title: Château de Chenonceau

text: , Chamberlain to King Charles VIII of France, purchased the castle from Pierre Marques in 1513 and demolished most of it (resulting in 2013 being considered the 500th anniversary of the castle: MDXIII–MMXIII), though its 15th-century keep was left standing. Bohier built an entirely new residence between 1515 and 1521. The work was overseen by his wife Katherine Briçonnet, who delighted in hosting French nobility, including King Francis I on two occasions.


title: Château de Chenonceau

text: In 1535 the château was seized from by King Francis I of France for unpaid debts to the Crown. After Francis' death in 1547, Henry II offered the château as a gift to his mistress, Diane de Poitiers, who became fervently attached to the château along the river. In 1555 she commissioned Philibert de l'Orme to build the arched bridge joining the château to its opposite bank. Diane then oversaw the planting of extensive flower and vegetable gardens along with a variety of fruit trees. Set along the banks of the river, but buttressed from flooding by stone terraces, the exquisite gardens were laid out in four triangles.


title: Château de Chenonceau

text: Diane de Poitiers was the unquestioned mistress of the castle, but ownership remained with the crown until 1555 when years of delicate legal manoeuvres finally yielded possession to her.


title: Château de Chenonceau

text: After King Henry II died in 1559, his strong-willed widow and regent Catherine de' Medici forced Diane to exchange it for the Château Chaumont. Queen Catherine then made Chenonceau her own favourite residence, adding a new series of gardens.


title: Château de Chenonceau

text: As Regent of France, Catherine spent a fortune on the château and on spectacular nighttime parties. In 1560, the first-ever fireworks display seen in France took place during the celebrations marking the ascension to the throne of Catherine's son Francis II. The grand gallery, which extended along the existing bridge to cross the entire river, was dedicated in 1577. Catherine also added rooms between the chapel and the library on the east side of the "corps de logis", as well as a service wing on the west side of the entry courtyard.


title: Château de Chenonceau

text: Catherine considered an even greater expansion of the château, shown in an engraving published by Jacques Androuet du Cerceau in the second (1579) volume of his book "Les plus excellents bastiments de France". If this project had been executed, the current château would have been only a small portion of an enormous manor laid out "like pincers around the existing buildings."


title: Château de Chenonceau

text: On Catherine's death, in January 1589, the château went to her daughter-in-law, Louise of Lorraine, wife of King Henry III. Louise was at Chenonceau when she learned of her husband's assassination, in August 1589, and she fell into a state of depression. Louise spent the next 11 years, until her death in January 1601, wandering aimlessly along the château's corridors dressed in mourning clothes, amidst sombre black tapestries stitched with skulls and crossbones.


title: Château de Chenonceau

text: Henri IV obtained Chenonceau for his mistress Gabrielle d'Estrées by paying the debts of Catherine de' Medici, which had been inherited by Louise and were threatening to ruin her. In return, Louise left the château to her niece Françoise de Lorraine, at that time six years old and betrothed to the four-year-old César de Bourbon, duc de Vendôme, the natural son of Gabrielle d'Estrées and Henri IV. The château belonged to the Duc de Vendôme and his descendants for more than a hundred years. The Bourbons had little interest in the château, except for hunting. In 1650, Louis XIV was the last king of the "ancien régime" to visit.


title: Château de Chenonceau

text: The Château de Chenonceau was bought by the Duke of Bourbon in 1720. Little by little, he sold off all of the castle's contents. Many of the fine statues ended up at Versailles.


title: Château de Chenonceau

text: In 1733 the estate was sold for 130,000 livres to a wealthy squire named . His wife, Louise Dupin, was the natural daughter of the financier Samuel Bernard and the actress , whose mother was also an actress who had joined the Comédie Française in 1684. Louise Dupin was "an intelligent, beautiful, and highly cultivated woman who had the theatre in her blood." Claude Dupin, a widower, had a son, Louis Claude, from his first wife Marie-Aurore de Saxe, who was the grandmother of George Sand (born Aurore Dupin).


title: Château de Chenonceau

text: Louise Dupin's literary salon at Chenonceau attracted such leaders of the Enlightenment as the writers Voltaire, Montesquieu, and Fontenelle, the naturalist Buffon, the playwright Marivaux, the philosopher Condillac, as well as the Marquise de Tencin and the Marquise du Deffand. Jean-Jacques Rousseau was Dupin's secretary and tutored her son. Rousseau, who worked on "Émile" at Chenonceau, wrote in his "Confessions": "We played music there and staged comedies. I wrote a play in verse entitled "Sylvie's Path", after the name of a path in the park along the Cher."


title: Château de Chenonceau

text: The widowed Louise Dupin saved the château from destruction during the French Revolution, preserving it from being destroyed by the Revolutionary Guard because "it was essential to travel and commerce, being the only bridge across the river for many miles."


title: Château de Chenonceau

text: In 1864 , a rich heiress, acquired the château. Around 1875 she commissioned the architect Félix Roguet to restore it. He almost completely renewed the interior and removed several of Catherine de' Medici's additions, including the rooms between the library and the chapel and her alterations to the north facade, among which were figures of Hercules, Pallas, Apollo, and Cybele that were moved to the park. With the money Marguerite spent on these projects and elaborate parties, her finances were depleted, and the château was seized and sold.


title: Château de Chenonceau

text: José-Emilio Terry, a Cuban millionaire, acquired Chenonceau from Madame Pelouze in 1891. Terry sold it in 1896 to a family member, Francisco Terry. In 1913, the château was acquired by Henri Menier, a member of the Menier family, famous for their chocolates, who still own it to this day.


title: Château de Chenonceau

text: During World War I Gaston Menier set up the gallery to be used as a hospital ward. During the Second World War, the château was bombed by the Germans in June 1940. It was also a means of escaping from the Nazi-occupied zone on one side of the river Cher to the "free" zone on the opposite bank. Occupied by the Germans, the château was bombed by the Allies on 7 June 1944, when the chapel was hit and its windows destroyed.


title: Château de Chenonceau

text: In 1951, the Menier family entrusted the château's restoration to Bernard Voisin, who brought the dilapidated structure and the gardens (ravaged in the Cher flood in 1940) back to a reflection of its former glory.


title: Ocean Eyes (song)

text: "Ocean Eyes" is the second single by American singer Billie Eilish and is part of her debut EP, "Don't Smile at Me", and the soundtrack album to the film "Everything, Everything" (2017). The song was written and produced by Eilish's older brother, Finneas O'Connell, and was originally written for his band. Finneas gave the song to Eilish for her dance performance after realizing the song suited her vocals. It was originally released on SoundCloud on November 18, 2015, but was later re-released commercially on November 18, 2016, as a single through Darkroom and Interscope Records.


title: Ocean Eyes (song)

text: "Ocean Eyes" received mainly positive reviews from critics, several of whom praised its composition and the lyrical content. The song was commercially successful, reaching number 84 on the US "Billboard" Hot 100. It peaked within the top 60 in the record charts of several countries and peaked at number 72 on the UK Singles Chart. "Ocean Eyes" has received several certifications, including a triple-platinum certification by the Recording Industry Association of America (RIAA).


title: Ocean Eyes (song)

text: To promote the song, the track was accompanied by a music video, directed by Megan Thompson and released on March 24, 2016. A dance performance video was released on November 22, 2016. Eilish included the track on the setlists of her 2019 When We All Fall Asleep Tour, her 2020 Where Do We Go? World Tour, and her 2022 Happier Than Ever, The World Tour.


title: Ocean Eyes (song)

text: The track was written, mixed, and produced by Eilish's brother, Finneas O'Connell. Finneas had written and produced "Ocean Eyes" originally for his band, the Slightlys, before realizing it would be a better fit for Eilish's vocals. He gave it to Eilish when her dance teacher at the Revolution Dance Center (Honolulu Avenue, Los Angeles) Fred Diaz asked them to write a song for choreography. The track was entirely made using Logic stock sounds. The vocals were recorded with an Audio-Technica AT2020 microphone. In a 2017 interview with "Teen Vogue", Eilish said: "[Finneas] came to me with 'Ocean Eyes,' which he had originally written for his band. He told me he thought it would sound really good in my voice. He taught me the song and we sang it together along to his guitar and I loved it. It was stuck in [my] head for weeks." Finneas would later become Eilish's manager.


title: Ocean Eyes (song)

text: Eilish and her brother uploaded the track to SoundCloud on November 18, 2015, so Diaz could have access to it. The song went viral overnight. When Eilish got a growth plate injury, it put an end to her dancing career and she turned her focus toward a recording career. After Eilish signed to Darkroom and Interscope Records, "Ocean Eyes" was re-released for digital download and streaming on November 18, 2016, as the lead single on Eilish's debut EP, "Don't Smile at Me", and the soundtrack album to the film "Everything, Everything" (2017). Mastering was handled by studio personnel John Greenham. An EP featuring remixes by Astronomyy, Blackbear, Goldhouse and Cautious Clay was released on January 14, 2017.


title: Ocean Eyes (song)

text: "Ocean Eyes" has a tempo of 145 beats per minute (BPM). The song is played in the key of E minor, while Eilish's vocals span a range of E to B. Critical commentary described "Ocean Eyes" as a pop, dream-pop, synth-pop, indie-pop, and R&B ballad. Laurence Day of "The Line of Best Fit" described the song having "sparse percussion" and "low-slung bass". He further mentions Eilish's vocals "are soft and melodic, dispersing amongst the effervescent synths". Writing for "i-D", Mathias Rosenzweig described the song as an "unhurried, minimalist beats and lush synths, reminiscent of ocean waves on a dreary grey day".


title: Ocean Eyes (song)

text: Mathias Rosenzweig of "Vogue" stated that Eilish compares "love to falling off a cliff" and that she is "surrounded by the warlike intensity of napalm skies" and further says it's "a profound description for a 14-year-old, and it's led to an enormous amount of interest in her debut song—as well as the singer herself. Rosenzweig mentions the song has "airy soprano vocals [that] also conjure up thoughts of the ocean washing over the song's mellow percussion and minimalist synths. The song's maturity paired with a few childish ideals—she sings, for example, that love is 'no fair'—struck a chord. Claudia Willen of "Insider" stated that lyrically, "Ocean Eyes" is about a "dreamy love letter to a crush with ocean eyes": "I've been watchin' you for sometime/Can't stop staring at those ocean eyes/Burning cities and napalm skies/Fifteen flares inside those ocean eyes/Your ocean eyes".


title: Ocean Eyes (song)

text: Upon release, "Ocean Eyes" received critical acclaim from music critics. Timothy Monger of AllMusic called the track "lush" and "lonesome". Writing for "Billboard", Jason Lipshutz described the track as "understated" and "heartbreaking". Rebecca Haithcoat of SSENSE labelled "Ocean Eyes" as "gauzy". Stephen Thompson of "NPR" cited the track as "moody". Nicole Almeida of "Atwood Magazine" commended the lyrical content, which she described as "vulnerable" and "atmospheric", and mentions "the layered vocals and Eilish's great voice make this song special". Adrien Begrand from "PopMatters" affirmed the song shows Eilish's "precocious talent". Mike Wass writing for Idolator labeled the song as a "dreamy ballad".


title: Ocean Eyes (song)

text: "NME" ranked "Ocean Eyes" at number 11 on its "Every single Billie Eilish song ranked in order of greatness" list, with the staff saying the "most memorable moments on 'Ocean Eyes' are its most vulnerable, like the opening whispers or the sure-footed yet restrained chorus". "Insider" said "one could easily question if Eilish would be the household name she is now without the success of this stunning [song]". Dan Regan of "Billboard" praised Astronomyy's remix, saying "[Eilish's] voice echoes over a stripped down intro before a tinny beat kicks in with some new background vocals", while he cited Blackbear's remix brought the song "new emotional heights" and described it has "trapped ou with 808 tinges and even more ghostly with his added vocal harmonies".


title: Ocean Eyes (song)

text: "Ocean Eyes" first peaked at number 11 on the Bubbling Under Hot 100 chart on November 11, 2018. Following the release of Eilish's debut studio album, "When We All Fall Asleep, Where Do We Go?" (2019), "Ocean Eyes" rose to number 84 on the US "Billboard" Hot 100 chart. At the same time, Eilish broke the record for the most simultaneous Hot 100 entries for a female artist. It has received a triple-platinum certification by the Recording Industry Association of America (RIAA), which denotes track-equivalent sales of three million units based on sales and streams. In the United Kingdom, the single peaked at number 72 on the UK Singles Chart, and has received a platinum certification from the British Phonographic Industry (BPI), which denotes track-equivalent sales of 600,000 units. It was also successful in Australia, peaking at number 58 on the ARIA Charts and being awarded a 7× platinum certification by the Australian Recording Industry Association (ARIA) in 2021.


title: Ocean Eyes (song)

text: A music video for "Ocean Eyes" directed by Megan Thompson was uploaded to Eilish's official YouTube channel on March 24, 2016. The visual sees Eilish singing to the camera while a torrent of lilac smoke surrounds her. Chris Deville of "Stereogum" praised Thompson's directing, saying it "will certainly help" the song for the future. A dance performance video was also uploaded to Eilish's official YouTube channel on November 22, 2016. Rosenzweig described the dance visual as a "scaled-back, emotional choreography".


title: Ocean Eyes (song)

text: "Ocean Eyes" was performed live during Eilish's North American 1 by 1 tour in 2018. Eilish performed it at the Coachella Valley Music and Arts Festival in April 2019, at the Glastonbury Festival in June, and at Pukkelpop in August 2019. "Ocean Eyes" was included on the set list of Eilish's 2019 When We All Fall Asleep Tour. The track was also included on the setlist of her 2020 Where Do We Go? World Tour. Alicia Keys covered "Ocean Eyes" in December 2019 at Jungle City Studios in New York for Spotify's Singles series. Rania Aniftos of "Billboard" said Keys' cover gave "Ocean Eyes" a "characteristically soulful twist with a piano arrangement". In December of the same year, Eilish performed "Ocean Eyes" for "The Late Late Show with James Corden", with Keys playing the piano in front of an all-women studio audience. The two singers would swap vocals. A demo of the song was made available on Logic Pro X in May 2020. During a 2022 world tour in support of her second studio album "Happier Than Ever" (2021), Eilish performed "Ocean Eyes" as part of a mashup of her first singles; "Bored" and "Bellyache" were the other singles in the mashup.


title: Hatfield House

text: Hatfield House is a country house set in a large park, the Great Park, on the eastern side of the town of Hatfield, Hertfordshire, England. The present Jacobean house, a leading example of the prodigy house, was built in 1611 by Robert Cecil, 1st Earl of Salisbury and Chief Minister to King James I. It is a prime example of Jacobean architecture. The estate includes extensive grounds and surviving parts of an earlier palace. The house is currently the home of Robert Gascoyne-Cecil, 7th Marquess of Salisbury. It is open to the public.


title: Hatfield House

text: An earlier building on the site was the Royal Palace of Hatfield. Only part of this still exists a short distance from the present house. That palace was the childhood home and favourite residence of Queen Elizabeth I. Built in 1497 by the Archbishop of Canterbury (formerly Bishop of Ely), King Henry VII's minister, John Cardinal Morton, it comprised four wings in a square surrounding a central courtyard. The palace was seized by Henry VIII with other church properties. The nearby parish church of St Etheldreda's in Old Hatfield once served the bishop's palace as well as the village.


title: Hatfield House

text: Henry VIII's children, King Edward VI and the future Queen Elizabeth I, spent their youth at Hatfield Palace. His eldest daughter, who later reigned as Queen Mary I, lived there between 1533 and 1536, when she was sent to wait on the then Princess Elizabeth as punishment for refusing to recognise Henry's marriage to Anne Boleyn and his religious reforms.


title: Hatfield House

text: In 1548, when she was only 15 years old, Elizabeth was under suspicion of having illegally agreed to marry Thomas Seymour. The house and her servants were seized by Edward VI's agent, Robert Tyrwhit, and she was interrogated there. She successfully defended her conduct with wit and defiance. Seymour was executed in 1549 for numerous other crimes against the crown. After her two months of imprisonment in the Tower of London by her sister, Queen Mary, Elizabeth returned to Hatfield. The Queen Elizabeth Oak on the grounds of the estate is said to be the location where Elizabeth was told she was queen following Mary's death, but is considered unlikely as Mary died in November. In November 1558, Elizabeth held her first Council of State in the Great Hall.


title: Hatfield House

text: Hatfield House is a popular tourist attraction because it has so many objects associated with Queen Elizabeth I, including gloves and a pair of silk stockings that are believed to have been the first in England. The library displays a long illuminated parchment roll showing the pedigree of the queen with ancestors back to Adam and Eve. The Marble Hall holds the "Rainbow Portrait" of Elizabeth.


title: Hatfield House

text: Elizabeth's successor, King James I, did not like the palace. It was included in the jointure estate of his wife Anne of Denmark. In 1607, King James gave it to his chief minister, Robert Cecil, 1st Earl of Salisbury, in exchange for Theobalds, which was the Cecils' family home on the current site of Cedars Park, Broxbourne. Cecil, who liked building, tore down three wings of the royal palace (the back and sides of the square) in 1608 and used the bricks to build the present structure. The richly carved wooden Grand Staircase and the rare stained glass window in the private chapel are among the house's original Jacobean features. Cecil employed Robert Lemynge to supervise the construction, with input from the royal surveyor Simon Basil, and Inigo Jones who visited in October 1609.


title: Hatfield House

text: Cecil's descendant, Robert Arthur Talbot Gascoyne-Cecil, 3rd Marquess of Salisbury, was three times prime minister during the closing years of Queen Victoria's reign. The city of Salisbury, Rhodesia (now Harare, Zimbabwe) was founded in his time and named for him. He is also known for often putting members of his family into the government while prime minister. As his first name was Robert, this habit is sometimes said to have given rise to the popular expression 'Bob's your uncle' (meaning roughly 'It's all right, everything is sure to come off').


title: Hatfield House

text: During World War II, Hatfield House was the location of the first Civil Resettlement Unit and acted as headquarters for the scheme. CRUs were created to help repatriated British prisoners of war transition back to civilian life and the luxurious setting of Hatfield was considered very beneficial to these men. On 12 July 1945, the king and queen visited the CRU at Hatfield, which generated significant news coverage.


title: Hatfield House

text: The Gardens, covering , date from the early 17th century and were laid out by John Tradescant the elder. Tradescant visited Europe and brought back trees and plants that had never previously been grown in England. The gardens included orchards, fountains, scented plants, water parterres, terraces, herb gardens and a foot maze. They were neglected in the 18th century, but restoration began in Victorian times and continues under the present Dowager Marchioness of Salisbury.


title: Hatfield House

text: During World War I, the grounds were used to test the first British tanks. An area was dug with trenches and craters and covered with barbed-wire to represent no man's land and German trench lines on the Western Front. To commemorate this, the only surviving Mark I tank was sited at Hatfield from 1919 to 1970 before being moved to The Tank Museum, Bovington.


title: Hatfield House

text: The Rhodesian Light Infantry Regimental Association has placed its 'Troopie' memorial statue on the grounds of Hatfield House due to the long association of the Cecil family with Southern Rhodesia. Around its base is a roll of regimental members ('troopies') who fell in the Rhodesian Bush War and several inscriptions, including 'In reconciliation and hope for future peace in Zimbabwe'.


title: Hatfield House

text: The State Rooms can be seen in the midweek guided tours and visitors can look around in their own time at weekends. On Friday, the Garden Connoisseur's Day, the house is open for guided tours and pre-booked specialist groups. There are five miles of marked trails.


title: Hatfield House

text: Hatfield House has been used for location filming on a number of film and television productions, including: "" (1984); "Orlando" (1992); "Batman" (1989); "", "", "Rise of the Tomb Raider" and "Shadow of the Tomb Raider"; "Charlie and the Chocolate Factory" (2005); "The New World" (2005); "" (2007); "Hot Fuzz" (2007); "Shakespeare in Love" (1998); "Dustbin Baby"; "Sherlock Holmes" (2009); "Agatha Christie's Marple" (2010); "Get Him to the Greek" (2010); "Antiques Roadshow" (2010); "MasterChef Australia" (2010); "Garden Secrets" (2010); "Royal Upstairs Downstairs" (2011); "My Week with Marilyn" (2010); "Paddington" (2004); "Mr. Holmes" (2015); "Doctor Thorne"; "Pride and Prejudice and Zombies" (2016); "The Crown"; "Breathe" (2017); "All the Money in the World" (2017); "Trust";"The Favourite" (2018); "Sucker" (2019); "Enola Holmes"; "Rebecca" (2020); "Bridgerton" (2020); "Cromwell"; "Henry VIII and His Six Wives"; "The Avengers" (1998); "V for Vendetta"; "Mortdecai" (2015); and "Paddington 2".


title: Drona

text: In the epic, he serves as the royal preceptor of the Kauravas and the Pandavas. He is one of the primary counsellors and warriors featured in the epic. He is a friend of Sukracharya, the guru of the asuras, as well as Mahabali. He is described to be the son of the sage Bharadvaja, and a descendant of the sage Angirasa. The preceptor is a master of advanced military arts, including the divine weapons known as astras. He serves as the second commander-in-chief of the Kaurava army, from the 11th day to the 15th day. The acharya fails four times in capturing Yudhishthira (The 11th day, 12th day, 14th day, and the 14th night). He is beheaded by Dhrishtadyumna when he meditates to release his soul on the battlefield. It is said that Drona is an incarnation of Brihaspati. He is guru to the Pandavas, Kauravas, Jayadratha, and Ashwatthama, his son.


title: Drona

text: On a river side, Sage Bharadwaja saw an apsara named Ghritachi. He was filled with desire and his seed fell into a pot or basket. Inside it, a child developed who was named Drona because he was born in a pot and was brought to the ashram.


title: Drona

text: In Sage Bharadwaja's ashram, his son Drona and Prince Drupada were educated. Drona and Drupada became best friends, and Drupada promised to help Drona whenever he needed him. Time passed, and Drupada became the king of Panchala, and Drona became a sage and teacher. Drona had a son named Ashwatthama. Drona was not interested in material wealth and became poor.


title: Drona

text: Once, Drona's son Ashwatthama was playing with his friends. His friends were drinking milk and he wanted to drink it too. But his friends mixed flour with water and gave it to him. This enraged Drona and he remembered Drupada's promise. He went to Drupada's palace and asked him only to provide a cow for providing milk to his son. But Drupada, having grown vain, refused. He also insulted Drona by asking how a beggar could be his friend. This outraged Drona and he wanted revenge.


title: Drona

text: Drona along with Kripa was brought by Bhishma for the education of the Kuru princes . As a reward, Drona gave Arjuna mantras to invoke the super-powerful divine weapon of Brahma known as Brahmashirshastra, but told Arjuna not to use this invincible weapon against any mortal.


title: Drona

text: When Arjun, inspired by his brother Bhima's nocturnal eating, mastered archery in absolute darkness, Drona was moved. Drona was greatly impressed by Arjuna's concentration, determination, and drive, and promised him that he would become the greatest archer on earth. Drona gave Arjuna the special knowledge of the Dhanurveda due to his capability and zeal to learn the new things.


title: Drona

text: Ekalavya, the son of a Nishadha chief, approached Dronacharya seeking his instruction. But since his father was a general under Jarasandh, the ruler of Magadha (an enemy state), Dronacharya refused to train him alongside Kauravas and Panadavas. Undeterred, Ekalavya began study and practice by himself, having fashioned a clay idol of Dronacharya's to watch over his training. Solely by his determination, Ekalavya became an archer of exceptional skill.


title: Drona

text: One day, Ekalavya's focus in training was disturbed by the barking of a dog belonging to the Kuru princes. Ekalavya fired arrows that filled up the dog's mouth without spilling blood or causing injury to the dog. The Kuru princes were amazed by the trick and looked for the archer when they saw Ekalavya, who introduced himself as a pupil of Drona's. This made Arjuna amused and quite sad about Ekalavya's archery skills as he said that he learnt indirectly from the same guru Drona that Arjuna was learning. Drona was in a tangle: on the one hand, he greatly admired Ekalavya's skill and dedication; on the other hand, Ekalavya had indeed been training as his pupil without his consent, albeit being guided only by his idol. To resolve the matter, Drona accepted Ekalavya as his student, but demanded the thumb on his dominant hand as gurudakshina, or teacher's payment, in order to limit his abilities and further growth in archery, thus pacifying Arjuna. Ekalavya, being an exemplary disciple, immediately cut off his thumb and presented it at Drona's feet. Moved by Ekalavya's sacrifice, Drona blessed him to attain mastery even without his thumb.


title: Drona

text: Dhritarashtra approved the demonstration of weapon-game by the princes. An arena was prepared. Drona entered the arena. Drona worshiped the gods as a form of preparatory rites. Then he invited the brahmins to bless his disciples. After that the students gave gold, precious stones, clothes and other valuables to the teacher. The teacher blessed him. With this the demonstration started. Bhima and Duryodhana showed their skills in gaddha yudha by fighting with each other. The mock fight turned into a serious fight. Drona sent Ashwatthama to stop the fight because seeing this the citizens may get triggered by their fight. Then, Arjuna entered the hall with much appreciation and praises from the citizen of Hastinapura. He showed various archery skills to the people. Drona impressed by his beloved student Arjuna's skills then declared that Arjuna is the greatest archer in the world. Then, Karna gatecrashed and entered the arena and surpassed everyone's expectations and performances with the Permission of Drona. He then challenged Arjuna for a duel, Drona and Kripa started making excuses by questioning his lineage. Karna could not answer as he do not know who are his real parents. Duryodhana then made Karna the king of Anga. Then sunset occurred and the duel of Karna and Arjuna was stopped.


title: Drona

text: After Drona completed the formal training of the Kuru princes, he demanded that they invade Panchala and bring him Drupada as their Gurudakshina. Arjuna succeeds in defeating Drupada and brings the captured king to Drona. Drona reminds Drupada about their days of friendship and his false promise before taking away half of the Panchala kingdom. Drona would make Ashwatthama the king of the annexed half of the Panchala kingdom. This action would lead Drupada to perform a sacrificial yagna in order to beget a son who would kill Drona. The sages Upayaja and Yaja helped him to beget such a son Dhrishtadyumna. The sacrificial fire also yielded a daughter, Draupadi.


title: Drona

text: Droṇa received the Brahmastra from Parashurama. Parashurama imparted knowledge of celestial weapons to Drona along with the mantra of invocation and withdrawal of weapons. He had a huge range of weapons like Brahmastra, Brahmashira, Narayanastra, Rudra, Agneya, Vajra etc. Drona held the invincible sword of Brahma. Bhishma once told the story of this sword to Pandava prince Nakula. This sword was the primordial weapon created by the gods for the destruction of evil. The name of the sword was Asi, the personification and the primary energy behind all the weapons ever created. As per Bhishma, the constellation under which the sword was born is called Krittika, Agni is its deity, Rohini is its gotra, Rudra is its high preceptor, and whoever holds this weapon obtains victory for sure. Nakula received this sword from Guru Drona. Drona received Brahmashira from Guru Agnivesha and he was also the student of Sage Bharadwaja.


title: Drona

text: Dronacharya had been the preceptor of most kings involved in the Kurukshetra War on both sides. Dronacharya strongly condemned Duryodhana exiling the Pandavas, as well as the Kauravas' general abuse towards the Pandavas. But being a servant of Hastinapura, Dronacharya was duty-bound to fight for the Kauravas, and thus against his favorite Pandavas. After the fall of Bhishma on the 10th day, he became the Chief Commander of the Kaurava army on the 11th day of war.


title: Drona

text: Duryodhana manages to convince Drona to try to end the war by capturing Yudhishthira. Though he killed hundreds and thousands of Pandava troops, Drona failed to capture Yudhishthira on the eleventh and twelfth days of the war, as Arjuna was always there to repel his advances.


title: Drona

text: On the 13th day of the war, Dronacharya formed the "Chakravyuha" strategy to capture Yudhishtira, knowing that only Arjuna and Krishna would know how to penetrate it. The Trigartas were distracting Arjuna and Krishna into another part of the battlefield, allowing the main Kaurava army to surge through the Pandava ranks.


title: Drona

text: Unknown to many, Arjuna's young son Abhimanyu had the knowledge to penetrate the formation but did not know the way out. At the request of Yudhishthira, Abhimanyu agreed to lead the way for the Pandava army and was able to penetrate the formation. However, he was trapped when Jayadratha, the King of Sindhu, held the Pandava warriors who were following him, at bay. Abhimanyu did not know how to get out of the Chakravyuha, but embarked upon an all-out attack on the Kaurava army, killing tens of thousands of warriors single-handedly. Drona is impressed with Abhimanyu and praises him endlessly, earning the ire of Duryodhana. With his army facing decimation and spurred on by Duryodhana's criticisms, Drona asked the Kaurava warriors to simultaneously attack Abhimanyu, to strike down his horses and his charioteer and to disable his chariot from different angles. Left without support, Abhimanyu began fighting from the ground. Exhausted after his long and prodigious feats, Abhimanyu was eventually killed.


title: Drona

text: After that, several who fought against Abhimanyu were criticized for their murder, such as Bhurishrava, Drona and Karna.


title: Drona

text: The devious murder of his son enraged Arjuna, who swore to kill Jayadratha the next day or immolate himself. Drona constructed 3 combined vyuhas to protect Jayadratha, first was the Shakata vyuha then was Padma Vyuha and last was the Srigantaka vyuha and at its rear was Jayadratha and stood at the head of the box formation or shakata vyuha


title: Drona

text: In the early part of the day, Arjuna and he duel, and Arjuna is unable to bypass his preceptor. With Krishna's prodding, Arjuna circumvents Drona. When Duryodhana rages at Drona, Drona replies and that he intends to capture Yudhishthira while Arjuna is away and would only hasten their victory. In a notable battle, Drona attempts to capture Yudhishthira but is stopped by Dhristadyumna. Drona severely wounds his friend's son, disarming him and forcing him to retreat. When he attempts to chase after Dhristadyumna, he is checked by Satyaki, who insults his teacher's teacher and issues a challenge. Their combat is described as fierce and despite being able to hold off Drona for several hours, Satyaki eventually tires and has to be rescued by the Upapandavas.


title: Drona

text: Later in the day, Yudhishthira sends Satyaki to aid Arjuna. When Satyaki comes upon Drona, he circumvents him, saying he must follow in his teacher's footsteps. When Yudhishthira later sends Bhima, Drona recounts what happened with Arjuna and Satyaki, and hence makes sure he does not allow Bhima also to circumvent him. Angrily rebuking him, Bhima shatters Drona's chariot with his mace. Drona takes up another chariot, only for Bhima to smash that one as well. In total, Bhima smashes eight of Drona's chariots and is able to bypass his guru.


title: Drona

text: On the 14th night of the Mahabharata war, Drona is instigated by Duryodhana's remarks of being a traitor as he was not able to protect Jaidrath. Sensing his end is near, he used the Brahmastra against the common Pandava soldiers. At that moment, all the Sapta Ṛṣis appeared on the sky and requested Drona to retract this ultimate weapon used on ordinary soldiers. Dronacharya obeyed, retracting the weapon. The rishis continue and berate Drona for violating the rules of war, criticizing him for using divine weapons so indiscriminately. Drona reiterates that he is sworn to do all he can to protect Hastinapur, and that, moreover, he wants to do so for all that Dhritarashtra has given him.


title: Drona

text: On the 15th day, Drona kills many Pandava soldiers, including Virat in arrow-play and Drupada in a sword fight. Lamenting the deterioration of their friendship, Drona pays his respect to Drupada's corpse. Drona and his son Ashwatthama unleashed havoc upon the entire Pandava army that day.


title: Drona

text: Knowing it would be impossible to defeat an armed Drona and his son Ashwatthama that day, Krishna suggested the Pandavas a plan to disarm their teacher. His idea was that Bhima first kill an elephant named Ashwatthama, and then claim to Dronacharya that he has killed Dronacharya's son with the same name while keeping Ashwatthama the real son of Drona busy in battle somewhere else far from his father so that he can't save his father and ruin their plan. After killing the elephant, Bhima loudly proclaimed that he had killed "Ashwatthama". Disbelieving his claim, Drona approached Yudhishthira, knowing of Yudhishthira's firm adherence to Dharma and honesty. When Dronacharya asked for the truth, Yudhishthira responded with the cryptic "Ashwatthama is dead. But the elephant and not your son." Krishna also knew that it would be impossible for Yudhishthira to lie outright. So under his instructions, the other warriors blew trumpets and conchs, raising a tumultuous noise in such a way that Dronacharya only heard that "Ashwatthama was dead", and could not hear the latter part of Yudhishthira's reply. In other versions of the story, it is told that: Yudhishthira was just not loud enough in purpose when he spoke the latter part of his words, or that Drona, in shock and grief, simply could not process the latter part of Yudhishthira's statement.


title: Drona

text: Then Drona descended from his chariot, laid down his arms and sat on the ground in meditation to find his son's soul. Pandavas wanted to use this opportunity to arrest him, but enraged by the death of his father and several Panchala warriors, Dhrishtadyumna took this opportunity and beheads him, in a gross violation of the rules of war. Krishna justified the act by pointing to Drona's role in killing of Abhimanyu.


title: Drona

text: Drona was somewhat parallel to Bhishma both in martial powers, and, compelled by the refuge they had given him, in his unwavering commitment to fighting for Hastinapur irrespective of who the ruler was and whether or not the cause was just. Like Bhishma, Drona is criticized for his pride and conceit, siding with adharma despite knowing of and acknowledging the righteousness of the Pandava cause. Krishna criticized this reasoning as mere pride-Drona wanted to put his obligation to Hastinapur over dharma so that no one questioned his honor.


title: Drona

text: Droncharya's overarching actions during the war are portrayed differently. When he became commander-in-chief, the rules of war were averted. Divine weapons were used against ordinary soldiers, war continued throughout the night, warriors no longer engaged each other one-on-one, etc. Specifically, he was willing to try to end the war by capturing Yudhishthira, while Karna was not, as he considered it lacking honor. In other versions, Drona's differences in strategy are shown as a difference in philosophy- Drona believed, that as the commander-in-chief of the Kaurava army, his goal was to ensure the protection of his soldiers through any means necessary.


title: Drona

text: The acharya remains a revered figure in Hindu history, and a pillar of the Indian tradition of respecting one's teacher as an equal not only of parents, but even of God. The Government of India annually awards the Dronacharya Award for excellence in sports tutelage to the best sports teachers and coaches in India.


title: Drona

text: It is believed that the city of Gurgaon () was founded as "Guru Gram" by Dronacharya on land given to him by Dhritarashtra, the king of Hastinapura in recognition of his teachings of martial arts to the princes, and the 'Dronacharya Tank', still exists within the Gurgaon city, along with a village called Gurgaon. Indian Government (Haryana), on 12 April 2016 decided to reinstate and change the name of Gurgaon to Gurugram.


title: Fairlight CMI

text: The Fairlight CMI (short for Computer Musical Instrument) is a digital synthesizer, sampler, and digital audio workstation introduced in 1979 by Fairlight. It was based on a commercial licence of the Qasar M8 developed by Tony Furse of Creative Strategies in Sydney, Australia. It was one of the earliest music workstations with an embedded sampler and is credited for coining the term sampling in music. It rose to prominence in the early 1980s and competed with the Synclavier from New England Digital.


title: Fairlight CMI

text: In the 1970s, Kim Ryrie, then a teenager, had an idea to develop a build-it-yourself analogue synthesizer, the ETI 4600, for the magazine he founded, "Electronics Today International" (ETI). Ryrie was frustrated by the limited number of sounds that the synthesizer could make. After his classmate, Peter Vogel, graduated from high school and had a brief stint at university in 1975, Ryrie asked Vogel whether he would be interested in making "the world's greatest synthesizer" based on the recently announced microprocessor. He recalled: "We had long been interested in computers I built my first computer when I was about 12 and it was obvious to me that combining digital technology with music synthesis was the way to go."


title: Fairlight CMI

text: In December 1975, Ryire and Vogel formed a home business to manufacture digital synthesizers. They named the business Fairlight after the hydrofoil ferry passing before Ryrie's grandmother's home in Sydney Harbour. The two planned to design a digital synthesizer that could create sounds reminiscent of acoustic instruments (physical modelling synthesis). They initially planned to make an analogue synthesizer that was digitally controlled, as that the competing Moog synthesizer was difficult to control.


title: Fairlight CMI

text: After six months, the pair met the Motorola consultant Tony Furse. In association with the Canberra School of Electronic Music, Furse built a digital synthesizer using two 8-bit Motorola 6800 microprocessors, and the light pen and some of the graphics that would later become part of the Fairlight CMI. However, it was only able to create exact harmonic partials, sounding sterile and inexpressive.


title: Fairlight CMI

text: Vogel and Ryrie licensed Furse's design, mainly for its processing power, and decided to use microprocessor technology instead of analogue synthesis. Over the next year, they built what Ryrie called a "research design", the bulky, expensive, and unmarketable eight-voice QASAR M8 synthesizer, which included a 2×2×4-foot processing box and a keyboard.


title: Fairlight CMI

text: By 1978, Vogel and Ryrie were making "interesting" but unrealistic sounds. Hoping to learn how to synthesize an instrument by studying the harmonics of real instruments, Vogel recorded about a second of a piano piece from a radio broadcast. He discovered that by playing the recording back at different pitches, it sounded much more realistic than a synthesized piano sound. He recalled in 2005:


title: Fairlight CMI

text: Vogel and Ryrie coined the term sampling to describe this process. With the Fairlight CMI, they could now produce endless sounds, but control was limited to attack, sustain, decay and vibrato. According to Ryrie, "We regarded using recorded real-life sounds as a compromise as cheating and we didn't feel particularly proud of it." They continued to work on the design while creating office computers for Remington Office Machines, which Ryrie described as "a horrendous exercise, but we sold 120 of them".


title: Fairlight CMI

text: In addition to the keyboard, processing, computer graphics and interactive pen borrowed from Furse's synthesizer, the pair added a QWERTY keyboard, and a large 1×1.5×3-foot box stored the sampling, processing and ADC/DAC hardware and the 8-inch floppy disk. The biggest problem was largely considered to be the small 16 kB sample memory. To accommodate sample lengths from approximately a quarter of a second to an entire second, a low variable sample rate between 24 kHz and 8 kHz was used. The low sample rate introduced aliasing; however, Vogel felt that the low quality of the sounds gave them their own character.


title: Fairlight CMI

text: The Music Composition Language feature was criticised as being too difficult for empirical users. Other primitive aspects included its limited amount of RAM (208 kilobytes) and its green-and-black graphics. Nonetheless, the CMI garnered significant attention from Australian distributors and consumers for being able to emulate sounds of acoustic instruments, as well as for its light pen and three-dimensional sound visualisation. Still, Vogel was unsure whether there would be enough interest in the product. The CMI's ability to emulate real instruments made some refer to it as an "orchestra-in-a-box", and each unit came with 8-inch, 500-kilobyte floppy disks that each stored 22 samples of orchestral instruments. The Fairlight CMI also garnered publicity in the science industry, being featured on the BBC science and technology series "Tomorrow's World". The Musicians' Union described it as a "lethal threat" to its members.


title: Fairlight CMI

text: In the summer of 1979, Vogel demonstrated the Fairlight CMI at the home of English singer-songwriter Peter Gabriel, where Gabriel was working on his third solo album. Gabriel, as well as many other people in the studio, was instantly engrossed, and he used strange sounds such as breaking glass bottles and bricks on the album. One of those present for the demonstration, Stephen Paine, recalled in 1996: "The idea of recording a sound into solid-state memory and having real-time pitch control over it appeared incredibly exciting. Until that time everything that captured sound had been tape-based. The Fairlight CMI was like a much more reliable and versatile digital Mellotron. Gabriel was completely thrilled, and instantly put the machine to use during the week that Peter Vogel stayed at his house."


title: Fairlight CMI

text: Gabriel was also interested in selling the CMI in the United Kingdom, and he and Paine formed Syco Systems to distribute it for £12,000. The first UK customer was Led Zeppelin bassist John Paul Jones, followed by musicians including Boz Burrell, Kate Bush, Geoff Downes, Trevor Horn, Alan Parsons, Rick Wright and Thomas Dolby. The Fairlight CMI was also a commercial success in the United States, used by acts such as Stevie Wonder, Herbie Hancock, Jan Hammer, Todd Rundgren and Joni Mitchell. However, musicians came to realize that the CMI could not match the expressiveness and control by acoustic instruments, and that sampling was better applied as imaginative sound than pure reproduction.


title: Fairlight CMI

text: The second version of the Fairlight CMI, Series II, was released at a price of £30,000 in 1982. The sampler's maximum sample rate was increased to 32 kHz, allowing a reduction of aliasing, but only for short samples, as its sample memory was not increased. The bit depth of the sampler also remained 8 bits. The CMI's popularity peaked in 1982 following its appearance on a special of the arts magazine series "The South Bank Show" that documented the making of Peter Gabriel's fourth self-titled studio album, where he used 64 kilobytes worth of samples of world music instruments and sequenced percussion.


title: Fairlight CMI

text: The Fairlight CMI Series II became widely used in popular music recordings of the early to mid-1980s, and its most commonly used presets included an orchestra stab ("ORCH 5") and a breathy vox ("ARR 1").


title: Fairlight CMI

text: The popularity of Series II was in large part due to a new feature, Page R, their first true music sequencer. As a replacement for the complicated Music Composition Language (MCL) used by Series I, Page R helped the Fairlight CMI Series II become a commercial juggernaut. Page R expanded the CMI's audience beyond that of accomplished keyboard players. "Audio Media" magazine described it as an echo of the punk rock era: "Page R also gave rise to a flow of quasi-socialist sounding ideology, that hailed the impending democratisation of music creation, making it available to the musically chops-challenged." Graphically depicting editable notes horizontally from left to right, the music programming profession and the concepts of quantization and cycling patterns of bars where instrument channels could be added or removed were also born out of the Page R sequencer. CMI user Roger Bolton recalled: "By definition, its sampling limitations and the Page R sequencer forced the composer to make high-quality decisions out of necessity. The CMI II was a high-level composition tool that not only shaped the sound of the 80s, but the way that music was actually written." Fairlight kept making updates to the system, such as a 1983 upgrade called the CMI Series IIx, which now allowed for MIDI, until the release of Series III in 1985.


title: Fairlight CMI

text: The sampler of the Series III featured many improvements on its predecessors. It was capable of 16-bit sampling, with a maximum sample rate of 44.1 kHz, across 16 channels. This was enabled by the increase in sample memory from 16 kB per channel to 14 MB across all channels, an increase by a factor of 56, even when all channels are in use. Its design, graphics, and editing tools were also improved, such as the addition of a tablet next to the QWERTY keys, using a stylus instead of the on-screen lightpen; this change was made due to complaints from users regarding arm aches from having to hold the pen on the screen.


title: Fairlight CMI

text: An enhanced version of the Page R sequencer called Composer, Arranger, Performer, Sequencer, or CAPS, as well as Eventsync, a post-production utility based on SMPTE timecode linking, were also added to the Series III computer. However, while many people were still using CMIs, sales were starting to diminish significantly due to much lower-cost, MIDI-based sequencers and samplers including the Atari ST and Akai's S612, S900 and 1000 samplers in the market. Paine stopped selling the CMI in the United Kingdom because of this. The Fairlight company was becoming more focused on post-production products, a market Paine had a hard time getting used to, and when HHB Communications Ltd took over distribution for the United Kingdom, they failed to sell any.


title: Fairlight CMI

text: Peter Gabriel was the first owner of a Fairlight Series I in the UK. Boz Burrell of Bad Company purchased the second, which Hans Zimmer hired for many recordings during the early part of his career. In the US, Bruce Jackson demonstrated the Series I sampler for a year before selling units to Herbie Hancock and Stevie Wonder in 1980 for US$27,500 each. Meat-packing heir Geordie Hormel bought two for use at The Village Recorder in Los Angeles. Other early adopters included Todd Rundgren, Nick Rhodes of Duran Duran, producer Rhett Lawrence and Ned Liben of Ebn Ozn.


title: Fairlight CMI

text: The first commercially released album to incorporate it was Kate Bush's "Never for Ever" (1980), programmed by Richard James Burgess and John L. Walters.


title: Fairlight CMI

text: Wonder took his Fairlight out on tour in 1980 in support of the album "Stevie Wonder's Journey Through "The Secret Life of Plants"" to replace the Computer Music Melodian sampler he had used on the recording. Geoff Downes used the Fairlight on Yes' 1980 album "Drama" and its subsequent tour. Downes later used the Fairlight on The Buggles' 1981 album "Adventures in Modern Recording", and both in the studio and live with Asia. The first classical album using the CMI was produced by Folkways Records in 1980 with composers Barton McLean and Priscilla McLean.


title: Fairlight CMI

text: Peter Gabriel's 1982 album also featured the CMI. In 1981, Austrian musicians Hubert Bognermayr and Harald Zuschrader composed a symphony, "Erdenklang – Computerakustische Klangsinfonie". This work premiered live on stage, using five music computers, during the Ars Electronica festival in Linz. In 1984, he released an album by the singer/ songwriter Claudia Robot. (Phonogram) Her album "Alarmsignal" consisted of songs written by the female vocalist, with tracks produced by the Fairlight CMI.


title: Fairlight CMI

text: Devo's 1984 album "Shout" heavily featured the Fairlight CMI at the expense of analog instruments. Gerald Casale later stated that "Shout" was the biggest regret of his career, "because the Fairlight [synthesizer] just kind of took over everything on that record. I mean, I loved the songwriting and the ideas, but the Fairlight kind of really determined the sound."


title: Fairlight CMI

text: Mark Mothersbaugh proceeded to use the CMI in the soundtrack of the 1991 children's television show, Rugrats. The instrument is most prominently heard as the lead instrument in the show's theme song, being the 'Swannee' sample with a lowpass filter applied.


title: Fairlight CMI

text: After the success of the Fairlight CMI, other firms introduced sampling. New England Digital modified their Synclavier digital synth to perform sampling, while E-mu Systems introduced a less costly sampling keyboard, the Emulator, in 1981. In the United States, a new sampler company, Ensoniq, introduced the Ensoniq Mirage in 1985 for the price of $1,695, less than a quarter of the price of other samplers.


title: Fairlight CMI

text: In America, Joan Gand of Gand Music and Sound in Northfield, Illinois was the top salesperson for Fairlight. The Gand organisation sold CMIs to Prince, James "J.Y." Young of Styx, John Lawry of Petra, Derek St. Holmes of the Ted Nugent band, Al Jourgensen of Ministry, and many private studio owners and rock personalities. Spokesperson Jan Hammer appeared at several Gand-sponsored Musictech pro audio events, to perform the "Miami Vice Theme".


title: Fairlight CMI

text: The ubiquity of the Fairlight was such that Phil Collins stated on the sleeve notes of his 1985 album "No Jacket Required" that "there is no Fairlight on this record" to clarify that he had not used one to synthesize horn and string sounds.


title: Fairlight CMI

text: Coil considered the device unique and unsurpassed, describing using the Fairlight as "An aural equivalent of William Burroughs cut-ups".


title: Fairlight CMI

text: In 2015, the Fairlight CMI was inducted into the National Film and Sound Archive's Sounds of Australia collection.


title: Light aircraft carrier

text: A light aircraft carrier, or light fleet carrier, is an aircraft carrier that is smaller than the standard carriers of a navy. The precise definition of the type varies by country; light carriers typically have a complement of aircraft only one-half to two-thirds the size of a full-sized fleet carrier. A light carrier was similar in concept to an escort carrier in most respects, however light carriers were intended for higher speeds to be deployed alongside fleet carriers, while escort carriers usually defended convoys and provided air support during amphibious operations.


title: Light aircraft carrier

text: In World War II (WWII), the United States Navy produced a number of light carriers by converting cruiser hulls. These s, converted from light cruisers, were unsatisfactory ships for aviation with their narrow, short decks and slender, high-sheer hulls; in virtually all respects the escort carriers were superior aviation vessels. These issues were superseded by "Independence"-class ships' virtue of being available at a time when available carrier decks had been reduced to and in the Pacific and in the Atlantic. In addition, they had enough speed to take part in fleet actions with the larger carriers while escort carriers did not. Late in the war, a follow on to the "Independence" class, the , was designed. Two vessels in this class— and —were completed after the war's end. After very brief lives as carriers, the "Saipan"s were converted to command and communication ships.


title: Light aircraft carrier

text: By the start of WWII, the Royal Navy's , the first purpose-built aircraft carrier (launched 1919, sunk 1942) was being considered as equivalent to a light aircraft carrier, due to her small size, small aircraft complement and lack of armour. The British 1942 design light fleet carrier, originally designated the "Colossus" class, was a scaled-down version of their fleet carrier. The design could be built in a yard with little or no experience of warship construction. Although built to merchant standards, the design incorporated better watertight subdivision. Expected to have a lifetime of about three years, the last of the design was taken out of service in 2001. The first ten were built as the "Colossus" class, though two of these were modified whilst under construction into aircraft maintenance carriers. An additional five carriers, none of which were completed in time for service in WWII, were built with revisions upgrading the design to handle larger and heavier aircraft, receiving the designation "Majestic" class. In the post-war period, the Royal Navy operated a force of the ten "Colossus" carriers, while the five "Majestic" carriers were sold, during construction, to Australia, Canada and India. The "Majestics" were followed, after the war, by the four light carriers of the "Centaur" class.


title: Light aircraft carrier

text: In the 1970s the RN introduced a new type of light carrier, designed to operate the V/STOL Hawker Siddeley Harrier. Originally classed as "through-deck cruisers," the three-ship Invincible class served into the early 21st century; HMS "Invincible" was key to the British victory in the Falklands War.


title: Lynsi Snyder

text: Lynsi Lavelle Snyder-Ellingson (previously Seawell, Martinez, and Torres; born May 5, 1982) is an American billionaire businesswoman, the owner and heiress of the In-N-Out Burger company. She is the only child of Lynda and H. Guy Snyder and the only grandchild of Harry and Esther Snyder, who founded In-N-Out in 1948.


title: Lynsi Snyder

text: According to the Bloomberg Billionaires Index, in 2012, Snyder was the youngest American female billionaire. As the sole beneficiary of family trusts, she received control of the company's stock in its entirety on her 35th birthday, becoming the sole owner.


title: Lynsi Snyder

text: Snyder was born in San Dimas, California, to Lynda Lou (née Wilson) and Harry Guy Snyder. She is of Dutch descent on her father's side. When she was 12, her parents separated and she moved with her mother to the small town of Shingletown, California, where she lived on a ranch. She graduated from Country Christian School, a private high school in Palo Cedro, California. Her parents eventually divorced in January 1997. She has two older half-sisters (Traci and Teri) through her mother. Traci is married to former In-N-Out President and former COO Mark Taylor. Snyder's uncle Rich died in 1993 in a plane crash, and her father died in 1999 of congestive heart failure as a result of his excessive prescription drug use.


title: Lynsi Snyder

text: On January 1, 2010, Snyder became the 6th President of In-N-Out, succeeding her brother-in-law, Mark Taylor, who was promoted to the Chief Operating Officer of the company. She occupies the same leadership position that her grandfather Harry (1948–1976), uncle Rich (1976–1993), father Guy (1993–1999), and grandmother Esther (1999–2006) previously held. Before Snyder became President of In-N-Out Burger, a taped message from her was broadcast to all company associates letting them know about the transition and the future of the company. Esther Snyder's signature was finally replaced with Lynsi Snyder's on associates' paychecks in 2009, three years after Esther Snyder's death.


title: Lynsi Snyder

text: During 2006, Snyder and In-N-Out were embroiled in a bitter lawsuit with a former company executive, Rich Boyd. Boyd was fired for allegedly misusing company funds, but he claimed that Snyder, and then Vice-President Mark Taylor, were trying to oust the elderly Esther Snyder from the company. Both Lynsi Snyder and Mark Taylor denied the claims, with Snyder saying the lawsuit “contains outright lies and awful inaccuracies to try to cover his own errors. By far, the most upsetting is his fabrication about the relationship between me and my gramma.” The lawsuit was settled out of court in May 2006.


title: Lynsi Snyder

text: Snyder took ownership of her father's share of In-N-Out (50% of the company) on her 30th birthday, and inherited the balance of the company that was not already in trust for her when her grandmother Esther died. Snyder gained full control of the company when she turned 35.


title: Lynsi Snyder

text: In February 2013, Snyder was ranked a billionaire for the first time by the Bloomberg Billionaires Index, based on an In-N-Out valuation of $1.1 billion. That same year, she ranked No. 93 on "Maxim"'s annual Hot 100 list.


title: Lynsi Snyder

text: Snyder is known for her servant leadership and commitment to maintaining her family’s legacy of delivering “Quality and Service.” Under her leadership, In-N-Out has grown to include more than 380 stores and expanded into Oregon and Colorado, allowing the company to serve customers in seven states. She has also continued the tradition started by her uncle Rich of including Bible verses on In-N-Out packaging, adding Proverbs 24:16 to the French fry containers, Luke 6:35 to the coffee cups and Isaiah 9:6 to the holiday cups.


title: Lynsi Snyder

text: In 2021, the Orange County Business Journal featured Lynsi in the OC50, the annual listing of the 50 most influential executives in Orange County, and she was named the Los Angeles Business Journal 2021 Women’s Business Leadership Award’s CEO of the Year. Additionally, Snyder is regularly rated as a top female CEO with a 96% approval rating on Glassdoor.com.


title: Lynsi Snyder

text: Snyder co-founded Slave 2 Nothing, a non-profit corporation that exists to create, educate and assist in solutions to eliminate human trafficking and help individuals and their families to experience complete freedom and healing from substance addiction, with her husband Sean Ellingson in 2016. The foundation raises money and directs it to organizations that combat both substance abuse and human trafficking. In 2021, it made 96 grants totaling $1.7 million to nonprofit organizations in the seven states where In-N-Out has restaurants.


title: Lynsi Snyder

text: She is President of the In-N-Out Burger Foundation, which supports abused and neglected children, and was founded by her uncle Rich Snyder, grandmother Esther Snyder and mom Lynda Snyder.


title: Lynsi Snyder

text: In 2014, Snyder and her husband Sean Ellingson founded Army of Love, a ministry with the goal to “enlist, train and equip an Army of Love to help people from all walks of life that are in need of support, prayer, encouragement, healing, direction, and freedom.” Volunteers “enlist” on the ministry’s website and take a discipleship training course before “deploying” to serve others in a variety of ways.


title: Lynsi Snyder

text: Lynsi put her faith in Jesus as a child, but she drifted away from her relationship with the Lord following the end of her first marriage. Lynsi said the Lord used the movie “The Passion of the Christ” to get her attention and draw her back to Him.


title: Lynsi Snyder

text: In 2015, her testimonial was featured on I Am Second. In it, she spoke about the many deaths within her family and her previous failed marriages and how her faith helped her cope with these misfortunes.


title: Lynsi Snyder

text: Like her father, Snyder has been an avid drag racing fan and member of the NHRA. She regularly competes in drag racing events, though has been on a break in recent years. In 2015, she was featured on an episode of "Jay Leno's Garage", where she showed off a modified '41 Willys that was previously owned by her late father.


title: Lynsi Snyder

text: Lynsi is founder of the In-N-Out “company band,” .48 Special. She plays bass and sings and her husband Sean Ellingson plays guitar. All the other members of the band are from In-N-Out management, and their rehearsals are built around their work schedules. Lynsi is also an aerialist, fire eater and dancer, regularly performing at .48 Special performances during In-N-Out events. She is also a licensed helicopter pilot.


title: Lynsi Snyder

text: In August 2012, Snyder reportedly purchased a 7-bedroom, 16-bathroom mansion with of interior space in Bradbury, California, from Texas Rangers third baseman Adrián Beltré for a sum in excess of US$17 million. She moved from the home in 2020 and sold it in 2021.


title: Lynsi Snyder

text: Snyder has stated that she works primarily out of the Baldwin Park office, home of In-N-Out University and formerly company headquarters, rather than the Irvine corporate headquarters because it is closer to her home.


title: Lynsi Snyder

text: Snyder had a long-time penchant for declining nearly all interview requests and rarely appearing at public events. However, in recent years she has become more open to the media, participating in profiles with the "Orange County Register", "Orange Coast", "CBS News, Forbes, Decision Magazine, and Focus on the Family." She regularly attends In-N-Out functions, including store openings, company picnics and leadership training events.


title: Lynsi Snyder

text: In her January 2014 interview with "Orange Coast", Snyder said that she has been the target of at least two kidnapping attempts. In the wake of these attempts, she has deliberately kept herself out of the public eye for the safety of her family, she said. The first purported kidnapping attempt occurred when she was still a high school student in Shingletown; the second took place when she was 21 years old in Baldwin Park, near the local In-N-Out distribution center.


title: Cleopatra Coleman

text: Cleopatra Coleman (born 29 October 1987) is an Australian actress. She is known for playing Erica on the American comedy series "The Last Man on Earth" and Rya in the Netflix original sci-fi thriller "In the Shadow of the Moon".


title: Cleopatra Coleman

text: Coleman was born in Wentworth Falls, to a Jamaican-born mother, Turquoise Coleman, and Mick Coleman, an Australian father of Scottish descent, and moved to Byron Bay, New South Wales when she was 18 months old.


title: Cleopatra Coleman

text: Coleman started her professional film and television career in her home country of Australia at age 15. In 2005 Coleman was cast as a lead in the sci-fi teenage drama "Silversun" for ABC (Australian TV channel) and Seven Network.


title: Cleopatra Coleman

text: In 2006, Coleman was cast as Glenn Forrest in the long running Australian soap opera "Neighbours". Coleman went on to appear in other Australian television programs, including "Blue Heelers", "Holly's Heroes", "Wicked Science", "City Homicide" and "Rush".


title: Cleopatra Coleman

text: In 2008, Coleman appeared in a stage production of Simon Stephens' "Motortown" with Melbourne's Red Stitch Actors Theatre, receiving positive reviews.


title: Cleopatra Coleman

text: In 2011, Coleman co-wrote, executive-produced, and starred in the short film "Trains", the first project for Coleman/Coleman productions, created by Cleopatra Coleman and her father, Mick Coleman.


title: Cleopatra Coleman

text: In the same year, she was cast in her breakout motion picture role as DJ Penelope in "Step Up Revolution", a film released on 27 July 2012. She also featured in multiple music videos by Nervo ("You're Gonna Love Again"), Far East Movement ("Change Your Life") and Galantis ("Runaway (U & I)") in 2014.


title: Cleopatra Coleman

text: In 2014, Coleman was cast as a series regular in the Fox ensemble comedy series "The Last Man on Earth". She played the role of Erica Dundee for four seasons.


title: Cleopatra Coleman

text: In 2016, Coleman guest-starred in the series "Better Things". A year later, she wrote, produced, as well as starred in the environmental sci-fi thriller "Hover" for Syfy Films. The same year, she starred as Sadie Lewis in the Showtime comedy "White Famous" which ran for one season.


title: Cleopatra Coleman

text: In 2019, Coleman guest-starred in Gregg Araki's "Now Apocalypse" and critically acclaimed series "Sorry for Your Loss". The same year, she also appeared as Rya in "In the Shadow of the Moon" for Netflix, directed by Jim Mickle. In 2020, Cleopatra played Trina in the quirky independent comedy "The Argument", directed by Robert Schwartzman.


title: Cleopatra Coleman

text: In 2021, Coleman played the bubbly and charismatic Sarah, the female lead of "The Right One", a romantic comedy that was written and directed by Ken Mok and released through Lionsgate. She also starred in the music video for "Ceremony" by Deftones.


title: Papanasam (film)

text: Papanasam () is a 2015 Indian Tamil-language crime drama film directed by Jeethu Joseph, a remake of his 2013 Malayalam film "Drishyam", which starred Mohanlal. The film was jointly produced by Suresh Balaje and Rajkumar Sethupathi. It stars Kamal Haasan and Gautami, with Esther Anil, Asha Sarath and Roshan Basheer reprising their roles from the original film. Kalabhavan Mani, Nivetha Thomas and M. S. Bhaskar appear in supporting roles.


title: Papanasam (film)

text: The film tells the story of Suyambu, a middle-class cable TV operator, and his family. They come under suspicion when Varun, the son of the Inspector-general of police (IG), goes missing soon after sexually harassing Suyambu's elder daughter. The rest of the film reveals how Varun disappeared and what Suyambu does to keep his family from going to prison.


title: Papanasam (film)

text: The production work of "Papanasam" was undertaken by Suresh Balaje and George Pious. Music for the film was composed by Ghibran. The cinematography was led by Sujith Vaassudev and the editing done by Ayoob Khan, who also worked for Jeethu's original counterpart film. Principal photography commenced on 25 August 2014 and lasted for seven months, with shooting held at Tirunelveli, Nanguneri, Tenkasi, Kuthukalvalasai, and Thodupuzha. The film released on 3 July 2015, and received positive reviews from critics.


title: Papanasam (film)

text: Suyambulingam is an orphan who had dropped out of school after his 5th grade. In 2014, he is a businessman running a cable TV service in Papanasam, a small town in the Tirunelveli district of Tamil Nadu. He owns two buildings in the main part of the village, and a well built house in a garden of area 5 acres. He is married to Rani and they have two daughters, 16 year old Selvi and 10 year old Meena. His only interest apart from his family is watching films. He spends most of his night time in front of the TV in his small office.


title: Papanasam (film)

text: During a nature camp, Selvi bathing is photographed in the bathroom by a hidden cell phone. The culprit, Varun, is the son of Inspector General Geetha Prabhakar. Days later, Varun calls Selvi and blackmails her for sexual favours. He tells her to come to her house's garden shed at midnight. Selvi brings her mother along, and both beg for Varun to leave them alone. Varun asks Rani to replace Selvi in the deal. Enraged, Selvi hits the phone in Varun's hand with a metal rod, but the rod strikes Varun's head as well. Varun dies on the spot. Rani and Selvi bury his body in a compost pit, which is witnessed from afar by Meena. The next morning, Rani tells Suyambulingam about the incident and he devises a way to save his family from the law. He removes Varun's broken cell phone, places the SIM card in another mobile phone which he throws it onto a National Permit lorry and disposes of Varun's yellow Maruti Zen car, which is seen by Constable Perumal, who has a grudge against Suyambulingam. Suyambulingam takes his family out on a trip to Tenkasi to pray in a temple, watch a movie, stay in a hotel and eat at a restaurant. Geetha starts an investigation into her missing son.


title: Papanasam (film)

text: After a preliminary investigation, Geetha calls Suyambulingam and his family for questioning. Suyambulingam, who had predicted that this would happen, had already taught his family how to change their alibi at the time of murder. When questioned individually, they give the same replies. Suyambulingam also presents the bill of the restaurant, the hotel bill, the movie ticket and the bus tickets as proof of their alibi. Geetha questions the owners of the establishments they have been to and their statements prove Suyambulingam's alibi. However, Geetha subsequently realizes later that Suyambulingam had faked the evidence and established his alibi on the owners by going on a trip with his family to the same establishments later. Meanwhile, Suyambulingam tells his brother-in-law, Thangaraj that if they are ever taken away by the police, he has to call the media and report their unlawful arrests.


title: Papanasam (film)

text: Geetha arrests Suyambulingam and his family and Perumal uses brute force to beat the truth out of them. Eventually, Meena gives in and reveals the place where the body is buried. After digging the compost pit, they find the carcass of a wild boar, indicating that Suyambulingam had moved the body. Meena reports to the media and complains against Perumal. The constable is suspended, all officers in the Papanasam station are transferred out of the district and Geetha resigns from her post. The district court prohibits the police from investigating Suyambulingam's family without their permission, in any case.


title: Papanasam (film)

text: Later, Geetha and her husband Prabhakar meet Suyambulingam to ask forgiveness for their rude and violent behavior. Prabhakar then explains that they both plan to relocate to the US. Before leaving Prabhakar begs Suyambulingam to reveal what happened to Varun. Filled with guilt Suyumbulingam cryptically explained that Varun was killed by accident and apologizes. The scene moves back to the police station at the beginning. As Suyambulingam signs out, the station the new SI tells him that he will find Varun's body and warns him. As Suyambulingam leaves a flashback is shown of him burying something in the construction of the station. Implying that he has hidden Varun's body underneath the station and it will never be found due to the new construction.


title: Papanasam (film)

text: After the commercial and critical success of the 2013 Malayalam film "Drishyam" directed by Jeethu Joseph and starring Mohanlal, several regional producers approached the makers for remake rights. A Tamil version was planned to be jointly produced by Suresh Balaje, George Pius of Wide Angle Creations, Rajkumar Sethupathi and Sripriya Rajkumar of Raj Kumar Theatre. The team subsequently signed on Kamal Haasan in late January 2014, to enact the leading role after successful negotiations, with Jeethu Joseph choosing to direct the Tamil version himself. Jeethu said that Rajinikanth was initially approached to do the lead role and although he was interested to take up the role, he had doubts regarding a few scenes and how they would appeal to his fans. The pair then chose to alter the storyline to feature a Hindu family from Papanasam instead of Christian Keralite's, to make it familiar with Tamil audiences. Jeethu further said that the Tamil version had been made "more emotional" since Kamal Haasan felt that Tamil audiences like to be "emotionally piqued". In August 2014, the film was reported to be titled "Papanasam". Pranav Mohanlal joined the team as an assistant director during the film's first schedule. Jeyamohan was selected to write the dialogues for the film. Noted writer/ director Sukawho is known for his characteristic Tirunelveli based short story series called 'Moongil Moochu' that was published in Ananda Vikatan trained Kamal Hassan to speak in Tirunelveli accent.


title: Papanasam (film)

text: Several actresses were considered and approached for the leading female roles, before the team made a final decision. Simran was reported to have signed the film, though she later stated that she was not working in the film. Nadhiya, Sridevi, and Abhirami were also considered for roles in the film. Joseph confirmed that Sridevi was not part of the project and that the team would make the official announcements as soon as the cast and crew were finalized. Kamal Haasan's partner Gautami was later confirmed to play Meena's role from the original in June 2014, marking her comeback to acting after a sixteen-year sabbatical. Asha Sarath was chosen to reprise her role as a police officer from the original version, while Kalabhavan Mani would portray Kalabhavan Shajon's role from the original. Niveda Thomas was signed on to play the elder daughter of the lead pair, while child artiste Esther Anil was also added to the cast, reprising her role from the original as well. Anant Mahadevan was selected to play the role of Siddique from the Malayalam version. Roshan Basheer was also selected to reprise his role as Varun from the original.


title: Papanasam (film)

text: Jeethu Joseph confirmed that shooting for the film would commence from the second half of 2014. The film kick-started with a formal pooja on 16 July 2014. Principal photography commenced on 25 August 2014. with first schedule beginning in Tirunelveli where scenes featuring Kamal Haasan and Gautami were initially shot. Shooting took place in Nanguneri and Tenkasi , kuthukalvalasai, Mekkarai, a town in the Tirunelveli district. Shooting also took place in Thodupuzha in the house originally used in the Malayalam version. The house underwent minor changes to look like a Tamil household. Working stills from the film were released on 11 September 2014. The shooting of the film was completed on 26 March 2015.


title: Papanasam (film)

text: Sathish Paul, a Malayalam filmmaker-scriptwriter filed a petition with the Ernakulam District Court asking to stop the Tamil remake of "Drishyam", alleging that the original film was a copy of his story published as a book in May 2013 called "Oru Mazhakalathu". Benoy Kadavan, Sathish's advocate, informed that his client was told by Jeethu that "Drishyam" was going to be a family drama, and not a thriller. But when the movie was released, he noted that it was an exact copy and that a notice was sent to Jeethu Joseph and both the Malayalam and the Tamil production houses asking for equal shares in the profits of the film. Jeethu clarified that his story might have had some similarities with the Japanese film, "Suspect X" (2008), but cited that it was not a copy of any other story and was willing to move to the high court to prove it.


title: Papanasam (film)

text: In mid-March 2015, it was proved at the High Court that the allegation was false, with a verdict being passed confirming the film's originality.


title: Papanasam (film)

text: The film's soundtrack is composed by Ghibran, continuing his association with Kamal Haasan after "Uttama Villain" (2015). As similar to the original counterpart, "Papanasam" features two songs which were written by lyricist Na. Muthukumar. The official tracklist was released on 10 June 2015, which features six instrumental tracks from the score, performed by Sofia Session Orchestra and two karaoke tracks of the songs. The album was launched on 13 June 2015, at the Suryan FM 93.5 radio station in Chennai, with the presence of the film's cast and crew.


title: Papanasam (film)

text: The album received positive reviews from music critics. "Behindwoods" gave the soundtrack a rating of 2.75 out of 5, and summarised "An OST driven album which will work better with visuals!" "Indiaglitz" gave the album 3.25 out of 5 stars. Vipin Nair of "Music Aloud" stated that the album "has some good music that will fit right into the movie's narrative", giving a rating of 7.5 out of 10. Karthik Srinivasan of "Milliblog" stated "Papanasam is a thematic work from Ghibran".


title: Papanasam (film)

text: "Moviecrow" gave the soundtrack 3.25 out of 5 and then summarised "Ghibran delivers brilliant soundscape which is required for the drama thriller movie and also only two vocal tracks in the album are also enjoyable within the limited framework required for the movies of this gen." Sharanya CR of "The Times of India", praised the songs with mentioning "Yeya En Kottikara" as "soothing number", whilst also praising the efforts for the background score.


title: Papanasam (film)

text: Kamal Haasan planned to release the film, after completing the release plans of "Uttama Villain". But the delay in the latter's release, followed by the plagiarism allegation, against Jeethu Joseph, the director of the original, pushed its makers to release the film during the occasion of Eid-Ul-Fitr (17 July 2015). The first look and the theatrical trailer was unveiled on 13 May 2015. On mid-June 2015, it was announced that the film will be released theatrically on 3 July 2015.


title: Papanasam (film)

text: "Hindustan Times" gave the film 4 out of 5 and stated "A must watch for those fans of Kamal who have been waiting to see him as an actor -- not just a star driven to stunts". "Deccan Chronicle" gave 4 stars as well and wrote, "Riffing a sophisticated mix of the human condition and a simplistic storyline, "Papanasam" is a movie that engages your senses while managing to dispel any misgivings on a timely basis...director Jeethu Joseph has recreated the original magic of "Drishyam" but with a more localized flavor to boot". "Filmibeat" rated the film 4.5 out of 5 and concluded ""Papanasam" is a winning script and retaining Jeethu Joseph has helped immensely. But when a performer called Kamal Haasan takes up such a project, magic on screen is rest assured."


title: Papanasam (film)

text: "Sify "wrote "the Tamil version is even tighter (than "Drishyam") and there is absolutely no room for error in the writing. Flawless is the word", going on to call the film "excellent". Writing for "Rediff", Sukanya Verma, while calling the film a "worthy remake of "Drishyam", stated, "I still like "Drishyam" better but "Papanasam" is a laudable runner up even if somewhat self-aware". Baradwaj Rangan of the Hindu wrote "A faithful remake, a solid thriller


title: Skin (musician)

text: Deborah Anne Dyer (born 3 August 1967), known mononymously by the stage name Skin, is a British singer, songwriter and electronic music DJ. She is the lead vocalist of British rock band Skunk Anansie, a band often grouped as part of the Britrock movement in the UK and gained attention for her powerful, wide-ranging soprano voice and striking look.


title: Skin (musician)

text: In 2015, she joined the judging panel of the Italian version of the talent show "The X Factor" for one season, and 2016 was on the cover of the UK lesbian magazine "Diva". After releasing new music and touring with Skunk Anansie, in 2018 Skin was featured as one of the cover stars of "Classic Rock" magazine's special "She Rocks" issue and was honoured with the Inspirational Artist Award at the Music Week Awards ahead of celebrating 25 years of Skunk Anansie. She also appeared on the cover of "Kerrang!" magazine in November 2018.


title: Skin (musician)

text: Mavis Bayton, author of "Frock Rock", stated that "women like Skin, Natacha Atlas, Yolanda Charles, and Debbie Smith are now acting as crucial role models for future generations of black women".


title: Skin (musician)

text: Deborah Ann Dyer was born on 3 August 1967 in Brixton, London, to Jamaican parents. Her father was in the Royal Air Force and later worked on oil rigs. Her mother was a nurse before taking a government position in the environmental department. She describes her parents as "very strict, very Jamaican". At the age of 6, she moved in with her grandfather into a two-up two-down in Long Acre, Brixton, who ran a nightclub in the basement, in which she mentions there was "always music and rum" and posters of Bob Marley and Muhammad Ali, which inspired her. As a child, she wanted to be a pianist. At the age of 14, she read "Macbeth", later stating that she loved the "intricacy and complexity of Shakespeare's play".


title: Skin (musician)

text: After forming in 1994, the band released three albums, "Paranoid & Sunburnt", "Stoosh" and "Post Orgasmic Chill", which sold more than 4 million copies worldwide; their biggest hit was the single "Weak". The band disbanded in 2001 after which she embarked a solo career and reformed in 2009. they are still recording and touring. Skunk Anansie have been unapologetic in their reluctance to alter their substance or aesthetic to satisfy others around them since their inception in 1994. Their early singles established the tone. First, an anti-fascist anthem, Little Baby Swastikkka. The sequel, Selling Jesus, is a critical examination of organized religion and corporate avarice. The band hit it off right on, releasing six studio albums and touring with David Bowie, U2, and Lenny Kravitz.


title: Skin (musician)

text: After Skunk Anansie split, Skin released her debut solo album "Fleshwounds". The album was toned down from her Skunk Anansie days and did not gain the same acclaim from Skunk Anansie fans. She even ditched her trademark bald look and grew her hair into a boyish crop. While the album was not a massive success in the UK, two singles were released from it: "Trashed" and "Faithfulness". "Lost", a double A-side with "Getting Away with It", was a planned third single but was pulled shortly before release; promo CDs were sent out to radio stations but it received no airplay. Elsewhere in Europe the album's success was greater. For example, in Italy it peaked at number 6 in the album chart and in Germany at number 18.


title: Skin (musician)

text: After releasing "Fleshwounds", Skin went on to perform various solo gigs around Europe. She was also support for the European leg of Robbie Williams' and Placebo's world tours.


title: Skin (musician)

text: Soon after touring she began to record her second album, "Fake Chemical State", which was released for sale on 20 March 2006, preceded by new single "Just Let the Sun" two weeks earlier. The first single actually issued from this album was "Alone in My Room", a download-only track released on 7 November 2005. "Alone in My Room" was also the name given to Skin's first solo tour in two years, which commenced in Berlin in November 2005. For this album she shaved her head bald again, returning to the look she had in her Skunk Anansie days.


title: Skin (musician)

text: Skin's next solo outing was a small promotional "Fake Chemical State" tour. It started in Glasgow on 17 March 2006. She went on to perform many festivals around Europe including Rock Werchter in Belgium and the Southside/Hurricane festivals in Germany. She performed on the main stage at most of these festivals.


title: Skin (musician)

text: In February 2008, she announced that she was working with Timo Maas and Martin Buttrich on a side project called "Format-3". Her 2008 song "Tear Down These Houses" was released as a part of the soundtrack to "Parlami d'Amore", directed by Silvio Muccino.


title: Skin (musician)

text: She sings in the opening musical piece "Renaissance", in "", a Netflix original series released in October 2016.


title: Skin (musician)

text: Skin has always had a love of electronic music and she moved into the genre when her friend gave her a mixer in 2009. Going under the moniker D-Dyer she made her first steps into the DJ world which she has now been doing for the past decade. She plays Techno, Tech House and Minimal all over the world at classic venues such as Output in New York, Sound Nightclub in LA and Fabric in London.


title: Skin (musician)

text: In 2015 Skin collaborated with techno icon Nicole Moudaber and they released the Breed EP on Nicole's Mood Records. It features five tracks including "Don't Talk To Me I'm Dancing". In 2016 she DJ-ed at Carl Cox's Revolution in Ibiza, Coachella and also released Techno music under the guise of Juvenal through Mood Records.


title: Skin (musician)

text: In 2020, Skin participated in the UK version of "The Masked Singer", appearing as Duck. Her identity was revealed in episode six, when she was eliminated. A memoir, "It Takes Blood and Guts", co-written with Lucy O'Brien, was published by Simon & Schuster in September 2020. On 18 October 2020, Skin began presenting a Sunday-night radio show titled "The Skin Show" on Absolute Radio.


title: Skin (musician)

text: Skin graduated with a BA (Hons) degree in Interior Architecture & Design from Teesside Polytechnic in 1989 and received an honorary Master of Arts degree from Teesside University in 2000.


title: Skin (musician)

text: Skin is openly bisexual. In 2013, she entered into a civil partnership with Christiana Wyly, daughter of American billionaire Sam Wyly. The couple split in 2015. In September 2020, Skin announced her engagement to Rayne Baron. In June 2021, the couple announced they are expecting their first child.


title: Skin (musician)

text: Since the United Kingdom European Union membership referendum in 2016, Skin has talked against Brexit and its effect in terms of rise in racism, labour shortage and impoverishment of British culture in numerous interviews.


title: Skin (musician)

text: She was appointed Officer of the Order of the British Empire (OBE) in the 2021 Birthday Honours for services to music.


title: Skin (musician)

text: After the results of the 2022 Italian election were announced, Skin said that she was disappointed that the Italian people voted for Giorgia Meloni and said that Italy was "sinking towards fascism" once again.


title: Roman–Persian Wars

text: The Roman–Persian Wars, also known as the Roman–Iranian Wars, were a series of conflicts between states of the Greco-Roman world and two successive Iranian empires: the Parthian and the Sasanian. Battles between the Parthian Empire and the Roman Republic began in 54 BC; wars began under the late Republic, and continued through the Roman (later Byzantine) and Sasanian empires. A plethora of vassal kingdoms and allied nomadic nations in the form of buffer states and proxies also played a role. The wars were ended by the early Muslim conquests, which led to the fall of the Sasanian Empire and huge territorial losses for the Byzantine Empire, shortly after the end of the last war between them.


title: Roman–Persian Wars

text: Although warfare between the Romans and Persians continued over seven centuries, the frontier, aside from shifts in the north, remained largely stable. A game of tug of war ensued: towns, fortifications, and provinces were continually sacked, captured, destroyed, and traded. Neither side had the logistical strength or manpower to maintain such lengthy campaigns far from their borders, and thus neither could advance too far without risking stretching its frontiers too thin. Both sides did make conquests beyond the border, but in time the balance was almost always restored. Although initially different in military tactics, the armies of both sides gradually adopted from each other and by the second half of the 6th century, they were similar and evenly matched.


title: Roman–Persian Wars

text: The expense of resources during the Roman–Persian Wars ultimately proved catastrophic for both empires. The prolonged and escalating warfare of the 6th and 7th centuries left them exhausted and vulnerable in the face of the sudden emergence and expansion of the Rashidun Caliphate, whose forces invaded both empires only a few years after the end of the last Roman–Persian war. Benefiting from their weakened condition, the Rashidun armies swiftly conquered the entire Sasanian Empire, and deprived the Eastern Roman Empire of its territories in the Levant, the Caucasus, Egypt, and the rest of North Africa. Over the following centuries, more of the Eastern Roman Empire came under Muslim rule.


title: Roman–Persian Wars

text: According to James Howard-Johnston, "from the third century BC to the early seventh century AD, the rival players [in the East] were grand polities with imperial pretensions, which had been able to establish and secure stable territories transcending regional divides". The Romans and Parthians came into contact through their respective conquests of parts of the Seleucid Empire. During the 3rd century BC, the Parthians migrated from the Central Asian steppe into northern Iran. Although subdued for a time by the Seleucids, in the 2nd century BC they broke away, and established an independent state that steadily expanded at the expense of their former rulers, and through the course of the 3rd and early 1st century BC, they had conquered Persia, Mesopotamia, and Armenia. Ruled by the Arsacid dynasty, the Parthians fended off several Seleucid attempts to regain their lost territories, and established several eponymous branches in the Caucasus, namely the Arsacid dynasty of Armenia, the Arsacid dynasty of Iberia, and the Arsacid dynasty of Caucasian Albania. Meanwhile, the Romans expelled the Seleucids from their territories in Anatolia in the early 2nd century BC, after defeating Antiochus III the Great at Thermopylae and Magnesia. Finally, in 64 BC Pompey conquered the remaining Seleucid territories in Syria, extinguishing their state and advancing the Roman eastern frontier to the Euphrates, where it met the territory of the Parthians.


title: Roman–Persian Wars

text: Parthian enterprise in the West began in the time of Mithridates I and was revived by Mithridates II, who negotiated unsuccessfully with Lucius Cornelius Sulla for a Roman–Parthian alliance (c. 105 BC). When Lucullus invaded Southern Armenia and led an attack against Tigranes in 69 BC, he corresponded with Phraates III to dissuade him from intervening. Although the Parthians remained neutral, Lucullus considered attacking them. In 66–65 BC, Pompey reached agreement with Phraates, and Roman–Parthian troops invaded Armenia, but a dispute soon arose over the Euphrates boundary. Finally, Phraates asserted his control over Mesopotamia, except for the western district of Osroene, which became a Roman dependency.


title: Roman–Persian Wars

text: The Roman general Marcus Licinius Crassus led an invasion of Mesopotamia in 53 BC with catastrophic results; he and his son Publius were killed at the Battle of Carrhae by the Parthians under General Surena; this was the worst Roman defeat since the battle of Arausio. The Parthians raided Syria the following year, and mounted a major invasion in 51 BC, but their army was caught in an ambush near Antigonea by the Romans, and they were driven back.


title: Roman–Persian Wars

text: The Parthians largely remained neutral during Caesar's Civil War, fought between forces supporting Julius Caesar and forces supporting Pompey and the traditional faction of the Roman Senate. However, they maintained relations with Pompey, and after his defeat and death, a force under Pacorus I assisted the Pompeian general Q. Caecilius Bassus, who was besieged at Apamea Valley by Caesarian forces. With the civil war over, Julius Caesar prepared a campaign against Parthia, but his assassination averted the war. The Parthians supported Brutus and Cassius during the ensuing Liberators' civil war and sent a contingent to fight on their side at the Battle of Philippi in 42 BC. After the Liberators' defeat, the Parthians invaded Roman territory in 40 BC in conjunction with the Roman Quintus Labienus, a former supporter of Brutus and Cassius. They swiftly overran the Roman province of Syria and advanced into Judea, overthrowing the Roman client Hyrcanus II and installing his nephew Antigonus. For a moment, the whole of the Roman East seemed lost to the Parthians or about to fall into their hands. However, the conclusion of the second Roman civil war soon revived Roman strength in Asia. Mark Antony had sent Ventidius to oppose Labienus, who had invaded Anatolia. Soon Labienus was driven back to Syria by Roman forces, and, although reinforced by the Parthians, was defeated, taken prisoner, and killed. After suffering a further defeat near the Syrian Gates, the Parthians withdrew from Syria. They returned in 38 BC but were decisively defeated by Ventidius, and Pacorus was killed. In Judaea, Antigonus was ousted with Roman help by Herod in 37 BC. With Roman control of Syria and Judaea restored, Mark Antony led a huge army into Atropatene, but his siege train and its escort were isolated and wiped out, while his Armenian allies deserted. Failing to make progress against Parthian positions, the Romans withdrew with heavy casualties. Antony was again in Armenia in 33 BC to join with the Median king against Octavian and the Parthians. Other preoccupations obliged him to withdraw, and the whole region came under Parthian control.


title: Roman–Persian Wars

text: With tensions between the two powers threatening renewed war, Octavian and Phraataces worked out a compromise in 1 AD. According to the agreement, Parthia undertook to withdraw its forces from Armenia and to recognize a "de facto" Roman protectorate there. Nonetheless, Roman–Persian rivalry over control and influence in Armenia continued unabated for the next several decades. The decision of the Parthian King Artabanus III to place his son on the vacant Armenian throne triggered a war with Rome in 36 AD, which ended when Artabanus III abandoned claims to a Parthian sphere of influence in Armenia. War erupted in 58 AD, after the Parthian King Vologases I forcibly installed his brother Tiridates on the Armenian throne. Roman forces overthrew Tiridates and replaced him with a Cappadocian prince, triggering an inconclusive war. This came to an end in 63 AD after the Romans agreed to allow Tiridates and his descendants to rule Armenia on condition that they receive the kingship from the Roman emperor.


title: Roman–Persian Wars

text: A fresh series of conflicts began in the 2nd century AD, during which the Romans consistently held the upper hand over Parthia. The Emperor Trajan invaded Armenia and Mesopotamia during 114 and 115 and annexed them as Roman provinces. He captured the Parthian capital, Ctesiphon, before sailing downriver to the Persian Gulf. However, uprisings erupted in 115 AD in the occupied Parthian territories, while a major Jewish revolt broke out in Roman territory, severely stretching Roman military resources. Parthian forces attacked key Roman positions, and the Roman garrisons at Seleucia, Nisibis and Edessa were expelled by the local inhabitants. Trajan subdued the rebels in Mesopotamia, but having installed the Parthian prince Parthamaspates on the throne as a client ruler, he withdrew his armies and returned to Syria. Trajan died in 117, before he was able to reorganize and consolidate Roman control over the Parthian provinces.


title: Roman–Persian Wars

text: Trajan's Parthian War initiated a "shift of emphasis in the 'grand strategy of the Roman empire' ", but his successor, Hadrian, decided that it was in Rome's interest to re-establish the Euphrates as the limit of its direct control. Hadrian returned to the "status quo ante", and surrendered the territories of Armenia, Mesopotamia, and Adiabene to their previous rulers and client-kings.