pay more attention to the non-declarative uses of language. The terminology he introduced, especially the notions "locutionary act", "illocutionary act", and "perlocutionary act", occupied an important role in what was then to become the "study of speech acts". All of these three acts, but especially the "illocutionary act", are nowadays commonly classified as "speech acts".


title: Speech act

text: Austin was by no means the first one to deal with what one could call "speech acts" in a wider sense. The term 'social act' and some of the theory of this type of linguistic action are to be found in the fifth of Thomas Reid's "Essays on the Active Powers of the Human Mind" (1788, chapter VI, Of the Nature of a Contract).


title: Speech act

text: Adolf Reinach (1883–1917) and Stanislav Škrabec (1844–1918) have been both independently credited with a fairly comprehensive account of social acts as performative utterances dating to 1913, long before Austin and Searle.


title: Speech act

text: The concept of an illocutionary act is central to the concept of a speech act. Although there are several scholarly opinions regarding how to define 'illocutionary acts', there are some kinds of acts which are widely accepted as illocutionary. Examples of these widely accepted acts are commands or promises.


title: Speech act

text: The first of these opinions is the one held by John L. Austin who coined the term "speech act" in his book "How to Do Things with Words" published posthumously in 1962. According to Austin's preliminary informal description, the idea of an "illocutionary act" can be captured by emphasizing that "by saying something, we "do" something", as when someone issues an order to someone to go by saying "Go!", or when a minister joins two people in marriage saying, "I now pronounce you husband and wife." (Austin would eventually define the "illocutionary act" in a more exact manner.)


title: Speech act

text: John R. Searle gave an alternative to Austin's explanation of the illocutionary act saying, a "speech act" is often meant to refer to exactly the same thing as the term illocutionary act. Searle's work on speech acts is understood to further refine Austin's conception. However, some philosophers have pointed out a significant difference between the two conceptions: whereas Austin emphasized the conventional interpretation of speech acts, Searle emphasized a psychological interpretation (based on beliefs, intentions, etc.).


title: Speech act

text: While illocutionary acts relate more to the speaker, perlocutionary acts are centered around the listener. Perlocutionary acts always have a 'perlocutionary effect' which is the effect a speech act has on a listener. This could affect the listener's thoughts, emotions or even their physical actions. An example of this could be if someone uttered the sentence "I'm hungry." The perlocutionary effect on the listener could be the effect of being persuaded by the utterance. For example, after hearing the utterance, the listener could be persuaded to make a sandwich for the speaker.


title: Speech act

text: An interesting type of illocutionary speech act is that performed in the utterance of what Austin calls performative utterances, typical instances of which are "I nominate John to be President", "I sentence you to ten years' imprisonment", or "I promise to pay you back." In these typical, rather explicit cases of performative sentences, the action that the sentence describes (nominating, sentencing, promising) is performed by the utterance of the sentence itself. J.L. Austin claimed that performative sentences could be "happy or unhappy". They were only happy if the speaker does the actions he or she talks about. They were unhappy if this did not happen. Performative speech acts also use explicit verbs instead of implicit ones. For example, stating "I intend to go." does convey information, but it does not really mean that you are [e.g.] "promising" to go; so it does not count as "performing" an action ("such as" the action of promising to go). Therefore, it [the word "intend"] is an implicit verb; i.e., a verb that would not be suitable for use in performative speech acts.


title: Speech act

text: In the course of performing speech acts people communicate with each other. The content of communication may be identical, or almost identical, with the content intended to be communicated, as when a stranger asks, "What is your name?" However, the meaning of the linguistic means used may also be different from the content intended to be communicated. One may, in appropriate circumstances, request Peter to do the dishes by just saying, "Peter ...!", or one can promise to do the dishes by saying, "Me!"


title: Speech act

text: One common way of performing speech acts is to use an expression which indicates one speech act, and indeed performs this act, but also performs a further speech act, which is indirect. One may, for instance, say, "Peter, can you close the window?", thereby asking Peter whether he will be able to close the window, but also requesting that he does so. Since the request is performed indirectly, by means of (directly) performing a question, it counts as an indirect speech act.


title: Speech act

text: An even more indirect way of making such a request would be to say, in Peter's presence in the room with the open window, "I'm cold." The speaker of this request must rely upon Peter's understanding of several items of information that is not explicit: that the window is open and is the cause of them being cold, that being cold is an uncomfortable sensation and they wish it to be taken care of, and that Peter cares to rectify this situation by closing the window. This, of course, depends much on the relationship between the requester and Peter—he might understand the request differently if they were his boss at work than if they were his girlfriend or boyfriend at home. The more presumed information pertaining to the request, the more indirect the speech act may be considered to be.


title: Speech act

text: Indirect speech acts are commonly used to reject proposals and to make requests. For example, if a speaker asks, "Would you like to meet me for coffee?" and the other replies, "I have class", the second speaker has used an indirect speech act to reject the proposal. This is indirect because the literal meaning of "I have class" does not entail any sort of rejection.


title: Speech act

text: This poses a problem for linguists, as it is confusing to see how the person who made the proposal can understand that his proposal was rejected. In 1975 John Searle suggested that the illocutionary force of indirect speech acts can be derived by means of a Gricean reasoning process; however, the process he proposes does not seem to accurately solve the problem .


title: Speech act

text: In other words, this means that one does not need to say the words apologize, pledge, or praise in order to show they are doing the action. All the examples above show how the actions and indirect words make something happen rather than coming out straightforward with specific words and saying it.


title: Speech act

text: Speech Acts are commonplace in everyday interactions and are important for communication, as well as present in many different contexts. Examples of these include:


title: Speech act

text: In 1975 John Dore proposed that children's utterances were realizations of one of nine primitive speech acts:


title: Speech act

text: There is no agreed formalization of Speech Act theory. In 1985, John Searle and D. Vandervecken attempted to give some grounds of an illocutionary logic. Other attempts have been proposed by Per Martin-Löf for a treatment of the concept of assertion inside intuitionistic type theory, and by Carlo Dalla Pozza, with a proposal of a formal pragmatics connecting propositional content (given with classical semantics) and illocutionary force (given by intuitionistic semantics). Up to now the main basic formal application of speech act theory are to be found in the field of human-computer interaction in chatboxes and other tools.


title: Speech act

text: In 1991, computational speech act models of human–computer conversation have been developed, and in 2004 speech act theory has been used to model conversations for automated classification and retrieval.


title: Speech act

text: Another highly-influential view of Speech Acts has been in the "conversation for action" developed by Terry Winograd and Fernando Flores in their 1986 text "Understanding Computers and Cognition: A New Foundation for Design". Arguably the most important part of their analysis lies in a state-transition diagram in Chapter 5, that Winograd and Flores claim underlies the significant illocutionary (speech act) claims of two parties attempting to coordinate action with one another, no matter whether the agents involved might be human–human, human–computer, or computer–computer.


title: Speech act

text: A key part of this analysis is the contention that one dimension of the social domain-tracking the illocutionary status of the transaction (whether individual participants claim that their interests have been met, or not) is very readily conferred to a computer process, regardless of whether the computer has the means to adequately represent the real world issues underlying that claim. Thus a computer instantiating the conversation for action has the useful ability to model the status of the current social reality independent of any external reality on which social claims may be based.


title: Speech act

text: This transactional view of speech acts has significant applications in many areas in which (human) individuals have had different roles, for instance, a patient and a physician might meet in an encounter in which the patient makes a request for treatment, the physician responds with a counter-offer involving a treatment they feel is appropriate, and the patient might respond, etc. Such a conversation for action can describe a situation in which an external observer (such as a computer or health information system) may be able to track the "illocutionary" (or speech act) "status" of negotiations between the patient and physician participants even in the absence of any adequate model of the illness or proposed treatments. The key insight provided by Winograd and Flores is that the state-transition diagram representing the "social" (Illocutionary) negotiation of the two parties involved is generally much, much simpler than any model representing the world in which those parties are making claims; in short, the system tracking the status of the conversation for action need not be concerned with modeling all of the realities of the external world. A conversation for action is critically dependent upon certain stereotypical "claims" about the status of the world made by the two parties. Thus a conversation for action can be readily tracked and facilitated by a device with little or no ability to model circumstances in the real world other than the ability to register claims by specific agents about a domain.


title: Speech act

text: In the past, philosophy has discussed rules for when expressions are used. The two rules are "constitutive" and "regulative rules".


title: Speech act

text: The concept of constitutive rules finds its origin in Wittgenstein and John Rawls, and has been elaborated by G.C.J. Midgley, Max Black, G.H. von Wright, David Shwayder, and John Searle.


title: Speech act

text: Whereas "regulative rules" are prescriptions that regulate a pre-existing activity (whose existence is logically independent of the rules), "constitutive rules" constitute an activity the existence of which is logically dependent on the rules.


title: Speech act

text: For example: traffic rules are "regulative rules" that prescribe certain behaviour in order to regulate the traffic. Without these rules however, the traffic would not cease to be. In contrast: the rules of chess are "constitutive rules" that constitute the game. Without these rules chess would not exist, since the game is logically dependent on the rules.


title: Speech act

text: Multi-agent systems sometimes use speech act labels to express the intent of an agent when it sends a message to another agent. For example, the intent "inform" in the message "inform(content)" may be interpreted as a request that the receiving agent adds the item "content" to its knowledge-base; this is in contrast to the message "query(content)" which may be interpreted (depending on the semantics employed) as a request to see if the item content is currently in the receiving agents knowledge base. There are at least two standardisations of speech act labelled messaging KQML and FIPA.


title: Speech act

text: KQML and FIPA are based on the Searlian, that is, psychological semantics of speech acts. Munindar P. Singh has long advocated moving away from the psychological to a social semantics of speech acts—one that would be in tune with Austin's conception. Andrew Jones has also been a critic of the psychological conception. A recent collection of manifestos by researchers in agent communication reflects a growing recognition in the multiagent systems community of the benefits of a social semantics.


title: Speech act

text: In political science, the Copenhagen School adopts speech act as a form of felicitous speech act (or simply 'facilitating conditions'), whereby the speaker, often politicians or players, act in accordance to the truth but in preparation for the audience to take action in the directions of the player that are driven or incited by the act. This forms an observable framework under a specified subject matter from the player, and the audience who are 'under-theorised [would] remain outside of the framework itself, and would benefit from being both brought in and drawn out.' It is because the audience would not be informed of the intentions of the player, except to focus on the display of the speech act itself. Therefore, in the perspective of the player, the truth of the subject matter is irrelevant except the result produced via the audience.


title: Speech act

text: The study of speech acts is prevalent in legal theory since laws themselves can be interpreted as speech acts. Laws issue out a command to their constituents which can be realized as an action. When forming a legal contract, speech acts can be made when people are making or accepting an offer. Considering the theory of freedom of speech, some speech acts may not be legally protected. For example, a death threat is a type of speech act and is considered to exist outside of the protection of freedom of speech as it is treated as a criminal act.


title: Speech act

text: In a sociological perspective, Nicolas Brisset adopts the concept of speech act in order to understand how economic models participate in the making and the spreading of representations inside and outside of the scientific field. Brisset argues that models perform actions in different fields (scientific, academic, practical, and political). This multiplicity of fields induces a variety of felicity conditions and types of performed actions. This perspective is a criticism of the essentialism of philosophical modelling studies. This approach is largely inspired by the work of Pierre Bourdieu and Quentin Skinner.


title: Speech act

text: In finance, it is possible to understand mathematical models as speech acts: in 2016 the notion of "financial Logos" was defined as the speech act of mathematical modelling of financial risks. The action of the financial Logos on financial practices is the framing of financial decision-making by risk modelling.


title: Ibrahim Ismail of Johor

text: Sultan Ibrahim ibni Almarhum Sultan Iskandar (Jawi: ; born 22 November 1958) is the 25th Sultan of Johor and the 5th Sultan of modern Johor, since January 2010. He is the son of Sultan Iskandar.


title: Ibrahim Ismail of Johor

text: A motorcycle enthusiast, Sultan Ibrahim is the founder of the annual motorcycling tour event, Kembara Mahkota Johor.


title: Ibrahim Ismail of Johor

text: Tunku Ibrahim Ismail was born on 22 November 1958 in Sultan Aminah Hospital, Johor Bahru, Johor, Malaya during the reign of his great grandfather, Sultan Ibrahim. He was the eldest son of Sultan Iskandar by his first wife (2 December 1935 – 1 June 2018), an English lady from Torquay, whom Sultan Iskandar (then Tunku Mahmood) met while he was studying in England. Trevorrow, a proprietor by profession, took on the name of "Kalsom binti Abdullah" for a time following her marriage to Tunku Iskandar. His mother has since remarried and lived in England.


title: Ibrahim Ismail of Johor

text: His great-grandfather, Sultan Ibrahim died in London on 8 May 1959, thus, Tunku Ibrahim Ismail's grandfather, Ismail of Johor succeeded him as Sultan of Johor. Ibrahim Ismail moved up to second in line to the throne, after his father.


title: Ibrahim Ismail of Johor

text: The late Sultan Iskandar sent him to complete his secondary education at Trinity Grammar School in Sydney, Australia from 1968 until 1970. After finishing his high school, he was sent to Pusat Latihan Tentera Darat (PULADA) in Kota Tinggi for basic military training. He also received military training in the US–at Fort Benning, Georgia and later at Fort Bragg, North Carolina.


title: Ibrahim Ismail of Johor

text: Tunku Ibrahim was appointed as the Tunku Mahkota of Johor on 3 July 1981, and had been primarily residing at Istana Pasir Pelangi since then. Tunku Ibrahim was the regent of Johor between 26 April 1984 and 25 April 1989 when his father served his term as the Yang di-Pertuan Agong of Malaysia. In recent years, Tunku Ibrahim gradually took over some of the state duties and functions from his aging father; these included the 211th Conference of Rulers, whereby Tunku Ibrahim and Tengku Abdullah, the Tengku Mahkota of Pahang represented their fathers in the meetings, among some other state functions.


title: Ibrahim Ismail of Johor

text: Shortly before Filipino politician Benigno Aquino's assassination in August 1983, Tunku Ibrahim met Aquino upon his arrival in Singapore and later brought him to meet other Malaysian leaders across the Causeway. Once in Johor, Aquino met Ibrahim's father, Sultan Iskandar, who was a close friend of Aquino's.


title: Ibrahim Ismail of Johor

text: A few hours before his father's death on 22 January 2010, Tunku Ibrahim was appointed as the Regent of Johor, following medical reports that suggested of Sultan Iskandar's impending demise. Sultan Iskandar died on the same night, and Tunku Ibrahim was installed as the Sultan of Johor the following morning. The Menteri Besar (Chief Minister) of Johor, Abdul Ghani Othman cited that Sultan Ibrahim and immediate members of the royal family will undertake a mourning period of 40 days. During the mourning season, Sultan Ibrahim made his inaugural presence at the Conference of Rulers in February 2010 as the Sultan of Johor.


title: Ibrahim Ismail of Johor

text: On 30 June 2011, Sultan Ibrahim drove the last train from Tanjong Pagar railway station, having received tuition from Chief Locomotive Inspector Hasnol Azahari Aman of Keretapi Tanah Melayu to enable him to do this. He stated that he wished to do this as his grandfather, Ismail of Johor had opened the causeway between Singapore and Malaya in 1923, and that it was appropriate that he should drive the last train out of the station.


title: Ibrahim Ismail of Johor

text: He also declared Muar as Johor's new royal capital, replacing Johor Bahru on 5 February 2012. This coincided with the Maulidur Rasul celebrations.


title: Ibrahim Ismail of Johor

text: Sultan Ibrahim became the first Johor Ruler to celebrate his birthday celebration in Muar on 22 November 2012. He picks the town because it is "rich in history and tradition besides being peaceful, beautiful and progressive". He wanted the state government to gazette all the old buildings in the town as a state heritage. He also wants the local authorities to preserve the cleanliness of Sungai Muar which could be done by relocating the bus and taxi terminals elsewhere.


title: Ibrahim Ismail of Johor

text: He was crowned as the Sultan of Johor on 23 March 2015. The last coronation was that of his grandfather Sultan Ismail on 10 February 1960. From 2015 onwards, 23 March is made an annual state public holiday as the Sultan's official birthday, replacing the public holiday on 22 November, the Sultan's actual birthday.


title: Ibrahim Ismail of Johor

text: He is noted for his religious moderation and has condemned the creeping Arabisation of Malaysian Muslim culture. Despite being the only Sultan in Malaysia without tertiary (postsecondary) education, he has promoted quality education for Johor.


title: Ibrahim Ismail of Johor

text: Sultan Ibrahim married Her Majesty Raja Zarith Sofia, daughter of Sultan Idris Shah II of Perak, in 1982. They have six children:


title: Ibrahim Ismail of Johor

text: Johor, as with the former standalone British protectorates of Perlis, Kedah, Kelantan and Terengganu, used to rest on Fridays and Saturdays, in contrast with the former Federated Malay States as well as Malacca, Penang, Sabah and Sarawak and the Federal Territory which observe their weekends on Saturdays and Sundays. Johor, together with Perlis, moved their weekend to Saturday and Sunday on 1 January 1994 to synchronise with Singapore next door as well as with Kuala Lumpur, as Johor by then was a quickly industrialising state.


title: Ibrahim Ismail of Johor

text: However, on 22 November 2013, on Sultan Ibrahim's birthday celebrations, he decreed that Johor will move back its weekend to Friday and Saturday, to enable Muslims in the state to attend their Friday prayers, effective 1 January 2014. This move was not without certain controversy, as this has caused disruptions, particularly for private businesses dealing with Singapore. The private sector nevertheless continues to rest on Saturdays and Sundays.


title: Ibrahim Ismail of Johor

text: In August 2015, Sultan Ibrahim decreed that the name of Kulaijaya district be reverted to its former name of "Kulai". He also decreed that Nusajaya be renamed to "Iskandar Puteri", as well as renaming Ledang District to Tangkak District.


title: Ibrahim Ismail of Johor

text: Sultan Ibrahim issued a decree banning vape in Johor effective 1 January 2016. The purposes of the ban is for the sake of the health of the Johor state residents. Kelantan and Terengganu followed soon after.


title: Ibrahim Ismail of Johor

text: In January 2016, Sultan Ibrahim also decreed that signboards for businesses must not exceed 6.1 m × 1.2 m, so as to prevent any dangers to the public as well as to reduce unsightly signboards which mar the city beauty.


title: Ibrahim Ismail of Johor

text: Occasional reports of alleged criminal misconduct from the 1980s onwards marred Tunku Ibrahim's reputation somewhat, albeit to a much lesser extent than his father, Sultan Iskandar, whose past heinous crimes had received considerable attention from mainstream media. In the 1980s, he was convicted of shooting dead a man in a nightclub during a feud, but was quickly pardoned.