title: 5-HT2A receptor

text: A weak link with an odds ratio of 1.3 has been found between the T102C polymorphism and schizophrenia.


title: 5-HT2A receptor

text: This polymorphism has also been studied in relation to suicide attempts, with a study finding excess of the C/C genotypes among the suicide attempters. A number of other studies were devoted to finding an association of the gene with schizophrenia, with diverging results.


title: 5-HT2A receptor

text: These individual studies may, however, not give a full picture: A review from 2007 looking at the effect of different SNPs reported in separate studies stated that "genetic association studies [of "HTR2A" gene variants with psychiatric disorders] report conflicting and generally negative results" with no involvement, small or a not replicated role for the genetic variant of the gene.


title: 5-HT2A receptor

text: Polymorphisms in the promoter gene coding Early growth response 3 (EGR3) are associated with schizophrenia. Studies have demonstrated a relationship between EGR3 and "HTR2A", and schizophrenia-like behaviors in transgenic animals. Exactly how these results translate over to further biopsychological understanding of schizophrenia is still widely debated. There is some evidence that dysfunction of "HTR2A" can impact pharmacological interventions.


title: 5-HT2A receptor

text: Several studies have assessed a relationship between 5-hydroxytryptamine (serotonin) 2A receptor (5-HTR2A) gene polymorphisms with an increased risk of suicidal behavior. One study revealed that T102C polymorphism is associated with suicidal behavior but other studies failed to replicate these findings and found no association between polymorphism and suicidal behavior.


title: 5-HT2A receptor

text: Genetics seems also to be associated to some extent with the amount of adverse events in treatment of major depression disorder.


title: 5-HT2A receptor

text: Polymorphisms in the 5-HT2A receptor coding gene "HTR2A" (rs6313 and s6311) have been shown to have conflicting associations with alcohol misuse. For example, A polymorphism in the 5-HT2A receptor coding gene "HTR2A" (rs6313) was reported to predict lower positive alcohol expectancy, higher refusal self-efficacy, and lower alcohol misuse in a sample of 120 young adults. However, this polymorphism did not moderate the linkages between impulsivity, cognition, and alcohol misuse. There are conflicting results as other studies have found associations between T102C polymorphisms alcohol misuse.


title: 5-HT2A receptor

text: There is some evidence that methylation patterns may contribute to relapse behaviors in people who use stimulants. In mice, psychotropic drugs such as DOI, LSD, DOM, and DOB which produced differing transcriptional patterns among several different brain regions.


title: 5-HT2A receptor

text: The receptor can be analysed by neuroimaging, radioligand, genetic analysis, measurements of ion flows, and in other ways.


title: 5-HT2A receptor

text: one study reported a "reduced" binding of altanserin particularly in the hippocampus in patients with major depressive disorder.


title: 5-HT2A receptor

text: Western blot with an affinity-purified antibody and examination of 5-HT2A receptor protein samples by electrophoresis has been described. Immunohistochemical staining of 5-HT2A receptors is also possible.


title: Jiro Dreams of Sushi

text: Jiro Dreams of Sushi is a 2011 Japanese-language American documentary film directed by David Gelb. The film follows , an 85-year-old sushi master and owner of Sukiyabashi Jiro, previously a Michelin three-star restaurant. Sukiyabashi Jiro is a 10-seat, sushi-only restaurant located in a Tokyo subway station. As of 2014, Jiro Ono serves a tasting menu of roughly 20 courses, for a minimum of JP¥30,000 (US$270).


title: Jiro Dreams of Sushi

text: The film also profiles Jiro's two sons, both of whom are also sushi chefs. The younger son, , left Sukiyabashi Jiro to open a mirror image of his father's restaurant in Roppongi Hills. The 50-year-old elder son, , obliged to succeed his father, still works for Jiro and is faced with the prospect of one day taking over the flagship restaurant.


title: Jiro Dreams of Sushi

text: Initially, Gelb had planned to do what he had nicknamed "Planet Sushi", inspired by the cinematography of the BBC documentary "Planet Earth":


title: Jiro Dreams of Sushi

text: Originally, I was going to make a film with a lot of different sushi chefs who all had different styles, but when I got to Jiro's restaurant, I was not only amazed by how good the sushi was and how much greater it was than any other sushi restaurant I had ever been to, but I also found Jiro to be such a compelling character and such an interesting person. I was also fascinated by the story of his son, who is fifty years old, but still works for his father at the restaurant. So, I thought, "Here's a story about a person living in his father's shadow while his father is in a relentless pursuit of perfection." It was the makings of a good feature film.


title: Jiro Dreams of Sushi

text: Food critic Masuhiro Yamamoto connected Gelb with Jiro. Principal photography took Gelb one month (January 2010), augmented by additional scenes shot later that year in August; editing took 10 months.


title: Jiro Dreams of Sushi

text: "Jiro Dreams of Sushi" debuted in the US in 2011 at the Provincetown International Film Festival and was an official selection of the Tribeca Film Festival in the same year. The documentary was made available on Netflix streaming on August 28, 2012.


title: Jiro Dreams of Sushi

text: , the film has grossed US$2,552,478 in North America. It is ranked 70th of all US Documentaries on Box Office Mojo.


title: Jiro Dreams of Sushi

text: The film received overwhelmingly positive reviews from critics. The film earned a rating of 99% on Rotten Tomatoes based on 88 reviews and an average rating of 7.8/10. The site's critical consensus reads, "Beautiful, thoughtful, and engrossing, "Jiro Dreams of Sushi" should prove satisfying even for filmgoers who don't care for the cuisine." On Metacritic, the film has a score of 77 out of 100, based on 27 reviews, indicating "generally favorable reviews".


title: Jiro Dreams of Sushi

text: While watching it, I found myself drawn into the mystery of this man. Are there any unrealized wishes in his life? Secret diversions? Regrets? If you find an occupation you love and spend your entire life working at it, is that enough? Standing behind his counter, Jiro notices things. Some customers are left-handed, some right-handed. That helps determine where they are seated at his counter. As he serves a perfect piece of sushi, he observes it being eaten. He knows the history of that piece of seafood. He knows his staff has recently started massaging an octopus for 45 minutes and not half an hour, for example. Does he search a customer's eyes for a signal that this change has been an improvement? Half an hour of massage was good enough to win three Michelin stars.


title: Jiro Dreams of Sushi

text: Gelb, a "huge Philip Glass fan", has commented on his use of Philip Glass compositions in the film's soundtrack:


title: Jiro Dreams of Sushi

text: In hindsight, I think it works because Philip Glass's music is kind of a metaphor for Jiro's work ethic, because it's repetitive but it also builds on itself and escalates, and it's the same with Jiro's work. Because every day he's going, he's doing the same routine, and trying to do everything exactly the same, but just reaching for that one step of improvement, and I feel like the music's doing the same thing, so they match perfectly.


title: Lucid Dreams (Juice Wrld song)

text: "Lucid Dreams" (alternatively "Lucid Dreams (Forget Me)") is a song by American rapper and singer Juice Wrld. It was officially released by Grade A Productions and Interscope Records on May 4, 2018, after previously being released on SoundCloud in June 2017. The song was produced by Nick Mira and debuted at number 74 on the "Billboard" Hot 100, peaking at number 2 on the chart. The song has over 2 billion streams on Spotify, being one of the most streamed songs on the platform. A remix featuring fellow American rapper and singer Lil Uzi Vert was recorded in 2018 but remained unreleased due to sample clearance issues. The remix leaked online in May 2021 after fans pooled together $12,000 to purchase the song from leakers. On May 28, 2021, the remix was officially released as a part of the re-release of "Goodbye & Good Riddance" that commemorates the album's third anniversary. In February 2022 the song was certified Diamond by RIAA for selling over 10 million units in the U.S. The song has since come to be regarded as Juice Wrld's signature song.


title: Lucid Dreams (Juice Wrld song)

text: In a June 2018 interview with Lyrical Lemonade, Juice Wrld stated the song was made to be a "therapy session" during a period of relationship problems he was encountering.


title: Lucid Dreams (Juice Wrld song)

text: "Lucid Dreams" was initially released on SoundCloud on June 15, 2017, alongside the EP "JuiceWrld 9 9 9." It eventually accumulated 2.5 million plays, leading to an official release as a single on May 4, 2018.


title: Lucid Dreams (Juice Wrld song)

text: In November 2018, producer Nick Mira revealed that Sting owned 85% of the rights to "Lucid Dreams," which features an interpolation of his 1993 hit "Shape of My Heart".


title: Lucid Dreams (Juice Wrld song)

text: In October 2019, members of then-defunct pop punk band Yellowcard sued Juice Wrld for $15 million, claiming that "Lucid Dreams" copied the melody of their song "Holly Wood Died". Following Juice Wrld's death on December 8, 2019, the band extended a "deadline for defendants to respond to the lawsuits" into February 2020. Yellowcard's law firm King & Fallow issued a statement disputing the $15 million figure in the lawsuit as "falsely reported" with the final figure yet to be determined. While expressing sympathies for Juice Wrld's sudden death, the firm said the action would be pursued despite "incredible mixed emotions" from the band and firm. After Juice Wrld's mother became the representative of his estate, Yellowcard quietly dropped the lawsuit on July 27, 2020, with the band's lawyer, Richard S. Busch, stating that the band was “very sympathetic not only of Juice WRLD’s death, but also needed time to decide whether they really wanted to pursue the case against his grieving mother as the personal representative of his estate.” Busch did however state that the case could be refiled if the band were to change their minds.


title: Lucid Dreams (Juice Wrld song)

text: "Lucid Dreams" runs for four minutes. The meter is common time ( time) and the key is F minor. The tempo is 84 BPM. The song is structured around an interpolation of Sting's 1993 song "Shape of My Heart".


title: Lucid Dreams (Juice Wrld song)

text: A music video for "Lucid Dreams" was directed by Cole Bennett, released and uploaded on Lyrical Lemonade Youtube channel on May 11, 2018. It features Juice Wrld trapped up to his head in a floor, with his body tied down, and has been described by Milca P. of HotNewHipHop as "psychedelic and abstract". The music video has amassed more than 842 million views on YouTube.


title: Lucid Dreams (Juice Wrld song)

text: The song debuted at number 74 on the "Billboard" Hot 100 on the week ending May 26, 2018, with 10 million US streams and 4,000 digital downloads. The song jumped to number 35 the following week and then number 15. When it ascended to number nine, "Lucid Dreams" became Juice Wrld's first top 10 song on June 12, with 35.9 million US streams and 9,000 downloads. Reaching number three on the chart in July, the song lingered in the top 10 for months until it peaked at number two in October, blocked from the top spot by Maroon 5 and Cardi B's "Girls Like You". Following Juice Wrld's death in December 2019, "Lucid Dreams" re-entered the Hot 100 at number eight, becoming its 26th nonconsecutive week in the top ten.


title: Lucid Dreams (Juice Wrld song)

text: During the 2019 Grammy telecast, host Alicia Keys performed 30 seconds of "Lucid Dreams", singing and playing piano, during a segment on songs about heartache.


title: Lucid Dreams (Juice Wrld song)

text: In 2019, "Billboard" and "NME" ranked "Lucid Dreams" at number two and number one, respectively, on their lists of the greatest Juice Wrld songs.


title: Aachen Cathedral

text: Aachen Cathedral () is a Roman Catholic church in Aachen, Germany and the seat of the Roman Catholic Diocese of Aachen.


title: Aachen Cathedral

text: One of the oldest cathedrals in Europe, it was constructed by order of Emperor Charlemagne, who was buried there in 814. From 936 to 1531, the Palatine Chapel saw the coronation of thirty-one German kings and twelve queens. The church has been the mother church of the Diocese of Aachen since 1930. In 1978, Aachen Cathedral was one of the first 12 items to be listed on the UNESCO list of World Heritage sites, because of its exceptional artistry, architecture, and central importance in the history of the Holy Roman Empire.


title: Aachen Cathedral

text: Charlemagne began the construction of the Palatine Chapel around 796, along with the rest of the palace structures. The construction is credited to Odo of Metz. The exact date of completion is unclear; however, a letter from Alcuin, in 798, states that it was nearing completion, and in 805, Pope Leo III consecrated the finished chapel. A foundry was brought to Aachen near the end of the 8th century and was utilized to cast multiple bronze pieces, from doors and the railings, to the horse and bear statues. Charlemagne was buried in the chapel in 814. It suffered a large amount of damage in a Viking raid in 881, and was restored in 983.


title: Aachen Cathedral

text: Following Charlemagne's canonization by Antipope Paschal III in 1165, the chapel became a draw for pilgrims. Due to the enormous flow of pilgrims, in 1355 a Gothic choir hall was added, and a two-part Capella vitrea (glass chapel) which was consecrated on the 600th anniversary of Charlemagne's death. A cupola, several other chapels, and a steeple were also constructed at later dates. It was restored again in 1881, when the Baroque stucco was removed.


title: Aachen Cathedral

text: During World War II, Aachen, including its famed cathedral, was heavily damaged by Allied bombing attacks and artillery fire, but the cathedral's basic structure survived. Many of the cathedral's artistic objects had been removed to secure storage during the war, and some which could not be moved were protected within the church itself. However, the glazing of the 14th-century choir hall, the Neo-Gothic altar, a large part of the cloister, and the Holiness Chapel ("Heiligtumskapelle") were irretrievably destroyed. Reconstruction and restoration took place intermittently over more than 30 years, and cost an estimated €40 Million.


title: Aachen Cathedral

text: The cathedral uses two distinct architectural styles, with small portions of a third. First, the core of the cathedral is the Carolingian-Romanesque Palatine Chapel, which was modeled after San Vitale at Ravenna and is notably small in comparison to the later additions. Secondly, the choir was constructed in the Gothic style. Finally, there are portions that show Ottonian style, such as the area around the throne.


title: Aachen Cathedral

text: The octagon in the centre of the cathedral was erected as the chapel of the Palace of Aachen between 796 and 805 on the model of other contemporary Byzantine buildings (e.g. the Basilica of San Vitale in Ravenna and the Little Hagia Sophia in Constantinople). The architect was Odo of Metz, and the original design was of a domed octagonal inner room enveloped by a 16 sided outer wall. The span and height of Charlemagne's Palatine chapel was unsurpassed north of the Alps for over two hundred years.


title: Aachen Cathedral

text: The Palatine chapel consisted of a high octagonal room with a two-story circuit below. The inner octagon, with a diameter of , is made up of strong piers, on which an octagonal cloister vault lies, covering the central room. Around this inner octagon is a sixteen sided circuit of low groin vaults, supporting a high gallery above. This upper story was known as the "Hochmünster" (high church). The arched openings of the lower story are only about half as high as those of the "Hochmünster", as a result of which the lower story looks stocky and bulky. The two floors are separated from each other by an expansive cornice. The high altar and Imperial throne are located on the upper circuit of the Palatine chapel in an octagonal side room, covered by a barrel vault lying on an angle. This area was connected with the palace by a passage. Above the arches of the gallery, an octagonal drum with window openings rises, on top of which is the cupola. On the east end was a small apse that protruded and was, in later years, replaced by the choir. Opposite of this, was the tiered entrance to the rest of the now defunct palace, Westwork. Light is brought in by a three tiered system of circular arched windows. The corners of the octagonal dome are joined with the walls with a system of paired pilasters with corinthian capitals.


title: Aachen Cathedral

text: The upper gallery openings are divided by a grid of columns. These columns are ancient and come from St. Gereon in Cologne. Charlemagne allowed further spolia to be brought to Aachen from Rome and Ravenna at the end of the 8th century. In 1794, during the French occupation of the Rheinland, they were removed to Paris, but in 1815 up to half the pieces remaining in the Louvre were brought back to Aachen. In the 1840s they were restored to their original places once more and new columns of Odenberg granite were substituted for the missing columns. The interior walls were initially lined with a marble facade. The round arched openings in the upper floor in the side walls of the octagon, between the columns, in front of a mezzanine, are decorated with a metre-high railing of Carolingian bronze rails. These bronze rails were cast 1200 years ago in a single piece according to Roman models. The original cupola mosaic was probably executed around 800 and known from Medieval sources depicted Christ as the triumphant lord of the world, surrounded by the symbols of the Four Evangelists, with the twenty-four elders from the Apocalypse of John offering their crowns to him. In 1880-81 it was recreated by the Venetian workshop of Antonio Salviati, according to the plans of the Belgian architect Jean-Baptiste de Béthune. The dome was intricately decorated with a mosaic tile.


title: Aachen Cathedral

text: The exterior walls of the Carolingian octagon, made of quarry stone, is largely unjointed and lacks further ornamentation. The only exception is that the projections of the pillars of the cupola are crowned by antique capitals. Above the Carolingian masonry, there is a Romanesque series of arches above a late Roman gable. The Octagon is crowned by unusual baroque vents.


title: Aachen Cathedral

text: Aachen Cathedral was plastered red in the time of Charlemagne, according to the most recent findings of the Rheinish Office for Monuments. This plaster was made longer-lasting through the addition of crushed red brick. The colour was probably also a reference to the imperial associations of the work.


title: Aachen Cathedral

text: The question of which geometric concepts and basic dimensions lie at the basis of the chapel's construction is not entirely clear even today. Works of earlier cathedral architects mostly followed either the Drusian foot (334 mm) or the Roman foot (295.7 mm). However, these measurements require complex theories to explain the church's actual dimensions. In 2012, the architectural historian Ulrike Heckner proposed a theory of a new, hitherto unknown unit of measure of 322.4 mm, the so-called Carolingian foot, to which all other measurements in the Palatine chapel can be traced back. This measurement is referred to as the "Aachener Königsfuß" (Aachen royal foot), after the similarly sized Parisian royal foot (324.8 mm).


title: Aachen Cathedral

text: Beyond this, there is a symbolic layer to the octagon. Eight was a symbol of the eighth day (Sunday as the sabbath) and therefore symbolised the Resurrection of Jesus Christ and the promise of eternal life. Likewise, ten, the number of perfection in Medieval architectural symbolism, is frequent in the Palatine Chapel: Its diameter (including the circuit surrounding the dome) measures a hundred Carolingian feet (i. e. ten by ten) – equivalent to the height of the dome.


title: Aachen Cathedral

text: The westwork (western facade) of the cathedral is of Carolingian origin, flanked by two stair-towers. It is a two-story building, completed by a porch from the 18th century at the west end.


title: Aachen Cathedral

text: The bronze leaves attached to this porch, the "Wolfstür" (Wolf's Door), weigh 43 hundredweight altogether (cf. with this the Lousberg saga). The main entrance to the cathedral, the door was cast in Aachen around 800 and was located between the westwork and the octagon in the so-called hexadecagon up to 1788. The portal was restored in 1924. Each leaf is divided into eight rectangles – a number which had religious symbolism in Christianity, as a symbol of Sunday, the day of the Resurrection of Jesus Christ and also of perfection (as did twelve, also) and can be found in the measurements of the Palatine Chapel over and over again. These boxes were framed by decorative strips, which are made of egg-shaped decorations. The egg was considered a symbol of life and fertility from antiquity. In Christian belief it was imbued with the even wider symbolism of Eternal Life. The door-rings in the shape of lions' heads are wreathed by 24 (i.e. two times twelve or three times eight) acanthus scrolls – again to be understood at the deepest level through numerology. The Wolfstür's imitation of the shape of the ancient Roman temple door signifies Charlemagne's claim, to have established a New Rome in Aachen with the Palatine Chapel as the distinctive monumental building.


title: Aachen Cathedral

text: There were multiple sculptures, made of bronze, including an equestrian piece probably meant as a parallel of a statue of Marcus Aurelius in Rome. In the forehall, there is a bronze sculpture of a bear, which was probably made in the 10th century, i.e. in Ottonian times. Opposite it is a bronze pine cone with 129 perforated scales, which stands 91 cm high (including its base); its date is controversial and ranges from the 3rd to the 10th century. Its base is clearly Ottonian and includes an inscription written in Leonine hexameter, which refers to the Tigris and Euphrates rivers of Mesopotamia. According to one view, the pine cone would originally have served as a waterspout on a fountain and would have been placed in the atrium of the Palatine chapel in Carolingian times.


title: Aachen Cathedral

text: The upper level is characterised by an exceptionally fine brick western wall. Inside, it bulges outward, while the outside bulges inwards, so that the Carolingian west wall can be seen as a convex-concave bulge. Before the construction of the porch in the 18th century, the Carolingian west facade, when seen from the Narthex, was particularly evocative: a large niche, topped by a semicircular arch in the western upper level corresponded to the semicircle of the barrel vault of the lower level.


title: Aachen Cathedral

text: Today, the western wall is broken up by the large western window. The large window frame dates from the Gothic period and replaced a smaller window from Carolingian times, which was probably structured as a mullion (a double arch with a column in the centre). The modern window was designed by Ewald Mataré in 1956. Mataré's design imitates, however abstractly, the structure of the Carolingian bronze gate inside the dome. Bronze and unprocessed quartz form the window itself.


title: Aachen Cathedral

text: The function of the upstairs part of the west facade is not entirely clear. The right of baptism (long reserved for the Collegiate Church of Mary) was at a baptismal font, which was behind the marble throne, until the end of the "Ancien Régime". Possibly the space was involved in these ceremonies. Furthermore, in the western wall, under the great west window, there is a "Fensetella" (small window) even today, through which there is line of sight to the court below, the former atrium. It is certain that the so-called "Carolingian Passage" entered this room on its northern wall, connecting the Aula Regia (King's Hall) in the north of the palace with the church.


title: Aachen Cathedral

text: The lower, barrel-vaulted room in the west probably served as Charlemagne's sepulchre after his death on 28 January 814 and his burial in the Persephone sarcophagus.


title: Aachen Cathedral

text: The floors of the western facade lying above this room were remodelled in the first half of the 14th century and in the 17th century; the tower was completed between 1879 and 1884.


title: Aachen Cathedral

text: Between 1355 and 1414, on the initiative of the Marienstift and the mayor of Aachen Gerhard Chorus (1285–1367), a Gothic Choir was built to the east of the Octagon. Before this there must have been a rectangular Carolingian choir.


title: Aachen Cathedral

text: The Gothic choir measures 25m in length, 13m wide and 32m high. Its external wall is broken, as much as possible, by windows – the surface area of the glass is more than 1,000m² and led to the name "Glashaus" (glass house). This was conceived as a glass reliquary for the holy relics of Aachen and for the body of Charlemagne. The design is arranged on the model of the Sainte-Chapelle in Paris, likewise a space for important relics and a royal palace chapel. For protection of the vault of the choir, iron rods were built in at the time of construction, to counter the lateral force on the narrow stone supports and to allow as much space as possible between them for window space.


title: Aachen Cathedral

text: Aachen Cathedral houses a collection of medieval art objects from the late Classical, Carolingian, Ottonian and Staufian periods which are exceptional in their artistic and religious meaning.


title: Aachen Cathedral

text: In the western gallery on the lower floor, opposite the choir, the Throne of Charlemagne is to be found, which has been the object of new investigations in the past decades. The original Carolingian throne came from the spolia of the Church of the Holy Sepulchre in Jerusalem. The appearance of the throne and its location in the Palatine Chapel did not change with the passage of centuries. Between 936 and 1531, thirty one German kings ascended to this throne after their anointment and coronation at the Marienaltar (Altar of Mary).


title: Aachen Cathedral

text: The "Marienschrein" (Shrine of St. Mary) rests in the choir of the church and dates from 1220 to 1239. Adorned with the figures of Christ, Mary, Charlemagne, Pope Leo III and the Twelve Apostles, the shrine contains the four great Aachen relics: St. Mary's cloak, Christ's swaddling clothes, St. John the Baptist's beheading cloth and Christ's loincloth. Following a custom begun in 1349, every seven years the relics are taken out of the shrine and put on display during the Great Aachen Pilgrimage. This pilgrimage most recently took place during June 2014.


title: Aachen Cathedral

text: From the vault of the dome, which is made up of eight curved faces, a wheel chandelier hangs on a long chain, about four metres above the ground, with a diameter of over four metres, which is known as the Barbarossa Chandelier (1165/1170). This artwork was a donation of Emperor Frederick Barbarossa and his wife Beatrice. The forty-eight candles of the chandelier are lit for solemnities of the Church.


title: Aachen Cathedral

text: Between 1002 and 1014, Henry II had a pulpit erected as an ambon in the east passage, which is among the most magnificent artistic treasures of the Ottonian Renaissance. Its inscription on the upper and lower edges clearly identifies its donor as Henry II, referring to him as "REX PIVS HEINRICVS". The pulpit is made of an oak base and is decorated all over with filigree and precious stones, with many precious artefacts from antiquity, such as four repoussé copper reliefs with depictions of the Evangelists, as well as six ivory panels of the 6th century. The wooden staircase dates to 1782. The Ambon was thoroughly restored in 1816/1817 and again between 1926 and 1937. To this day, the pulpit is still in liturgical use for solemnities of the Church.


title: Aachen Cathedral

text: A golden altarpiece, the Pala d'Oro which today forms the Antependium of the high altar was probably created around 1020 in Fulda. It consists of seventeen individual gold panels with reliefs in repoussé. In the centre, Christ is enthroned as Redeemer in a Mandorla, flanked by Mary and the Archangel Michael. Four round medallions with images of the Evangelists' symbols show the connection to the other twelve relief panels with depictions from the life of Jesus Christ. They begin with the entry into Jerusalem and end with the encounter of the women with the risen Christ in front of the open grave on Easter morning. The depictions are read from left to right, like a book.


title: Aachen Cathedral

text: Stylistically, the Pala d'Oro is not uniform. The first five reliefs probably come from a goldsmith taught in the Rheinland and is distinguished by a strikingly joyful narration. It probably derives from a donation of Emperor Otto III. The other panels, together with the central group of Christ, Mary, and Michael, draws from Byzantine and late Carolingian predecessors and was likely first added under Otto's successor, Henry II, who also donated the Ambo of Henry II.


title: Aachen Cathedral

text: Presumably, in the late 15th century, the golden altarpiece formed a massive altar system together with the twelve reliefs of apostles in the cathedral treasury, along with altarpieces with scenes from the life of Mary, which would have been dismantled in 1794 as the French Revolutionary troops approached Aachen.


title: Aachen Cathedral

text: The Aachen cathedral treasury includes highly important objects including the Cross of Lothair, Bust of Charlemagne and the Persephone sarcophagus. The Cathedral Treasury in Aachen is regarded as one of the most important ecclesiastical treasuries in northern Europe. Pilgrims are able to see some of the relics every seven years when they are displayed.


title: Aachen Cathedral

text: The organ system of Aachen Cathedral was installed in 1939. It consists in part of the earlier organ, installed 1845–1847, which was built by the organ builder Wilhelm Korfmacher of Linnich. This "Korfmacher" organ had 60 stops, distributed in three works.


title: Aachen Cathedral

text: The current instrument was installed in 1939 by Johannes Klais (Bonn) and expanded to 65 stops, which were distributed thereafter in five works. To achieve a balanced sound throughout the cathedral, the parts were distributed through the cathedral: in the northwest and southwest niches of the choir are the works of the High organ, while a swallow's nest organ was hung on the east pillar of the octagon.


title: Aachen Cathedral

text: In 1991–1993, the organ was restored by the Klais organ company and increased to a total of 89 stops. At this time the swallow's nest organ was turned into a new, independent instrument, which now stands in the upper church, between the octagon and the choir.


title: Aachen Cathedral

text: As well as a chamber organ, the cathedral also has a small organ, called the "Zoboli Organ". This was built by the north Italian organ builder, Cesare Zomboli, probably some time around 1850. The pipeworks, windbox, and keyboard survive. The historic housing no longer exists, but the current housing was built later on the model of a north Italian cabinet organ in classicist style. The instrument is arranged in the classic Italian style, with the typical stops of the Roman style as well.


title: Aachen Cathedral

text: In the belfry of the tower, eight bells hang on wooden yokes in a wooden bell frame. The bells were cast three years after the city fire of 1656 by Franz Von Trier and his son Jakob. This disposition, altered from that of Medieval times, has been maintained to this day, except that the Marybell has had to be replaced twice. The modern Marybell was made in 1958 and was cast by Petit & Gebr. Edelbrock.


title: Aachen Cathedral

text: The core of Aachen Cathedral, the Carolingian octagon, was originally erected as Charlemagne's palace chapel and was also his grave. After his death, on 28 January 814, he was buried in his church; the exact spot is unknown, because of the lack of documentation and the ambiguity of the physical evidence. However, it is probable that he was buried in the Persephone sarcophagus under the west tower at the entrance to the octagon.


title: Aachen Cathedral

text: In 1000, Otto III had Charlemagne's vault opened. Otto of Lomello, one of the courtiers who accompanied him, recorded the event, which is reported in the Chronicle of Novalesia, written about 1026. The account reads:


title: Aachen Cathedral

text: A large picture representing Otto and his nobles gazing on the dead Emperor was painted on the wall of the great room in Aachen Town Hall.


title: Aachen Cathedral

text: In 1165, on the occasion of Charlemagne's canonisation, Emperor Frederick Barbarossa again opened the vault and reinterred his remains. In 1215, at his coronation, Frederick II had the remains reinterred for the last time, placing them in a casket of gold and silver, known as the Karlsschrein, where they remain to this day.


title: Aachen Cathedral

text: On the explicit instructions of Charlemagne, his son Louis the Pious crowned himself king in the chapel. Between the coronation of Otto I in 936 and 1531, thirty German kings (out of ~40) were crowned in the chapel. The coronation itself occurred at the High Altar, followed by the enthronement on the Aachen Throne of Charlemagne (which can still be seen today). It is also notable that in this period, all German rulers, regardless of whether they were crowned in Aachen or not, took their position on Charlemagne's throne.


title: Aachen Cathedral

text: The Aachen pilgrimage ("Aachener Heiligtumsfahrt"), a pilgrimage during which the four most important religious relics of the cathedral can be seen by believers, is attested from 1238. Since 1349, these relics have been displayed once every seven years. The last pilgrimage was in 2014, and had the motto ""Geh in das Land, das ich dir zeigen werde"" ("Go to the land I will show you"; cf. ).


title: Aachen Cathedral

text: As early as the Middle Ages, Aachen Cathedral was admired and imitated, as in the case of Essen Minster, the Old Tower in Mettlach and in the Alsatian Abbey Church of Ottmarsheim. Construction elements of the octagon and choir were nominated as Historic landmarks of German civil engineering in 2007.


title: Aachen Cathedral

text: According to legend, the people of Aachen ran out of funding to finish the construction of the cathedral. It is said that they made a deal with the devil to obtain the remaining funds, in exchange for the soul of the first to enter the cathedral. Upon completion, the locals sent a wolf into the cathedral and the devil quickly took the animal's soul. Upon realizing the trick, the devil stormed from the cathedral, severing his thumb in the lion head door handles. A wolf statue sits in the entrance to the cathedral, and the "devil's thumb" can be felt inside the lion's mouth.


title: Aachen Cathedral

text: The German impressionist painter August von Brandis painted Aachen Cathedral in several works. Act III of Giuseppe Verdi's "Ernani" is set at the tomb of Charlemagne.


title: Aachen Cathedral

text: The "Domwache" (Cathedral watch), a youth self-help group, has been operated since 1957 by the Catholic students association of K.D.St.V. Franconia Aachen.


title: Aachen Cathedral

text: Since November 15th 2012, the Geological Service of North Rhine-Westphalia operates a station monitoring seismic activity in the Lower Rhine Basin. It is located in the foundations of the hexadecagon near the entry to the St Ann's Chapel.


title: Cultural depictions of ravens

text: Many references to ravens exist in world lore and literature. Most depictions allude to the appearance and behavior of the wide-ranging common raven ("Corvus corax"). Because of its black plumage, croaking call, and diet of carrion, the raven is often associated with loss and ill omen. Yet, its symbolism is complex. As a talking bird, the raven also represents prophecy and insight. Ravens in stories often act as psychopomps, connecting the material world with the world of spirits.


title: Cultural depictions of ravens

text: French anthropologist Claude Lévi-Strauss proposed a structuralist theory that suggests the raven (like the coyote) obtained mythic status because it was a mediator animal between life and death. As a carrion bird, ravens became associated with the dead and with lost souls. In Swedish folklore, they are the ghosts of murdered people without Christian burials and, in German stories, damned souls.


title: Cultural depictions of ravens

text: The Raven has appeared in the mythologies of many ancient peoples. Some of the more common stories are from those of Greek, Celtic, Norse, Pacific Northwest, and Roman mythology.


title: Cultural depictions of ravens

text: In Greek mythology, ravens are associated with Apollo, the God of prophecy. They are said to be a symbol of bad luck, and were the gods’ messengers in the mortal world. According to the mythological narration, Apollo sent a white raven, or crow in some versions to spy on his lover, Coronis. When the raven brought back the news that Coronis had been unfaithful to him, Apollo scorched the raven in his fury, turning the animal's feathers black.


title: Cultural depictions of ravens

text: According to Livy, the Roman general Marcus Valerius Corvus (c. 370–270 BC) had a raven settle on his helmet during a combat with a gigantic Gaul, which distracted the enemy's attention by flying in his face.


title: Cultural depictions of ravens

text: The raven (Hebrew: ; Koine Greek: ) is the first species of bird to be mentioned in the Hebrew Bible, and ravens are mentioned on numerous occasions thereafter. In the Book of Genesis, Noah releases a raven from the ark after the great flood to test whether the waters have receded (Gen. 8:6–7). According to the Law of Moses, ravens are forbidden for food (Leviticus 11:15; Deuteronomy 14:14), a fact that may have colored the perception of ravens in later sources. In the Book of Judges, one of the Kings of the Midianites defeated by Gideon is called "Orev" (), which means "Raven". In the Book of Kings 17:4–6, God commands the ravens to feed the prophet Elijah. King Solomon is described as having hair as black as a raven in the Song of Songs 5:11. Ravens are an example of God's gracious provision for all His creatures in Psalm 147:9 and Job 38:41. (In the New Testament as well, ravens are used by Jesus as an illustration of God's provision in Luke 12:24.)


title: Cultural depictions of ravens

text: Philo of Alexandria (first century AD), who interpreted the Bible allegorically, stated that Noah's raven was a symbol of vice, whereas the dove was a symbol of virtue (Questions and Answers on Genesis 2:38).


title: Cultural depictions of ravens

text: In the Talmud, the raven is described as having been only one of three beings on Noah's Ark that copulated during the flood and so was punished. The Rabbis believed that the male raven was forced to spit. According to the Icelandic "Landnámabók"—a story similar to Noah and the Ark – Hrafna-Flóki Vilgerðarson used ravens to guide his ship from the Faroe Islands to Iceland.


title: Cultural depictions of ravens

text: Pirke De-Rabbi Eliezer (chapter 25) explains that the reason the raven Noah released from the ark did not return to him was that the raven was feeding on the corpses of those who drowned in flood.


title: Cultural depictions of ravens

text: According to the legend of the fourth-century Iberian Christian martyr Saint Vincent of Saragossa, after St. Vincent was executed, ravens protected his body from being devoured by wild animals, until his followers could recover the body. His body was taken to what is now known as Cape St. Vincent in southern Portugal. A shrine was erected over his grave, which continued to be guarded by flocks of ravens. The Arab geographer Al-Idrisi noted this constant guard by ravens, for which the place was named by him كنيسة الغراب "Kanīsah al-Ghurāb" (Church of the Raven). King Afonso Henriques (1139–1185) had the body of the saint exhumed in 1173 and brought it by ship to Lisbon, still accompanied by the ravens. This transfer of the relics is depicted on the coat of arms of Lisbon.


title: Cultural depictions of ravens

text: A raven is also said to have protected Saint Benedict of Nursia by taking away a loaf of bread poisoned by jealous monks after he blessed it.


title: Cultural depictions of ravens

text: In the legends about the German Emperor Frederick Barbarossa, depicting him as sleeping along with his knights in a cave in the Kyffhäuser mountain in Thuringia or the Untersberg in Bavaria, it is told that when the ravens cease to fly around the mountain, he will awake and restore Germany to its ancient greatness. According to the story, the Emperor's eyes are half-closed in sleep, but now and then, he raises his hand and sends a boy out to see if the ravens have stopped flying.


title: Cultural depictions of ravens

text: The early Medieval Welsh poem "Y Gododdin" makes various references to ravens eating the bodies of warriors killed in battle. A battlefield is refereed to as "the ravens' feast", and the hero Gwawrddur is mentioned as having "fed black ravens on the rampart of a fortress".


title: Cultural depictions of ravens

text: The story, as presented in the Quran and further postulated in the hadith, states that Cain, having murdered Abel, was bereft of a means of disposing of his brother's body. While scanning the surroundings for a solution, Cain noticed two ravens, one dead and the other alive. The still-living raven began digging the ground with its beak until a hole had been dug up, in which it buried its dead mate. Witnessing this, Cain discovered his solution, as indirectly revealed by God.


title: Cultural depictions of ravens

text: To the Germanic peoples, Odin was often associated with ravens. Examples include depictions of figures often identified as Odin appear flanked with two birds on a 6th-century bracteate and on a 7th-century helmet plate from Vendel, Sweden. In later Norse mythology, Odin is depicted as having two ravens Huginn and Muninn, serving as his eyes and ears – "huginn" meaning "thought" and "muninn" meaning "memory". Each day the ravens fly out from Hliðskjálf and bring Odin news from Midgard.


title: Cultural depictions of ravens

text: The Old English word for a raven was "hræfn"; in Old Norse it was "hrafn"; the word was frequently used in combinations as a kenning for bloodshed and battle.


title: Cultural depictions of ravens

text: The raven was a common device used by the Vikings. Ragnar Lothbrok had a raven banner called "Reafan", embroidered with the device of a raven. It was said that if this banner fluttered, Lothbrok would carry the day, but if it hung lifeless, the battle would be lost. King Harald Hardrada also had a raven banner, called "Landeythan" (land-waster). The bird also appears in the folklore of the Isle of Man, a former Viking colony, and it is used as a symbol on their coat of arms.


title: Cultural depictions of ravens

text: In Irish mythology, ravens are associated with warfare and the battleground in the figures of Badb and Morrígan. The goddess Morrígan alighted on the hero Cú Chulainn's shoulder in the form of a raven after his death.


title: Cultural depictions of ravens

text: Ravens were also associated with the Welsh god Bran the Blessed (the brother of Branwen), whose name translates to "raven." According to the "Mabinogion", Bran's head was buried in the White Hill of London as a talisman against invasion. He is depicted as a giant and the King of the Britons in a tale known as the Second Branch of the "Mabinogi". Several other characters in Welsh mythology share his name, and ravens figure prominently in the 12th or 13th-century text "The Dream of Rhonabwy", as the army of King Arthur's knight Owain.


title: Cultural depictions of ravens

text: According to legend, the Kingdom of England will fall if the ravens of the Tower of London are removed. It had been thought that there had been at least six ravens in residence at the tower for centuries. It was said that Charles II ordered their removal following complaints from John Flamsteed, the Royal Astronomer. However, they were not removed because Charles was then told of the legend. Charles, following the time of the English Civil War, superstition or not, was not prepared to take the chance, and instead had the observatory moved to Greenwich.


title: Cultural depictions of ravens

text: The earliest known reference to a Tower raven is a picture in the newspaper "The Pictorial World" in 1883, as well as a poem and illustration published the same year in the children's book "London Town". This and scattered subsequent references, both literary and visual, which appear in the late nineteenth to the early twentieth century, place them near the monument commemorating those beheaded at the tower, popularly known as the "scaffold." This strongly suggests that the ravens, which are notorious for gathering at gallows, were originally used to dramatize tales of imprisonment and execution at the tower told to tourists by the Yeomen Warders. There is evidence that the original ravens were donated to the tower by the Earls of Dunraven, perhaps because of their association with the Celtic raven-god Bran. However, wild ravens, which were once abundant in London and often seen around meat markets (such as nearby Eastcheap) foraging for scraps, could have roosted at the Tower in earlier times.


title: Cultural depictions of ravens

text: During the Second World War, most of the Tower's ravens perished through shock during bombing raids, leaving only a mated pair named "Mabel" and "Grip." Shortly before the Tower reopened to the public, Mabel flew away, leaving Grip despondent. A couple of weeks later, Grip also flew away, probably in search of his mate. The incident was reported in several newspapers, and some of the stories contained the first references in print to the legend that the British Empire would fall if the ravens left the tower. Since the Empire was dismantled shortly afterward, those who are superstitious might interpret events as a confirmation of the legend. Before the tower reopened to the public on 1 January 1946, care was taken to ensure that a new set of ravens was in place.


title: Cultural depictions of ravens

text: Ravens appear as stock characters in several traditional Serbian epic poems. Like in many other cultures, the raven is associated with death – more specifically with an aftermath of a bloody or significant battle. Ravens often appear in pairs and play the role of harbingers of tragic news, usually announcing the death of a hero or a group of heroes. They tend to appear in combination with female characters as receivers of the news. Usually, a mother or a wife of a hero will be notified about the hero's death by a visit from a pair of ravens. Sometimes, these are treated as supernatural creatures capable of communicating with humans that report about events directly. Alternatively, these are ordinary birds bringing along scavenged body parts, such as a hand or a finger with a ring, by which the fate of the hero will be recognized. The most notable examples of this pattern are found in the songs "Car Lazar i Carica Milica" (Tsar Lazar and Tsarina Militsa) and "Boj na Mišaru" (Battle of Mishar).


title: Cultural depictions of ravens

text: In the "", a chapter of the "Yoga Vasistha", a very old sage in the form of a crow, Bhusunda, recalls a succession of epochs in the earth's history, as described in Hindu cosmology. He survived several destructions, living on a wish-fulfilling tree on Mount Meru. Crows are also considered ancestors in Hinduism, and during Śrāddha the practice of offering food or pinda to crows is still in vogue.


title: Cultural depictions of ravens

text: The Hindu deity Shani is often represented as being mounted on a giant black raven or crow. The crow (sometimes a raven or vulture) is Shani's Vahana. As a protector of property, Shani is able to repress the thieving tendencies of these birds. Dhumavati, the widow goddess associated with strife and inauspiciousness, is depicted riding a crow or in a horseless chariot bearing an emblem of a crow.


title: Cultural depictions of ravens

text: The raven is the national bird of Bhutan, and it adorns the royal hat, representing the deity Gonpo Jarodonchen (Mahakala) with Raven's head; one of the important guardian deities.


title: Cultural depictions of ravens

text: In Persian sacred literature, a bird acted as the emissary for the diffusion of the Zoroastrian religion among the creatures living in Yima's enclosure ("vara"). The bird's name is given as "Karšiptar" or "Karšift". According to scholarship, its name would mean "black-winged" (from "Karši-" "black", cognate to Sanskrit "kṛṣṇá" and Slavic "chjerno"; and "ptar-", cognate to Greek "pterón"). The name possibly refers to a raven, since this bird plays the role of divine messenger in several mythologies.


title: Cultural depictions of ravens

text: The raven also has a prominent role in the mythologies of the Indigenous peoples of the Pacific Northwest Coast, including the Tsimishians, Haidas, Heiltsuks, Tlingits, Kwakwaka'wakw, Coast Salish, Koyukons, and Inuit. The raven in these indigenous peoples' mythology is the Creator of the world, but it is also considered a trickster God. For instance, in Tlingit culture, there are two different raven characters that can be identified, although they are not always clearly differentiated. One is the creator raven, responsible for bringing the world into being and who is sometimes considered to be the individual who brought light to the darkness. The other is the childish raven, always selfish, sly, conniving, and hungry. When the Great Spirit created all things, he kept them separate and stored them in cedar boxes. The Great Spirit gifted these boxes to the animals who existed before humans. When the animals opened the boxes all the things that comprise the world came into being. The boxes held such things as mountains, fire, water, wind, and seeds for all the plants. One such box, which was given to Seagull, contained all the light of the world. Seagull coveted his box and refused to open it, clutching it under his wing. All the people asked Raven to persuade Seagull to open it and release the light. Despite begging, demanding, flattering, and trying to trick him into opening the box, Seagull still refused. Finally, Raven became angry and frustrated, and stuck a thorn in Seagull's foot. Raven pushed the thorn in deeper until the pain caused Seagull to drop the box. Then out of the box came the sun, moon, and stars that brought light to the world and allowed the first day to begin.


title: Cultural depictions of ravens

text: Bill Reid created the sculpture of "The Raven and the First Men" depicting a scene from a Haida myth that unifies the Raven as both the trickster and the creator. According to this myth, the raven, who was both bored and well-fed, found and freed some creatures trapped in a clam. These scared and timid beings were the first men of the world, and they were coaxed out of the clamshell by the raven. Soon the raven was bored with these creatures and planned to return them to their shell. Instead, the raven decided to search for the female counterparts of these male beings. The raven found some female humans trapped in a chiton, freed them, and was entertained as the two sexes met and began to interact. The raven, always known as a trickster, was responsible for the pairing of humans and felt very protective of them. With the Raven perceived as the creator, many Haida myths and legends often suggest the raven as a provider to mankind.


title: Cultural depictions of ravens

text: Another raven story from the Puget Sound region describes the "Raven" as having originally lived in the land of spirits (literally "bird land") that existed before the world of humans. One day the Raven became so bored with "bird land" that he flew away, carrying a stone in his beak. When the Raven became tired of carrying the stone and dropped it, the stone fell into the ocean and expanded until it formed the firmament on which humans now live.


title: Cultural depictions of ravens

text: One ancient story told on Haida Gwaii tells about how Raven helped to bring the Sun, Moon, Stars, Fresh Water, and Fire to the world:


title: Cultural depictions of ravens

text: Other notable stories tell of the Raven stealing and releasing the sun, and of the Raven tempting the first humans out of a clamshell. Another story of the Kwakiutl or Kwakwaka'wakw of British Columbia who exposed boys' placentas to ravens to encourage future prophetic visions, thereby associating the raven with prophecy, similar to the traditions of Scandinavia.


title: Cultural depictions of ravens

text: In one legend, Raven transformed himself into a pine needle which is swallowed by the unmarried daughter of the owner of the box of daylight, who then becomes pregnant and gives birth to Raven in disguise.


title: Cultural depictions of ravens

text: The raven god or spirit Kutcha (or Kutkh, ()) is important in the shamanic tradition of the Koryaks and other indigenous Chukotko-Kamchatkan peoples of the Russian Far East.


title: Cultural depictions of ravens

text: Kutcha is traditionally revered in various forms by various peoples and appears in many legends: as a key figure in creation, as a fertile ancestor of mankind, as a mighty shaman, and as a trickster. He is a popular subject of the animist stories of the Chukchi people and plays a central role in the mythology of the Koryaks and Itelmens of Kamchatka. Many of the stories regarding Kutkh are similar to those of the Raven among the indigenous peoples of the Pacific Northwest Coast, indicating a long history of indirect cultural contact between Asian and North American peoples.


title: Cultural depictions of ravens

text: Two ravens or crows, flying over the warrior's head in battle, symbolized in Yakut mythology the Ilbis Kyyha and Ohol Uola, two evil spirits of war and violence. Some other gods or spirits in yakut shamanism, including Uluu Suorun Toyon and Uluutuar Uluu Toyon, are described as "great raven of cloudy sky".


title: Cultural depictions of ravens

text: Ravens are common charges in world heraldry. Within British heraldry, the raven is believed to derive from Norman symbolism. The Corbet family, which can trace unbroken male descent to the Norman conquest of England, traditionally uses a raven sable upon a field or as its symbol, only varying it by adding bordures or additional birds. Other corvids, such as the crow and the rook, are not typically distinguished from ravens.


title: Cultural depictions of ravens

text: A raven in present on the crest of the coat of arms of the Washington family. Consequently, the same image appears on the unit insignia of the Washington State Area Command, Washington Army National Guard.


title: Cultural depictions of ravens

text: The common raven is the official bird of the Yukon and of the city of Yellowknife, Northwest Territories.


title: Cultural depictions of ravens

text: The common raven serves as a city symbol in Baltimore owing to the downtown location of Edgar Allan Poe's gravesite. Poe's most famous poem inspired the name and colours of the Baltimore Ravens, a National Football League team.


title: Cultural depictions of ravens

text: The Norwegian Nasjonal Samling party of 1933–1945 relied heavily on Nordic and Viking symbolism and used a crest of a raven clutching a sun cross on documents and uniform insignias, particularly under the Quisling regime.


title: Muscarinic acetylcholine receptor

text: Muscarinic acetylcholine receptors, or mAChRs, are acetylcholine receptors that form G protein-coupled receptor complexes in the cell membranes of certain neurons and other cells. They play several roles, including acting as the main end-receptor stimulated by acetylcholine released from postganglionic fibers in the parasympathetic nervous system.


title: Muscarinic acetylcholine receptor

text: Muscarinic receptors are so named because they are more sensitive to muscarine than to nicotine. Their counterparts are nicotinic acetylcholine receptors (nAChRs), receptor ion channels that are also important in the autonomic nervous system. Many drugs and other substances (for example pilocarpine and scopolamine) manipulate these two distinct receptors by acting as selective agonists or antagonists.


title: Muscarinic acetylcholine receptor

text: Acetylcholine (ACh) is a neurotransmitter found in the brain, neuromuscular junctions and the autonomic ganglia.


title: Muscarinic acetylcholine receptor

text: ACh is always used as the neurotransmitter within the autonomic ganglion. Nicotinic receptors on the postganglionic neuron are responsible for the initial fast depolarization (Fast EPSP) of that neuron. As a consequence of this, nicotinic receptors are often cited as "the receptor on the postganglionic neurons at the ganglion". However, the subsequent hyperpolarization (IPSP) and slow depolarization (Slow EPSP) that represent the recovery of the postganglionic neuron from stimulation are actually mediated by "muscarinic" receptors, types M and M respectively (discussed below).


title: Muscarinic acetylcholine receptor

text: Peripheral autonomic fibers (sympathetic and parasympathetic fibers) are categorized anatomically as either preganglionic or postganglionic fibers, then further generalized as either adrenergic fibers, releasing noradrenaline, or cholinergic fibers, both releasing acetylcholine and expressing acetylcholine receptors. Both preganglionic sympathetic fibers and preganglionic parasympathetic fibers are cholinergic. Most postganglionic sympathetic fibers are adrenergic: their neurotransmitter is norepinephrine except postganglionic sympathetic fibers to the sweat glands, piloerectile muscles of the body hairs, and the skeletal muscle arterioles do not use adrenaline/noradrenaline.


title: Muscarinic acetylcholine receptor

text: The adrenal medulla is considered a sympathetic ganglion and, like other sympathetic ganglia, is supplied by cholinergic preganglionic sympathetic fibers: acetylcholine is the neurotransmitter utilized at this synapse. The chromaffin cells of the adrenal medulla act as "modified neurons", releasing adrenaline and noradrenaline into the bloodstream as hormones instead of as neurotransmitters. The other postganglionic fibers of the peripheral autonomic system belong to the parasympathetic division; all are cholinergic fibers, and use acetylcholine as the neurotransmitter.


title: Muscarinic acetylcholine receptor

text: Another role for these receptors is at the junction of the innervated tissues and the postganglionic neurons in the parasympathetic division of the autonomic nervous system. Here acetylcholine is again used as a neurotransmitter, and "muscarinic" receptors form the principal receptors on the innervated tissue.


title: Muscarinic acetylcholine receptor

text: Very few parts of the sympathetic system use cholinergic receptors. In sweat glands the receptors are of the "muscarinic" type. The sympathetic nervous system also has some preganglionic nerves terminating at the chromaffin cells in the adrenal medulla, which secrete epinephrine and norepinephrine into the bloodstream. Some believe that chromaffin cells are modified postganglionic CNS fibers. In the adrenal medulla, acetylcholine is used as a neurotransmitter, and the receptor is of the "nicotinic" type.


title: Muscarinic acetylcholine receptor

text: Muscarinic acetylcholine receptors are also present and distributed throughout the local nervous system, in post-synaptic and pre-synaptic positions. There is also some evidence for postsynaptic receptors on sympathetic neurons allowing the parasympathetic nervous system to inhibit sympathetic effects.


title: Muscarinic acetylcholine receptor

text: It is known that muscarinic acetylcholine receptors also appear on the pre-synaptic membrane of somatic neurons in the neuro-muscular junction, where they are involved in the regulation of acetylcholine release.


title: Muscarinic acetylcholine receptor

text: Muscarinic acetylcholine receptors belong to a class of metabotropic receptors that use G proteins as their signaling mechanism. In such receptors, the signaling molecule (the ligand) binds to a monomeric receptor that has seven transmembrane regions; in this case, the ligand is ACh. This receptor is bound to intracellular proteins, known as G proteins, which begin the information cascade within the cell.


title: Muscarinic acetylcholine receptor

text: By contrast, nicotinic receptors form pentameric complexes and use a ligand-gated ion channel mechanism for signaling. In this case, binding of the ligands with the receptor causes an ion channel to open, permitting either one or more specific types of ions (e.g., K, Na, Ca) to diffuse into or out of the cell.


title: Muscarinic acetylcholine receptor

text: By the use of selective radioactively labeled agonist and antagonist substances, five subtypes of muscarinic receptors have been determined, named M–M (using an upper case M and subscript number). M, M, M receptors are coupled with G proteins, while M and M receptors are coupled with G proteins. There are other classification systems. For example, the drug pirenzepine is a muscarinic antagonist (decreases the effect of ACh), which is much more potent at M receptors than it is at other subtypes. The acceptance of the various subtypes proceeded in numerical order, therefore, earlier sources may recognize only M and M subtypes, while later studies recognize M, M, and most recently M subtypes.


title: Muscarinic acetylcholine receptor

text: Meanwhile, geneticists and molecular biologists have characterised five genes that appear to encode muscarinic receptors, named m1-m5 (lowercase m; no subscript number). They code for pharmacologic types M-M. The receptors m1 and m2 were determined based upon partial sequencing of M and M receptor proteins. The others were found by searching for homology, using bioinformatic techniques.


title: Muscarinic acetylcholine receptor

text: G proteins contain an alpha-subunit that is critical to the functioning of receptors. These subunits can take a number of forms. There are four broad classes of form of G-protein: G, G, G, and G. Muscarinic receptors vary in the G protein to which they are bound, with some correlation according to receptor type. G proteins are also classified according to their susceptibility to cholera toxin (CTX) and pertussis toxin (PTX, whooping cough). G and some subtypes of G (G and G) are susceptible to CTX. Only G is susceptible to PTX, with the exception of one subtype of G (G) which is immune. Also, only when bound with an agonist, those G proteins normally sensitive to PTX also become susceptible to CTX.


title: Muscarinic acetylcholine receptor

text: The various G-protein subunits act differently upon secondary messengers, upregulating Phospholipases, downregulating cAMP, and so on.


title: Muscarinic acetylcholine receptor

text: Because of the strong correlations to muscarinic receptor type, CTX and PTX are useful experimental tools in investigating these receptors.


title: Muscarinic acetylcholine receptor

text: This receptor is found mediating slow EPSP at the ganglion in the postganglionic nerve, is common in exocrine glands and in the CNS.


title: Muscarinic acetylcholine receptor

text: It is predominantly found bound to G proteins of class G, which use upregulation of phospholipase C and, therefore, inositol trisphosphate and intracellular calcium as a signaling pathway. A receptor so bound would not be susceptible to CTX or PTX. However, G (causing a downstream decrease in cAMP) and G (causing an increase in cAMP) have also been shown to be involved in interactions in certain tissues, and so would be susceptible to PTX and CTX, respectively.


title: Muscarinic acetylcholine receptor

text: The M muscarinic receptors are located in the heart and lungs. In the heart, they act to slow the heart rate down below the normal baseline sinus rhythm, by slowing the speed of depolarization. In humans, under resting conditions, vagal activity dominates over sympathetic activity. Hence, inhibition of M receptors (e.g. by atropine) will cause a raise in heart rate. They also moderately reduce contractile forces of the atrial cardiac muscle, and reduce conduction velocity of the atrioventricular node (AV node). It also serves to slightly decrease the contractile forces of the ventricular muscle.


title: Muscarinic acetylcholine receptor

text: M muscarinic receptors act via a G type receptor, which causes a decrease in cAMP in the cell, inhibition of voltage-gated Ca channels, and increasing efflux of K, in general, leading to inhibitory-type effects.


title: Muscarinic acetylcholine receptor

text: The M muscarinic receptors are located at many places in the body. They are located in the smooth muscles of the blood vessels, as well as in the lungs. Because the M receptor is G-coupled and mediates an increase in intracellular calcium, it typically causes contraction of smooth muscle, such as that observed during bronchoconstriction and bladder voiding. However, with respect to vasculature, activation of M on vascular endothelial cells causes increased synthesis of nitric oxide, which diffuses to adjacent vascular smooth muscle cells and causes their relaxation, thereby explaining the paradoxical effect of parasympathomimetics on vascular tone and bronchiolar tone. Indeed, direct stimulation of vascular smooth muscle, M mediates vasoconstriction in diseases wherein the vascular endothelium is disrupted.


title: Muscarinic acetylcholine receptor

text: The M receptors are also located in many glands, which help to stimulate secretion in, for example, the salivary glands, as well as other glands of the body.


title: Muscarinic acetylcholine receptor

text: Like the M muscarinic receptor, M receptors are G proteins of class G that upregulate phospholipase C and, therefore, inositol trisphosphate and intracellular calcium as a signaling pathway.


title: Muscarinic acetylcholine receptor

text: M receptors work via G receptors to decrease cAMP in the cell and, thus, produce generally inhibitory effects. Possible bronchospasm may result if stimulated by muscarinic agonists


title: Muscarinic acetylcholine receptor

text: Like the M and M muscarinic receptor, M receptors are coupled with G proteins of class G that upregulate phospholipase C and, therefore, inositol trisphosphate and intracellular calcium as a signaling pathway.


title: Muscarinic acetylcholine receptor

text: Ligands targeting the mAChR that are currently approved for clinical use include non-selective antagonists for the treatment of Parkinson's disease, atropine (to dilate the pupil), scopolamine (used to prevent motion sickness), and ipratropium (used in the treatment of COPD).


title: Bravest Warriors

text: Bravest Warriors is an American-Canadian animated series. Set onwards from the year 3085, it follows four teenage heroes-for-hire as they warp through the universe to save adorable aliens and their worlds using the power of their emotions. It was created by animator Pendleton Ward, also the creator of Cartoon Network's "Adventure Time".


title: Bravest Warriors

text: The animated series began streaming on Frederator's Cartoon Hangover channel on YouTube on November 8, 2012. The series is based on a short produced for Frederator's Nicktoons animation incubator series "Random! Cartoons" that aired on January 10, 2009. A comic book adaptation published by Boom! Studios launched on October 24, 2012.


title: Bravest Warriors

text: On October 20, 2016, a television series was announced that would also serve as a continuation of the web series. The series, which is officially considered the fourth and final season, was produced by Nelvana in Canada, in association with Frederator. It started airing on VRV in the United States on December 25, 2017, and Teletoon in Canada on September 3, 2018. A 21-minute documentary was released on December 11, 2017.


title: Bravest Warriors

text: As the voice acting for the television series was recorded between Los Angeles, California and Toronto, Ontario, although far from being the first show from using both SAG-AFTRA and ACTRA, it is the first North American animated production to credit both unions due to using more American voice actors over Canadian voice actors.


title: Bravest Warriors

text: The show won the Shorty Award for Best Web Show in 2013 and was nominated in the Annecy International Animated Film Festival. It is also a 2015 Webby Award honoree. The fourth season was nominated for the 2019 Youth Media Alliance award for Best Digital First Content for all age groups.


title: Bravest Warriors

text: On December 3, 2019, it was announced that there will be a "Catbug" spinoff and Pendleton Ward will also be involved with it. However as of September 2022, there have been no updates since the initial announcement, and it is unknown whether a fifth season is planned.


title: Bravest Warriors

text: The series pilot, written by Pendleton Ward and directed by Ward and Randy Myers, first aired on Frederator's "Random! Cartoons" on the Nicktoons Network on January 10, 2009. The short features different designs and voice actors from the web series.


title: Bravest Warriors

text: "Bravest Warriors" was launched on Frederator Studios' Cartoon Hangover YouTube channel on November 8, 2012. The first season was released between November 8, 2012 and March 7, 2013. The series features new character designs and casting from the original pilot. Breehn Burns, Will McRobb and Chris Viscardi, and Fred Seibert developed and executive produced the "Bravest Warriors" series for Frederator Studios. Burns, writer and director of "Bravest Warriors", is the co-head of Lone Sausage Productions and the co-creator of the award-winning animated short, "Dr. Tran". A second season began on October 17, 2013. The series began streaming on the Nintendo Video service for the Nintendo 3DS in North America from November 2013.


title: Bravest Warriors

text: On July 20, 2016, Cartoon Hangover announced that all Season 3 episodes of "Bravest Warriors" would be aired exclusively on VRV, a streaming platform programmed by Ellation. Season 3, along with the previous two seasons, was launched on the Cartoon Hangover Select channel starting on January 10, 2017. On September 14, 2018, the third season's episodes were uploaded internationally on the series's YouTube channel.


title: Bravest Warriors

text: Seasons 3 and 4 of Bravest Warriors were removed from VRV after Cartoon Hangover was removed from the service in December 2021.


title: Bravest Warriors

text: A comic book adaptation of "Bravest Warriors" by Boom! Comics at San Diego Comic-Con began publication on Boom!'s "kaboom!" label from October 24, 2012, and ran for 36 issues. The final four issues have not been released as part of a trade collection. At San Diego Comic-Con International in 2013, it was announced that Cartoon Hangover had teamed up with Viz Media to make comics and graphic novels of their properties, with Bravest Warriors being one of the titles announced under their Perfect Square imprint. They were announced to be released in 2014.


title: Bravest Warriors

text: The series was positively received. Emily Ashby of Common Sense Media argued that in the series, "goofy heroes time-travel [and] hilarity ensues." She also said that the series has "some slightly mature references" including allusions to sexual intercourse, but called the series notable for its combination of absurdist humor, sense of duty, and self-reliance as themes. She also praised the animation and writing which make it appealing to parents and kids alike, and argued that the show's strength "lies in its humor."


title: Common Brittonic

text: Common Brittonic (; ; ), also known as British, Common Brythonic, or Proto-Brittonic, was a Celtic language spoken in Britain and Brittany.


title: Common Brittonic

text: It is a form of Insular Celtic, descended from Proto-Celtic, a theorized parent tongue that, by the first half of the first millennium BC, was diverging into separate dialects or languages. Pictish is linked, likely as a sister language or a descendant branch.


title: Common Brittonic

text: Evidence from early and modern Welsh shows that Common Brittonic took a significant amount of influence from Latin during the Roman period, especially in terms related to the church and Christianity. By the sixth century AD, the tongues of the Celtic Britons were more rapidly splitting into Neo-Brittonic: Welsh, Cumbric, Cornish, Breton, and possibly the Pictish language.


title: Common Brittonic

text: Over the next three centuries it was replaced in most of Scotland by Scottish Gaelic and by Old English (from which descend Modern English and Scots) throughout most of modern England as well as Scotland south of the Firth of Forth. Cumbric disappeared in the 12th century and, in the far south-west, Cornish probably became extinct in the eighteenth century, though its use has since been revived. O'Rahilly's historical model suggests a Brittonic language in Ireland before the introduction of the Goidelic languages, but this view has not found wide acceptance. Welsh and Breton are the only daughter languages that have survived fully into the modern day.


title: Common Brittonic

text: No documents in the tongue have been found, but a few inscriptions have been identified. The Bath curse tablets, found in the Roman feeder pool at Bath, Somerset (Aquae Sulis), bear about 150 names – about 50% Celtic (but not necessarily Brittonic). An inscription on a metal pendant (discovered there in 1979) seems to contain an ancient Brittonic curse:


title: Common Brittonic

text: "". (Sometimes the final word has been rendered .) This text is often seen as: "The affixed – Deuina, Deieda, Andagin [and] Uindiorix – I have bound." else, at the opposite extreme, taking into account case-marking – "king" nominative, "worthless woman" accusative, "divine Deieda" nominative/vocative – is:


title: Common Brittonic

text: "May I, Windiorix for/at Cuamena defeat [or "summon to justice"] the worthless woman, [oh] divine Deieda."


title: Common Brittonic

text: Local Roman Britain toponyms (place names) are evidentiary, recorded in Latinised forms by Ptolemy's "Geography" discussed by Rivet and Smith in their book of that name published in 1979. They show most names he used were from the tongue. Some place names still contain elements derived from it. Tribe names and some Brittonic personal names are also taken down by Greeks and, mainly, Romans.


title: Common Brittonic

text: Tacitus's "Agricola" says that the tongue differed little from that of Gaul. Comparison with what is known of Gaulish confirms the similarity.


title: Common Brittonic

text: Pictish, which became extinct around 1000 years ago, was the spoken language of the Picts in Northern Scotland. Despite significant debate as to whether this language was Celtic, items such as geographical and personal names documented in the region gave evidence that this language was most closely aligned with the Brittonic branch of Celtic languages. The question of the extent to which this language was distinguished, and the date of divergence, from the rest of Brittonic, was historically disputed.


title: Common Brittonic

text: Pritenic (also Pretanic and Prittenic) is a term coined in 1955 by Kenneth H. Jackson to describe a hypothetical Roman era (1st to 5th centuries) predecessor to the Pictish language. Jackson saw Pritenic as having diverged from Brittonic around the time of 75-100 AD.


title: Common Brittonic

text: The term Pritenic is controversial. In 2015, linguist Guto Rhys concluded that most proposals that Pictish diverged from Brittonic before c. 500 AD were incorrect, questionable, or of little importance, and that a lack of evidence to distinguish Brittonic and Pictish rendered the term Prittenic "redundant".


title: Common Brittonic

text: Common Brittonic vied with Latin after the Roman conquest of Britain in 43 AD, at least in major settlements. Latin words were widely borrowed by its speakers in the Romanised towns and their descendants, and later from church use.


title: Common Brittonic

text: By 500–550 AD, Common Brittonic had diverged into the Neo-Brittonic dialects: Old Welsh primarily in Wales, Old Cornish in Cornwall, Old Breton in what is now Brittany, Cumbric in Northern England and Southern Scotland, and probably Pictish in Northern Scotland.


title: Common Brittonic

text: The modern forms of Breton and Welsh are the only direct descendants of Common Brittonic to have survived fully into the 21st century. Cornish fell out of use in the 1700s but has since undergone a revival. Cumbric and Pictish are extinct and today spoken only in the form of loanwords in English, Scots, and Scottish Gaelic.


title: Common Brittonic

text: The early Common Brittonic vowel inventory is effectively identical to that of Proto-Celtic. and have not developed yet.


title: Common Brittonic

text: By late Common Brittonic, the New Quantity System had occurred, leading to a radical restructuring of the vowel system.


title: Common Brittonic

text: Through comparative linguistics, it is possible to approximately reconstruct the declension paradigms of Common Brittonic:


title: Common Brittonic

text: Brittonic-derived place names are scattered across Great Britain, with many occurring in the West Country; however, some of these may be pre-Celtic. The best example is perhaps that of each (river) Avon, which comes from the Brittonic , "river" (transcribed into Welsh as , Cornish , Irish and Scottish Gaelic , Manx , Breton ; the Latin cognate is ). When river is preceded by the word, in the modern vein, it is tautological.


title: Common Brittonic

text: Basic words , , , and from Brittonic common in Devon place-names. Tautologous, two-tongue names exist in England, such as:


title: Argentina v England (1986 FIFA World Cup)

text: Argentina v England was a football match played on 22 June 1986 between Argentina and England in the quarter-finals of the 1986 FIFA World Cup at the Estadio Azteca in Mexico City. The game was held four years after the Falklands War between Argentina and the United Kingdom, and was a key part in the already intense Argentina–England football rivalry. It was also a match which included two of the most well-known goals in football history, both scored by Argentina captain Diego Maradona (1960–2020).


text: The first goal, after 51 minutes, was the "Hand of God goal," which Maradona scored by using his hand. The second, four minutes after his first, saw him dribble past five England players, Peter Beardsley, Peter Reid, Terry Butcher, Terry Fenwick, Butcher (again), and finally goalkeeper Peter Shilton, and became known as the "Goal of the Century." Argentina won the game 2-1 and went on to win the 1986 World Cup with a victory over West Germany in the final match. Maradona won the golden ball for player of the tournament; England's goalscorer on the day, Gary Lineker, won the golden boot for being the tournament's top scorer.


text: The rivalry between the England and Argentina national football teams is generally traced back to the 1966 FIFA World Cup. During the quarter-final game at Wembley Stadium, the home of the England national team, Argentine captain Antonio Rattin was sent off as Argentina lost in a game which contained excessive foul play. Rattin was angered at the sending-off, feeling that the German referee Rudolf Kreitlein, who did not speak Spanish, had been biased towards the English, a fellow European nation, in front of their home fans, and stamped over the royal carpet in the stadium. This led England manager Alf Ramsey to describe the Argentines as "animals", comments that were viewed as racist by the Argentines.


text: Despite the popularity of Osvaldo Ardiles and Ricardo Villa, Argentines who played with Tottenham Hotspur in England in an era before it was commonplace for clubs to have non-British players, the rivalry remained strong.


text: Outside football, the Falklands War in 1982 increased the mistrust between England and Argentina. Britain administrates the Falkland Islands, a small archipelago in the South Atlantic, as a British overseas territory; Argentina claims the islands as Islas Malvinas. On 2 April 1982, Argentina's forces invaded the islands. Britain considered this an invasion of its territory and sent a naval task force that recaptured the Islands on 14 June 1982. Though the two nations were never officially at war, the conflict resulted in 258 British and 655 Argentine deaths. As a result, the match taking place four years after the war was emotionally charged. Following the game, Maradona stated: "Although we had said before the game that football had nothing to do with the Malvinas war, we knew they had killed a lot of Argentine boys there, killed them like little birds. And this was revenge."


text: The 1986 FIFA World Cup was held in Mexico after the original hosts, Colombia, were unable to host the tournament. England qualified for the finals undefeated, topping Group 3 in the UEFA zone; Argentina also topped their qualifying group in CONMEBOL. In the early stages of the tournament, Argentina had been comfortable, winning two and drawing one in the group stage. England had qualified more narrowly, with a 3–0 win over Poland in the final match putting them into the round of 16. Both teams won comfortably against South American opposition in that round, Argentina against Uruguay and England against Paraguay. Although neither team began the tournaments as favourites, England's form had been improving throughout the World Cup and Argentina were buoyed by the skill of Maradona.


text: Argentina beat Uruguay 1–0 in the round of 16 wearing blue cotton shirts that coach Carlos Bilardo believed would prove too uncomfortable in the searing Mexico City heat. Bilardo asked Argentina's kit manufacturer to come up with lighter blue shirts for the quarter-final, an impossible request given the short deadline. With three days to go before the match, he sent out Ruben Moschella, a member of his coaching staff, to scour the shops of the Mexican capital for a suitable kit. He returned with two different blue shirts, which they subsequently weighed but were unable to choose between. It was then that Diego Maradona appeared and said: "That’s a nice jersey. We’ll beat England in that." Moschella returned to the shop and bought 38 of the shirts for the side to wear against England. A designer fashioned some makeshift Argentine Football Association (AFA) badges, which were then sewn on to each jersey opposite the logo of Le Coq Sportif, which provided kits for Argentina at the time, with silvery American football shirt numbers hurriedly ironed on to the backs.


text: Before the 1986 game fans from both countries had a fight in Mexico City streets and into the stadium too. As a result, several English fans were hospitalised while some of their flags were stolen by Argentine barrabravas. Those flags would be then exhibited by Boca Juniors's supporters during some Argentine league matches.


text: The game started with both teams exchanging chances. Argentina began to dominate, with England's goalkeeper Peter Shilton saving several good chances, many created by Maradona. Peter Beardsley had England's best chance after 13 minutes, following a slip from Nery Pumpido in Argentina's goal, but failed to take it. At half time, the score was 00, Argentina having had much more of the possession and territory – and done a great deal more of the running – but having failed to get through England's defence.


text: It was the second half of the match that was to see the two incidents for which the game was to become both famous and infamous.


text: Six minutes into the second half, Maradona cut inside from the left and played a diagonal low pass to the edge of the area to teammate Jorge Valdano and continued his run in the hope of a one-two movement. Maradona's pass was played slightly behind Valdano and reached England's Steve Hodge, the left midfielder who had dropped back to defend.


text: Hodge tried to hook the ball clear but miscued it. The ball looped off his foot and into the penalty area, toward Maradona, who had continued his run. England goalkeeper Peter Shilton came out of his goal to punch the ball clear. Maradona, despite being 8 inches (20 cm) shorter than the 6-foot-1 (1.85 m) Shilton, reached it first with his outside left hand. The ball bounced into the goal. Referee Ali Bin Nasser of Tunisia said he did not see the infringement and allowed the goal.


text: Maradona later said, "I was waiting for my teammates to embrace me, and no one came... I told them, 'Come hug me, or the referee isn't going to allow it.'"


text: At the post-game press conference, Maradona facetiously commented that the goal was scored ""un poco con la cabeza de Maradona y otro poco con la mano de Dios"" ("a little with the head of Maradona and a little with the hand of God"), after which it became known as the "Hand of God" goal. The goal helped intensify the footballing rivalry between the two nations. Cesar Luis Menotti said, "People said, 'Great! Better, much better, that the goal was so unjust, so cruel, because it hurt the English more.'" In the 2019 documentary film directed by Asif Kapadia, Maradona linked the event to the Falklands War: "We, as Argentinians, didn't know what the military was up to. They told us that we were winning the war. But in reality, England was winning. It was tough. The hype made it seem like we were going to play out another war. I knew it was my hand. It wasn't my plan but the action happened so fast that the linesman didn't see me putting my hand in. The referee looked at me and he said: 'Goal.' It was a nice feeling like some sort of symbolic revenge against the English."


text: Four minutes after the "Hand of God" goal came a 2nd goal as the ball was passed to Maradona inside his own half. Maradona then began his 60-yard, 10-second dash towards the English goal, passing four English outfield players: Peter Beardsley, Peter Reid, Terry Butcher (twice) and Terry Fenwick. Maradona finished the move with a feint that left goalkeeper Peter Shilton on his bottom, before slotting the ball into the empty net to make the score 2–0 to Argentina.


text: About the goal, Maradona said to reporters, "I made the play to give it to Valdano, but when I got to the area they surrounded me and I had no space. Therefore, I had to continue the play and finish it myself." He later complimented the fair play of the English team, saying, "I don't think I could have done it against any other team because they all used to knock you down; they are probably the noblest in the world".


text: In 2002, the goal was voted 'Goal of the Century' as part of the buildup to the 2002 FIFA World Cup tournament on the FIFA website. It beat a goal scored by England's Michael Owen against Argentina in the 1998 FIFA World Cup, which came second, whilst another 1986 FIFA World Cup goal by Maradona, from the semi-final match against Belgium, came fourth.


text: In Spanish-speaking countries, this goal is usually associated with the passionate live commentary by Uruguayan journalist Víctor Hugo Morales (translation from Spanish):


text: Argentina's lead forced England into a double-attacking substitution, bringing on Barnes and Waddle, and it nearly paid off: as the Argentine team began to tire after their earlier efforts, England began to push further up the pitch, looking to get back into the game. Driven by Glenn Hoddle and John Barnes, they created chances, and Gary Lineker scored his sixth goal of the tournament in the 81st minute from a Barnes cross. Argentina had further chances as well, with Carlos Tapia hitting the inside of the post immediately after England's goal. England were unable to score an equaliser and Argentina won the match 2–1.


text: Hodge swapped shirts with Maradona after the game; Hodge lent out the Argentine's jersey to the National Football Museum in the 2000s. The game added hugely to the rivalry between the two teams. In Argentina, the game was seen as revenge for the Falklands War and for what they still see as the unfair game in the 1966 World Cup. The former Argentine international Roberto Perfumo stated that "In 1986, winning that game against England was enough. Winning the World Cup was secondary for us. Beating England was our real aim".


text: The majesty of Maradona's second goal, the solo run from midfield, and the notoriety of his first, the "hand of God", saw the French newspaper "L'Équipe" describe him as "half-angel, half-devil". Although the first goal proved highly controversial in England, Maradona's second goal was nevertheless recognized all over the world for its brilliance. A notable example of the English appreciation of his genius occurred in a 2002 poll conducted by Channel 4, where the UK public voted Maradona's performance sixth in the list of the 100 Greatest Sporting Moments. Outside the Estadio Azteca a statue of Maradona scoring the goal was erected to commemorate the moment.


text: Argentina went on to win the 1986 FIFA World Cup by defeating West Germany in the final match, as well as finishing runners-up in the 1990 FIFA World Cup. England's Lineker won the Golden Boot for being top scorer in the 1986 FIFA World Cup. With a similar squad, England finished fourth in the 1990 FIFA World Cup, their highest finish since 1966.


text: The two teams have since met twice in World Cup matches. Argentina won a round-of-16 match in the shootout at the 1998 FIFA World Cup, after one penalty kick was awarded to each side, David Beckham was sent off, Sol Campbell had a goal disallowed and Michael Owen scored his famous goal. At the 2002 FIFA World Cup, the teams met in the group stage, and the match, which began at 12:30 PM UK time, was described as the "longest lunch break in history" as millions in England stopped their jobs and activities to watch the game on TV. England won 1–0 courtesy of a foul by Mauricio Pochettino on Michael Owen. Beckham's penalty kick won the match for England and Argentina later failed to advance to the knockout round.


text: On 17 August 2015, Maradona visited Ali Bin Nasser, the referee of the 1986 World Cup quarter-final, at his home in Tunisia, and paid tribute to him by giving him an Argentine jersey bearing his signature, and referred to him as "my eternal friend".


text: In April 2022, it was announced that the shirt worn by Maradona in that match would be auctioned by multinational company Sotheby's. The shirt was property of England's Steve Hodge, who exchanged shirts with Maradona at the end of the match. Hodge kept the piece for over 16 years until he lent it to the National Football Museum in Manchester to be exhibited there. The shirt was estimated to sell for more than £4 million (US$5.25 million).


text: On 4 May, the shirt was sold for £7,142,500 (US$9.2 million), according to Sothebys' sources. The price fetched a new record for an item of sports memorabilia.


title: Brigantine

text: A brigantine is a two-masted sailing vessel with a fully square-rigged foremast and at least two sails on the main mast: a square topsail and a gaff sail mainsail (behind the mast). The main mast is the second and taller of the two masts.


title: Brigantine

text: Older usages are looser; in addition to the rigorous definition above (attested from 1695), the "Oxford English Dictionary" has about 1525 definitions of "a small vessel equipped both for sailing and rowing, swifter and more easily manœuvred than larger ships" and "(loosely) various kinds of foreign sailing and rowing vessels, as the galleon, galliot, etc."


title: Brigantine

text: In the Mediterranean Basin during the 13th century, a brigantine referred to a sail- and oar-driven war vessel. It was lateen rigged on two masts and had between eight and twelve oars on each side. Its speed, maneuverability, and ease of handling made it a favourite of Mediterranean pirates. Its name is derived from the Italian word ', which in turn is derived from ' "brigand". Other than in names, this vessel has no relation to the later brigantines developed in Northern Europe.


title: Brigantine

text: By the 17th century, the term was adopted by Atlantic maritime nations. The vessel had no lateen sails, but was instead square-rigged on the foremast and had a gaff-rigged mainsail with square rig above it on the mainmast. The mainmast of a brigantine is the aft one.


title: Brigantine

text: By the first half of the 18th century, the word had evolved to refer not to a kind of vessel, but rather to a particular type of rigging: two-masted, with her foremast fully square-rigged and her mainmast rigged with both a fore-and-aft mainsail (a gaff sail) and square topsails and possibly topgallant sails.


title: Brigantine

text: The brigantine was the second-most popular rig for ships built in the British colonies in North America before 1775 The most popular type of vessel was the sloop. The brigantine was swifter and more easily maneuvered than a sloop or schooner, hence was employed for piracy, espionage, and reconnoitering, and as an outlying attendant upon large ships for protecting a ship, or for supply or landing purposes in a fleet.


title: Brigantine

text: The brigantine could be of various sizes, ranging from 30 to 150 tons burden. The brigantine was generally larger than a sloop or schooner, but smaller than a brig.


title: Brigantine

text: The definition given above describes the international usage of the term brigantine. In modern American terminology, the term brigantine now usually means a vessel with the foremast square rigged and the mainmast fore-and-aft rigged, without any square sails. Historically, this rig used was called a schooner brig' or hermaphrodite brig. In Europe, the distinction is typically still made. The training ship "Zebu", which circumnavigated the Earth as part of Operation Raleigh, is an example of a schooner brig.


title: Brigantine

text: The word brig is an 18th-century shortening of the word brigantine, but came to mean a different type of rigging. The gaff-rigged mainsail on a brigantine distinguishes it from the brig, which is principally square-rigged on both masts. In addition to the different sail configuration, the brigantine's mainmast is made from two parts and equal to that of a schooner, a quite long mast and a top mast. The mainmast of a brig is made from three parts and equal to that of a fully rigged ship - a mast, topmast, and topgallant mast. With the advent of modern (metal) pole masts, this last difference typically no longer exists.


title: Ali Shaheed Muhammad

text: Ali Shaheed Muhammad (born August 11, 1970) is an American hip hop DJ, record producer, and rapper, best known as a member of A Tribe Called Quest. With Q-Tip and Phife Dawg (and sometimes Jarobi White), the group released five studio albums from 1990 to 1998 before disbanding; their final album was released in 2016. A native of Brooklyn, New York, Muhammad currently lives in Los Angeles.


title: Ali Shaheed Muhammad

text: Muhammad is a Muslim. Together with Jay Dee and Q-Tip, he formed the music-production collective the Ummah.


title: Ali Shaheed Muhammad

text: After A Tribe Called Quest disbanded, Muhammad formed the R&B supergroup Lucy Pearl with Dawn Robinson, formerly of En Vogue and Raphael Saadiq, formerly of Tony! Toni! Toné!, releasing one album in 2000. On October 12, 2004, he released his debut solo album, "Shaheedullah and Stereotypes". He is currently the co-host of NPR's "Microphone Check" radio show.


title: Ali Shaheed Muhammad

text: In 2013, Muhammad worked with producer Adrian Younge on the Souls of Mischief album "There Is Only Now", as the album's narrator. Since then Muhammad and Younge have collaborated to co-produce the soundtrack for both seasons of the "Luke Cage" TV series, and they have toured together since 2018 as the Midnight Hour, releasing an album by the same name.


title: Ali Shaheed Muhammad

text: In 2020, Muhammad and Younge launched the "Jazz Is Dead" album series, collaborating with jazz musicians Roy Ayers, Marcos Valle, Doug Carn, Gary Bartz, João Donato, and the trio Azymuth.


title: Dianthus

text: Dianthus () is a genus of about 340 species of flowering plants in the family Caryophyllaceae, native mainly to Europe and Asia, with a few species in north Africa and in southern Africa, and one species ("D. repens") in arctic North America. Common names include carnation ("D. caryophyllus"), pink ("D. plumarius" and related species) and sweet william ("D. barbatus").


title: Dianthus

text: The species are mostly herbaceous perennials, a few are annual or biennial, and some are low subshrubs with woody basal stems. The leaves are opposite, simple, mostly linear and often strongly glaucous grey green to blue green. The flowers have five petals, typically with a frilled or pinked margin, and are (in almost all species) pale to dark pink. One species, "D. knappii", has yellow flowers with a purple centre. Some species, particularly the perennial pinks, are noted for their strong spicy fragrance.


title: Dianthus

text: The name "Dianthus" is from the Greek words δῖος "dios" ("of Zeus") and ἄνθος "anthos" ("flower"), and was cited by the Greek botanist Theophrastus. The color pink may be named after the flower, coming from the frilled edge of the flowers: the verb "to pink" dates from the 14th century and means "to decorate with a perforated or punched pattern". As is also demonstrated by the name of "pinking shears", special scissors for cloth that create a zigzag or decorative edge that discourages fraying.


title: Dianthus

text: Alternatively, "pink" may be derived from the Dutch "pinksteren" alluding to the season of flowering . "Pinksteren" means "Pentecost " in Dutch. Thus the colour may be named from the flower rather than the flower from the colour.