title: Participle

text: Cross-linguistically, participles may have a range of functions apart from adjectival modification. In European and Indian languages, the past participle is used to form the passive voice. In English, participles are also associated with periphrastic verb forms (continuous and perfect) and are widely used in adverbial clauses. In non-Indo-European languages, ‘participle’ has been applied to forms that are alternatively regarded as converbs (see Sireniki Eskimo below), gerunds, gerundives, transgressives, and nominalised verbs in complement clauses. As a result, ‘participles’ have come to be associated with a broad variety of syntactic constructions.


title: Participle

text: The word "participle" comes from classical Latin , from 'sharing, participation', because it shares certain properties of verbs, adjectives, and adverbs. The Latin grammatical term is a calque of the Greek grammatical term 'participation, participle'.


title: Participle

text: In particular, Greek and Latin participles agree with the nouns that they modify in gender, number and case, but are also conjugated for tense and voice and can take prepositional and adverbial modifiers.


title: Participle

text: The linguistic term, "past participle", was coined circa 1798 based on its participial form, whose morphology equates to the regular form of preterite verbs. The term, "present participle", was first used circa 1864 to facilitate grammatical distinctions. Despite the taxonomical use of "past" and "present" as associated with the aforementioned participles, their respective semantic use can entail any tense, regardless of aspect, depending on how they are structurally combined.


title: Participle

text: Some languages have extensive participial systems but English has only two participial forms, most commonly termed:


title: Participle

text: Some grammars further distinguish "passive participles" as often associated with passive voice versus "active participles" as often associated with e.g. the present progressive tense, but such linguistic distinctions are neither recognized nor employed on a universal basis.


title: Participle

text: Participles can be used adjectivally (i.e. without characteristics of canonical verbs) as "attributive adjectives". They then take neither object complements nor modifiers that are typical of canonical verbs, but they are capable of being modified by adverbs such as "very" or "slightly". The difference is illustrated by the following examples:


title: Participle

text: In the first sentence "interesting" functions transitively as a nonfinite verb that takes the object "him", thereby forming the phrase "interesting him", which constitutes an adjectival phrase modifying "subject". In the second sentence "interesting" functions non-transitively; it instead acts as a prepositive adjective that can be modified by typical adverbs such as "very" or "quite" (or a prefix such as "un-"). Similar examples are ""interested" people", "a "frightened" rabbit", ""fallen" leaves", ""meat-eating" animals".


title: Participle

text: Participles are often used to form certain grammatical tenses or grammatical aspects. The two types of participle in Modern English are termed present participle and past participle, respectively (often also referred to as the "-ing form" and "-ed/-en form"). The traditional terms are misleading because the participles do not necessarily correspond to tense: the present participle is often associated with the progressive (continuous) aspect, while the past participle is linked with the perfect aspect or passive voice. See the examples below:


title: Participle

text: The first sentence is in the past tense ("were"), but a present participle expresses the progressive aspect ("be standing"). The second sentence is in the future tense ("will"), but a past participle is used for the perfect aspect ("have cleaned").


title: Participle

text: Participles may also be identified with a particular voice: active or passive. Some languages (such as Latin and Russian) have distinct participles for active and passive uses. In English, the present participle is essentially an active participle, while the past participle has both active and passive uses.


title: Participle

text: Some languages differentiate adjectival participles and adverbial participles. An adverbial participle (or a participial phrase/clause based on such a participle) plays the role of an adverbial (adverb phrase) in the sentence in which it appears, whereas an adjectival participle (or a participial phrase/clause based on one) plays the role of an adjective phrase. Such languages include Russian and other Slavic languages, Hungarian, and many Eskimo languages, such as Sireniki, which has a sophisticated participle system. Details can be found in the sections below or in the articles on the grammars of specific languages.


title: Participle

text: Grammatical descriptions vary in the way these are treated. Some descriptive grammars treat such adverbial and adjectival participles as distinct lexical categories, while others include them both in a single category of participles. Adverbial participles in certain languages may be called converbs, gerunds, or gerundives (though this is not consistent with the meanings of the terms "gerund" or "gerundive" as normally applied to English or Latin), or transgressives.


title: Participle

text: In Old English, past participles of Germanic strong verbs were marked with a "ge-" prefix, as are most strong and weak past participles in Dutch and German today, and often by a vowel change in the stem. Those of weak verbs were marked by the ending "-d", with or without an epenthetic vowel before it. Modern English past participles derive from these forms (although the "ge-" prefix, which became "y-" in Middle English, has now been lost — except in some rare dialects such as the Dorset dialect, where it takes the form of "a-").


title: Participle

text: Old English present participles were marked with an ending in "-ende" (or "-iende" for verbs whose infinitives ended in "-ian").


title: Participle

text: In Middle English, the form of the present participle varied across regions: "-ende" (southwest, southeast, Midlands), "-inde" (southwest, southeast), "-and" (north), "-inge" (southeast). The last is the one that became standard, falling together with the suffix "-ing" used to form verbal nouns. See "-ing" (etymology).


title: Participle

text: In addition, various compound participles can be formed, such as "having done", "being done", "having been doing", "having been done".


title: Participle

text: Details of participle formation can be found under English verbs and List of English irregular verbs.


title: Participle

text: Additionally, participles that express an adjectivally attributive meaning can be affixed to form adverbs, such as "interestingly" and "excitedly".


title: Participle

text: 3. In an adverbial phrase. In the following, the subject is understood to be the same as that of the main clause:


title: Participle

text: Note that a past participle that complements a stative verb (e.g., "The files that "are attached" or "Our comrades who "have fallen"") becomes a passive participle within a passive voice construct.


title: Participle

text: 6. As a gerund. The gerund is traditionally regarded as distinct from the present participle. A gerund can function transitively (e.g., "I like "eating ice cream"") or intransitively (e.g., "I like "swimming""). In both instances, a gerund functions nominatively rather than adjectivally or adverbially—whether as an object (e.g., "I like "sleeping"") or as a subject (e.g., ""Sleeping" is not allowed"). Although "gerunds" and "present participles" are morphologically identical, their grammatical functions differ substantially.


title: Participle

text: Sometimes their morphological similarity can create contextual ambiguity, as Noam Chomsky pointed out in his well-known example:


title: Participle

text: When the meaning is "The practice of flying a plane is dangerous," "flying" functions as a gerund; when the danger concerns "Planes that fly" or "Planes when they are flying" (i.e., in contrast to "grounded planes"), "flying" is being used adjectivally as a participle. For more on the distinctions between these uses of the "-ing" verb form, see "-ing": uses.


title: Participle

text: For more details on uses of participles and other parts of verbs in English, see Uses of English verb forms, including the sections on the present participle and past participle.


title: Participle

text: In all of the Scandinavian languages the past participle has to agree with the noun to some degree. All of the Scandinavian languages have mandatory agreement with the noun in number. Nynorsk and Swedish have mandatory agreement in both number and gender. Icelandic and Faroese have agreement in number, gender and case. The verb form used for the perfect (or "supine") aspect is generally identical to the nominative neuter singular form of the past participle for all verbs. For the present participle there is no agreement.


title: Participle

text: The participles are marked in bold. The first example involves a present participle and the two latter examples involves a past participle. All present participles end with an -ande suffix.


title: Participle

text: In Norwegian, the present participle may be used to form adjectives or adverbs denoting the possibility or convenience of performing the action prescribed by the verb. For example:


title: Participle

text: This construction is allowed in Nynorsk, but not in Bokmål, where suffixes like "-elig" or "-bar" are used instead.


title: Participle

text: Latin grammar was studied in Europe for hundreds of years, especially the handbook written by the 4th-century teacher Aelius Donatus, and it is from Latin that the name and concept of the participle derives. According to Donatus there are four participles in Latin, as follows:


title: Participle

text: The perfect participle is usually passive in meaning, and thus mainly formed from transitive verbs, for example "frāctus" "broken", "missus" "sent (by someone)". However, certain verbs (called deponent verbs) have a perfect participle in an active sense, e.g. "profectus" "having set out", "hortātus" "having encouraged", etc. The present and future participles are always active, the gerundive usually passive.


title: Participle

text: Because a participle is an adjective as well as a verb, just like any other Latin adjective its ending changes according to the noun it describes. So when the noun is masculine, the participle must be masculine; when the noun is in the accusative (object) case, the participle is also in the accusative case; when the noun has plural endings, the participle also has plural endings. Thus a simple participle such as "frāctus" "broken" can change to "frācta", "frāctum", "frāctī", "frāctō" and so on, according to its gender, number, and case.


title: Participle

text: A participle can have a descriptive meaning like an adjective, or a more dynamic meaning like a verb. Thus in the following sentence the participle "strīctō" "drawn" is better taken as describing an action ("he drew his sword" or "after drawing his sword") rather than as describing the sword ("with a drawn sword"):


title: Participle

text: The dynamic, verbal meaning is more common, and Latin often uses a participle where English might use a simple verb.


title: Participle

text: The present participle often describes the circumstances attending the main verb. A typical example is:


title: Participle

text: Both the future and the perfect participle (but not the present participle) can be used with various tenses of the verb "esse" "to be" to make a compound tense such as the future-in-the-past or the perfect passive:


title: Participle

text: The perfect and future participles can also be used, with or without the verb "esse" "to be", in indirect speech clauses:


title: Participle

text: In Spanish, the so-called present or active participle ("participio activo" or "participio de presente") of a verb is traditionally formed with one of the suffixes "-ante, -ente" or "-iente", but modern grammar does not consider it a true participle, as such forms usually have the meaning of simple adjectives or nouns: e.g. "amante" "loving" or "lover", "viviente" "living" or "live".


title: Participle

text: Another participial form is known as the "gerundio", which ends in an (unchanging) suffix "-ando" or "-iendo". The gerundio is used in combination with the verb "estar" ("to be") to make continuous tenses: for example, "estar haciendo" means "to be doing" ("haciendo" being the "gerundio" of "hacer", "to do"), and there are related constructions such as "seguir haciendo" meaning "to keep doing" ("seguir" being "to continue"). Another use is in phrases such as "vino corriendo" ("he/she came running") and "lo vi corriendo" ("I saw him running").


title: Participle

text: The past participle ("participio pasado" or "participio pasivo") is regularly formed with one of the suffixes "-ado" or "-ido (-ado" for verbs ending in "-ar" and "-ido" for verbs ending in "-er" or "-ir"; but some verbs have an irregular form ending in "-to" (e.g. "escrito, visto, puesto"), or "-cho" (e.g. "dicho, hecho"). The past participle is used generally as an adjective referring to a finished action, in which case its ending changes according to gender and number. At other times is used to form compound tenses: the present perfect, past perfect (sometimes referred to as the "pluscuamperfecto"), and the future perfect, in which case it is indeclinable. Some examples:


title: Participle

text: The Ancient Greek participle shares in the properties of adjectives and verbs. Like an adjective, it changes form for gender, case, and number. Like a verb, it has tense and voice, is modified by adverbs, and can take verb arguments, including an object. Participles are quite numerous in Ancient Greek: a non-defective verb has as many as ten participles.


title: Participle

text: There is a form of the participle for every combination of aspect (present, aorist, perfect, future) and voice (active, middle, passive). All participles are based on their finite forms. Here are the masculine nominative singular forms for a thematic and an athematic verb:


title: Participle

text: In the example, the participial phrase "tòn eû stratēgḗsonta", literally "the one going to be a good general," is used to embed the idea "eû stratēgḗsei" "he will be a good general" within the main verb.


title: Participle

text: There are two types of participles in Hindi & Urdu (called together Hindustani), aspectual participles which mark the aspect and non-aspectual participles which do not mark verbal aspect. The table below mentions the different participles present in Hindustani, "ɸ" denotes the verb root. The aspectual participles can take a few other copulas after them besides the verb honā "to be". Those copular verbs are rêhna ""to stay", ānā "to come", jānā "to go"."


title: Participle

text: In Cornish, an equivalent present participle construction to English is formed by using "ow" ("owth" before vowels) with a verbal noun, e.g. "Yma an den ow hwerthin" ("The man is laughing"), and "den ow hwerthin" ("a laughing man"). Like Breton but unlike Welsh, Cornish also has verbal adjectives which are used similarly to English past participles, e.g. "dehen molys" ("clotted cream"), from the verbal noun "mola" "to clot".


title: Participle

text: In Welsh, the effect of a participle in the active voice is constructed by "yn" followed by the verb-noun (for the present participle) and "wedi" followed by the verb-noun (for the past participle). There is no mutation in either case. In the passive voice, participles are usually replaced by a compound phrase such as "wedi cael ei/eu" ("having got his/her/their ...ing") in contemporary Welsh and by the impersonal form in classical Welsh.


title: Participle

text: The Polish word for participle is "imiesłów" (pl.: "imiesłowy"). There are four types of "imiesłowy" in two classes:


title: Participle

text: Due to the distinction between adjectival and adverbial participles, in Polish it is practically impossible to make a dangling participle in the classical English meaning of the term. For instance, in the sentence:


title: Participle

text: it is unclear whether "I" or "they" were hiding in the closet. In Polish there is a clear distinction:


title: Participle

text: Macedonian has completely lost or transformed the participles of Common Slavic, unlike the other Slavic languages. The following points may be noted:


title: Participle

text: Among Indo-European languages, the Lithuanian language is unique for having fourteen different participial forms of the verb, which can be grouped into five when accounting for inflection by tense. Some of these are also inflected by gender and case. For example, the verb "eiti" ("to go, to walk") has the active participle forms "einąs/einantis" ("going, walking", present tense), "ėjęs" (past tense), "eisiąs" (future tense), "eidavęs" (past frequentative tense), the passive participle forms "einamas" ("being walked", present tense), "eitas" (“walked” past tense), "eisimas" (future tense), the adverbial participles "einant" ("while [he, different subject] is walking" present tense), "ėjus" (past tense), "eisiant" (future tense), "eidavus" (past frequentative tense), the semi-participle "eidamas" ("while [he, the same subject] is going, walking") and the participle of necessity "eitinas" ("that which needs to be walked"). The active, passive, and the semi-participles are inflected by gender, and the active, passive, and necessity ones are inflected by case.


title: Participle

text: The Arabic verb has two participles: an active participle ("’ism al-fā‘il" اسم الفاعل) and a passive participle ("’ism al-maf‘ūl" اسم المفعول), and the form of the participle is predictable by inspection of the dictionary form of the verb. These participles are inflected for gender, number and case, but not person. Arabic participles are employed syntactically in a variety of ways: as nouns, as adjectives or even as verbs. Their uses vary across varieties of Arabic. In general the active participle describes a property of the syntactic subject of the verb from which it derives, whilst the passive participles describes the object. For example, from the verb كتب "kataba", the active participle is "kātib" كاتب and the passive participle is "maktūb" مكتوب. Roughly these translate to "writing" and "written" respectively. However, they have different, derived lexical uses. كاتب "kātib" is further lexicalized as "writer", "author" and مكتوب "maktūb" as "letter".


title: Participle

text: In Classical Arabic these participles do not participate in verbal constructions with auxiliaries the same way as their English counterparts do, and rarely take on a verbal meaning in a sentence (a notable exception being participles derived from motion verbs as well as participles in Qur'anic Arabic). In certain dialects of Arabic however, it is much more common for the participles, especially the active participle, to have verbal force in the sentence. For example, in dialects of the Levant, the active participle is a structure that describes the state of the syntactic subject after the action of the verb from which it derives has taken place. "ʼĀkil", the active participle of "ʼakala" ("to eat"), describes one's state after having eaten something. Therefore, it can be used in analogous way to the English present perfect (for example, "ʼAnā ʼākil" انا آكل meaning "I have eaten", "I have just eaten" or "I have already eaten"). Other verbs, such as "rāḥa" راح ("to go") give a participle ("rāyiḥ" رايح), which has a progressive ("is going…") meaning. The exact tense or continuity of these participles is therefore determined by the nature of the specific verb (especially its lexical aspect and its transitivity) and the syntactic/semantic context of the utterance. What ties them all together is that they describe the subject of the verb from which they derive. The passive participles in certain dialects can be used as a sort of passive voice, but more often than not, are used in their various lexicalized senses as adjectives or nouns.


title: Participle

text: Like Arabic, Hebrew has two types of participles (בינוני "bênônî"): an active participle (בינוני פועל "bênônî pô‘ēl") and a passive participle (בינוני פעול "bênônî pā‘ûl"). These participles are inflected for gender and number, but not case, unlike Arabic. The active participle takes a variety of syntactic roles, such as a verb in present tense, a noun, and an adjective.


title: Participle

text: Hebrew has a syntactic construction of the verb "to be" (הָיָה) "hayá" in the past tense, and the active participle that cognates to the past progressive tense in English. For example, the word עבדתי "avádti" means "I worked", and הייתי עובד "hayíti ovéd" means "I was working". Another use of this syntactic structure is equivalent to "used to" in English. For example, דויד בילדותו היה גר בארצות הברית "davíd b'yaldutó hayá gar b'arcót habrít" (David in his childhood used to live in the United States).


title: Participle

text: Finnish uses six participles ("partisiippi") to convey different meanings. Below is a table displaying the declension of the participles of the verb tappaa (to kill).


title: Participle

text: Each and every one of these participles can be used as adjectives, which means that some of them can be turned into nouns.


title: Participle

text: In Hungarian grammar the infinitive is also considered a kind of participle, namely the noun participle ("főnévi igenév").


title: Participle

text: Turkish participles consist of a verb stem and a suffix. Some participles may be conjugated, but some may not. Participles always precede the noun they are defining, as in English.


title: Participle

text: Participle suffixes, like many other suffixes in Turkish, change according to the vowel harmony and sandhi.


title: Participle

text: There are eight types of participle suffixes; "-en", "-esi", "-mez", "-ar", "-di(k/ği)" "-ecek" and "-miş"


title: Participle

text: Sireniki Eskimo language, an extinct Eskimo–Aleut language, has separate sets of "adverbial participles" and "adjectival participles". Different from in English, adverbial participles are conjugated to reflect the person and number of their implicit subjects; hence, while in English a sentence like "If "I" were a marksman, "I" would kill walruses" requires two full clauses (to distinguish the two verbs' different subjects), in Sireniki Eskimo one of these may be replaced with an adverbial participle (since its conjugation indicates the subject).


title: Participle

text: Esperanto has six different participle conjugations; active and passive for past, present and future. The participles are formed as follows:


title: Participle

text: For example, a "falonta botelo" is a bottle that will fall or is about to fall. A "falanta botelo" is one that is falling through the air. After it hits the floor, it is a "falinta botelo." These examples use the active participles, but the usage of the passive participles is similar. A cake that is going to be divided is a "dividota kuko". When it is in the process of being divided, it is a "dividata kuko". Having been cut, it is now a "dividita kuko".


title: Participle

text: These participles can be used in conjunction with the verb to be, "esti", forming 18 compound tenses (9 active and 9 passive). However, this soon becomes complicated and often unnecessary, and is only frequently used when rigorous translation of English is required. An example of this would be "la knabo estos instruita", or, the boy will have been taught. This example sentence is then in the future anterior.


title: Participle

text: When the suffix "-o" is used, instead of "-a", then the participle refers to a person. A "manĝanto" is someone who is eating. A "manĝinto" is someone who ate. A "manĝonto" is someone who will eat. Also, a "manĝito" is someone who was eaten, a "manĝato" is someone who is being eaten, and a "manĝoto" is someone who will be eaten.


title: Participle

text: These rules hold true for all transitive verbs. Since copular and intransitive verbs do not have passive voice, their participle forms can only be active.


title: Participle

text: An informal and unofficial addition to these six are the participles for conditional forms, which use "-unt-" and "-ut-". For example, "parolunto" refers to someone who would speak (or would have spoken), and a "leguta libro" is a book that would be read (or have been read). These unofficial participle forms are however very rarely used in practice.


title: Dredging

text: Dredging is the excavation of material from a water environment. Possible reasons for dredging include improving existing water features; reshaping land and water features to alter drainage, navigability, and commercial use; constructing dams, dikes, and other controls for streams and shorelines; and recovering valuable mineral deposits or marine life having commercial value. In all but a few situations the excavation is undertaken by a specialist floating plant, known as a dredger.


title: Dredging

text: Dredging is carried out in many different locations and for many different purposes, but the main objectives are usually to recover material of value or use, or to create a greater depth of water. Dredges have been classified as suction or mechanical.


title: Dredging

text: Dredging has significant environmental impacts: it can disturb marine sediments, leading to both short- and long-term water pollution, destroy important seabed ecosystems, and can release human-sourced toxins captured in the sediment.


title: Dredging

text: Dredging is excavation carried out underwater or partially underwater, in shallow waters or ocean waters. It keeps waterways and ports navigable, and assists coastal protection, land reclamation and coastal redevelopment, by gathering up bottom sediments and transporting it elsewhere. Dredging can be done to recover materials of commercial value; these may be high value minerals or sediments such as sand and gravel that are used by the construction industry.


title: Dredging

text: Dredging is a four-part process: loosening the material, bringing the material to the surface (together extraction), transportation and disposal.


title: Dredging

text: The extract can be disposed of locally or transported by barge or in a liquid suspension in pipelines. Disposal can be to infill sites, or the material can be used constructively to replenish eroded sand that has been lost to coastal erosion, or constructively create sea-walls, building land or whole new landforms such as viable islands in coral atolls.


title: Dredging

text: Ancient authors refer to harbour dredging. The seven arms of the Nile were channelled and wharfs built at the time of the pyramids (4000 BC), there was extensive harbour building in the eastern Mediterranean from 1000 BC and the disturbed sediment layers gives evidence of dredging. At Marseille, dredging phases are recorded from the third century BC onwards, the most extensive during the first century AD. The remains of three dredging boats have been unearthed; they were abandoned at the bottom of the harbour during the first and second centuries AD.


title: Dredging

text: The Banu Musa Brothers during the Muslim Golden Age in while working at the Bayt-Al-Hikmah (house of wisdom) in Baghdad, designed an original invention in their book named ‘book of ingenious devices’ A grab machine that that does not appear in any earlier Greek works. The grab they described was used to extract objects from underwater, and recover objects from the beds of streams.


title: Dredging

text: Dredging machines have been used during the construction of the Suez Canal from the late 1800s to present day expansions and maintenance. The completion of the Panama Canal in 1914, the most expensive U.S. engineering project at the time, relied extensively on dredging.


title: Dredging

text: A trailing suction hopper dredger (TSHD) trails its suction pipe when working. The pipe, which is fitted with a dredge drag head, loads the dredge spoil into one or more hoppers in the vessel.


title: Dredging

text: When the hoppers are full, the TSHD sails to a disposal area and either dumps the material through doors in the hull or pumps the material out of the hoppers. Some dredges also self-offload using drag buckets and conveyors.


title: Dredging

text: A cutter-suction dredger's (CSD) suction tube has a cutting mechanism at the suction inlet. The cutting mechanism loosens the bed material and transports it to the suction mouth. The dredged material is usually sucked up by a wear-resistant centrifugal pump and discharged either through a pipe line or to a barge. Cutter-suction dredgers are most often used in geological areas consisting of hard surface materials (for example gravel deposits or surface bedrock) where a standard suction dredger would be ineffective. They can, if sufficiently powerful, be used instead of underwater blasting.


title: Dredging

text: As of 2018, the most powerful cutter-suction dredger in the world is DEME's "Spartacus", which is scheduled to enter service in 2019.


title: Dredging

text: The auger dredge system functions like a cutter suction dredger, but the cutting tool is a rotating Archimedean screw set at right angles to the suction pipe. Mud Cat invented the auger dredge in the 1970s.


title: Dredging

text: These use the Venturi effect of a concentrated high-speed stream of water to pull the nearby water, together with bed material, into a pipe.


title: Dredging

text: An airlift is a type of small suction dredge. It is sometimes used like other dredges. At other times, an airlift is handheld underwater by a diver. It works by blowing air into the pipe, and that air, being lighter than water, rises inside the pipe, dragging water with it.


title: Dredging

text: Some bucket dredgers and grab dredgers are powerful enough to rip out coral to make a shipping channel through coral reefs.


title: Dredging

text: A bucket dredger is equipped with a bucket dredge, which is a device that picks up sediment by mechanical means, often with many circulating buckets attached to a wheel or chain.


title: Dredging

text: A grab dredger picks up seabed material with a clam shell bucket, which hangs from an onboard crane or a crane barge, or is carried by a hydraulic arm, or is mounted like on a dragline. This technique is often used in excavation of bay mud. Most of these dredges are crane barges with spuds, steel piles that can be lowered and raised to position the dredge.


title: Dredging

text: A backhoe/dipper dredger has a backhoe like on some excavators. A crude but usable backhoe dredger can be made by mounting a land-type backhoe excavator on a pontoon. The six largest backhoe dredgers in the world are currently the Vitruvius, the Mimar Sinan, Postnik Yakovlev (Jan De Nul), the Samson (DEME), the Simson and the Goliath (Van Oord). They featured barge-mounted excavators. Small backhoe dredgers can be track-mounted and work from the bank of ditches. A backhoe dredger is equipped with a half-open shell. The shell is filled moving towards the machine. Usually dredged material is loaded in barges. This machine is mainly used in harbours and other shallow water.


title: Dredging

text: The excavator dredge attachment uses the characteristics of cutter-suction dredgers, consisting of cutter heads and a suction pump for transferring material. These hydraulic attachments mount onto the boom arm of an excavator allowing an operator to maneuver the attachment along the shoreline and in shallow water for dredging.


title: Dredging

text: This is a bar or blade which is pulled over the seabed behind any suitable ship or boat. It has an effect similar to that of a bulldozer on land. The chain-operated steam dredger "Bertha", built in 1844 to a design by Brunel and was the oldest operational steam vessel in Britain, was of this type.


title: Dredging

text: This is an early type of dredger which was formerly used in shallow water in the Netherlands. It was a flat-bottomed boat with spikes sticking out of its bottom. As tide current pulled the boat, the spikes scraped seabed material loose, and the tide current washed the material away, hopefully to deeper water. "Krabbelaar" is the Dutch word for "scratcher".


title: Dredging

text: A water injection dredger uses a small jet to inject water under low pressure (to prevent the sediment from exploding into the surrounding waters) into the seabed to bring the sediment in suspension, which then becomes a turbidity current, which flows away down slope, is moved by a second burst of water from the WID or is carried away in natural currents. Water injection results in a lot of sediment in the water which makes measurement with most hydrographic equipment (for instance: singlebeam echosounders) difficult.


title: Dredging

text: These dredgers use a chamber with inlets, out of which the water is pumped with the inlets closed. It is usually suspended from a crane on land or from a small pontoon or barge. Its effectiveness depends on depth pressure.


title: Dredging

text: A snagboat is designed to remove big debris such as dead trees and parts of trees from North America waterways.


title: Dredging

text: Some of these are any of the above types of dredger, which can operate normally, or by extending legs, also known as spuds, so it stands on the seabed with its hull out of the water. Some forms can go on land.


title: Dredging

text: Some of these are land-type backhoe excavators whose wheels are on long hinged legs so it can drive into shallow water and keep its cab out of water. Some of these may not have a floatable hull and, if so, cannot work in deep water.


title: Dredging

text: Oliver Evans (1755–1819) in 1804 invented the Oruktor Amphibolos, an amphibious dredger which was America's first steam-powered road vehicle.


title: Dredging

text: These are usually used to recover useful materials from the seabed. Many of them travel on continuous track. A unique variant is intended to walk on legs on the seabed.


title: Dredging

text: Fishing dredges are used to collect various species of clams, scallops, oysters or mussels from the seabed. Some dredges are also designed to catch crabs, sea urchins, sea cucumbers, and conch. These dredges have the form of a scoop made of chain mesh, and are towed by a fishing boat. Clam-specific dredges can utilize hydraulic injection to target deeper into the sand. Dredging can be destructive to the seabed and some scallop dredging has been replaced by collecting via scuba diving.


title: Dredging

text: As of June 2018, the largest dredger in Asia is ""MV Tian Kun Hao"", a 140 metres long dredger constructed in China, with a capacity of 6,000 cubic meters per hour. An even larger dredger, retired in 1980, was the U.S. Army Corps of Engineers "Essayons", which was long. The Mallard II, a clamshell dredger that maintains levees in San Francisco Bay, has operated continuously since being built in 1936.


title: Dredging

text: Dredgers are often equipped with dredge monitoring software to help the dredge operator position the dredger and monitor the current dredge level. The monitoring software often uses Real Time Kinematic satellite navigation to accurately record where the machine has been operating and to what depth the machine has dredged to.


title: Dredging

text: In a "hopper dredger", the dredged materials end up in a large onboard hold called a "hopper." A suction hopper dredger is usually used for maintenance dredging. A hopper dredge usually has doors in its bottom to empty the dredged materials, but some dredges empty their hoppers by splitting the two-halves of their hulls on large hydraulic hinges. Either way, as the vessel dredges, excess water in the dredged materials is spilled off as the heavier solids settle to the bottom of the hopper. This excess water is returned to the sea to reduce weight and increase the amount of solid material (or slurry) that can be carried in one load. When the hopper is filled with slurry, the dredger stops dredging and goes to a dump site and empties its hopper.


title: Dredging

text: Some hopper dredges are designed so they can also be emptied from above using pumps if dump sites are unavailable or if the dredge material is contaminated. Sometimes the slurry of dredgings and water is pumped straight into pipes which deposit it on nearby land. These pipes are also commonly known as dredge hoses, too. There are a few different types of dredge hoses that differ in terms of working pressure, float-ability, armored or not etc. Suction hoses, discharge armored hoses and self-floating hoses are some of the popular types engineered for transporting and discharging dredge materials. Some even had the pipes or hoses customised to exact dredging needs etc. Other times, it is pumped into barges (also called scows), which deposit it elsewhere while the dredge continues its work.


title: Dredging

text: A number of vessels, notably in the UK and NW Europe de-water the hopper to dry the cargo to enable it to be discharged onto a quayside 'dry'. This is achieved principally using self discharge bucket wheel, drag scraper or excavator via conveyor systems.


title: Dredging

text: When contaminated (toxic) sediments are to be removed, or large volume inland disposal sites are unavailable, dredge slurries are reduced to dry solids via a process known as dewatering. Current dewatering techniques employ either centrifuges, geotube containers, large textile based filters or polymer flocculant/congealant based apparatus.


title: Dredging

text: In many projects, slurry dewatering is performed in large inland settling pits, although this is becoming less and less common as mechanical dewatering techniques continue to improve.


title: Dredging

text: Similarly, many groups (most notable in east Asia) are performing research towards utilizing dewatered sediments for the production of concretes and construction block, although the high organic content (in many cases) of this material is a hindrance toward such ends.


title: Dredging

text: The proper management of contaminated sediments is a modern-day issue of significant concern. Because of a variety of maintenance activities, thousands of tonnes of contaminated sediment are dredged worldwide from commercial ports and other aquatic areas at high level of industrialization. Dredged material can be reused after appropriate decontamination. A variety of processes has been proposed and tested at different scales of application (technologies for environmental remediation). Once decontaminated, the material could well suit the building industry, or could be used for beach nourishment.


title: Dredging

text: Dredging can create disturbance to aquatic ecosystems, often with adverse impacts. In addition, dredge spoils may contain toxic chemicals that may have an adverse effect on the disposal area; furthermore, the process of dredging often dislodges chemicals residing in benthic substrates and injects them into the water column.


title: Dredging

text: The nature of dredging operations and possible environmental impacts cause the industry to be closely regulated and a requirement for comprehensive regional environmental impact assessments with continuous monitoring. The U.S. Clean Water Act requires that any discharge of dredged or fill materials into "waters of the United States," including wetlands, is forbidden unless authorized by a permit issued by the Army Corps of Engineers. As a result of the potential impacts to the environment, dredging is restricted to licensed areas only with vessel activity monitored closely using automatic GPS systems.


title: Dredging

text: According to a Rabobank outlook report in 2013, the largest dredging companies in the world are in order of size, based on dredging sales in 2012


title: Megan Dodds

text: Megan Lynne Dodds is an American actress. She played Kate in the 2006 series "Not Going Out", alongside Lee Mack and Tim Vine, and has appeared in the series "Spooks", "House", "Detroit 1-8-7", and "", and the films "Ever After", "The Contract", and "Chatroom". Her stage work includes having played the title role in the stage production "My Name Is Rachel Corrie" (2006), which won the London Theatregoers' Choice Award for Best Actress in that year.


title: Megan Dodds

text: Megan Lynne Dodds was born in Sacramento, California. After high school, she enrolled in a community college, where she was cast as Bananas in John Guare's "The House of Blue Leaves". She next went to Juilliard School, where she studied for four years as a member of the Drama Division's Group 24 (1991–1995).


title: Megan Dodds

text: After graduation, Dodds spent two years in Broadway and Off Broadway productions. She left the U.S. for London in 1997 to star in British comedian Ben Elton's play "Popcorn". As a result of meeting her future husband, photographer Oliver Pearce, she stayed in London, about which she has said, "I love it here, I really feel like I learn a lot. There’s a lot of variety in terms of work."


title: Megan Dodds

text: In "Up for Grabs" (2006, Wyndham's Theatre, London), Dodds played a technology entrepreneur, co-starring with Madonna as Mindy, Madonna's seductress, where she was described as combining "sexiness and solitude".


title: Megan Dodds

text: Dodds won the London Theatregoers' Choice Award for Best Actress in 2007 for the one woman show "My Name Is Rachel Corrie", about an activist killed by an Israeli bulldozer during a 2003 demonstration in Gaza. The show opened at the Royal Court Theatre in London. A move was planned to the New York Theatre Workshop, but it was cancelled in Fall 2005—amid rumors that the Workshop feared possible response to the show's political content. Dodds fought against the imposed indefinite delay, and the debate of censorship on such a sensitive issue at the time of the post-Iraq war debate became publicised by "The New York Times". After a successful run in London's West End, the show eventually played to a sellout audience at the off-Broadway Minetta Lane Theatre in early 2006.


title: Megan Dodds

text: Dodds has appeared in television shows such as "Love in a Cold Climate" (2001), the BBC series "Spooks" (in the U.S., "MI-5"; 2002-2004), and "Viva Blackpool". Dodds was a part of the first series cast of the BBC One sitcom, "Not Going Out" in 2006 as Kate, the flatmate of the lead character Lee Mack, leaving the show after the first series.


title: Megan Dodds

text: Dodds portrayed a "more conventionally beautiful" Marguerite as stepsister to Cinderella in "Ever After" (1998), a romance where Dodds' character is further described as "scarier than any ugly stepsisters that came before her, especially as it appears, briefly, that she has a legitimate shot at winning the prince".


title: Megan Dodds

text: After relocating to England in 1997, Dodds met fashion and advertising photographer Oliver Pearce. They later married and they have one child.


title: Alla Nazimova

text: Alla Nazimova (Russian: Алла Назимова; born Marem-Ides Leventon, Russian: Марем-Идес Левентон; June 3 [O.S. May 22], 1879 – July 13, 1945) was a Russian-American actress, director, producer and screenwriter.


title: Alla Nazimova

text: On Broadway, she was noted for her work in the classic plays of Ibsen, Chekhov and Turgenev. She later moved on to film, where she served many production roles, both writing and directing films under pseudonyms. Her film "Salome" (1923) is regarded as a cultural landmark.


title: Alla Nazimova

text: Nazimova was bisexual and openly conducted relationships with women while being married to a man. She created the Garden of Allah hotel, which became a retreat for many celebrities of the time. She is credited with having originated the phrase "sewing circle" as a discreet code for lesbian or bisexual actresses.


title: Alla Nazimova

text: She was born Marem-Ides Leventon (Russian name: "Adelaida Yakovlevna Leventon") in Yalta, Crimea, Russian Empire. Although her accepted birth year is 1879, that is far from certain because there are different sources that indicate 1878 or even 1876. Her stage name Alla Nazimova was a combination of Alla (a diminutive of Adelaida) and the surname of Nadezhda Nazimova, the heroine of the Russian novel "Children of the Streets". She was widely known as just Nazimova. Her name was sometimes transcribed as Alia Nasimoff.


title: Alla Nazimova

text: The youngest of three children born to Jewish parents Yakov Abramovich Leventon, a pharmacist, and Sarah Leivievna Gorowitz (later known as Sofia or Sophie Lvovna Gorovitz/Horovitz/Herowitz), who moved to Yalta in 1870 from Kishinev, she grew up in a dysfunctional family. Her parents divorced when she was eight. After her parents separated, she was shuffled among boarding schools, foster homes and relatives. As a teenager she began to pursue an interest in the theatre and took acting lessons at the Academy of Acting in Moscow. She joined Constantin Stanislavski's Moscow Art Theatre using the name of Alla Nazimova for the first time.


title: Alla Nazimova

text: Nazimova's theater career blossomed early, and by 1903, she was a major star in Moscow and Saint Petersburg. She toured Europe, including London and Berlin, with her boyfriend Pavel Orlenev, a flamboyant actor and producer. In 1905, they moved to New York City and founded a Russian-language theater on the Lower East Side. The venture was unsuccessful, and Orlenev returned to Russia while Nazimova stayed in New York.


title: Alla Nazimova

text: She was signed by the American producer Henry Miller and made her Broadway debut in New York City in 1906 to critical and popular success. Her English-language premiere in November 1906 was in the title role of "Hedda Gabler". She reportedly learned English in five months. She quickly became extremely popular (Nazimova's 39th Street Theatre was named after her) and remained a major Broadway star, often starring in works by Ibsen and Chekhov. Dorothy Parker described her as the finest Hedda Gabler she had ever seen.


title: Alla Nazimova

text: Nazimova's film career began when she was 37 years old. Due to her notoriety in a 35-minute 1915 play entitled "War Brides", Nazimova made her silent film debut in 1916 in the filmed version of the play, which was produced by Lewis J. Selznick. She was paid $1,000 per day, and the film was a success. A young actor with a bit part in the movie was Richard Barthelmess, whose mother, Caroline W. Harris, had taught Nazimova English. Nazimova had encouraged him to try out for movies and he later became a star. In 1917, she negotiated a contract with Metro Pictures, a precursor to MGM, that included a weekly salary of $13,000. She moved from New York to Hollywood, where she made a number of highly successful films for Metro that earned her considerable money.


title: Alla Nazimova

text: She created and worked under Nazimova Productions from 1917 to 1921. She filled many roles in film production, outside of acting. She served as a director, producer, editor, lighting designer, and received credit for costume design for the film Revelation. She wrote screenplays under the pseudonym Peter M. Winters, and was a director for films credited to the name of her partner Charles Bryant. In her film adaptations of works by such notable writers as Oscar Wilde and Ibsen, she developed filmmaking techniques that were considered daring at the time. Her film projects, including "A Doll's House" (1922), based on Ibsen, and "Salomé" (1923), based on Wilde's play, were critical and commercial failures. "Salomé", however, has become a cult classic, regarded as a feminist milestone in film. In 2000, the film was added to the National Film Registry. By 1925, she could no longer afford to invest in more films, and financial backers withdrew their support.


title: Alla Nazimova

text: Left with few options, she gave up on the film industry, returning to perform on Broadway, notably starring as Natalya Petrovna in Rouben Mamoulian's 1930 New York production of Turgenev's "A Month in the Country" and an acclaimed performance as Mrs. Alving in Ibsen's "Ghosts", which critic Pauline Kael described as the greatest performance she had ever seen on the American stage. In the early 1940s, she returned to films, playing Robert Taylor's mother in "Escape" (1940) and Tyrone Power's mother in "Blood and Sand" (1941). This late return to motion pictures fortunately preserves Nazimova and her art on sound film.


title: Alla Nazimova

text: In 1899, she married Sergei Golovin, a fellow actor. From 1912 to 1925, Nazimova maintained a "lavender marriage" with Charles Bryant (1879–1948), a British-born actor. To bolster this arrangement with Bryant, Nazimova kept her marriage to Golovin secret from the press, her fans, and even her friends. In 1923, she arranged to divorce Golovin without traveling to the Soviet Union. Her divorce papers, which arrived in the United States that summer, stated that on May 11, 1923, the marriage of "citizeness Leventon Alla Alexandrovna" and Sergius Arkadyevitch Golovin, "consummated between them in the City Church of Boruysk June 20, 1899", had been officially dissolved. A little over two years later, on November 16, 1925, Charles Bryant, then 43, surprised the press, Nazimova's fans, and Nazimova herself by marrying Marjorie Gilhooley, 23, in Connecticut. When the press uncovered the fact that Charles had listed his current marital status as "single" on his marriage license, the revelation that the marriage between Alla and Charles had been a sham from the beginning embroiled Nazimova in a scandal that damaged her career.


title: Alla Nazimova

text: From 1917 to 1922, Nazimova wielded considerable influence and power in Hollywood. She helped start the careers of both of Rudolph Valentino's wives, Jean Acker and Natacha Rambova. Although she was involved in an affair with Acker, it is debatable as to whether her connection with Rambova ever developed into a sexual affair.


title: Alla Nazimova

text: Nevertheless, there were rumors that Nazimova and Rambova were involved in a lesbian affair (they are discussed at length in "Dark Lover", Emily Leider's biography of Rudolph Valentino) but those rumors never have been confirmed. She was very impressed by Rambova's skills as an art director, and Rambova designed the innovative sets for Nazimova's film productions of "Camille" and "Salomé". The list of those Nazimova is confirmed to have been involved with romantically includes actress Eva Le Gallienne, film director Dorothy Arzner, writer Mercedes de Acosta, and Oscar Wilde's niece Dolly Wilde.


title: Alla Nazimova

text: Bridget Bate Tichenor, a Magic Realist artist and Surrealist painter, was rumored to be one of Nazimova's favored lovers in Hollywood during 1940–1942. The two had been introduced by the poet and art collector Edward James, and according to Tichenor, their intimate relationship angered Nazimova's longtime companion Glesca Marshall.It is believed that Nazimova coined the phrase sewing circle as code to refer to lesbian or bisexual actresses of her day who concealed their true sexuality.


title: Alla Nazimova

text: Edith Luckett, a stage actress and the mother of future U.S. First Lady Nancy Reagan, was a friend of Nazimova, having acted with her onstage. Edith married Kenneth Seymour Robbins, and following the birth of their daughter Nancy in 1921, Nazimova became her godmother. Nazimova continued to be friends with Edith and her second husband, neurosurgeon Loyal Davis, until her death. She was also the aunt of American film producer Val Lewton.


title: Alla Nazimova

text: Nazimova's private lifestyle gave rise to widespread rumors of outlandish and allegedly debauched parties at her mansion on Sunset Boulevard in Hollywood, California, known as The Garden of Alla, which she leased in 1918 and bought outright the next year. Facing near-bankruptcy in 1926, she converted the 2.5-acre estate into a hotel by building 25 villas on the property. The Garden of Alla Hotel opened in January 1927. But Nazimova was ill-equipped to run a hotel and eventually sold it and returned to Broadway and theatrical tours. By 1930, the hotel had been purchased by Central Holding Corporation, which changed the name to the Garden of Allah Hotel. When Nazimova moved back to Hollywood in 1938, she rented Villa 24 at the hotel and lived there until she died.


title: Alla Nazimova

text: On July 13, 1945, Nazimova died of a coronary thrombosis, age 66, in the Good Samaritan Hospital in Los Angeles. Her ashes were interred in Forest Lawn Memorial Park Cemetery in Glendale, California. Her contributions to the film industry have been recognized with a star on the Hollywood Walk of Fame.


title: Alla Nazimova

text: Nazimova has been depicted a number of times in film and onstage. The first two were biographical films about Rudolph Valentino: "The Legend of Valentino" (1975), in which she was portrayed by Alicia Bond; and "Valentino" (1977), in which she was portrayed by Leslie Caron. She was featured in two 2013 silent films about Hollywood's silent movie era: "Return to Babylon," in which she was played by Laura Harring, and "Silent Life", based on the life of Rudolph Valentino, where she was played by Sherilyn Fenn.The character of Nazimova also appears in Dominick Argento's opera "Dream of Valentino", in which she also played the violin. Nazimova was also featured in make-up artist Kevyn Aucoin's 2004 book "Face Forward", in which he made up Isabella Rossellini to resemble her, particularly as posed in a certain photograph.


title: Alla Nazimova

text: Actress Romy Nordlinger first portrayed Alla Nazimova in The Society for the Preservation of Theatrical History production of "Stage Struck: From Kemble to Kate" staged at the Snapple Theater Center in New York City in December 2013. In Fall 2016, PLACES, a multimedia solo show about Alla Nazimova, supported by the League of Professional Theatre Women's Heritage Program, written and performed by Romy Nordlinger debuted at Playhouse Theatre for a limited run.


title: Alla Nazimova

text: The Garden of Allah cabaret was an influential LGBTQ+ cabaret venue in the mid-1900s that took its name and inspiration from Nazimova's original Garden of Alla.


title: Mongol invasions of India

text: After pursuing Jalal ad-Din into India from Samarkand and defeating him at the battle of Indus in 1221, Genghis Khan sent two tumens (20,000 soldiers) under commanders Dorbei the Fierce and Bala to continue the chase. The Mongol commander Bala chased Jalal ad-Din throughout the Lahore region and attacked outlying province Multan, and even sacked the outskirts of Lahore. Jalal ad-Din regrouped, forming a small army from survivors of the battle and sought an alliance, or even an asylum, with the Sultan of Delhi Sultanate, Iltutmish, but was turned down.


title: Mongol invasions of India

text: While fighting against the local governor of Sindh, Jalal ad-Din heard of an uprising in the Kirman province of southern Iran and he immediately set out for that place, passing through southern Baluchistan on the way. Jalal ad-Din was also joined by forces from Ghor and Peshawar, including members of the Khalji, Turkoman, and Ghori tribes. With his new allies he marched on Ghazni and defeated a Mongol division under Turtai, which had been assigned the task of hunting him down. The victorious allies quarreled over the division of the captured booty; subsequently the Khalji, Turkoman, and Ghori tribesmen deserted Jalal ad-Din and returned to Peshawar. By this time Ögedei Khan, third son of Genghis Khan, had become Great Khan of the Mongol Empire. A Mongol general named Chormaqan sent by the Khan attacked and defeated Jalal ad-Din, thus ending the Khwārazm-Shāh dynasty.


title: Mongol invasions of India

text: Some time after 1235 another Mongol force invaded Kashmir, stationing a darughachi (administrative governor) there for several years, and Kashmir became a Mongolian dependency. Around the same time, a Kashmiri Buddhist master, Otochi, and his brother Namo arrived at the court of Ögedei. Another Mongol general named Pakchak attacked Peshawar and defeated the army of tribes who had deserted Jalal ad-Din but were still a threat to the Mongols. These men, mostly Khaljis, escaped to Multan and were recruited into the army of the Delhi Sultanate. In winter 1241 the Mongol force invaded the Indus valley and besieged Lahore. However, on December 30, 1241, the Mongols under Munggetu butchered the town before withdrawing from the Delhi Sultanate. At the same time the Great Khan Ögedei died (1241).


title: Mongol invasions of India

text: The Kashmiris revolted in 1254–1255, and Möngke Khan, who became Great Khan in 1251, appointed his generals, Sali and Takudar, to replace the court and appointed the Buddhist master, Otochi, as darugachi of Kashmir. However, the Kashmiri king killed Otochi at Srinagar. Sali invaded Kashmir, killing the king, and put down the rebellion, after which the country remained subject to the Mongol Empire for many years.


title: Mongol invasions of India

text: The Delhi prince Jalal al-Din Masud, traveled to the Mongol capital at Karakorum to seek the assistance of Möngke Khan in seizing the throne from his elder brother in 1248. When Möngke was crowned as Great Khan, Jalal al-Din Masud attended the ceremony and asked for help from Möngke. Möngke ordered Sali to assist him to recover his ancestral realm. Sali made successive attacks on Multan and Lahore. Sham al-Din Muhammad Kart, the client malik (ruling prince) of Herat, accompanied the Mongols. Jalal al-Din was installed as client ruler of Lahore, Kujah and Sodra. In 1257 the governor of Sindh offered his entire province to Hulagu Khan, Mongke's brother, and sought Mongol protection from his overlord in Delhi. Hulagu led a strong force under Sali Bahadur into Sindh. In the winter of 1257 - beginning of 1258, Sali Noyan entered Sind in strength and dismantled the fortifications of Multan; his forces may also have invested the island fortress of Bukkur on the Indus.


title: Mongol invasions of India

text: But Hulagu refused to sanction a grand invasion of the Delhi Sultanate and a few years later diplomatic correspondence between the two rulers confirmed the growing desire for peace.


title: Mongol invasions of India

text: Ghiyas ud din Balban's (reigned: 1266–1287) one absorbing preoccupation was the danger of a Mongol invasion. For this cause he organized and disciplined his army to the highest point of efficiency ; for this he made away with disaffected or jealous chiefs, and steadily refused to entrust authority to Hindus; for this he stayed near his capital and would not be tempted into distant campaigns.


title: Mongol invasions of India

text: Large-scale Mongol invasions of India ceased and the Delhi Sultans used the respite to recover the frontier towns like Multan, Uch, and Lahore, and to punish the local Ranas and Rais who had joined hands with either the Khwarazim or the Mongol invaders.


title: Mongol invasions of India

text: There was a rapid change in the balance of power in Northern India as power violently shifted from the Turkic nobles to a new Indo-Mussalman nobility. A Khalji family, who had migrated a century ago to India by accompanying Ghori, would identify themselves with the Indian Muslim communities, and their Khalji and Indo-Muslim faction would grow in strength due to the rising number of converts. With a series of assassinations, they would finally usurp the throne in 1290 and appoint their Indo-Muslim allies such as Zafar Khan (Minister of War), Nusrat Khan (Wazir of Delhi), Ayn al Mulk Multani, Malik Kafur, Malik Tughlaq, and Malik Nayk(Master of the Horse) who were famous warriors but non-Turks, which resulted in the emergence of an Indo-Muslim state. The internal administrative changes during this period allowed for rapid conquests and territorial expansion of the Sultanate into the rest of India. At about this time the Mongol raids into India were also renewed (1300)


title: Mongol invasions of India

text: After civil war broke out in the Mongol Empire in the 1260s, the Chagatai Khanate controlled Central Asia and its leader since the 1280s was Duwa Khan who was second in command of Kaidu Khan. Duwa was active in Afghanistan, and attempted to extend Mongol rule into India. The medieval sources claim invasions by hundreds of thousands of Mongols, numbers approximating (and probably based on) the size of the entire cavalry armies of the Mongol realms of Central Asia or the Middle East: about 150,000 men. A count of the Mongol commanders named in the sources as participating in the various invasions might give a better indication of the numbers involved, as these commanders probably led tumens, units nominally of 10,000 men. These invasions were led by either various descendants of Genghis Khan or by Mongol divisional commanders; the size of such armies was always between 10,000 and 30,000 cavalry although the chroniclers of Delhi exaggerated the number to 100,000-200,000 cavalry.


title: Mongol invasions of India

text: The Muslim Negudari governor Abdullah, who was a son of Chagatai Khan's great-grandson, invaded Punjab with his force in 1292, but their advance guard under Ulghu was defeated and taken prisoner by the Khalji Sultan Jalaluddin. The 4000 Mongol captives of the advance guard converted to Islam and came to live in Delhi as "new Muslims". The suburb they lived in was appropriately named Mughalpura. Chagatai tumens were beaten by the Delhi Sultanate several times in 1296–1297.


title: Mongol invasions of India

text: Unlike the previous invasions, the invasions during the reign of Jalaluddin's successor Alauddin were major Mongol conquests. In the winter of 1297, the Chagatai noyan Kadar led an army that ravaged the Punjab region, and advanced as far as Kasur. Alauddin's army, led by Ulugh Khan and probably Zafar Khan defeated the invaders on the Battle of Jaran-Manjur on 6 February 1298 where quite a large number of them were taken prisoner.


title: Mongol invasions of India

text: Later in 1298–99, a Mongol army (possibly Neguderi fugitives) invaded Sindh, and occupied the fort of Sivistan. These Mongols were defeated by Zafar Khan: a number of them were arrested and brought to Delhi as captives. At this time, the main branch of Alauddin's army, led by Ulugh Khan and Nusrat Khan was busy raiding Gujarat. When this army was returning from Gujarat to Delhi, some of its Mongol soldiers staged a mutiny over payment of "khums" (one-fifth of the share of loot). The mutiny was crushed, and the mutineers families in Delhi were severely punished.


title: Mongol invasions of India

text: In late 1299, Duwa dispatched his son Qutlugh Khwaja to conquer Delhi. Alauddin Khalji led his army to Kili near Delhi, and tried to delay the battle, hoping that the Mongols would retreat amid a scarcity of provisions and that he would receive reinforcements from his provinces. However, his general Zafar Khan attacked the Mongol army without his permission. The Mongols feigned a retreat, and tricked Zafar Khan contingent into following them. Zafar Khan and his men were killed after inflicting heavy casualties on the invaders. The Mongols retreated a couple of days later: their leader Qutlugh Khwaja was seriously wounded, and died during the return journey.


title: Mongol invasions of India

text: In the winter of 1302–1303, Alauddin dispatched an army to ransack the Kakatiya capital Warangal, and himself marched to Chittor. Finding Delhi unprotected, the Mongols launched another invasion around August 1303. Alauddin managed to reach Delhi before the invaders, but did not have enough time to prepare for a strong defence. He took shelter in a heavily guarded camp at the under-construction Siri Fort. The Mongols ransacked Delhi and its neighbourhoods, but ultimately retreated after being unable to breach Siri. This close encounter with the Mongols prompted Alauddin to strengthen the forts and the military presence along their routes to India. He also implemented a series of economic reforms to ensure sufficient revenue inflows for maintaining a strong army.


title: Mongol invasions of India

text: Shortly afterward, Duwa Khan sought to end the ongoing conflict with the Yuan Khagan Temür Öljeytü, and around 1304 a general peace among the Mongol khanates was declared, bringing an end to the conflict between the Yuan dynasty and western khanates that had lasted for the better part of a half century. Soon after, he proposed a joint attack on India, but the campaign did not materialize.


title: Mongol invasions of India

text: In December 1305, Duwa sent another army that bypassed the heavily guarded city of Delhi, and proceeded south-east to the Gangetic plains along the Himalayan foothills. Alauddin's 30,000-strong cavalry, led by Malik Nayak, defeated the Mongols at the Battle of Amroha. A large number of Mongols were taken captive and killed.


title: Mongol invasions of India

text: In 1306, another Mongol army sent by Duwa advanced up to the Ravi River, ransacking the territories along the way. This army included three contingents, led by Kopek, Iqbalmand, and Tai-Bu. Alauddin's forces, led by Malik Kafur, decisively defeated the invaders.


title: Mongol invasions of India

text: In 1307 the Mongol Khan, Duwa, died and in the dispute over his succession this spate of Mongol raids into India already ended. Taking advantage of this situation, Alauddin's general Malik Tughluq regularly raided the Mongol territories located in present-day Afghanistan.


title: Mongol invasions of India

text: In 1320 the Qaraunas under Zulju (Dulucha) entered Kashmir by the Jehlam Valley without meeting any serious resistance. The Kashmiri king, Suhadeva, tried to persuade Zulju to withdraw by paying a large ransom. After he failed to organize resistance, Suhadeva fled to Kishtwar, leaving the people of Kashmir to the mercy of Zulju. The Mongols burned the dwellings, massacred the men and made women and children slaves. Only refugees under Ramacandra, commander in chief of the king, in the fort of Lar remained safe. The invaders continued to pillage for eight months until the commencement of winter. When Zulju was departing via Brinal, he lost most of his men and prisoners due to a severe snowfall in Divasar district.


title: Mongol invasions of India

text: The next major Mongol invasion took place after the Khaljis had been replaced by the Tughlaq dynasty in the Sultanate. In 1327 the Chagatai Mongols under Tarmashirin, who had sent envoys to Delhi to negotiate peace the previous year, sacked the frontier towns of Lamghan and Multan and besieged Delhi. The Tughlaq ruler paid a large ransom to spare his Sultanate from further ravages. Muhammad bin Tughluq asked the Ilkhan Abu Sa'id to form an alliance against Tarmashirin, who had invaded Khorasan, but an attack didn't materialize. Tarmashirin was a Buddhist who later converted to Islam. Religious tensions in the Chagatai Khanate were a divisive factor among the Mongols.


title: Mongol invasions of India

text: No more large-scale invasions or raids into India were launched after Tamashirin's siege of Delhi. However, small groups of Mongol adventurers hired out their swords to the many local powers in the northwest. Amir Qazaghan raided northern India with his Qara'unas. He also sent several thousand troops to aid the Delhi Sultan Muhammad bin Tughluq in suppressing the rebellion in his country in 1350.


title: Mongol invasions of India

text: The Delhi sultans had developed cordial relations with the Yuan dynasty in Mongolia and China and the Ilkhanate in Persia and the Middle East. Around 1338, Sultan Muhammad bin Tughluq of the Delhi Sultanate appointed Moroccan traveler Ibn Battuta an ambassador to the Yuan court under Toghon Temür (Emperor Huizong). The gifts he was to take included 200 slaves.


title: Mongol invasions of India

text: The Chagatai Khanate had split up by this time and an ambitious Mongol Turk chieftain named Timur had brought Central Asia and the regions beyond under his control. He launched an invasion of the Dehli Sultanate and sacked the capital. Timur's empire broke up and his descendants failed to hold on to Central Asia, which split up into numerous principalities.


title: Mongol invasions of India

text: One of his descendant, Babur, launched his own invasion of the subcontinent and established the Mughal Empire.


title: Mongol invasions of India

text: When Babur occupied Kabul and began invading the Indian subcontinent, he was called a Mughal like all the earlier invaders from the Chagatai Khanate. Even the invasion of Timur had been considered a Mongol invasion since the Mongols had ruled over Central Asia for so long and had given their name to its people.


title: Dur-e-Fishan Saleem

text: Dur-e-Fishan Saleem is a Pakistani actress who works in Urdu television. She made her debut as a supporting role Erum in Hum TV's serial "Dil Ruba" for which she received a nomination of New Emerging Talent in Lux Style Awards. Her notable performances are "Bharaas" and "Pardes


title: Dur-e-Fishan Saleem

text: She was born on 14 January 1990 in Lahore. Her father, Saleem-ul-Hassan used to direct and produce television serials for PTV under his production house Digisal Media in 2000s.


title: Dur-e-Fishan Saleem

text: She got earlier education from Lahore and got degree of LLB from Universal College London in 2020. In 2019, she shifted to Karachi to make her carrer in acting.


title: Dur-e-Fishan Saleem

text: Saleem made her television debut with a supporting role in Momina Duraid's "Dil Ruba". She then starred as lead actor in "Bharaas" alongside Omer Shehzad and Furqan Qureshi. Saleem got wider recognition by portraying Aimem in Marina Khan's directional "Pardes". She is currently playing a CSS officer in Momina Duraid's "Juda Huway Kuch Is Tarhan". She will be next starred in a web-series alongside Zara Noor Abbas and Wahaj Ali and Ahmed Bhatti's directional television serial, "Kaisi Teri Khudgarzi" alongside Danish Taimoor.


title: Heartbreak Hotel

text: "Heartbreak Hotel" is a song recorded by American singer Elvis Presley. It was released as a single on January 27, 1956, Presley's first on his new record label RCA Victor. It was written by Mae Boren Axton and Tommy Durden, with credit being given also to Presley.


title: Heartbreak Hotel

text: A newspaper article about the suicide of a lonely man who jumped from a hotel window inspired the song. Axton presented the song to Presley in November 1955 at a country music convention in Nashville. Presley agreed to record it, and did so on January 10, 1956, in a session with his band, The Blue Moon Boys, the guitarist Chet Atkins, and the pianist Floyd Cramer. "Heartbreak Hotel" comprises an eight-bar blues progression, with heavy reverberation throughout the track, to imitate the character of Presley's Sun recordings.


title: Heartbreak Hotel

text: The single topped the "Billboard" Top 100 for seven weeks, "Cashbox"s Pop singles chart for six weeks, and the Country and Western chart for seventeen weeks as well as reaching No. 3 on the R&B chart, becoming Presley's first million-seller, and one of the best-selling singles of 1956. "Heartbreak Hotel" achieved unheard of feats as it reached the top 5 of Country and Western, Pop, and Rhythm 'n' Blues charts simultaneously. It would eventually be certified double platinum by the Recording Industry Association of America. Presley had first performed "Heartbreak Hotel" during a live show in December 1955 during a tour of the Louisiana Hayride, but the song gained strong popularity after his appearance on "Stage Show" in March 1956. It became a staple of Presley's repertoire in live appearances, last performed by him on May 29, 1977, at the Civic Center in Baltimore.


title: Heartbreak Hotel

text: In 1995, "Heartbreak Hotel" was inducted into the Grammy Hall of Fame, and in 2004 "Rolling Stone" magazine named it one of the "500 Greatest Songs of All Time". That year it was also included in the Rock and Roll Hall of Fame's "500 Songs that Shaped Rock and Roll". A rock and roll standard, "Heartbreak Hotel" has been covered by several rock and pop acts, including Willie Nelson and Leon Russell, who recorded a duet version that topped the Country charts in 1979.


title: Heartbreak Hotel

text: RCA reissued "Heartbreak Hotel" on CD in 2006 on its 50th anniversary featuring the 1956 black and white EP cover.


title: Heartbreak Hotel

text: The song was written in 1955, by Mae Boren Axton, a high school teacher with a background in musical promotion, and Jacksonville based singer–songwriter Tommy Durden. The lyrics were based on a report supposedly in "The Miami Herald" about a man who had destroyed all his identity papers and jumped to his death from a hotel window, leaving a suicide note with the single line, "I walk a lonely street". Songfacts.com says they were unable to locate the Miami Herald story. They labeled it an urban legend. In 2016, an article in "Rolling Stone" magazine suggested that the story in reality originated from a report about a painter and criminal, Alvin Krolik, whose marriage had failed and who wrote a unpublished autobiography including the line "This is the story of a person who walked a lonely street." Krolik's story was published in news media, and received further publicity after he was shot and killed in an attempted robbery in El Paso, Texas. On August 25, 1955, the "El Paso Times" reported Krolik's death under the headline "Story Of Person Who Walked Lonely Street".


title: Heartbreak Hotel

text: Axton and Durden give different accounts of how the song was written. Durden's account is that he had already written the song and performed it with his band the Swing Billys before he presented it to Axton. Axton's account is that Durden had written only a few lines of the song and asked her to help him finish it. She says that the report of the suicide "stunned" her, and she told Durden, "Everybody in the world has someone who cares. Let's put a Heartbreak Hotel at the end of this lonely street". They were interrupted by the arrival of Glenn Reeves, a local performer who had previously worked with Axton. The duo asked Reeves to help with the song, but after hearing the title he remarked that it was "the silliest thing I've ever heard", and left them to finish it themselves. The song was written within an hour, and Durden recorded it onto Axton's tape recorder. Reeves returned, and after hearing the song he was asked to provide a voice demo for Axton in the style of Elvis Presley. Reeves obliged, but once again turned down the offer of a writing credit for his input.


title: Heartbreak Hotel

text: Axton approached the popular singing duo the Wilburn Brothers, and offered them the chance to record "Heartbreak Hotel". However, Doyle and Teddy Wilburn declined, describing the song as "strange and almost morbid". Axton, however, agreed to a publishing deal with Buddy Killen, a young Nashville bass player, who had recently set up his own publishing company called Tree Publishing. With a publishing deal in place, Axton arranged through Presley's manager Colonel Tom Parker to present the song to Presley at the annual Country Music Disc Jockey Convention in Nashville, Tennessee, where he was to be named the most promising male country star of 1955. Axton had been hired earlier in the year to publicise the Hank Snow Jamboree concerts at the Gator Bowl Stadium in Jacksonville, Florida, which included Presley in the line up. During one concert Axton observed the reaction of the audience to Presley's performance, in which a crowd of screaming fans chased him back to his dressing room and ripped his clothes off to take as souvenirs. Axton followed Presley's career closely after this incident, and met him at a July 28 concert in Jacksonville, this time interviewing him for the local media. According to author Albert Goldman, Axton made writing Presley's first big hit one of her ambitions.


title: Heartbreak Hotel

text: Rumors had been circulating in the press for several weeks that Presley, who had begun his career at Sun Records, was ready to move to RCA Victor to help launch him nationally. Axton played the demo to him in his room at the Andrew Jackson Hotel on November 10, 1955. Upon hearing the demo, Presley exclaimed "Hot dog, Mae, play that again!", and listened to it ten times, memorizing the song. After signing with RCA on November 21, 1955, Presley accepted Axton's offer of a third of the royalties if he made the song his first single on his new label. Presley performed the song for the first time in Swifton, Arkansas on December 9, 1955, and declared to the audience that it would be his first hit.


title: Heartbreak Hotel

text: "Heartbreak Hotel" was the second song Presley recorded at RCA Victor, following "I Got a Woman", during his debut session at 1525 McGavock Street in Nashville on January 10, 1956. Presley arrived at the studio with the song ready to record without seeking RCA's approval, and although producer Steve Sholes was not sure that it would be a success, he recorded "Heartbreak Hotel" believing that Presley knew what he was doing. Recording at RCA Victor was a different experience for Presley and his band, who were used to a more relaxed atmosphere at Sun Studio. Guitar player Scotty Moore later commented, "It was a larger studio than Sun's and more regimented - they called everything by a tape number. We would sit around at Sun, eat hamburgers and then somebody would say, 'Let's try something.'"


title: Heartbreak Hotel

text: Almost immediately Sholes discovered a problem while recording Presley. RCA Victor had always insisted their performers stay still as they sang so the microphone would pick up the vocals; even the slightest tilt of the head would result in missing sound. Sholes had told Presley to stand on a painted X on the floor, telling him "Whatever you do, don't move". During the recording of "I Got a Woman", Sholes noticed that Presley's voice and guitar were not always being picked up by the microphone. Presley explained to Sholes that he had to "jump around to sing it right. It's something that just happens—just a part of the way I sing". Sholes arranged for the whole studio to be re-miked so that Presley's voice and guitar could be picked up from anywhere in the studio, and recording continued.


title: Heartbreak Hotel

text: As well as the Blue Moon Boys, his regular backing band of Moore, bassist Bill Black and drummer D.J. Fontana, Presley was joined by established RCA Victor musicians Chet Atkins (who also helped Sholes produce the session) on guitar, and Floyd Cramer on piano. Following a suggestion from Presley, Sholes used a hallway at the studio to get an unusual echo for the single. Sholes was attempting to recapture the Sun Records sound, but he was unaware that Sun founder Sam Phillips had used two tape recorders and a slight time delay to create it on previous Presley recordings. When Phillips first heard "Heartbreak Hotel", he remarked that it was a "morbid mess". Most others at RCA agreed, declaring "Heartbreak Hotel" a terrible choice of song, especially after hearing that the finished recording sounded nothing like Presley's Sun recordings. Internal memos from the time show that every one of RCA's executive corps disliked it so much that one of them insisted "We certainly can't release that one".


title: Heartbreak Hotel

text: In an interview, Durden conceded that he did not recognize his song after Presley had made the changes to it in the studio, including the tempo, phrasing, lyrics, and overall sound. In subsequent recordings, these major modifications to the existing material became a normal procedure for Presley who took over the role of producer, although Sholes was still credited. Speaking of Sholes' producing credits, Phillips said "he was not a producer. Steve was just at every session".


title: Heartbreak Hotel

text: "Heartbreak Hotel" was released as a single on January 27, 1956, with B-side "I Was the One", a song that was also recorded during Presley's RCA Victor debut sessions. "Billboard" magazine praised it as "a strong blues item wrapped up in his usual powerful style and a great beat". However, "Heartbreak Hotel" was less-than-warmly received by the British music press. The "New Musical Express" wrote that, "If you appreciate good singing, I don't suppose you'll manage to hear this disc all through." BBC, which held a monopoly on broadcasting in Britain at the time, didn't consider it fit for general entertainment and placed it on its "restricted play" list.


title: Heartbreak Hotel

text: Presley made his national television debut on January 28, appearing on CBS' "Stage Show", starring Tommy and Jimmy Dorsey. As "Stage Show"s ratings had been slipping, producer Jack Philbin agreed to have Presley on because he was relatively cheap at $1,250; after looking at a photograph of the singer, Philbin exclaimed, "He's a guitar-playing Marlon Brando!" Despite the single having been released only a day before to coincide with Presley's national television debut, the Dorsey brothers did not allow Presley to perform it on their show because it didn't work well in rehearsals. For his second appearance, on February 4, Presley was again aware that he could not perform "Heartbreak Hotel". However, at his third appearance on "Stage Show" a week later, Sholes pressured CBS to give consent. Subsequently, Presley and his band performed "Heartbreak Hotel" with borrowed instruments (their own were being driven to Florida in preparation for a tour) with the backing of the Dorsey Brothers' orchestra.


title: Heartbreak Hotel

text: On February 22, the song entered the "Billboard" pop chart at number 68, and the Country and Western chart at number nine. Within two months, "Heartbreak Hotel" reached number one on both charts. It also made top five on the R&B chart, the first Presley single to chart there. This resulted in "Heartbreak Hotel" becoming only the second single in history to reach all three "Billboard" charts, after Carl Perkins' "Blue Suede Shoes". The song spent a total of twenty-seven weeks in the top 100. By April, "Heartbreak Hotel" became a million-seller, earning Presley his first RIAA-certified gold record, and going on to be the biggest-selling single of 1956. "Heartbreak Hotel/I Was the One" was certified Platinum on March 27, 1992, and 2× Platinum on July 15, 1999, by the RIAA.


title: Heartbreak Hotel

text: The song also became Presley's first charting single in the United Kingdom. It made its debut on the UK Singles Chart in May 1956; it peaked at number two the next month and stayed on the charts for 22 weeks. In November 2022, it was certified silver by the British Phonographic Industry (BPI) for sales and streams exceeding 200,000 units.


title: Heartbreak Hotel

text: Presley performed the song during most of his live shows between 1956 and 1977, and for the last time on May 29, 1977, at the Civic Center in Baltimore, Maryland. The song has been released on almost every Presley compilation album since 1956, and alternative takes have surfaced on several compilation albums. "Heartbreak Hotel" was awarded by the Broadcast Music Incorporated in its Country music Awards. It was re-released in 1971 for the UK market, where it charted at number 10. In 1979, following Presley's death, author Robert Matthew-Walker wrote: "Heartbreak Hotel became one of the legendary rock performances. For many people it "is" Elvis Presley, and it continues to excite and fascinate listeners. Heartbreak Hotel is a classic performance, yet when it is analyzed it appears so simple that one cannot recall a time when one did not know it." In 1995, the song was inducted into the Grammy Hall of Fame, and was re-released in 1996 to coincide with the 40th anniversary of its recording.


title: Heartbreak Hotel

text: In a 1975 interview, John Lennon recalled his friend Don Beatty's introducing him to Presley's music. Lennon said that his family rarely had the radio on, unlike other members of the Beatles who grew up under its influence. Beatty showed Lennon a picture of Presley that appeared along with the charts on the "New Musical Express", and Lennon later heard "Heartbreak Hotel" on Radio Luxembourg. Lennon has said:


title: Heartbreak Hotel

text: George Harrison described "Heartbreak Hotel" as a "rock n roll epiphany" when in 1956, at age 13, he overheard it while riding his bike at a neighbor's house. Some have said that "Heartbreak Hotel" turned that well-mannered schoolboy into a guitar-crazed truant who would audition for John Lennon's Quarrymen the following year.


title: Heartbreak Hotel

text: The Rolling Stones' guitarist Keith Richards wrote in his 2010 autobiography that "Heartbreak Hotel" had a huge effect on him. Beyond Presley's singing itself, it was the total effect of his sound and his silence that so totally affected Richards:


title: Heartbreak Hotel

text: Led Zeppelin's lead singer Robert Plant stated that the song "changed his life." He recalled hearing it for the first time when he was 8 years old:


title: Heartbreak Hotel

text: President Bill Clinton performed the song on saxophone during his appearance on "The Arsenio Hall Show" on June 3, 1992. In 2004, it was ranked number 45 on "Rolling Stone"s list of "The 500 Greatest Songs of All Time", the Rock and Roll Hall of Fame included it in its unranked list 500 Songs that Shaped Rock and Roll and in 2005, "Uncut" magazine ranked the first performance of "Heartbreak Hotel" in 1956 by Presley as the second greatest and most important cultural event of the rock and roll era. Paul McCartney, who participated in "Uncut"s poll stated, "It's the way [Presley] sings it as if he is singing from the depths of hell. His phrasing, use of echo, it's all so beautiful. Musically, it's perfect."


title: Heartbreak Hotel

text: "Heartbreak Hotel", a film based on a mythical incident involving the kidnapping of Presley, was released theatrically in 1988. It starred David Keith as Elvis Presley and was directed by Chris Columbus. In 1999, Elvis Presley Enterprises purchased a Wilson World Hotel branch and after several renovations, opened it and named the hotel after the song, located across the street from Presley's home, Graceland, in Memphis, Tennessee.


title: Heartbreak Hotel

text: In the CBS miniseries "Elvis", a two-part, four hour television movie that explores Elvis Presley's life, a scene depicts Presley (played by Jonathan Rhys Meyers) wanting to record "Heartbreak Hotel" when he first arrives at RCA. The song is later used when he is performing at The Dorsey Brothers Stage Show, with Meyers lip-synching.


title: Heartbreak Hotel

text: In 2015, "Heartbreak Hotel" was named as The #2 Song of the Rock Era in the book "The Top 500 Songs of the Rock Era: 1955-2015".


title: Heartbreak Hotel

text: Radio humorist Stan Freberg parodied "Heartbreak Hotel" immediately after its release, because the vocals on the original record featured a heavy use of reverb. In the cover, the lead singer repeatedly asks for "more echo on [his] voice." When Presley recorded "Hound Dog" a few months later, he had taken over the role of producer, using what he learned at Sun Records (although Sholes was still credited) and decided not to use echo.


title: Heartbreak Hotel

text: Connie Francis recorded the song for her 1959 album "Rock 'n' Roll Million Sellers"; this album also features "Don't Be Cruel". Country singer Johnny Cash parodied the song in 1959 on the television show "Town Hall Party", imitating Presley's characteristic crib and hip movements. Before the performance Cash explained that it was "an impersonation of a rock and roll singer impersonating Elvis, is what this really is".


title: Heartbreak Hotel

text: Beatles historian Mark Lewisohn noted that, at first as The Quarrymen then later as the Beatles, the group performed "Heartbreak Hotel" live from 1957 until 1961 (in Liverpool then later in Hamburg and elsewhere). It is unclear whether the lead vocal was by John Lennon or Paul McCartney or both. A recorded version has not been forthcoming. However, McCartney (using Bill Black's upright bass) did a version for a documentary "Elvis - Viva Las Vegas", which also appears on DVD.


title: Heartbreak Hotel

text: Part of the original personnel of the 1956 recording released their own versions, Chet Atkins recorded it for the 1963 album "The Guitar Genius", and also, Presley's lead guitarist Scotty Moore recorded the song for his 1964 album "The Guitar that Changed the world". Willie Nelson and Leon Russell had a number one cover version in 1979 on the country charts, it was Russell's only number one hit on the charts.


title: Heartbreak Hotel

text: Paul McCartney later also made another cover of the song in "Chaos and Creation at Abbey Road", performing it with Bill Black's bass.


title: Heartbreak Hotel

text: Others who have covered the song include Ann-Margret, who would later co-star with Presley in the 1964 motion picture "Viva Las Vegas", The Cadets, Delaney Bramlett, Justin Timberlake, Cher, Roger Miller, Bob Dylan, Bruce Springsteen, John Cale, Merle Haggard, Tom Jones, Dax Riggs, Roger McGuinn, Suzi Quatro, Van Halen, Jimi Hendrix, Neil Diamond, Lynyrd Skynyrd, Guns N' Roses, Tones on Tail, and Queen + Adam Lambert. In Canada, a version by "The Scoundrelz" reached #60 in 1966, and another by "Frijid Pink" reached #38 in 1971.


title: Heartbreak Hotel

text: In the 1992 film "Honeymoon in Vegas", Billy Joel made a version of "Heartbreak Hotel" and "All Shook Up", while the same year in "True Romance", actor Val Kilmer performed an a cappella version. Nicole Kidman and Hugh Jackman covered the song in a medley with Prince's "Kiss", for the 2006 Warner Bros. film "Happy Feet". The song was also featured in Alvin and the Chipmunks' 1990 television special "Rockin' Through the Decades", as part of the fifties medley and its soundtrack and again for the 2007 video game "Alvin and the Chipmunks".


title: Rothschild banking family of England

text: The Rothschild banking family of England was founded in (1798) by Nathan Mayer von Rothschild (1777–1836) who first settled in Manchester but then moved to London (at the time in the Kingdom of Great Britain). Nathan was sent there from his home in Frankfurt by his father, Mayer Amschel Rothschild (1744–1812). Wanting his sons to succeed on their own and to expand the family business across Europe, Mayer Amschel Rothschild had his eldest son remain in Frankfurt, while his four other sons were sent to different European cities to establish a financial institution to invest in business and provide banking services. Nathan Mayer von Rothschild, the third son, first established a textile jobbing business in Manchester and from there went on to establish N M Rothschild & Sons bank in London.


title: Rothschild banking family of England

text: From the home base in Frankfurt, Rothschild sons not only established themselves in the UK but also in Paris, Vienna and Naples in the Two Sicilies. Through their collaborative efforts, the Rothschilds rose to prominence in a variety of banking endeavours including loans, government bonds and trading in bullion. Their financing afforded investment opportunities and during the 19th century they became major stakeholders in large-scale mining and rail transport ventures that were fundamental to the rapidly expanding industrial economies of Europe.


title: Rothschild banking family of England

text: Changes in the heads of government, war, and other such events affected the family's fortunes both for their benefit and to their detriment at various times. Despite such changes, the UK branch of the Rothschild family is arguably the most prominent of all the Rothschild branches due its elevation to the British peerage, and its continued high-profile philanthropic activities.


title: Rothschild banking family of England

text: During the early part of the 19th century, the Rothschild's London bank took a leading part in managing and financing the subsidies that the British government transferred to its allies during the Napoleonic Wars. Through the creation of a network of agents, couriers and shippers, the bank was able to provide funds to the armies of the Duke of Wellington in Portugal and Spain, therefore funding war. In 1818 the Rothschild bank arranged a £5 million loan to the Prussian government and the issuing of bonds for government loans. The providing of other innovative and complex financing for government projects formed a mainstay of the bank's business for the better part of the century. N M Rothschild & Sons financial strength in the City of London became such that by 1825–26, the bank was able to supply enough coin to the Bank of England to enable it to avert a liquidity crisis.


title: Rothschild banking family of England

text: Nathan Mayer's eldest son, Lionel de Rothschild (1808–1879) succeeded him as head of the London branch. Under Lionel the bank financed the British government's 1875 purchase of Egypt's interest in the Suez Canal. Lionel also began to invest in railways as his uncle James had been doing in France. In 1869, Lionel's son, Alfred de Rothschild (1842–1918), became a director of the Bank of England, a post he held for 20 years. Alfred was one of those who represented the British Government at the 1892 International Monetary Conference in Brussels.


title: Rothschild banking family of England

text: The Rothschild bank funded Cecil Rhodes in the development of the British South Africa Company and Leopold de Rothschild (1845–1917) administered Rhodes's estate after his death in 1902 and helped to set up the Rhodes Scholarship scheme at Oxford University. In 1873, de Rothschild Frères in France and N M Rothschild & Sons of London joined with other investors to acquire the Spanish government's money-losing Rio Tinto copper mines. The new owners restructured the company and turned it into a profitable business. By 1905, the Rothschild interest in Rio Tinto amounted to more than 30 percent. In 1887, the French and UK Rothschild banking houses loaned money to, and invested in, the De Beers diamond mines in South Africa, becoming its largest shareholders.


title: Rothschild banking family of England

text: The London banking house continued under the management of Lionel Nathan de Rothschild (1882–1942) and his brother Anthony Gustav de Rothschild (1887–1961) and then to Sir Evelyn de Rothschild (b. 1931). In 2003, following Sir Evelyn's retirement as head of N M Rothschild & Sons of London, the UK and French financial firms merged under the leadership of David René de Rothschild.


title: Rothschild banking family of England

text: Beyond banking and finance, members of the Rothschild family in the UK became academics, scientists and horticulturalists with worldwide reputations.


title: Rothschild banking family of England

text: Nathaniel de Rothschild (1812–1870) was born in London, the fourth child of the founder of the British branch of the family. In 1842, he married cousin Charlotte de Rothschild (1825–1899) of Paris, France. She was the daughter of James Mayer de Rothschild and in 1850 they moved to Paris where he was to work for his father-in-law's bank. However, in 1853, Nathaniel acquired Château Brane Mouton, a vineyard in Pauillac in the Gironde département of France.


title: Rothschild banking family of England

text: In 1822, the five Rothschild brothers at the head of the family's banks in various parts of Europe were each granted the title of baron or Freiherr by Austria's Francis I, formerly Francis II the last Holy Roman Emperor. As such, some members of the family used "de" or "von" Rothschild to acknowledge the grant of nobility.


title: Rothschild banking family of England

text: In 1847, Anthony Nathan de Rothschild (1810–1876) was created "1st Baronet de Rothschild, of Tring Park". On his death, the title went to his nephew Nathan Mayer Rothschild II who was subsequently elevated to the House of Lords and created Baron Rothschild in 1885 with which title the baronetcy remains merged.


title: Rothschild banking family of England

text: In 1850 Lionel de Rothschild (1808–1879) became the first practising Jewish member of the British Parliament.


title: Rothschild banking family of England

text: The English Rothschilds and members of the other branches in Europe were all major contributors to causes in aid of the Jewish people. However, many of their philanthropic efforts extended far beyond Jewish ethnic or religious communities. They built hospitals and shelters for the needy, supported cultural institutions and were patrons of individual artists. Their donation of works of art to various galleries has been the largest of any family in history. At present, a research project is underway by The Rothschild Archive in London to document the family's philanthropic involvements.


title: The Hundred and One Dalmatians

text: The Hundred and One Dalmatians is a 1956 children's novel by Dodie Smith about the kidnapping of a family of Dalmatian puppies. It was originally serialized in "Woman's Day" as "The Great Dog Robbery", and details the adventures of two dalmatians named Pongo and Missis as they rescue their puppies from a fur farm. A 1967 sequel, "The Starlight Barking", continues from the end of the novel.


title: The Hundred and One Dalmatians

text: Pongo and Missis are a pair of Dalmatians who live with the newly married Mr. and Mrs. Dearly and their two nannies, Nanny Cook and Nanny Butler. Mr. Dearly is a "financial wizard" who has been granted lifelong tax exemption and lent a house on the Outer Circle in Regent's Park in return for wiping out the government debt. The dogs consider the humans their pets, but allow the humans to think that they are the owners.


title: The Hundred and One Dalmatians

text: One day, while walking Pongo and Missis, Mr. and Mrs. Dearly have a chance meeting with an old schoolmate of Mrs. Dearly: Cruella de Vil, a very wealthy woman so fixated on fur clothing that she married a furrier and forces him to keep his fur collection in their home so she can wear the pieces whenever she likes. She admires the two dogs and expresses a desire to have a Dalmatian-skin coat. Later, Missis gives birth to a litter of 15 puppies. Concerned that Missis will not be able to feed them all, the humans join in to help. As Mrs. Dearly looks for a canine wet nurse, she finds an exhausted liver-spotted Dalmatian in the middle of the road in the pouring rain. She has the dog treated by a vet, learns that she has recently given birth, and names her Perdita (meaning "lost"). Perdita helps to nurse the pups and becomes a member of the family. She tells Pongo about her lost love Prince and the resulting litter of puppies, which were sold by her neglectful owner. She had run away looking for those puppies.