title: Virgin birth of Jesus

text: In the entire Christian corpus, the virgin birth is explicit only in the Gospel of Matthew and the Gospel of Luke. The two agree that Mary's husband was named Joseph, that he was of the Davidic line, and that he played no role in Jesus's divine conception, but beyond this they are very different. Matthew has no census, shepherds, or presentation in the temple, and implies that Joseph and Mary are living in Bethlehem at the time of the birth, while Luke has no magi, flight into Egypt or massacre of the infants, and states that Joseph lives in Nazareth.


title: Virgin birth of Jesus

text: Matthew underlines the virginity of Mary by references to the Book of Isaiah (using the Greek translation in the Septuagint, rather than the mostly Hebrew Masoretic Text) and by his narrative statement that Joseph had no sexual relations with her until after the birth (a choice of words which leaves open the possibility that they did have relations after that).


title: Virgin birth of Jesus

text: Luke introduces Mary as a virgin, describes her puzzlement at being told she will bear a child despite her lack of sexual experience, and informs the reader that this pregnancy is to be effected through God's Holy Spirit.


title: Virgin birth of Jesus

text: There is a serious debate as to whether Luke's nativity story is an original part of his gospel. Chapters 1 and 2 are written in a style quite different from the rest of the gospel, and the dependence of the birth narrative on the Greek Septuagint is absent from the remainder. There are strong Lukan motifs in Luke 1–2, but differences are equally striking—Jesus's identity as "son of David", for example, is a prominent theme of the birth narrative, but not in the rest of the gospel. In the early part of the 2nd century the gnostic theologian Marcion produced a version of Luke lacking these two chapters, and although he is generally accused of having cut them out of a longer text more like our own, genealogies and birth narratives are also absent from Mark and John.


title: Virgin birth of Jesus

text: Matthew 1:18 says that Mary was betrothed (engaged) to Joseph. She would have been twelve years old or a little less at the time of events described in the gospels, as under Jewish law betrothal was only possible for minors, which for girls meant aged under twelve or prior to the first mense, whichever came first. According to custom the wedding would take place twelve months later, after which the groom would take his bride from her father's house to his own. A betrothed girl who had sex with a man other than her husband-to-be was considered an adulteress. If tried before a tribunal both she and the young man would be stoned to death, but it was possible for her betrothed husband to issue a document of repudiation, and this, according to Matthew, was the course Joseph wished to take prior to the visitation by the angel.


title: Virgin birth of Jesus

text: The most likely cultural context for both Matthew and Luke is Jewish Christian or mixed Gentile/Jewish-Christian circles rooted in Jewish tradition. These readers would have known that the Roman Senate had declared Julius Caesar a god and his successor Augustus to be "divi filius", the Son of God before he became a god himself on his death in AD 14; this remained the pattern for later emperors. Imperial divinity was accompanied by suitable miraculous birth stories, with Augustus being fathered by the god Apollo while his human mother slept, and her human husband being granted a dream in which he saw the sun rise from her womb, and inscriptions even described the news of the divine imperial birth as "evangelia", the gospel. The virgin birth of Jesus was thus a direct challenge to a central claim of Roman imperial theology, namely the divine conception and descent of the emperors.


title: Virgin birth of Jesus

text: Matthew's genealogy, tracing Jesus's Davidic descent, was intended for Jews, while his virgin birth story was intended for a Greco-Roman audience familiar with virgin birth stories and stories of women impregnated by gods. The ancient world had no understanding that male semen and female ovum were both needed to form a fetus; instead they thought that the male contribution in reproduction consisted of some sort of formative or generative principle, while Mary's bodily fluids would provide all the matter that was needed for Jesus's bodily form, including his male sex. This cultural milieu was conducive to miraculous birth stories – they were common in biblical tradition going back to Abraham and Sarah (and the conception of Isaac).


title: Virgin birth of Jesus

text: Such stories are less frequent in Judaism, but there too there was a widespread belief in angels and divine intervention in births. Theologically, the two accounts mark the moment when Jesus becomes the Son of God, i.e., at his birth, in distinction to Mark, for whom the Sonship dates from Jesus's baptism, and Paul and the pre-Pauline Christians for whom Jesus becomes the Son only at the Resurrection or even the Second Coming.


title: Virgin birth of Jesus

text: Tales of virgin birth and the impregnation of mortal women by deities were well known in the 1st-century Greco-Roman world, and Second Temple Jewish works were also capable of producing accounts of the appearances of angels and miraculous births for ancient heroes such as Melchizedek, Noah, and Moses. Luke's virgin birth story is a standard plot from the Jewish scriptures, as for example in the annunciation scenes for Isaac and for Samson, in which an angel appears and causes apprehension, the angel gives reassurance and announces the coming birth, the mother raises an objection, and the angel gives a sign. Nevertheless, "plausible sources that tell of virgin birth in areas convincingly close to the gospels' own probable origins have proven extremely hard to demonstrate". Similarly, while it is widely accepted that there is a connection with Zoroastrian (Persian) sources underlying Matthew's story of the Magi (the wise men from the East) and the Star of Bethlehem, a wider claim that Zoroastrianism formed the background to the infancy narratives has not achieved acceptance.


title: Virgin birth of Jesus

text: The modern scholarly consensus is that the doctrine of the virgin birth rests on very slender historical foundations. Both Matthew and Luke are late and anonymous compositions dating from the period AD 80–100. The earliest Christian writings, the Pauline epistles, do not contain any mention of a virgin birth and assume Jesus's full humanity, stating that he was "born of a woman" like any other human being and "born under the law" like any Jew. In the Gospel of Mark, dating from around AD 70, we read of Jesus saying that "prophets are not without honour, except in their home town, and among their own kin, and in their own house" – , which suggests that Mark was not aware of any tradition of special circumstances surrounding Jesus' birth, and while the author of the gospel of John is confident that Jesus is more than human he makes no reference to a virgin birth to prove his point. John in fact refers twice to Jesus as the "son of Joseph," the first time from the lips of the disciple Philip ("We have found him about whom Moses in the law and also the prophets wrote, Jesus, son of Joseph from Nazareth" – ), the second from the unbelieving Jews ("Is this not Jesus, the son of Joseph, whose mother and father we know?" – John ). These quotations, incidentally, are in direct opposition to the suggestion that Jesus was, or was believed to be, illegitimate: Philip and the Jews know that Jesus had a human father, and that father was Joseph.


title: Virgin birth of Jesus

text: This raises the question of where the authors of Matthew and Luke found their stories. It is almost certain that neither was the work of an eyewitness. In view of the many inconsistencies between them neither is likely to derive from the other, nor did they share a common source. Raymond E. Brown suggested in 1973 that Joseph was the source of Matthew's account and Mary of Luke's, but modern scholars consider this "highly unlikely" given that the stories emerged so late. It follows that the two narratives were created by the two writers, drawing on ideas in circulation at least a decade before the gospels were composed, to perhaps 65-75 or even earlier.


title: Virgin birth of Jesus

text: Matthew presents the ministry of Jesus as largely the fulfilment of prophecies from the Book of Isaiah, and Matthew 1:22-23, "All this took place to fulfill what had been spoken by the Lord through the prophet: "Look, the virgin shall conceive and bear a son...", is a reference to , "...the Lord himself shall give you a sign: the maiden is with child and she will bear a son..." But in the time of Jesus the Jews of Palestine no longer spoke Hebrew, Isaiah was translated into Greek, and Matthew uses the Greek word "parthenos", which does mean virgin, for the Hebrew "almah", which scholars agree signifies a girl of childbearing age without reference to virginity. This mistranslation gave the author of Matthew the opportunity to interpret Jesus as the prophesied Immanuel, "God is with us", the divine representative on earth.


title: Virgin birth of Jesus

text: Matthew and Luke use the virgin birth (or more accurately the divine conception that precedes it) to mark the moment when Jesus becomes the Son of God. This was a notable development over Mark, for whom the Sonship dates from Jesus's baptism, and the earlier Christianity of Paul and the pre-Pauline Christians for whom Jesus becomes the Son at the Resurrection or even the Second Coming. The Ebionites, a Jewish Christian sect, saw Jesus as fully human, rejected the virgin birth, and preferred to translate "almah" as "young woman". The 2nd century gnostic theologian Marcion likewise rejected the virgin birth, but regarded Jesus as descended fully formed from heaven and having only the appearance of humanity. By about AD 180 Jews were telling how Jesus had been illegitimately conceived by a Roman soldier named Pantera or Pandera, whose name is likely a pun on "parthenos", virgin. The story was still current in the Middle Ages in satirical parody of the Christian gospels called the Toledot Yeshu. The Toledot Yeshu contains no historical facts, and was probably created as a tool for warding off conversions to Christianity.


title: Virgin birth of Jesus

text: The virgin birth was subsequently accepted by Christians as the proof of the divinity of Jesus, but its rebuttal during and after the 18th century European Enlightenment led some to redefine it as mythical, while others reaffirmed it in dogmatic terms. This division remains in place, although some national synods of the Catholic Church have replaced a biological understanding with the idea of "theological truth", and some evangelical theologians hold it to be marginal rather than indispensable to the Christian faith.


title: Virgin birth of Jesus

text: Christians celebrate the conception of Jesus on 25 March and his birth on 25 December. (These dates are traditional; no one knows for certain when Jesus was born.) The Magnificat, based on Luke 1:46-55 is one of four well known Gospel canticles: the Benedictus and the Magnificat in the first chapter, and the Gloria in Excelsis and the Nunc dimittis in the second chapter of Luke, which are now an integral part of the Christian liturgical tradition. The Annunciation became an element of Marian devotions in medieval times, and by the 13th century direct references to it were widespread in French lyrics. The Eastern Orthodox Church uses the title "Ever Virgin Mary" as a key element of its Marian veneration, and as part of the Akathists hymns to Mary which are an integral part of its liturgy.


title: Virgin birth of Jesus

text: The doctrine is often represented in Christian art in terms of the annunciation to Mary by the Archangel Gabriel that she would conceive a child to be born the Son of God, and in Nativity scenes that include the figure of Salome. The Annunciation is one of the most frequently depicted scenes in Western art. Annunciation scenes also amount to the most frequent appearances of Gabriel in medieval art. The depiction of Joseph turning away in some Nativity scenes is a discreet reference to the fatherhood of the Holy Spirit, and the virgin birth.


title: Virgin birth of Jesus

text: The Quran follows the apocryphal gospels, and especially in the Protoevangelium of James, in its accounts of the miraculous births of both Mary and her son Jesus, but while it affirms the virgin birth of Jesus it denies the Trinitarian implications of the gospel story (Jesus is a messenger of God but also a human being and not the Second Person of the Christian Trinity). Surah , for example, follows the Protoevangelium closely when describing how the pregnant "wife of Imran" (that is, Mary's mother Anne) dedicates her unborn child to God, Mary's secluded upbringing within the Temple, and the angels who bring her food.


title: Multicast DNS

text: In computer networking, the multicast DNS (mDNS) protocol resolves hostnames to IP addresses within small networks that do not include a local name server. It is a zero-configuration service, using essentially the same programming interfaces, packet formats and operating semantics as unicast Domain Name Service (DNS). It was designed to work as either a stand-alone protocol or compatibly with standard DNS servers. It uses IP multicast User Datagram Protocol (UDP) packets, and is implemented by the Apple Bonjour and open source Avahi software packages, included in most Linux distributions. Although the Windows 10 implementation was limited to discovering networked printers, subsequent releases resolved hostnames as well. mDNS can work in conjunction with DNS Service Discovery (DNS-SD), a companion zero-configuration networking technique specified separately in RFC 6763.


title: Multicast DNS

text: Multicast DNS was first proposed by Bill Woodcock and Bill Manning in the IETF in 2000, and was eventually published as standards-track IETF RFC 6762 by Stuart Cheshire and Marc Krochmal thirteen years later.


title: Multicast DNS

text: When an mDNS client needs to resolve a hostname, it sends an IP multicast query message that asks the host having that name to identify itself. That target machine then multicasts a message that includes its IP address. All machines in that subnet can then use that information to update their mDNS caches. Any host can relinquish its claim to a name by sending a response packet with a time to live (TTL) equal to zero.


title: Multicast DNS

text: By default, mDNS exclusively resolves hostnames ending with the .local top-level domain. This can cause problems if .local includes hosts that do not implement mDNS but that can be found via a conventional unicast DNS server. Resolving such conflicts requires network-configuration changes that mDNS was designed to avoid.


title: Multicast DNS

text: The payload structure is based on the unicast DNS packet format, consisting of two parts—the header and the data.


title: Multicast DNS

text: The header is identical to that found in unicast DNS, as are the sub-sections in the data part: queries, answers, authoritative-nameservers, and additional records. The number of records in each sub-section matches the value of the corresponding *COUNT field in the header.


title: Multicast DNS

text: The wire format for records in the query section is slightly modified from that in unicast DNS, adding the single-bit UNICAST-RESPONSE field.


title: Multicast DNS

text: As in unicast DNS, the QNAME field consists of a series of length/value sub-fields called "labels". Each label represents one of the dot-separated substrings in a fully qualified domain name (FQDN). The list is terminated by either a single null-byte representing the "root" of the DNS, or by a byte with the two high-order bits set (value 192) to signal an indirect pointer to another location in the message. This is known as name compression in RFC-6762.


title: Multicast DNS

text: The UNICAST-RESPONSE field is used to minimize unnecessary broadcasts on the network: if the bit is set, responders SHOULD send a directed-unicast response directly to the inquiring node rather than broadcasting the response to the entire network.


title: Multicast DNS

text: All records in the answers, authoritative-nameservers, and additional records sections have the same format and are collectively known as Resource Records (RR).


title: Multicast DNS

text: The CACHE-FLUSH bit is used to instruct neighbor nodes that the record should overwrite, rather than be appended onto, any existing cached entries for this RRNAME and RRTYPE.


title: Multicast DNS

text: The formats of the RDATA fields are the same as those found in unicast DNS. However, DNS Service Discovery (DNS-SD), the most common use-case for mDNS, specifies slight modifications to some of their formats (notably TXT records).


title: Jules LeBlanc

text: Julianna Grace LeBlanc (), known professionally as both Annie LeBlanc and Jules LeBlanc, is an American YouTuber, actress, singer, and former gymnast. In December 2018, "Business Insider" called her one of the "most famous teens in the world." She appeared on the YouTube channel Bratayley from the age of four and has since gained an extensive online following of her own.


title: Jules LeBlanc

text: LeBlanc was on the YouTube Red series "We Are Savvy" before going on to work with the Brat network, starring as Rhyme McAdams in "Chicken Girls" and its and the titular character of "A Girl Named Jo". On television, she played Lex in the Nickelodeon buddy comedy series "Side Hustle".


title: Jules LeBlanc

text: She has two siblings: a younger sister Hayley, and an older brother Caleb, who died in 2015 from a heart condition, hypertrophic cardiomyopathy, at the age of 13. LeBlanc started taking gymnastics classes when she was two years old, and her family started posting videos of her online when she was three. She trained as a gymnast until August 2017.


title: Jules LeBlanc

text: The LeBlancs previously lived in Severna Park, Maryland but then moved to Los Angeles, California so that LeBlanc would be able to start her acting and music careers.


title: Jules LeBlanc

text: LeBlanc was originally known for her gymnastic videos. Her gymnastic meets and tutorials started being published in 2008 on her YouTube channel, formerly known as Acroanna, when she was 3 years old. The channel's name was changed in 2017, and now features music videos of Jules LeBlanc.


title: Jules LeBlanc

text: LeBlanc is one of the stars of a daily vlog on the YouTube channel "Bratayley" (7.3M+ subscribers). The vlog, which was initially just for relatives and started being filmed when LeBlanc was six, follows the lives of the LeBlanc family; no further videos have been posted since November 2019. The stars include parents Billy and Katie with their two daughters Jules and Hayley. The name "Bratayley" was initially a nickname for Hayley, combining the word "brat" and the name "Hayley."


title: Jules LeBlanc

text: LeBlanc had begun to receive attention for her content on her TikTok handle @julesleblanc. In April 2018, she won the Shorty Award for "Muser of the Year".


title: Jules LeBlanc

text: LeBlanc and Hayden Summerall collaborated on a YouTube cover of "Little Do You Know" by Alex & Sierra, which went viral. LeBlanc appeared at position 48 on the Emerging Artists Billboard Chart. LeBlanc and Summerall were cast as leads in "Chicken Girls" despite having no acting experience prior to starring in the series. In August 2017, Brat released the series on YouTube. The series features LeBlanc and Summerall's relationship, and focuses on the daily lives of a group of friends and dancers at the faux high school, "Attaway High". The show's debut episode has received over 10 million YouTube views, and as of May 2018, the second season had between 2 million and 4.5 million views per episode.


title: Jules LeBlanc

text: On September 9, 2017, LeBlanc's cover of the song "Fly" by Maddie & Tae peaked at 34 on the Billboard Charts in "Country" songs. In November 2017, LeBlanc released her debut original single, "Ordinary Girl." In December 2017, teen fan magazine Tiger Beat announced that LeBlanc would be going on her first U.S. tour in early 2018. In February 2018, LeBlanc released a single, "Little Things." In early May 2018, LeBlanc released a new pop country compilation album on iTunes called, "Lollipop", with music label Heard Well. The curated collection also includes two songs by LeBlanc, "Somebody's Heart" and "Photograph." She then released the song "Picture This" in early June with social media star Austin Brown. In November 2018, she released her single "It’s Gonna Snow" as a new Christmas Carol.


title: Jules LeBlanc

text: In August 2017, YouTube greenlit the YouTube Red Originals series, "We Are Savvy", as a continuation of a teen magazine series of the same name on Canada's Family Channel. LeBlanc was introduced as a co-host of the series, which debuted with over 4.2M+ views in its pilot episode and focuses on music, fashion, and lifestyle elements.


title: Jules LeBlanc

text: In February 2018, Variety announced that Lionsgate would be distributing a full-length feature film of "". There is also a deal with Skyhorse Publishing to turn the show into a book series. In September 2018, the third season of Chicken Girls premiered on Brat's YouTube channel. Season 4 premiered on March 19, 2019.


title: Jules LeBlanc

text: In May 2018, LeBlanc and her sister Hayley LeBlanc were cast in a new series on the Brat YouTube channel. That same month, it was announced that LeBlanc and Addison Riecke would star in a Brat teen mystery series called "A Girl Named Jo" which takes place in 1963 in a small town. Also in May 2018, Leblanc appeared in Asher Angel's music video for "Chemistry" as the fans dubbed them as "Ashannie".


title: Jules LeBlanc

text: In December 2018 she starred in Brat's feature film, Holiday Spectacular. In March 2019, she also starred in another Brat feature film, Spring Breakaway.


title: Jules LeBlanc

text: In November 2019, Bratayley stopped making family vlogs after 9 years, for them to focus on other projects.


title: Jules LeBlanc

text: In February 2020, LeBlanc was cast in a lead role for the Nickelodeon buddy comedy series "Side Hustle" alongside Jayden Bartels. In response to the COVID-19 pandemic in the United States, Nickelodeon offered LeBlanc and Bartels a virtually-produced talk show titled "Group Chat", which premiered on May 23, 2020. "Side Hustle" ran from November 2020 to July 2022.


title: Jules LeBlanc

text: In July 2021, LeBlanc became the face of Pacsun's Fall 2021 collection, a campaign focused on reconnecting with yourself, old friends and nature.


title: Joker (Persona)

text: Joker also appears in a number of series spin-off media, as well as in various other cameo appearances outside of it, such as being a playable character in the crossover fighting game "Super Smash Bros. Ultimate". He was designed by "Persona" series artist Shigenori Soejima, and is voiced in Japanese by Jun Fukuyama and in English by Xander Mobus. He has also been portrayed by actor Hiroki Ino in the game's stage adaptation. While the player can freely name Joker in the game, he is canonically named Ren Amamiya in most appearances and Akira Kurusu in the manga adaptation.


title: Joker (Persona)

text: Joker is a male teenage character created by artist Shigenori Soejima for the 2016 role-playing video game "Persona 5". In the game, he is a second-year high school student who is charged with assault by Masayoshi Shido, an influential politician in the Cabinet of Japan. As Joker walks in his hometown at night, he witnesses Shido harassing a female subordinate. After Shido falls and injures his head due to him being intoxicated, he places the blame on Joker, a simple passerby, and forces his subordinate to testify to the police that it was Joker who pushed him. At the court hearing, Joker is told that he must serve a one-year probation and transfers to Shujin Academy, a school in Tokyo, as they were the only one that would accept him with his current criminal record. Needing a place to stay while there, Sojiro Sakura, an acquaintance of Joker's parents, offers to house him at his cafe Leblanc.


title: Joker (Persona)

text: During his time at Shujin, he and other students awaken to their supernatural powers known as the Persona, becoming a group of vigilantes known as the Phantom Thieves of Hearts who explore the Metaverse, a supernatural realm consisting of the physical manifestation of humanity's subconscious desires, to change malevolent intent from the hearts of adults. Despite primarily being a silent protagonist, Joker occasionally speaks short phrases during cutscenes and battles; being voiced in Japanese by Jun Fukuyama and in English by Xander Mobus. Fukuyama used two different tones in the making of the series and felt proud of his performance. While the player can freely choose a given name for Joker, his Phantom Thief code name, he is canonically named in most other appearances. is used in the game's manga adaptation. Amamiya was chosen by the anime's producer who thought that the combination of his full name, which means lotus rain palace in Japanese, sounded "quite poetic" together. The producer further stated that remaking Joker's characterization in the anime was challenging, but was ultimately a success.


title: Joker (Persona)

text: Joker is the leader of the Phantom Thieves of Hearts and is the only member with access to the Velvet Room as he holds the "Wild Card", an ability that allows him to hold more than one Persona and fuse them together to create more powerful ones. Joker's primary persona is Arsene, with him resorting to fighting with knives and handguns when he is unable to use his Persona powers. His ultimate persona is Satanael, the Gnostic equivalent of the devil and a deity who can harness the power of the seven deadly sins. Joker's initial Persona was originally the German demon Mephistopheles, but it was changed to Arsène as the latter character better fit the game's themes. The three main inspirations behind Joker were the original Arsène Lupin, The Fiend with Twenty Faces, and Ishikawa Goemon. The first character sketch of him was done in 2012. Soejima worked closely with game director Katsura Hashino so that Joker and the rest of the characters could properly reflect the game's themes. Joker has unkempt wavy black hair and dark grey eyes and wears a set of black glasses for most of his casual and school outfits. In the Metaverse, his apparel changes into a stylized black trenchcoat with a masquerade mask and winklepicker shoes, which were described as being designed after Belle Époque fashion.


title: Joker (Persona)

text: As the main theme and narrative of "Persona 5" revolved around crime and vigilantes triggered by Joker voluntarily choosing that path, Soejima needed to convey this while allowing the character to suit whatever dialogue choices the player decided upon. Due to these difficulties, Joker was given multiple designs in a trial and error process to find the best one. As the "phantom thief" premise was a common stereotype in fiction, Soejima initially drew Joker and the rest of the game's main cast in a style similar to shōnen manga, but these designs were scrapped as they clashed with the series' realistic aesthetics. Soejima likening his design to a black panther, which contrasts with the protagonist of "Persona 4", Yu Narukami, being designed around the image of a loyal and sincere dog. He emphasizes the two-sided nature of his design, which ties into the theme of Phantom Thieves members living double lives. Despite Joker's uniformed appearance being meant to give off the impression of someone who is kindhearted and loyal to the system, his true nature is free-spirited and rebellious, with him being the type of person who plans things without telling anyone.


title: Joker (Persona)

text: Joker was first introduced in "Persona 5" as the game's main playable character, and has also appeared in series spin-off games "", "", and "Persona 5 Strikers". He is also a playable character in the 2018 crossover fighting game "Super Smash Bros. Ultimate", being released as paid downloadable content for it in April 2019. He has also made appearances in other non-related games, such as "Dragon's Dogma Online", "Phantasy Star Online 2", "", "Sonic Forces", "Puzzle & Dragons", "Granblue Fantasy", "", "", "Another Eden", "Tokyo Mirage Sessions ♯FE Encore," and "Soul Hackers 2". He has also been portrayed by Hiroki Ino in Japanese stage play adaptations of the game.


title: Joker (Persona)

text: Critical reception to Joker has been positive, with fan art and cosplay of the character being popular. Upon the revealing of "Persona 5", fans in Japan nicknamed him "Potter" due to his visual resemblance to Harry Potter, the main character of the "Harry Potter" franchise. Upon his announcement as a downloadable content (DLC) character in the crossover Nintendo fighting game "Super Smash Bros. Ultimate", Masahiro Sakurai, the game's director and fan of the "Persona" series, stated that Joker was emblematic of the approach that he wanted to take with its DLC, adding that he wanted characters that were "unique", "different", and "fun" to use within the "Super Smash Bros." environment. His appearance in "Ultimate" was met with praise, with game journalists noting the level of detail and how faithful his transition from "Persona 5" was, as well as the enjoyment factor of playing him in general. "USGamer" criticized his relatively silent personality in the anime adaptation, negatively comparing him to the more talkative Yu Narukami in "". Nevertheless, his relationship with Goro Akechi was praised. Xander Mobus's voice acting was the subject of praise by "Siliconera".


title: Joker (Persona)

text: Various merchandise of Joker, such as figurines and action figures, has also been made. A Joker-modeled TT pistol airsoft gun, based on one that he uses in the game, was released in Japan in April 2019. His Phantom Thief outfit and a number of related accessories were also released by the Japanese fashion brand SuperGroupies in June 2019. An Amiibo figurine of him was released in October 2020.


title: La Bouche

text: La Bouche (French for "The Mouth", ) is a German-American electronic dance music duo best known for the hits "Be My Lover", "Sweet Dreams", "You Won't Forget Me" and "Tonight is the Night". La Bouche was founded in 1994 by record producer Frank Farian in Frankfurt am Main. He worked together with techno dj Ulli Brenner and producer Amir Saraf to produce the music, while American singer Melanie Thornton and American rapper-singer Lane McCray fronted the act.


title: La Bouche

text: Thornton and McCray had already worked together in music, prior to La Bouche's creation. Thornton departed La Bouche in 2000, continuing her career as a solo singer.


title: La Bouche

text: On November 24, 2001, Melanie Thornton died in the Crossair Flight 3597 crash in Zürich, Switzerland. As a tribute to the singer, Farian released "In Your Life", a previously unreleased song featuring vocals recorded earlier with Thornton and McCray. Farian later decided to release a compilation album in 2002 featuring remixes of Thornton's biggest La Bouche hits.


title: La Bouche

text: In 2015, McCray pulled Hungarian-born singer Sophie Cairo out of obscurity to be the new official singer of the act. A new official remix titled "Sweet Dreams 2017" was released featuring vocals from McCray and Cairo.


title: La Bouche

text: Prior to forming La Bouche in 1994, Melanie Thornton and Lane McCray were lead vocalists in a German cover band called Groovin' Affairs. While touring with the band in various parts of Germany, Thornton also did regular studio session work with producers Amir Saraf and Ulli Brenner. Eventually, Thornton asked her bandmate McCray to join her in the recording project.


title: La Bouche

text: The song "Sweet Dreams" had quickly caught the attention of Farian and he later secured the track through his MCI label. "Tonight Is The Night" went to Logic Records in Germany under the band name Le Click. The single was released in 1994 and was a pan-European and Australian hit. It was later revealed that the rap performance was not done by Lane McCray, but by Robert Haynes, a former member of Le Click.


title: La Bouche

text: It was followed by "Be My Lover" in march of 1995, which peaked at number one in Germany and Sweden, while also reaching the Top 10 in fourteen European countries. It also peaked at number 27 in 1995 and number 25 in 1996 in the UK Singles Chart when re-issued in that year. "Be my lover" went to number 1 on the U.S. Hot Dance Club Play chart in 1995 and climbed to number 6 on the Hot 100 in early 1996. It was then re-released in the UK and reached a new peak of number 25. 1996 It went on to win the ASCAP award for the "Most Played Song in America", and sold 6 million copies worldwide. La Bouche went on to become one of the biggest Eurodance groups of the '90s, with a string of hits worldwide. The debut album "Sweet Dreams" was released on June 12, 1995, which went to number 13 in the U.S., featured two more hit single releases, "Fallin' in Love" (a cover of the 1975 Hamilton, Joe Frank & Reynolds song) and "I Love to Love".


title: La Bouche

text: While still with the group, Thornton had some American chart success as featured vocalist on the Le Click hit "Tonight is the Night", which reached number 68 on the "Billboard" Hot 100. The song was included on the U.S. version of La Bouche's debut album, peaking at number 28 on the "Billboard" 200. It was certified platinum by the RIAA and sold over 8 million copies worldwide. Thornton provided guest vocals on a lot of dance projects on single releases such as on Orange Blue's "If You Wanna Be (My Only)", Comic's "I Surrender to Your Love", 100%'s "Power of the Light", Trance-Vision's "Take Me 2 Heaven 2 Nite" and Men Behind's "How Can I".


title: La Bouche

text: A remix album called "All Mixed Up" was released on December 16, 1996. Their second studio album, "S.O.S." was released on June 16, 1998, with "A Moment of Love" being the album title for the European version on November 17, 1997, preceded by the singles "Forget Me Nots", a cover of the Patrice Rushen song that was originally on their debut album, "Sweet Dreams" internationally, "Bolingo (Love is in the Air)", which only appears on the U.S. album version and followed by the singles "You Won't Forget Me", "A Moment of Love" and "S.O.S.", being minor to moderate hits in Europe. "You Won't Forget Me" was released in autumn of 1997 and reached number 48 on the Hot 100. One highlight on "A Moment of Love" was a bonus track, a cover version of the Elton John song "Candle in the Wind" in a gospel version which features guest vocalists Joan Faulkner, Christin Sargent, Freda Goodlett, Rejime, The Jackson Singers, Ma Belle and label mates No Mercy, which only appears on the European album version.


title: La Bouche

text: In addition to her work with La Bouche, Thornton still provided guest vocals on singles such as Orange Blue's "Sunshine of my Life" and "Runaway" and 100%'s "The Way It Is", which led Thornton in February 2000 to leave La Bouche to pursue a full solo career. Thornton as a solo singer was climbing the German charts with her hit "Love How You Love Me". Towards the end of 2001, Thornton was asked to record "Wonderful Dream (Holidays are Coming)" for a Coca-Cola Christmas TV commercial to be shown on German television. While promoting it, and a re-release of her solo album "Ready to Fly", she lost her life along with 2 members of Passion Fruit in a plane crash near Zurich on November 24, 2001. After her passing, the single went on to become her biggest solo hit, reaching number 3 on the German singles chart.


title: La Bouche

text: In April 2002, Frank Farian compiled songs from Thornton's solo album along with selections from the first and second La Bouche albums into a best of collection entitled "Best Of" billed as 'La Bouche feat. Melanie Thornton'. In November 2002, one year following Thornton's death, Farian prepared a tribute single entitled "In Your Life", a song which was previously unreleased. Farian combined her vocals with Kayo Shekoni's vocals from Le Click, a band which Thornton also provided guest vocals for, who completed the song with additional vocals. The single was released worldwide in 2002 and in the U.S. in 2003. It peaked at number 9 on the Hot Dance Club Play chart.


title: La Bouche

text: On December 1, 2003, Thornton's first remix compilation album, "Memories – Her Most Beautiful Ballads" was released, which also includes new ballad versions of La Bouche songs such as "Sweet Dreams" and "Fallin' in Love". In 2007, the second La Bouche compilation called "Greatest Hits" was released along with a 3-track EP, released on iTunes under the name 'Le Click' titled "Let's Click: 90's Dance Classics". These are 3 tracks from the "S.O.S."/"A Moment of Love" album recording sessions that did not make the final cut.


title: La Bouche

text: As of 2018, "Be My Lover" remains a prominent media component in the events all over the world, serving as the official theme song at many of Los Angeles' highest-profile ACC events.


title: Chrysler New Yorker

text: The Chrysler New Yorker is an automobile model that was produced by Chrysler from 1940 until 1996, serving for several decades as the brand's flagship model, or as a junior sedan to the Chrysler Imperial luxury brand. A trim level named the "New York Special" first appeared in 1938 and the "New Yorker" name debuted in 1939. The New Yorker name helped define the Chrysler brand as a maker of upscale models, priced and equipped to compete against upper-level models from Buick, Oldsmobile and Mercury.


title: Chrysler New Yorker

text: The New Yorker was the best of everything Chrysler offered in terms of style, comfort and prestige, in 4-door sedan, 2-door coupe and 2-door convertible. It was originally offered with the Straight Eight shared with the Imperial, then after the war when the "FirePower" V8 was introduced, the New Yorker was one of the first to offer the engine. During the 1940s the New Yorker offered a station wagon platform with a "woodie" appearance that came to be known as the Chrysler Town and Country. As time passed, and customer tastes changed towards smaller, more fuel efficient vehicles began to enter the market place, the New Yorker was reduced in size and switched to front wheel drive in the 1980s while still offering a luxurious environment.


title: Chrysler New Yorker

text: The New York Special Series C19 was originally introduced as a distinct sub-series of the 1938 Chrysler Imperial. It was available as a four-door sedan with a straight-eight engine and a generous amount of comfort and space for the passengers, and a two-door Business Coupe - though no records show one was ordered and built. Unique broadcloth upholstery was specific to the New York Special, offering two single color exterior paint or four two-tone color combinations. Instrument panels were highly polished woodgrain finish and were harmonized with the upholstery colors. For 1939 it was expanded with two more coupe versions and a two-door sedan and a larger, more powerful engine from Imperial, and it took on the "New Yorker" name, dropping the "Special" tag. Prices ranged from US$1,223 ($ in dollars ) for the 2-passenger 2-door coupe to US$1,298 ($ in dollars ) for the 4-door sedan.


title: Chrysler New Yorker

text: The first convertibles were introduced with the all-new body-design of the 1940 models. This, the C26 series, was the first New Yorker to be considered a standalone model rather than as an Imperial version. It also saw the introduction of Fluid Drive, a fluid coupling between the engine and the clutch. It was installed with a front independent coil spring and rear beam axle suspension. The only transmission available was the basic three-speed manual. There was also the "New Yorker Highlander", a special version with tartan seats and other interior elements, and the same interior approach was used on the Windsor Highlander but using a straight six engine instead. Interior color choices were listed in blue, green, brown and maroon for the cloth upholstery while the headliner, interior rear quarter panels and door panels were trimmed in a lighter, contrasting shade of upholstery color chosen


title: Chrysler New Yorker

text: Lightly redesigned bodies were introduced for 1941, with the business coupe now being a three-window design. The bodies were all marginally wider and lower, with increased glass surface. Another new model was the Town Sedan with the rear doors having the hinges at the forward edge of the doors. This year, the Vacamatic was made available, although unlike the version sold on six-cylinder models, the Saratoga/New Yorker version was a three-speed transmission with overdrive called "Cruise and Climb".


title: Chrysler New Yorker

text: With America entering World War II on 11 December 1941, all automobile production came to an end at the beginning of February 1942. Thus, the 1942 model year was roughly half the normal length. Cars built after December 1941 had blackout trim. The 1942s were quite modern, of a design which was heralding the post-war ponton style with fenders more incorporated into the bodywork. The grille consisted of five horizontal chrome bars that wrapped around the front, reaching all the way to the leading edge of the front wheelwell. A total of 12,145 New Yorkers of the C36 series were built this year. Chrysler would produce and experiment with engines for tanks and aircraft during World War II.


title: Chrysler New Yorker

text: When production resumed after World War II in 1946, the New Yorker became the top level luxury trim package for Chrysler while the Imperial Crown offered New Yorker levels of luxury with an extended wheelbase. Unlike most car companies, Chrysler did not make major changes with each model year from 1946 through 1948. Thus models for 1946 through 1948 Chryslers have the same basic appearance, noted for their die-cast 'harmonica' grille, based on the body introduced with the 1941 models. 1947 saw a minor redesign in tires, trim, and instrument panel, while the first 1948s were just 1947s with no visible changes. Postwar Chryslers continued to offer Fluid Drive, with the New Yorker now offering the true Presto-Matic four-speed semi-automatic transmission.


title: Chrysler New Yorker

text: Chrysler offered the New Yorker as the luxury car to compete with the Cadillac Series 61, Buick Roadmaster and Packard Super Clipper listing the four-door sedan at US$2,073 ($ in dollars ) before optional equipment. For customers who wanted the larger eight cylinder engine but could compromise on the luxurious appearance and interior refinement, the Chrysler Saratoga was offered. For customers who wanted the higher grade interior and appearance but wanted the fuel economy of the smaller six-cylinder engine, the Chrysler Royal short wheelbase or the longer wheelbase Chrysler Windsor were offered. For customers who liked the exterior wood body panels but wanted the luxurious appearance, the Chrysler Town and Country was offered until it was modified as a station wagon only.


title: Chrysler New Yorker

text: The two-door sedan was offered in three variations shared with DeSoto, Dodge and Plymouth branded models. They were a three-passenger Coupe, a six-passenger Club Coupe with a sloping rear roof or the six-passenger brougham sedan with a formal rear roof appearance.


title: Chrysler New Yorker

text: The 1949 New Yorker used Chrysler Corporation's new postwar body also shared by Dodge and DeSoto with ponton, three-box styling. The engine continued to be the straight eight coupled to Fluid Drive and the Presto-Matic four-speed semi-automatic. Body styles were reduced to club coupe, four-door sedan and convertible. Wheelbase on the New Yorker was increased to from the frame introduced in 1941. The previous design had been carried through early 1949, with the new (C46) series having been delayed due to a strike in late 1948. A padded dash board was optional.


title: Chrysler New Yorker

text: A new body style was introduced for 1950, a two-door hardtop, called the Newport, and the Special Club coupe. New upgrades included foam rubber padding on the dashboard for safety. The New Yorker was the more deluxe of the regular eight-cylinder Chryslers while the Saratoga was repositioned as lower in the hierarchy offering the straight eight with plainer trim with cloth upholstery available in several colors, the Spitfire straight-eight engine and a roomy interior featuring "chair height" seats. The "Presto-Matic" fluid drive transmission had two forward ranges, each with two speeds. In normal driving, the high range was engaged using the clutch. The car could then be driven without using the clutch (unless reverse or low range was required); at any speed above , the driver released the accelerator and the transmission shifted into the higher gear of the range with a slight "clunk". When the car came to a stop, the lower gear was again engaged.


title: Chrysler New Yorker

text: Chrysler introduced the FirePower Hemi V8 for 1951. The FirePower Hemi equipped cars could accelerate 0 to in 10 seconds, faster than the Oldsmobile 88 Rocket engine of that time. The engine subsequently became a popular choice among hot rodders and racers.


title: Chrysler New Yorker

text: The New Yorker also offered Fluid Torque Drive, a true torque converter, in place of Fluid Drive. Cars with Fluid Torque Drive came only with Fluid Matic semi-automatic transmission and had a gear selector quadrant on the steering column. Hydraguide power steering, an industry first, appeared as an option on Chrysler cars with the Hemi engine.


title: Chrysler New Yorker

text: A station wagon was offered for 1951, with only 251 built. Its wheelbase is the longest ever used on a station wagon.


title: Chrysler New Yorker

text: 1952 saw a small redesign on taillights with the backup lights in the lower section. This was the last year for the wheelbase chassis for the New Yorker.


title: Chrysler New Yorker

text: Harold A. Clark used a New Yorker as the base for a full-size sports car called the "Clark Cyclonic". The price was approximately $15,000 ($ in dollars ) and Clark planned to produce 48 during the first year. Whether this car ever reached production is not known.


title: Chrysler New Yorker

text: The 1953 New Yorker had a less bulky look with the wheelbase reduced to , a one-piece curved windshield and rear fenders integrated into the body. Wire wheels were now an option. The Saratoga line was dropped in 1953, replaced by the New Yorker, with the New Yorker redesignated the New Yorker DeLuxe. The convertible and Newport hardtop were available only in the New Yorker DeLuxe while the base New Yorker offered a long-wheelbase sedan and a Town & Country wagon. The convertible was New Yorker's costliest model on the chassis for 1953 at US$3,980 ($ in dollars ) – only 950 were built. Also new were pull-style exterior door handles.


title: Chrysler New Yorker

text: The six cylinder was replaced in 1954 with the popular FirePower V8; a DeLuxe option was rated at . Although introduced very late in the 1953 model year, all 1954 New Yorkers were available with the new two-speed Powerflite automatic transmission. Fluid Torque Drive and Fluid Matic were dropped. 1954 was the last year the long-wheelbase sedan was offered by Chrysler.


title: Chrysler New Yorker

text: In 1955, Chrysler replaced the out of fashion high roofline designs of K.T. Keller with a new sedan that borrowed styling cues from Virgil Exner's custom 1952 Imperial Parade Phaeton and the reintroduction of the Imperial luxury brand. The tradition of adding the Newport as a suffix to the model name continued and a four-door hardtop was added, while the "St. Regis" nameplate was used for hardtops with exclusive two-tone paint. The Hemi V8's output was up to , another step forward in Detroit's ongoing horsepower war, while the Chrysler 300 offered higher amounts of horsepower from the same displacement engine. The PowerFlite transmission added a control lever on the instrument panel for 1955.


title: Chrysler New Yorker

text: All New Yorkers for 1955 were now given the "DeLuxe" suffix, and the Club Coupe was replaced by the two-door hardtop.The new, higher-priced St. Regis two-door hardtop filled the spot of the former Chrysler Windsor. The sedan, convertible, and Town & Country wagon were still offered.


title: Chrysler New Yorker

text: Chrysler christened the 1956 model year's design "PowerStyle," a product of Chrysler designer Virgil Exner. The New Yorker gained a new mesh grille, leather seats, pushbutton TorqueFlite selector, and a 354 cubic inch Hemi V8 with . A four-door pillarless hardtop made its debut, and the "DeLuxe" nameplate was dropped from the New Yorker for 1956.


title: Chrysler New Yorker

text: Chrysler introduced an under-dash mounted 16 2/3 rpm record player, dubbed the "Highway Hi-Fi", that was manufactured by CBS Electronics. A two-way switch in the dash changed the input for the speaker from the all-transistor radio to the 7-inch record player. The St. Regis two-door hardtop was available with a choice of nine optional three-tone paint schemes, and the Town and Country Wagon model was Chrysler's most expensive vehicle labeled as a Chrysler for 1956, listed at US$4,523 ($ in dollars ). Only 921 convertibles were made.


title: Chrysler New Yorker

text: 1957 Chrysler cars were redesigned with Virgil Exner's "Forward Look" at the cost of $300 million ($ in dollars ) when Chrysler took on a loan in 1954 from Prudential Insurance to pay for expansion and updated car designs. The New Yorker sported fins that swept up from just behind the front doors. Its Hemi V8 was increased to and .The TorqueFlite 3-speed automatic transmission and a Torsion-Aire torsion bar suspension that gave smoother handling and ride quality to the car were both standard.


title: Chrysler New Yorker

text: Early model year production had single headlamps with quad headlamps optional where state regulations permitted them. The single headlamps were dropped later in the year. A total of 10,948 New Yorkers were built, 1,049 of them convertibles.


title: Chrysler New Yorker

text: The 1958 New Yorker received new body-side trim and smaller taillights. The Hemi output was up again, to . "Auto-Pilot" cruise control was introduced. Sales decreased due to the recession of 1958. The convertible model was still available, with only 666 made. The reputation of Chrysler cars became tainted because of rust problems caused by rushed production and testing.


title: Chrysler New Yorker

text: The FirePower Hemi V8 was replaced in 1959 New Yorkers by a new, less expensive to produce wedge head Golden Lion V8. Tailfins and the front end were altered. With the departure of the Hemi the New Yorker line was repositioned as a luxury car with styling similar to the Imperial of 1958.


title: Chrysler New Yorker

text: For 1960, New Yorker had unibody construction, the carry-over RB engine had an output of . Starting with 1960, all Chrysler models adopted the grille appearance from the Chrysler 300F. The rear bucket seats that were available on the performance model 300 were also offered on the New Yorker Custom coupe.


title: Chrysler New Yorker

text: The New Yorker entered 1961 with a new grille, slanted headlights, a continental kit on the trunk lid. The 413 CID "RB" Golden Lion V-8 continued. This was the last of the "Forward Look" models. Chrysler built 2,541 New Yorker two-door hardtops, in Canada through 1964 and 1965 in the U.S., and no longer used the nameplate "Newport" for hardtop models when the Chrysler Newport became its own model line.


title: Chrysler New Yorker

text: The program to create all-new Chryslers for the 1962 model year was abruptly canceled in 1960. The alternative, as detailed by Chrysler designer Jeffrey I. Godshall in his article in the December 1994 issue of "Collectible Automobile", was to instead take the Chrysler Corporation's full-sized 1961 models and literally "mix-and-match" them to create the 1962 Chryslers. During the 1962 model year New Yorkers would only be offered as 4-door models. Thus both the 1962 hardtop sedan and the pillared sedan were created by taking the front end of a 1961 New Yorker (updated for 1962) and mating it to the de-finned body of a corresponding 1961 Dodge Polara 4-door sedan. The Polara, which was Dodge's only long-wheelbase model, was chosen because its body's smoother sides proved to be easier to work with when creating a finless body, a major requirement for the redesign. The 1961 Polara's existing tailfins and taillights were replaced by redesigned rear-quarter panels which furnished the 1962 New Yorkers with finless rear fenders and new taillights. In a similar fashion, the 1962 New Yorker station wagon was created by mating the updated front end of an 1961 New Yorker to the body of a 1961 Plymouth Suburban 4-door station wagon. A Plymouth station wagon was Plymouth's only long-wheelbase offering, and it was chosen because it was Chrysler Corporation's only finless full-sized station wagon. Thus only four-door New Yorkers were offered, as wagons, sedans, and hardtops.


title: Chrysler New Yorker

text: The dash had been designed with Chrysler's push-button controls for the TorqueFlite automatic in mind, with the "AstraDome" instrument cluster covering the part of the steering column a column shifter would come out from under then-standard practice, so manual cars used a floor shifter. Due to the installation of the "AstraDome" instrument cluster extending outward towards the steering wheel, the traditional installation of the turn signal lever was relocated to the dashboard underneath the "TorqueFlite" pushbutton gear selectors and was installed as a sliding lever that would return to center as the steering wheel returned to the center position.


title: Chrysler New Yorker

text: The 413 RB had a 4.1875 in (106 mm) bore and was used from 1959-1965 in cars. During that period, it powered all Chrysler New Yorker, 300G & 300H and Imperial Custom, Crown, and Le Baron models, and was also available on the Chrysler Newport, as well as Dodge's Polara and Monaco, and the Plymouth Fury as an alternative to the 383-cubic-inch B series engine and/or the 318 Poly. With a compression ratio of 10:1, it developed and of torque in 1X4-Bbl trim.


title: Chrysler New Yorker

text: Chrysler got a boost in sales in 1963 with the introduction of a five-year/50,000-mile warranty, a business practice that was unheard of by its competitors in the 1960s. The New Yorker used Chrysler's completely redesigned body with only the windshield showing traces of the previous Forward Look designs, although, under the skin, platform changes were near zero, with only a change from 12-inch "Total Contact" to Bendix-made 11-inch Duo-Servo brakes. A new, more luxurious Salon four-door hardtop was added at midyear as a trim package in the U.S. Engine output was and the wheelbase was .


title: Chrysler New Yorker

text: Changes for 1964 included a new grille, a larger rear window, and small tailfins giving the car a boxier look from the side. Canadians were given the choice of a new two-door hardtop, while Americans continued with the Salon option for the four-door pillarless hardtop. A convertible body style was no longer offered and would never be used again.


title: Chrysler New Yorker

text: All 1965 Chryslers (as well as large Plymouth and Dodges) were built on an all-new C-body unibody platform that featured a bolt-on, rubber-isolated front subframe. Elwood Engel designed the 1965 New Yorker (and all Chrysler models) with styling cues from his 1961 Lincoln Continental — slab sides with chrome trim along the top edges of the fenders. The styling began to share some visual similarities with Chrysler Motors' premium luxury sedan, the Imperial, which received an all-new appearance in 1964.


title: Chrysler New Yorker

text: The standard engine was a Firepower V8, with single 4-barrel carburetion. As an option the buyer could order high-performance 413 from that year's Chrysler letter car, which came with an unsilenced air cleaner, dual breaker ignition, special camshaft and dual exhaust, and was rated at . All were paired with the 3-speed "TorqueFlite" automatic transmission. 1965 was the last year for the 413, replaced in '66 by the new 440.


title: Chrysler New Yorker

text: The 1965 New Yorker was offered as a 4-door sedan, 2- and 4-door hardtop, and as Town & Country 2- or 3-seat station wagon. The 4-door sedan was a six-window Town Sedan, also available in the Newport line and Dodge Custom 880 4-door Sedan. A 4-door, four-window sedan was produced but not offered in the New Yorker line. The two-door hardtop was sold in the United States. While the 300 and Newport 2-door hardtops shared a rounded, convertible-styled roof, the New Yorker had a unique roofline, resembling that of the 4-door hardtops. The more formal and squared-off lines were highlighted by a padded vinyl covering on the parallelogram-shaped rear pillar. The wheelbase of the New Yorker models, except the wagon, was . The Town & Country wagon was on the Dodge's wheelbase as all C-body wagons shared the same basic body. Factory options for 1965 included a vinyl rear roof pillar insert, Saginaw-sourced Tilt 'N Telescopic steering wheel, air conditioning, and power options (windows, antenna, and steering).


title: Chrysler New Yorker

text: The 1965 Chryslers were well received by the public, and the division's sales shot up nearly 40% compared to 1963, to 204,002. 49,871 of those were New Yorkers, a 62% increase over 1964.


title: Chrysler New Yorker

text: Styling for 1966 was an evolution of the 1965 themes. Changes included a new grille, tail lamps, and revised side trim. The biggest news was the adoption of the new Firepower 440 V8 engine. In standard form it produced ; the optional, high performance "440 TNT" was equipped with a twin snorkel, silenced air cleaner and dual exhausts, and put out . The New Yorker line-up lost a model for 1966, as the Town & Country wagon was now marketed as a series on its own. The 4-door, six-window Town Sedan, and 2- and 4-door hardtop body styles were continued.


title: Chrysler New Yorker

text: Although 1966 was another good sales year for the Chrysler division overall, with a nearly 29% increase in production and sales of 262,495, New Yorker numbers were down somewhat to 47,579.


title: Chrysler New Yorker

text: 1967 brought a complete redesign of all sheet metal below the beltline. The most recognizable new styling features were wraparound parking lights at the front and taillights at the rear. A new "fasttop" design for the two-door hardtop replaced the more formal look of 1965–66. The four-door sedan reverted to the four-window style as used on the Newport line.


title: Chrysler New Yorker

text: Styling changes for 1968 included a new grille, bumpers, front sheet metal, rear fenders, and rear deck. Although the Newport and 300 four-door hardtops received a new, sportier roofline shared with Dodge and Plymouth, the New Yorker continued with the roofline first introduced for 1965. Main exterior features distinguishing the New Yorker from the other Chrysler lines were a full-width grille with a rectangular pattern, repeated at the rear by the full-width deck trim, and continuous lower bodyside molding.


title: Chrysler New Yorker

text: Chrysler production rebounded with the year setting a record at 264,863 cars built, 48,143 of which were New Yorkers, a slight improvement over the '66 level.


title: Chrysler New Yorker

text: The 1969 full-size Chryslers received all new "Fuselage Styling", shared with the completely restyled Imperial. This was a major cosmetic reworking, featuring curved sides and a higher beltline, while the previous generation's underpinnings remained. The two-door hardtop received a new look harking back to the club coupes of the 1940s.


title: Chrysler New Yorker

text: The 1970 Chryslers received minor styling changes to the grille, taillamps, and trim. The small vent windows on the front doors were dropped on the two-door hardtops.


title: Chrysler New Yorker

text: Due to lower-than-expected sales, the facelift scheduled for 1971 was put off until 1972. Thus the 1971 models only received new grilles and taillamps. Ventless front-door windows on the four-door sedan and hardtop were new this year.


title: Chrysler New Yorker

text: In 1972 engine power dropped to meet stricter emissions standards and rising gas prices. Chryslers received a new 'split grille' somewhat similar to the Dodge Chargers of 1971-1974. This would be the last year for the 'loop'-style front bumpers on Chryslers.


title: Chrysler New Yorker

text: 1973 was the final year for the distinctive Chrysler "Fuselage Styling", with a major reworking of the front-end treatment.


title: Chrysler New Yorker

text: In 1974 rounded "Fuselage Styling" gave way to an even more massive slab-sided effect on all full-size Chryslers. This generation introduced covered headlights, and a more prominent "waterfall" style grille, reflecting popular styling motifs, primarily used on the Lincoln Continental. These 1974 models happened to debut at almost precisely the same time that the 1973 OPEC oil embargo began, and were a significant part of Chrysler's economic woes in the late 1970s. The 1974 models were the last full-size models Chrysler designed from the ground up.


title: Chrysler New Yorker

text: Two New Yorker trim levels were offered in 1974, the base New Yorker and an upgraded New Yorker Brougham. The listed retail price for the four-door hardtop sedan was US$6,611 ($ in dollars ) and 13,165 were sold, while the St. Regis appearance option package returned from the mid 1950s and was added mid-year offering fixed formal opera windows, body paint accent stripes and a forward half-covered vinyl covered roof.


title: Chrysler New Yorker

text: For 1975, the New Yorker received a slightly revised grille, and New Yorker Brougham became the sole trim designation. The St. Regis package, introduced in mid-1974, returned for its first full year.


title: Chrysler New Yorker

text: In 1976, the New Yorker inherited the front and rear-end styling of the discontinued Imperial, especially the covered headlights. The Imperial styling gave the New Yorker an unforeseen boost in sales, as the car looked distinctly different from the lower-priced Newport. The styling cues formerly used on the 1974 and 1975 New Yorkers, in turn, were passed on to the base Chrysler Newport. The 1976 New Yorker also inherited the Imperial's interior styling.


title: Chrysler New Yorker

text: In 1977, the standard 440-cid V8 engine was revised to include a new computer-controlled "lean burn" system, thereby allowing for more responsive acceleration and performance.


title: Chrysler New Yorker

text: The 1978 New Yorker Brougham was available in 2-door and 4-door hardtop body styles. Both were the last U.S.-built true pillarless hardtop models with frameless door glass and fully opening windows. An optional "St. Regis" package included a partial "formal" padded vinyl roof that included a fixed B-pillar and opera window. This was also the final year a 2-door New Yorker was offered. Appearance changes were limited to a new segmented grill design, dual accent tape strips on the lower body sides, new rear deck stripes, and bright accents on the taillamps. The V8 engine ( in California and high altitude regions) became the standard engine, with the optional. The last year of the C-body New Yorker Broughams saw engineering changes that included a revised windshield wiper linkage bushing, redesigned front and rear plastic fender extensions for the bumpers, and thinner glass.


title: Chrysler New Yorker

text: The 1979 R-body series was a "pillared hardtop." The V8 was standard, the optional through 1980. While shorter and much lighter than the previous generation, these cars still had a big car look and ride. Hidden headlamps and full-width taillights distinguished it from its R-body siblings, the Chrysler Newport, Dodge St. Regis and Plymouth Gran Fury. A new "Fifth Avenue" trim package was offered. Sales were robust, with almost 55,000 cars sold with a listed retail price of $8,631 ($ in dollars ).


title: Chrysler New Yorker

text: The exterior colors offered were Dove Gray, Formal Black, Nightwatch Blue, Spinnaker White, metallic Teal Frost, Regent Red Sunfire, Sable Tan Sunfire, Medium Cashmere, Frost Blue and Teal Green Sunfire and were shared with the Newport. The interior offered a front bench seat with a 60/40 split upholstered in Richton cloth and vinyl with a folding center armrest. The front suspension continued to offer Chryslers signature longitudinal front torsion bars, called Torsion-Aire, and anti-sway bar with a solid rear limited-slip differential connected to leaf springs.


title: Chrysler New Yorker

text: To add to its exclusivity, Chrysler offered "Convenience and Appearance Options". The list offered Open Road Handling Package, Two-Tone Paint, interior lighting, air conditioning with an upgraded climate control feature, rear window defroster, cruise control, power adjustable front seat, power windows, power electric door locks, power trunk release, luxury appearance steering wheel with an extra cost leather wrapped feature, digital clock, locking gas cap, lighting and mirrors, halogen headlamps, cornering lamps, electric adjustable outside sideview mirrors, several AM/FM radio or separate stereo radio choices to include CB and 8-track cassette player, power electric extendable antenna, various vinyl side moldings and bumper guards, undercoating, color keyed seat belts, wheel covers, and aluminum wheels, all at extra cost.


title: Chrysler New Yorker

text: In 1980 the New Yorker gained an upscale "Special Edition" trim package, featuring a brushed stainless steel roof treatment and exclusive mahogany metallic paint, and was more modest to the top level "Fifth Avenue" appearance and equipment option package, while six two-tone color combinations were also added to the options list. Sales were just over 13,500 cars as the price increased to $10,459 ($ in dollars ). During this time the Early 1980s recession in the United States began to take effect and impact sales.


title: Chrysler New Yorker

text: In 1981 a bold new grille with simple vertical ribs appeared. The “Fifth Avenue” option package remained, and a heavily-optioned "Carriage Roof" package was added, available only in Nightwatch Blue or Mahogany Metallic, along with an extensive list of optional equipment. With a suggested retail price increased to US$10,459 ($ in dollars ) with an additional Fifth Avenue trim package price of US$1,300 ($ in dollars ), sales plummeted again, to just over 6,500 cars.


title: Chrysler New Yorker

text: For 1982, the New Yorker underwent further downsizing with the model name being placed on a restyled and upgraded M-body LeBaron. In turn, the LeBaron, an M-body since 1977, was downsized onto the front-wheel drive Chrysler K-body. The smaller New Yorker was now propelled by Chrysler's slant-six engine, with the 318 V8 the only engine option. The 1982 New Yorker was available in base and Fifth Avenue trims. Both used the formal roof treatment.


title: Chrysler New Yorker

text: The Fifth Avenue package gave buyers a choice of pillowed "Corinthian" leather or Kimberley velvet seats while base models had cloth or optional leather seats. The 318 V8 engine came standard with the Fifth Avenue package, along with illuminated entry system, power door locks, power driver's seat, power trunk release, AM/FM stereo, speed control, leather wrapped steering wheel, deluxe intermittent wipers, and wire wheel covers.


title: Chrysler New Yorker

text: This car became the "Chrysler New Yorker Fifth Avenue" for 1983, and for 1984 the "New Yorker" prefix was dropped altogether; becoming the "Chrysler Fifth Avenue".


title: Chrysler New Yorker

text: In 1983, the New Yorker name was used on two different models. The M-body car was now the "" a name which changed to simply "Fifth Avenue" from 1984 to 1989. The other was an all-new K-car based New Yorker, which used the front-wheel drive Chrysler E platform, the beginning of the extended K-car years. It was the first Chrysler manufactured vehicle to offer a four-cylinder engine since the 1932 Plymouth Model PA using the Chrysler flathead four cylinder.


title: Chrysler New Yorker

text: The E-platform New Yorker came with state-of-the-art 1980s technology, including a digital dashboard and Electronic Voice Alert, which spoke notifications such as "A door is ajar"; "Please fasten your seat belts"; "Don't forget your keys"; "Thank you" (after fastening the seat belt, closing the door tightly or removing the key from the ignition switch); "Your engine oil pressure is low - prompt service is required". Also standard was a Landau vinyl roof with electroluminescent opera lamps. This was the only Chrysler New Yorker generation with an inline-four engine. 1983 was a limited production year for the FWD New Yorker. When introduced in 1983, it shared many elements with the Chrysler E-Class and had a waterfall grille that was slightly different from the 1984-1988 versions.


title: Chrysler New Yorker

text: For 1984, restyled wraparound taillights and a revised front grille were among the cosmetic changes. A 2.2 L I4 turbo engine was now an option and new electronic instrumentation featured a digital speedometer and odometer. Pillowed velvet seats replaced deep-nap cloth seats as standard.


title: Chrysler New Yorker

text: In 1985, the standard engine switched from the 2.2 L I4 to a Mitsubishi-sourced 2.6 L I4. New standard interior features included an overhead storage console with reading lamps, rear-seat headrests, and power windows.


title: Chrysler New Yorker

text: In 1986, a Chrysler-built 2.5 L I4 replaced the 2.6 L I4 as the standard engine. Also new was an automatic load-leveling suspension. Cosmetically, rear decklid panels, moldings, and taillights were redesigned. Interior changes included a new forward console and revised electronic instrumentation and an AM/FM stereo and deluxe intermittent wipers were now standard.


title: Chrysler New Yorker

text: In 1987, hood vents were eliminated on the turbo models, as were fender louvers on all models. A new six-speaker Infinity sound system was optional. As with other Chryslers, the steering wheel was redesigned. This was the best-selling and last full model year for the E-platform New Yorker.


title: Chrysler New Yorker

text: Although a new thirteenth generation New Yorker was introduced for 1988, the twelfth generation continued for one more abbreviated model year as the 1988 New Yorker Turbo. The 2.2 L I4 turbo was now the standard and only available engine. In addition to the turbo engine, previously optional yet commonly ordered equipment like automatic temperature control air conditioning, tilt steering wheel, cruise control, rear-window defogger, and power door locks became standard. While previous model year New Yorkers equipped with the optional turbo engine were commonly referred to as a "New Yorker Turbo" and wore "Turbo" badges, only the 1988 model had it as its official model name.


title: Chrysler New Yorker

text: The redesigned New Yorker for 1988 was larger (see Chrysler C platform), with many underbody and suspension components carried over and sharing much of its design with the rebadged varaint, the Dodge Dynasty. The new version had a V6 engine — a Mitsubishi-sourced 3.0 L unit instead of the Chrysler LA series 3.9 L V6 engine and optional anti-lock brakes. Base and Landau trim choices were offered, the latter of which carried a rear-quarter vinyl top. Hidden headlamps, a feature lost when the R-body cars were discontinued, returned. All thirteenth generation New Yorkers, as well as the reintroduced flagship 1990-1993 Imperial, were covered by Chrysler's market-leading "Crystal Key Owner Care Program" which included a 5-year/50,000-mile limited warranty and 7-year/70,000-mile powertrain warranty. A 24-hour toll-free customer service hotline was also provided.


title: Chrysler New Yorker

text: For 1989, the 3.0 L V6 engine had a slight horsepower increase and was now mated to a new 4-speed Ultradrive automatic transmission. This year also marked the 50th anniversary of the "New Yorker" name. Although no special anniversary edition or recognition was offered at the time, it turned out to be the most popular New Yorker of the model run with over 100,000 units produced that year.


title: Chrysler New Yorker

text: In 1990, a base model New Yorker, marketed as the "Salon" was added. The Salon was a rebadged Dodge Dynasty with exposed headlamps, horizontal taillights, and a grille similar to the Dodge. The Salon was marketed in Canada as the Chrysler Dynasty. All models carried a new Chrysler-built 3.3 L V6 engine that year. Minor changes to the interior included a revised, contoured dash. A driver's side airbag was now standard.


title: Chrysler New Yorker

text: The Landau model was dropped for 1991 but Salon was upgraded and included more standard equipment, hidden headlights, vertical taillights, and a traditional Chrysler grille.


title: Chrysler New Yorker

text: A styling update for 1992 produced a more rounded appearance front and rear. A padded landau roof, similar to one previously featured on the "Landau" model, was now an option on the Salon.


title: Chrysler New Yorker

text: Last year's restyle carried into 1993. The last thirteenth generation New Yorker was manufactured on May 28, 1993.


title: Chrysler New Yorker

text: In 1990, a stretched-wheelbase variant of the New Yorker was offered, marketed as the New Yorker Fifth Avenue and replacing the just-departed M-body platform. This model was discontinued in 1993.


title: Chrysler New Yorker

text: The final generation of the New Yorker continued with front-wheel drive on an elongated version of the new Chrysler LH platform and was shown at the 1992 North American International Auto Show in Detroit. It was released in May 1993 along with the nearly identical Chrysler LHS as an early 1994 model, six months after the original LH cars: the Chrysler Concorde, Dodge Intrepid, and Eagle Vision, were introduced. The New Yorker came standard with the 3.5 L "EGE" which produced . Chrysler gave the New Yorker a more "traditional American" luxury image, and the LHS a more European performance image (as was done with the Eagle Vision). Little separated New Yorker from LHS in appearance, with New Yorker's chrome hood trim, body-color cladding, standard chrome wheel covers, and 15-inch wheels, column shifter and front bench seat, being the only noticeable differences. An option provided for 16-inch wheels and a firmer suspension type ("touring suspension"). This option eliminated the technical differences between the New Yorker and LHS. LHS came with almost all of New Yorker's optional features as standard equipment and featured the firmer tuned suspension, to go with its more European image.


title: Chrysler New Yorker

text: During the 1994 model run, various changes were made to the New Yorker. On the outside, New Yorker was switched to new accent-color body cladding, whereas LHS received body-color cladding. This change aligned New Yorker with the Chrysler Concorde which also had accent-color cladding. The 16-inch wheels became standard. Likewise, the touring suspension option available on early 1994 New Yorker models was discontinued, leaving only "ride-tuned" suspension. This resulted in a permanent technical difference with LHS.


title: Chrysler New Yorker

text: For 1995, the New Yorker received Chrysler's revived blue ribbon logo (which was last used in the 1950s) on its grille, which replaced the Pentastar that had been used on models beginning in 1980.


title: Chrysler New Yorker

text: The 1996 model featured additional sound insulation and revised structural engineering to give it a quieter ride. A new built-in transmitter replaced the remote garage door opener. The antenna was now integrated into the rear window. Due to similarities between the New Yorker and LHS, and the LHS's strong sales, the New Yorker name was dropped after a short 1996 production run. Despite being far more contemporary and monochromatic in design compared to previous models, the traditional New Yorker with its two-tone cladding and chrome trim still did not follow the modern, monochromatic styling trend of the division's other vehicles in 1996.


title: Chrysler New Yorker

text: The fourteenth, and final, generation New Yorker's design can be traced to 1986, when designer Kevin Verduyn completed the initial exterior design of a new aerodynamic concept sedan called "Navajo". The design never passed the clay model stage.


title: Chrysler New Yorker

text: It was also at this time that the Chrysler Corporation purchased bankrupt Italian sports car manufacturer Lamborghini. The "Navajo's" exterior design was reworked and became the Lamborghini Portofino, released as a concept at the 1987 Frankfurt Auto Show. The Portofino was heralded as a design triumph, setting in motion Chrysler's decision to produce a production sedan with the Portofino's revolutionary exterior design, called "cab-forward". The cab forward design was characterized by the long, low slung windshield, and relatively short overhangs. The wheels were effectively pushed to the corners of the car, creating a much larger passenger cabin than the contemporaries of the time.


title: Chrysler New Yorker

text: Design of the chassis began in the late 1980s, after Chrysler had bought another automaker: American Motors Corporation (AMC) in 1987. During this time, Chrysler began designing the replacement for the Dodge Dynasty and Chrysler Fifth Avenue as well as a potential Plymouth. The initial design of Dodge's LH bore resemblance to the Dynasty, and this design was scrapped entirely after François Castaing, formerly AMC's Vice President of product engineering and development, became Chrysler's Vice President of vehicle engineering in 1988. The new design, under Castaing's leadership, began with the Eagle Premier, also sold later as the Dodge Monaco. The Premier's longitudinal engine mounting layout was inherited, as was the front suspension geometry, and parts of the braking system. The chassis itself became a flexible architecture capable of supporting front or rear-wheel drive (designated "LH" and "LX" respectively). The chassis design was continually refined throughout the following years, as it underpinned more Chrysler prototypes: the 1989 Chrysler Millennium and 1990 Eagle Optima.


title: Chrysler New Yorker

text: The transmission was inspired by the Eagle Premier's ZF automatic. However, it borrowed heavily from Chrysler's A604 (41TE) "Ultradrive" transversely mounted automatic, it became the A606 (also known as 42LE). This Ultradrive transmission however was not without critics as "The New York Times" reported on January 25, 1991, that Consumers Union would publish in the February 1991 issue of the magazine Consumer Reports a warning for consumers to "not" purchase a vehicle with this "Ultradrive" transmission citing poor reliability and safety hazards. By 1990, it was decided that the new technologically advanced car would need a new technologically advanced engine to power it. Until that time, the only engine confirmed for use was Chrysler's 3.3 L pushrod V6, which would be used in the three original LH cars, the Intrepid, Vision, and Concorde, in base form. The 3.3 L engine's 60° block was bored out to 3.5 L, while the pushrod-actuated valves were replaced with SOHC cylinder heads with four valves per cylinder, creating an advanced 3.5 L V6 optional in the three smaller cars, but standard in LHS and New Yorker.


title: Chrysler New Yorker

text: The general LH appearance, still based on the cab forward exterior design of the 1987 Lamborghini Portofino concept, with its aerodynamic shape, made for little wind noise inside this large car. This sleek styling gives the LH cars a low drag coefficient which was ahead of its time. The New Yorker featured a more monochromatic design inside and out (but less so than its LHS sibling, which had very little chrome trim), and aluminum wheels with a Spiralcast design. The single color motif was more pronounced on models without the grey lower cladding.


title: Chrysler New Yorker

text: Upscale New Yorker models feature leather-trimmed seats, steering wheel, shift knob, and door inserts. Passenger comforts include rear center rear armrest, and 8-way power seats for both the driver and passenger, as well as personal reading lamps. Power windows and central door locks were standard, as was climate control with air conditioning, and cruise control. remote keyless entry available as an option, as was a remote activated alarm, an overhead console with a computer, power moonroof, and alloy wheels. The best stock audio options found in New Yorker are the Infinity sound systems having eight speakers positioned throughout the cabin along with an equalizer. Head units include a radio with either cassette or CD playback, and up to a five-band adjustable graphic equalizer, with joystick balance and fade control. Standard safety features included dual front airbags, anti-lock brakes (ABS), and traction control.


title: Chrysler New Yorker

text: Dual-way power sunroofs were available on this car. They were designed and installed by American Sunroof Corp. (now ASC Global) from its Columbus, Ohio plant, not by Mopar itself. An installed sunroof eliminated most of the front overhead console that featured storage bins for a garage door opener and sunglasses. However, the Overhead Travel Information System (OTIS), or onboard computer with integrated map lights, was retained.


title: Chrysler New Yorker

text: The five-passenger Chrysler LHS was differentiated from its New Yorker counterpart by a floor console and shifter, five-passenger seating, lack of chrome trim, an upgraded interior, and a sportier image. After a short 1996 production run the New Yorker was dropped in favor of a six-passenger option on the 1996-1997 LHS. The LHS received a minor face change in 1995 when the corporate-wide Pentastar emblem was replaced with the revived Chrysler brand emblem.


title: Basel III

text: Basel III is the third Basel Accord, a framework that sets international standards for bank capital adequacy, stress testing, and liquidity requirements. Augmenting and superseding parts of the Basel II standards, it was developed in response to the deficiencies in financial regulation revealed by the financial crisis of 2007–08. It is intended to strengthen bank capital requirements by increasing minimum capital requirements, holdings of high quality liquid assets, and decreasing bank leverage.


title: Basel III

text: Basel III was published by the Basel Committee on Banking Supervision in November 2010, and was scheduled to be introduced from 2013 until 2015; however, implementation was extended repeatedly to 1 January 2022 and then again until 1 January 2023, in the wake of the COVID-19 pandemic.


title: Basel III

text: The new standards that come into effect in January 2023, that is, the Fundamental Review of the Trading Book (FRTB) and the , are sometimes referred to as Basel IV. However, the secretary general of the Basel Committee said, in a 2016 speech, that he did not believe the changes are substantial enough to warrant that title and the Basel Committee refer to only three Basel Accords.


title: Basel III

text: Basel III aims to strengthen the requirements in the Basel II regulatory standards for banks. In addition to increasing capital requirements, it introduces requirements on liquid asset holdings and funding stability, thereby seeking to mitigate the risk of a run on the bank.


title: Basel III

text: The original Basel III rule from 2010 required banks to fund themselves with 4.5% of Common Equity Tier 1 (CET1) (up from 2% in Basel II) of risk-weighted assets (RWAs). Since 2015, a minimum CET1 ratio of 4.5% must be maintained at all times by the bank. This ratio is calculated as follows:


title: Basel III

text: The minimum Tier 1 capital increases from 4% in Basel II to 6%, applicable in 2015, over RWAs. This 6% is composed of 4.5% of CET1, plus an extra 1.5% of Additional Tier 1 (AT1).


title: Basel III

text: CET1 capital comprises shareholders equity (including audited profits), less deductions of accounting reserve that are not believed to be loss absorbing "today", including goodwill and other intangible assets. To prevent the potential of double-counting of capital across the economy, bank's holdings of other bank shares are also deducted.


title: Basel III

text: Basel III introduced a minimum "leverage ratio" from 2018 based on a leverage exposure definition published in 2014. A revised exposure definition and a buffer for globally systemically important banks (G-SIBs) will be effective from 2023.


title: Basel III

text: The ratio is calculated by dividing Tier 1 capital by the bank's leverage exposure. The leverage exposure is the sum of the exposures of all on-balance sheet assets, 'add-ons' for derivative exposures and securities financing transactions (SFTs), and credit conversion factors for off-balance sheet items. The ratio acts as a back-stop to the risk-based capital metrics. The banks are expected to maintain a leverage ratio in excess of 3% under Basel III.


title: Basel III

text: For typical mortgage lenders, who underwrite assets of a low risk weighting, the leverage ratio will often by the binding capital metric.


title: Basel III

text: In 2013, the U.S. Federal Reserve announced that the minimum Basel III leverage ratio would be 5% for eight systemically important financial institution (SIFI) banks and 6% for their insured bank holding companies. In the EU, whilst banks have been required to disclose their leverage ratio since 2015, a binding requirement has not yet been implemented. The UK operates its own leverage ratio regime, with a binding minimum requirement for banks with deposits greater than £50bn of 3.25%. This higher minimum reflects the PRA's differing treatment of the leverage ratio, which excludes central bank reserves in 'Total exposure' of the calculation.


title: Basel III

text: In 2013, the Federal Reserve Board of Governors approved an interagency proposal for the U.S. version of the Basel Committee on Banking Supervision (BCBS)'s Liquidity Coverage Ratio (LCR). The ratio would apply to certain U.S. banking organizations and other systemically important financial institutions.


title: Basel III

text: The United States' LCR proposal came out significantly tougher than BCBS's version, especially for larger bank holding companies. The proposal requires financial institutions and FSOC designated nonbank financial companies to have an adequate stock of high-quality liquid assets (HQLA) that can be quickly liquidated to meet liquidity needs over a short period of time.


title: Basel III

text: The LCR consists of two parts: the numerator is the value of HQLA, and the denominator consists of the total net cash outflows over a specified stress period (total expected cash outflows minus total expected cash inflows).


title: Basel III

text: The Liquidity Coverage Ratio applies to U.S. banking operations with assets of more than $10 billion. The proposal would require:


title: Basel III

text: The US proposal divides qualifying HQLAs into three specific categories (Level 1, Level 2A, and Level 2B). Across the categories, the combination of Level 2A and 2B assets cannot exceed 40% HQLA with 2B assets limited to a maximum of 15% of HQLA.


title: Basel III

text: The proposal requires that the LCR be at least equal to or greater than 1.0 and includes a multiyear transition period that would require: 80% compliance starting 1 January 2015, 90% compliance starting 1 January 2016, and 100% compliance starting 1 January 2017.


title: Basel III

text: Lastly, the proposal requires both sets of firms (large bank holding companies and regional firms) subject to the LCR requirements to submit remediation plans to U.S. regulators to address what actions would be taken if the LCR falls below 100% for three or more consecutive days.


title: Basel III

text: The standardised approach for counterparty credit risk (SA-CCR), which replaced the Current Exposure Method, became effective in 2017. SA-CCR is used to measure the potential future exposure of derivative transactions in the leverage exposure measure and non-modelled Risk Weighted Asset calculations.


title: Basel III

text: A framework for limiting large exposure to external and internal counterparties was implemented in 2018.


title: Basel III

text: Following a Fundamental Review of the Trading Book, minimum capital requirements for market risk in the trading book will be based on a better calibrated standardised approach or internal model approval (IMA) for an expected shortfall measure rather than, under Basel II, value at risk. The Basel Committee's oversight body, the Group of Central Bank Governors and Heads of Supervision (GHOS), announced in December 2017 that the implementation date of these reforms, which were originally set to be effective in 2019, was delayed to 1 January 2022. In March 2020, the implementation date was delayed to 1 January 2023.


title: Basel III

text: The Basel 3.1 standards published in 2017 cover further reforms in six areas: standardised approach for credit risk (SA-CR); internal ratings based approach (IRB) for credit risk; CVA risk; operational risk; an output floor; and the leverage ratio. The GHOS announced in March 2020 that the implementation date of these reforms, which were originally set to be effective at the start of 2022, was delayed to 1 January 2023.


title: Basel III

text: As of September 2010, proposed Basel III norms asked for ratios as: 7–9.5% (4.5% + 2.5% (conservation buffer) + 0–2.5% (seasonal buffer)) for common equity and 8.5–11% for Tier 1 capital and 10.5–13% for total capital.


title: Basel III

text: The US Federal Reserve announced in December 2011 that it would implement substantially all of the Basel III rules. It summarized them as follows, and made clear they would apply not only to banks but also to all institutions with more than US$50 billion in assets:


title: Basel III

text: As of January 2014, the United States has been on track to implement many of the Basel III rules, despite differences in ratio requirements and calculations.


title: Basel III

text: The implementing act of the Basel III agreements in the European Union has been the new legislative package comprising Directive 2013/36/EU (CRD IV) and Regulation (EU) No. 575/2013 on prudential requirements for credit institutions and investment firms (CRR).


title: Basel III

text: The new package, approved in 2013, replaced the Capital Requirements Directives (2006/48 and 2006/49).


title: Basel III

text: On 7 December 2017, ECB chief Mario Draghi declared that for the banks of the European Union, the Basel III reforms were complete.


title: Basel III

text: In the United States higher capital requirements resulted in contractions in trading operations and the number of personnel employed on trading floors.


title: Basel III

text: An OECD study, released on 17 February 2011, estimated that the medium-term impact of Basel III implementation on GDP growth would be in the range of −0.05% to −0.15% per year. Economic output would be mainly affected by an increase in bank lending spreads, as banks pass a rise in bank funding costs, due to higher capital requirements, to their customers. To meet the capital requirements originally effective in 2015 banks were estimated to increase their lending spreads on average by about 15 basis points. Capital requirements effective as of 2019 (7% for the common equity ratio, 8.5% for the Tier 1 capital ratio) could increase bank lending spreads by about 50 basis points. The estimated effects on GDP growth assume no active response from monetary policy. To the extent that monetary policy would no longer be constrained by the zero lower bound, the Basel III impact on economic output could be offset by a reduction (or delayed increase) in monetary policy rates by about 30 to 80 basis points.


title: Basel III

text: Basel III was also criticized as negatively affecting the stability of the financial system by increasing incentives of banks to game the regulatory framework.


title: Basel III

text: Think tanks such as the World Pensions Council have argued that Basel III merely builds on and further expands the existing Basel II regulatory base without fundamentally questioning its core tenets, notably the ever-growing reliance on standardized assessments of "credit risk" marketed by two private sector agencies- Moody's and S&P, thus using public policy to strengthen anti-competitive duopolistic practices. The conflicted and unreliable credit ratings of these agencies is generally seen as a major contributor to the US housing bubble. Academics have criticized Basel III for continuing to allow large banks to calculate credit risk using internal models and for setting overall minimum capital requirements too low.


title: Basel III

text: Opaque treatment of all derivatives contracts is also criticized. While institutions have many legitimate ("hedging", "insurance") risk reduction reasons to deal in derivatives, the Basel III accords:


title: Basel III

text: Since derivatives present major unknowns in a crisis these are seen as major failings by some critics causing several to claim that the "too big to fail" status remains with respect to major derivatives dealers who aggressively took on risk of an event they did not believe would happen—but did. As Basel III does not absolutely require extreme scenarios that management flatly rejects to be included in stress testing this remains a vulnerability.


title: Basel III

text: A few critics argue that capitalization regulation is inherently fruitless due to these and similar problems and—despite an opposite ideological view of regulation—agree that "too big to fail" persists.


title: Basel III

text: Basel III has been criticized similarly for its paper burden and risk inhibition by banks, organized in the Institute of International Finance, an international association of global banks based in Washington, D.C., who argue that it would "hurt" both their business and overall economic growth. Basel III was also criticized as negatively affecting the stability of the financial system by increasing incentives of banks to game the regulatory framework.


title: Basel III

text: The American Bankers Association, community banks organized in the Independent Community Bankers of America, and others voiced opposition to Basel III in their comments to the Federal Deposit Insurance Corporation, saying that the Basel III proposals, if implemented, would hurt small banks by increasing "their capital holdings dramatically on mortgage and small business loans".


title: Basel III

text: Former US Secretary of Labor and Professor of Economics at the University of California, Berkeley Robert Reich has argued that Basel III did not go far enough to regulate banks since, he believed, inadequate regulation was a cause of the global financial crisis and remains an unresolved issue despite the severity of the impact of the Great Recession. In 2019, American investor Michael Burry criticized Basel III for what he characterizes as "more or less remov[ing] price discovery from the credit markets, meaning risk does not have an accurate pricing mechanism in interest rates anymore."


title: Basel III

text: Before the enactment of Basel III in 2011, the Institute of International Finance (IIF, a Washington D.C.-based, 450-member banking trade association), argued against the implementation of the accords, claiming it would hurt banks and economic growth. The American Banker's Association, community banks organized in the Independent Community Bankers of America, and some of the most liberal Democrats in the U.S. Congress, including the entire Maryland congressional delegation with Democratic Sens. Cardin and Mikulski and Reps. Van Hollen and Cummings, voiced opposition to Basel III in their comments submitted to FDIC, saying that the Basel III proposals, if implemented, would hurt small banks by increasing "their capital holdings dramatically on mortgage and small business loans."


title: Basel III

text: In January 2013 the global banking sector won a significant easing of Basel III rules, when the BCBS extended not only the implementation schedule to 2019, but broadened the definition of liquid assets. In December 2017, the Basel Committee's oversight body, the Group of Central Bank Governors and Heads of Supervision (GHOS), extended the implementation of the market risk framework from 2019 to January 1, 2022. In March 2020, implementation of the , the market risk framework, and the revised Pillar 3 disclosure requirements were extended by one year, to January 1, 2023.


title: Hyoscyamus niger

text: Hyoscyamus niger, commonly known as henbane, black henbane, or stinking nightshade, is a poisonous plant in the nightshade family Solanaceae. It is native to temperate Europe and Siberia, and naturalised in Great Britain and Ireland.


title: Hyoscyamus niger

text: The name "henbane" dates at least to AD 1265. The origins of the word are unclear, but "hen" probably originally meant death rather than referring to chickens. Other etymologies of the word associate it with the Indo-European stem "*bhelena" whose hypothetical meaning is 'crazy plant' and with the Proto-Germanic element "bil" meaning ‘vision, hallucination; magical power, miraculous ability’.


title: Hyoscyamus niger

text: Henbane was historically used in combination with other plants, such as mandrake, deadly nightshade, and datura, as an anaesthetic potion, as well as for its psychoactive properties in "magic brews". These psychoactive properties include visual hallucinations and a sensation of flight. It was originally used in continental Europe, Asia, and the Arab world, though it did spread to England in the Middle Ages. The use of henbane by the ancient Greeks was documented by Pliny who said it was "of the nature of wine and therefore offensive to the understanding", and by Dioscorides who recommended it as a sedative and analgesic.