title: Tibetan script

text: Besides being written as subscripts and superscripts, some consonants can also be placed in prescript, postscript, or post-postscript positions. For instance, the consonants /ʰka/, /ʰta/, /ʰpa/, /ma/ and /a/ can be used in the prescript position to the left of other radicals, while the position after a radical (the postscript position), can be held by the ten consonants /ʰka/, /na/, /ʰpa/, /ʰta/, /ma/, /a/, /ra/, /ŋa/, /sa/, and /la/. The third position, the post-postscript position is solely for the consonants /ʰta/ and /sa/.


title: Tibetan script

text: The vowels used in the alphabet are /a/, /i/, /u/, /e/, and /o/. While the vowel /a/ is included in each consonant, the other vowels are indicated by marks; thus /ka/, /ki/, /ku/, /ke/, /ko/. The vowels /i/, /e/, and /o/ are placed above consonants as diacritics, while the vowel /u/ is placed underneath consonants. Old Tibetan included a reversed form of the mark for /i/, the gigu 'verso', of uncertain meaning. There is no distinction between long and short vowels in written Tibetan, except in loanwords, especially transcribed from the Sanskrit.


title: Tibetan script

text: The Tibetan alphabet, when used to write other languages such as Balti and Sanskrit, often has additional and/or modified graphemes taken from the basic Tibetan alphabet to represent different sounds.


title: Tibetan script

text: Romanization and transliteration of the Tibetan script is the representation of the Tibetan script in the Latin script. Multiple Romanization and transliteration systems have been created in recent years, but do not fully represent the true phonetic sound. While the Wylie transliteration system is widely used to Romanize Standard Tibetan, others include the Library of Congress system and the IPA-based transliteration (Jacques 2012).


title: Tibetan script

text: Below is a table with Tibetan letters and different Romanization and transliteration system for each letter, listed below systems are: Wylie transliteration (W), Tibetan pinyin (TP), Dzongkha phonetic (DP), ALA-LC Romanization (A) and THL Simplified Phonetic Transcription (THL).


title: Tibetan script

text: The first version of Microsoft Windows to support the Tibetan keyboard layout is MS Windows Vista. The layout has been available in Linux since September 2007. In Ubuntu 12.04, one can install Tibetan language support through Dash / Language Support / Install/Remove Languages, the input method can be turned on from Dash / Keyboard Layout, adding Tibetan keyboard layout. The layout applies the similar layout as in Microsoft Windows.


title: Tibetan script

text: Mac OS-X introduced Tibetan Unicode support with OS-X version 10.5 and later, now with three different keyboard layouts available: Tibetan-Wylie, Tibetan QWERTY and Tibetan-Otani.


title: Tibetan script

text: The Dzongkha keyboard layout scheme is designed as a simple means for inputting Dzongkha text on computers. This keyboard layout was standardized by the Dzongkha Development Commission (DDC) and the Department of Information Technology (DIT) of the Royal Government of Bhutan in 2000.


title: Tibetan script

text: It was updated in 2009 to accommodate additional characters added to the Unicode & ISO 10646 standards since the initial version. Since the arrangement of keys essentially follows the usual order of the Dzongkha and Tibetan alphabet, the layout can be quickly learned by anyone familiar with this alphabet. Subjoined (combining) consonants are entered using the Shift key.


title: Tibetan script

text: The Dzongkha (dz) keyboard layout is included in Microsoft Windows, Android, and most distributions of Linux as part of XFree86.


title: Tibetan script

text: Tibetan was originally one of the scripts in the first version of the Unicode Standard in 1991, in the Unicode block U+1000–U+104F. However, in 1993, in version 1.1, it was removed (the code points it took up would later be used for the Burmese script in version 3.0). The Tibetan script was re-added in July, 1996 with the release of version 2.0.


title: Tibetan script

text: The Unicode block for Tibetan is U+0F00–U+0FFF. It includes letters, digits and various punctuation marks and special symbols used in religious texts:


title: Laci Mosley

text: Laci Mosley is an American actress, comedian and podcaster. She performs improv comedy at UCB Los Angeles and co-starred in the Pop comedy series "Florida Girls". Mosley is best known for her podcast "Scam Goddess", which focuses on historical and contemporary scams and cons. In 2021, Mosley joined the cast of HBO's "A Black Lady Sketch Show" and the "iCarly" revival series.


title: Laci Mosley

text: Mosley's first lead acting role was on the 2019 Pop series "Florida Girls", which was cancelled after one season despite an initial renewal. She has also acted in supporting roles on "Single Parents", "Insecure", and "The Wedding Year". She is set to star in the upcoming digital series "Scroll Wheel of Time" on Eko.


title: Laci Mosley

text: In 2021, she joined the main cast of "A Black Lady Sketch Show"'s second season. That year, she was also cast in the main role of Harper in the "iCarly" revival. After the announcement of her casting, Mosley was the target of racist attacks from fans who saw her as a replacement for Jennette McCurdy's character from the original. Writer Franchesca Ramsey tweeted in response, "Laci's character Harper isn't replacing Sam. No one could replace Jennette McCurdy or her incredible talent! But it’s both racist as hell & completely unfair to decide that Laci hasn’t earned her role especially since the show isn’t even out yet!!"


title: Laci Mosley

text: Mosley performs improv and sketch comedy at UCB in Los Angeles and performs a show called #TrapProv with her comedy partner Priscilla Davies. She is a member of UCB's initiative Project Rethink that started in 2020, which works to address systemic racism within the organization.


title: Laci Mosley

text: In 2021, Mosley appeared as a panelist on four episodes of the NPR news quiz "Wait Wait... Don't Tell Me!"


title: Laci Mosley

text: In March 2022 it was announced that she would not return for season three of "A Black Lady Sketch Show" due to scheduling conflicts. In April, she was cast in a recurring role in the NBC comedy pilot "Lopez vs. Lopez".


title: Laci Mosley

text: In September 2019, Mosley created the podcast "Scam Goddess", produced by Earwolf, where she discusses historic and modern cons with other comedian guests. The name comes from a moniker given to her by the hosts of "The Daily Zeitgeist" podcast due to her frequent internet research on scam and fraud cases. Topics covered include the Fyre Festival and Hilaria Baldwin's claims that she is of Spanish descent. The podcast was recommended by "Vox" and Vulture. Sean Malin of Vulture wrote in positive review, "Mosley is whip-fast with jokes, upstaging and amusing even her funniest guests with zingers." In October 2020, the podcast was picked up for co-production by Conan O'Brien's company Team Coco, alongside Earwolf. Mosley received two Webby Awards and an iHeartRadio Podcast Award for "Scam Goddess".


title: Laci Mosley

text: Mosley was born in Terrell, Texas and raised in Dallas. She went to Liberty High School in Frisco, Texas and was involved with several campus groups. She is a graduate of the University of Pittsburgh. Upon graduating, she lived in New York City for two years then moved to Los Angeles to pursue acting. She identifies as bisexual.


title: English modal verbs

text: The English modal verbs are a subset of the English auxiliary verbs used mostly to express modality (properties such as possibility, obligation, etc.). They can be distinguished from other verbs by their defectiveness (they do not have participle or infinitive forms) and by their neutralization (that they do not take the ending "-(e)s" in the third-person singular).


title: English modal verbs

text: The principal English modal verbs are "can", "could", "may", "might", "shall", "should", "will", "would", and "must". Certain other verbs are sometimes classed as modals; these include "ought", "had better", and (in certain uses) "dare" and "need". Verbs which share only some of the characteristics of the principal modals are sometimes called "quasi-modals", "semi-modals", or "pseudo-modals".


title: English modal verbs

text: The following verbs have all of the above properties, and can be classed as the principal modal verbs of English. They are listed here in present–preterite pairs where applicable:


title: English modal verbs

text: Note that the preterite forms are not necessarily used to refer to past time, and in some cases, they are near-synonyms to the present forms. Note that most of these so-called preterite forms are most often used in the subjunctive mood in the present tense. The auxiliary verbs may and let are also used often in the subjunctive mood. Famous examples of these are "May The Force be with you." and "Let God bless you with good." These are both sentences that express some uncertainty; hence they are subjunctive sentences.


title: English modal verbs

text: The verbs listed below mostly share the above features but with certain differences. They are sometimes, but not always, categorized as modal verbs. They may also be called "semi-modals".


title: English modal verbs

text: Other English auxiliaries appear in a variety of different forms and are not regarded as modal verbs. These are:


title: English modal verbs

text: For more general information about English verb inflection and auxiliary usage, see English verbs and English clause syntax. For details of the uses of the particular modals, see below.


title: English modal verbs

text: The modals "can" and "could" are from Old English "can(n)" and "cuþ", which were respectively present and preterite forms of the verb "cunnan" ("to be able"). The silent "l" in the spelling of "could" results from analogy with "would" and "should".


title: English modal verbs

text: Similarly, "may" and "might" are from Old English "mæg" and "meahte", respectively present and preterite forms of "magan" ("may, to be able"); "shall" and "should" are from "sceal" and "sceolde", respectively present and preterite forms of "sculan" ("to owe, be obliged"); and "will" and "would" are from "wille" and "wolde", respectively present and preterite forms of "willan" ("to wish, want").


title: English modal verbs

text: The aforementioned Old English verbs "cunnan", "magan", "sculan", and "willan" followed the preterite-present paradigm (or, in the case of "willan", a similar but irregular paradigm), which explains the absence of the ending "-s" in the third person on the present forms "can", "may", "shall", and "will". (The original Old English forms given above were first and third person singular forms; their descendant forms became generalized to all persons and numbers.)


title: English modal verbs

text: The verb "must" comes from Old English "moste", part of the verb "motan" ("to be able to, be obliged to"). This was another preterite-present verb, of which "moste" was in fact the preterite (the present form "mot" gave rise to "mote", which was used as a modal verb in Early Modern English; but "must" has now lost its past connotations and has replaced "mote"). Similarly, "ought" was originally a past form—it derives from "ahte", preterite of "agan" ("to own"), another Old English preterite-present verb, whose present tense form "ah" has also given the modern (regular) verb "owe" (and "ought" was formerly used as a past tense of "owe").


title: English modal verbs

text: The verb "dare" also originates from a preterite-present verb, "durran" ("to dare"), specifically its present tense "dear(r)", although in its non-modal uses in Modern English it is conjugated regularly. However, "need" comes from the regular Old English verb "neodian" (meaning "to be necessary")—the alternative third person form "need" (in place of "needs"), which has become the norm in modal uses, became common in the 16th century.


title: English modal verbs

text: A modal verb serves as an auxiliary to another verb, which appears in the infinitive form (the bare infinitive, or the "to"-infinitive in the cases of "ought" and "used" as discussed above). Examples: "You must escape"; "This may be difficult".


title: English modal verbs

text: The verb governed by the modal may be another auxiliary (necessarily one that can appear in infinitive form—this includes "be" and "have", but not another modal, except in the non-standard cases described below under ). Hence a modal may introduce a chain (technically catena) of verb forms, in which the other auxiliaries express properties such as aspect and voice, as in "He must have been given a new job".


title: English modal verbs

text: Modals can appear in tag questions and other elliptical sentences without the governed verb being expressed: "...can he?"; "I mustn't."; "Would they?"


title: English modal verbs

text: Like other auxiliaries, modal verbs are negated by the addition of the word "not" after them. (The modification of meaning may not always correspond to simple negation, as in the case of "must not".) The modal word "can" combine with "not" forms the single word "cannot". Most of the modals have contracted negated forms in "n't" which are commonly used in informal English: "can't", "mustn't", "won't" (from "will"), etc.


title: English modal verbs

text: Again like other auxiliaries, modal verbs undergo inversion with their subject, in forming questions and in the other cases described in the article on subject–auxiliary inversion: "Could you do this?"; "On no account may you enter." When there is negation, the contraction with "n't" may undergo inversion as an auxiliary in its own right: "Why can't I come in?" (or: "Why can I not come in?").


title: English modal verbs

text: The preterite (past) forms given above ("could", "might", "should", and "would", corresponding to "can", "may", "shall", and "will", respectively) do not always simply modify the meaning of the modal to give it past time reference. The only one regularly used as an ordinary past tense is "could", when referring to ability: "I could swim" may serve as a past form of "I can swim".


title: English modal verbs

text: All the preterites are used as past equivalents for the corresponding present modals in indirect speech and similar clauses requiring the rules of sequence of tenses to be applied. For example, in 1960, it might have been said that "People think that we will all be driving hovercars by the year 2000", whereas at a later date it might be reported that "In 1960, people thought we would all be driving hovercars by the year 2000."


title: English modal verbs

text: This "future-in-the-past" (also known as the past prospective, see: prospective) usage of "would" can also occur in independent sentences: "I moved to Green Gables in 1930; I would live there for the next ten years."


title: English modal verbs

text: In many cases, in order to give modals past reference, they are used together with a "perfect infinitive", namely the auxiliary "have" and a past participle, as in "I should have asked her"; "You may have seen me". Sometimes these expressions are limited in meaning; for example, "must have" can refer only to certainty, whereas past obligation is expressed by an alternative phrase such as "had to" (see below).


title: English modal verbs

text: The preterite forms of modals are used in counterfactual conditional sentences, in the apodosis ("then"-clause). The modal "would" (sometimes "should" as a first-person alternative) is used to produce the conditional construction which is typically used in clauses of this type: "If you loved me, you would support me." It can be replaced by "could" (meaning "would be able to") and "might" (meaning "would possibly") as appropriate.


title: English modal verbs

text: When the clause has past time reference, the construction with the modal plus perfect infinitive (see above) is used: "If they (had) wanted to do it, they would (could/might) have done it by now." (The "would have done" construction is called the conditional perfect.)


title: English modal verbs

text: The protasis ("if"-clause) of such a sentence typically contains the past tense of a verb (or the past perfect construction, in the case of past time reference), without any modal. The modal "could" may be used here in its role as the past tense of "can" ("if I could speak French"). However all the modal preterites can be used in such clauses with certain types of hypothetical future reference: "if I should lose" or "should I lose" (equivalent to "if I lose"); "if you would/might/could stop doing that" (usually used as a form of request).


title: English modal verbs

text: Sentences with the verb "wish" (and expressions of wish using "if only...") follow similar patterns to the "if"-clauses referred to above, when they have counterfactual present or past reference. When they express a desired event in the near future, the modal "would" is used: "I wish you would visit me"; "If only he would give me a sign."


title: English modal verbs

text: As noted above, English modal verbs are defective in that they do not have infinitive, participle, imperative, or (standard) subjunctive forms, and, in some cases, past forms. However in many cases there exist equivalent expressions that carry the same meaning as the modal, and can be used to supply the missing forms. In particular:


title: English modal verbs

text: As already mentioned, most of the modals in combination with "not" form commonly used contractions: "can't", "won't", etc. Some of the modals also have contracted forms themselves:


title: English modal verbs

text: Certain of the modals generally have a weak pronunciation when they are not stressed or otherwise prominent; for example, "can" is usually pronounced . The same applies to certain words following modals, particularly auxiliary "have": a combination like "should have" is normally reduced to or just "shoulda". Also "ought to" can become "oughta". See weak and strong forms in English.


title: English modal verbs

text: The modal verb "can" expresses possibility in a dynamic, deontic, or epistemic sense, that is, in terms of innate ability, permissibility, or possible circumstance. For example:


title: English modal verbs

text: The preterite form "could" is used as the past tense or conditional form of "can" in the above meanings (see above). It is also used to express possible circumstance: "We could be in trouble here." It is preferable to use "could", "may" or "might" rather than "can" when expressing possible circumstance in a particular situation (as opposed to the general case, as in the "rivalry" example above, where "can" or "may" is used).


title: English modal verbs

text: Both "can" and "could" can be used to make requests: "Can/could you pass me the cheese?" means "Please pass me the cheese" (where "could" indicates greater politeness).


title: English modal verbs

text: It is common to use "can" with verbs of perception such as "see", "hear", etc., as in "I can see a tree". Aspectual distinctions can be made, such as "I could see it" (ongoing state) vs. "I saw it" (event). See "can see".


title: English modal verbs

text: The use of "could" with the perfect infinitive expresses past ability or possibility, either in some counterfactual circumstance ("I could have told him if I had seen him"), or in some real circumstance where the act in question was not in fact realized: "I could have told him yesterday" (but in fact I didn't). The use of "can" with the perfect infinitive, "can have...", is a rarer alternative to "may have..." (for the negative see below).


title: English modal verbs

text: The negation of "can" is the single word "cannot", only occasionally written separately as "can not". Though "cannot" is preferred (as "can not" is potentially ambiguous), its irregularity (all other uncontracted verbal negations use at least two words) sometimes causes those unfamiliar with the nuances of English spelling to use the separated form. Its contracted form is "can't" (pronounced in RP and some other dialects). The negation of "could" is the regular "could not", contracted to "couldn't".


title: English modal verbs

text: The negative forms reverse the meaning of the modal (to express inability, impermissibility or impossibility). This differs from the case with "may" or "might" used to express possibility: "it can't be true" has a different meaning than "it may not be true". Thus "can't" (or "cannot") is often used to express disbelief in the possibility of something, as "must" expresses belief in the certainty of something. When the circumstance in question refers to the past, the form with the perfect infinitive is used: "he can't (cannot) have done it" means "I believe it impossible that he did it" (compare "he must have done it").


title: English modal verbs

text: Occasionally "not" is applied to the infinitive rather than to the modal (stress would then be applied to make the meaning clear): "I could not do that, but I'm going to do it anyway."


title: English modal verbs

text: The verb "may" expresses possibility in either an epistemic or deontic sense, that is, in terms of possible circumstance or permissibility. For example:


title: English modal verbs

text: In expressing possible circumstance, "may" can have future as well as present reference ("he may arrive" means that it is possible that he will arrive; "I may go to the mall" means that I am considering going to the mall).


title: English modal verbs

text: The preterite form "might" is used as a synonym for "may" when expressing possible circumstance (as can "could" – see above). It is sometimes said that "might" and "could" express a greater degree of doubt than "may". For uses of "might" in conditional sentences, and as a past equivalent to "may" in such contexts as indirect speech, see above.


title: English modal verbs

text: "May" (or "might") can also express irrelevance in spite of certain or likely truth: "He may be taller than I am, but he is certainly not stronger" could mean "While it is (or may be) true that he is taller than I am, that does not make a difference, as he is certainly not stronger."


title: English modal verbs

text: "May" can indicate presently given permission for present or future actions: "You may go now". "Might" used in this way is milder: "You might go now if you feel like it." Similarly "May I use your phone?" is a request for permission ("might" would be more hesitant or polite).


title: English modal verbs

text: A less common use of "may" is to express wishes, as in "May you live long and happy" or "May the Force be with you" (see also English subjunctive).


title: English modal verbs

text: When used with the perfect infinitive, "may have" indicates uncertainty about a past circumstance, whereas "might have" can have that meaning, but it can also refer to possibilities that did not occur but could have in other circumstances (see also conditional sentences above).


title: English modal verbs

text: Note that the above perfect forms refer to possibility, not permission (although the second sense of "might have" might sometimes imply permission).


title: English modal verbs

text: The negated form of "may" is "may not"; this does not have a common contraction ("mayn't" is obsolete). The negation of "might" is "might not"; this is sometimes contracted to "mightn't", mostly in tag questions and in other questions expressing doubt ("Mightn't I come in if I took my boots off?").


title: English modal verbs

text: The meaning of the negated form depends on the usage of the modal. When possibility is indicated, the negation effectively applies to the main verb rather than the modal: "That may/might not be" means "That may/might not-be," i.e. "That may fail to be true." But when permission is being expressed, the negation applies to the modal or entire verb phrase: "You may not go now" means "You are not permitted to go now" (except in rare, spoken cases where "not" and the main verb are both stressed to indicate that they go together: "You may go or not go, whichever you wish").


title: English modal verbs

text: The verb "shall" is used in some varieties of English in place of "will", indicating futurity when the subject is first person ("I shall, we shall").


title: English modal verbs

text: With second- and third-person subjects, "shall" indicates an order, command or prophecy: "Cinderella, you shall go to the ball!" It is often used in writing laws and specifications: "Those convicted of violating this law shall be imprisoned for a term of not less than three years"; "The electronics assembly shall be able to operate within a normal temperature range."


title: English modal verbs

text: "Shall" is sometimes used in questions (in the first person) to ask for advice or confirmation of a suggestion: "Shall I read now?"; "What shall we wear?"


title: English modal verbs

text: "Should" is sometimes used as a first-person equivalent for "would" (in its conditional and "future-in-the-past" uses), in the same way that "shall" can replace "will". "Should" is also used to form a replacement for the present subjunctive in some varieties of English, and also in some conditional sentences with hypothetical future reference – see English subjunctive and English conditional sentences.


title: English modal verbs

text: "Should" is often used to describe an expected or recommended behavior or circumstance. It can be used to give advice or to describe normative behavior, though without such strong obligatory force as "must" or "have to". Thus "You should never lie" describes a social or ethical norm. It can also express what will happen according to theory or expectations: "This should work." In these uses it is equivalent to "ought to".


title: English modal verbs

text: Both "shall" and "should" can be used with the perfect infinitive ("shall/should have (done)") in their role as first-person equivalents of "will" and "would" (thus to form future perfect or conditional perfect structures). Also "shall have" may express an order with perfect aspect ("you shall have finished your duties by nine o'clock"). When "should" is used in this way it usually expresses something which would have been expected, or normatively required, at some time in the past, but which did not in fact happen (or is not known to have happened): "I should have done that yesterday" ("it would have been expedient, or expected of me, to do that yesterday").


title: English modal verbs

text: The formal negations are "shall not" and "should not", contracted to "shan't" and "shouldn't". The negation effectively applies to the main verb rather than the auxiliary: "you should not do this" implies not merely that there is no need to do this, but that there is a need not to do this. The logical negation of "I should" is "I ought not to" or "I am not supposed to".


title: English modal verbs

text: Both "will" and "would" can be used with the perfect infinitive ("will have", "would have"), either to form the future perfect and conditional perfect forms already referred to, or to express perfect aspect in their other meanings (e.g. "there will have been an arrest order", expressing strong probability).


title: English modal verbs

text: The negated forms are "will not" (often contracted to "won't") and "would not" (often contracted to "wouldn't"). In the modal meanings of "will" the negation is effectively applied to the main verb phrase and not to the modality (e.g. when expressing an order, "you will not do it" expresses an order not to do it, rather than just the absence of an order to do it). For contracted forms of "will" and "would" themselves, see above.


title: English modal verbs

text: The modal "must" expresses obligation or necessity: "You must use this form"; "We must try to escape". It can also express a conclusion reached by indirect evidence (e.g. "Sue must be at home").


title: English modal verbs

text: An alternative to "must" is the expression "have to" or "has to" depending on the pronoun (in the present tense sometimes "have got to"), which is often more idiomatic in informal English when referring to obligation. This also provides other forms in which "must" is defective (see above) and enables simple negation (see below).


title: English modal verbs

text: When used with the perfect infinitive (i.e. with "have" and the past participle), "must" has only an epistemic flavor: "Sue must have left" means that the speaker concludes that Sue has left. To express obligation or necessity in the past, "had to" or some other synonym must be used.


title: English modal verbs

text: The formal negation of "must" is "must not" (contracted to "mustn't"). However the negation effectively applies to the main verb, not the modality: "You must not do this" means that you are required not to do this, not just that you are not required to do this. To express the lack of requirement or obligation, the negative of "have to" or "need" (see below) can be used: "You don't have to do this"; "You needn't do this".


title: English modal verbs

text: The above negative forms are not usually used in the sense of a factual conclusion; here it is common to use "can't" to express confidence that something is not the case (as in "It can't be here" or, with the perfect, "Sue can't have left").


title: English modal verbs

text: "Mustn't" can nonetheless be used as a simple negative of "must" in tag questions and other questions expressing doubt: "We must do it, mustn't we? Mustn't he be in the operating room by this stage?"


title: English modal verbs

text: "Ought" is used with meanings similar to those of "should" expressing expectation or requirement. The principal grammatical difference is that "ought" is used with the "to"-infinitive rather than the bare infinitive, hence "we should go" is equivalent to "we ought to go". Because of this difference of syntax, "ought" is sometimes excluded from the class of modal verbs, or is classed as a semi-modal.


title: English modal verbs

text: The reduced pronunciation of "ought to" (see above) is sometimes given the eye dialect spelling "oughtta".


title: English modal verbs

text: "Ought" can be used with perfect infinitives in the same way as "should" (but again with the insertion of "to"): "you ought to have done that earlier".


title: English modal verbs

text: The grammatically negated form is "ought not" or "oughtn't", equivalent in meaning to "shouldn't" (but again used with "to").


title: English modal verbs

text: The expression "had better" has similar meaning to "should" and "ought" when expressing recommended or expedient behavior: "I had better get down to work" (it can also be used to give instructions with the implication of a threat: "you had better give me the money or else"). The "had" of this expression is similar to a modal: it governs the bare infinitive, it is defective in that it is not replaceable by any other form of the verb "have", and it behaves syntactically as an auxiliary verb. For this reason the expression "had better", considered as a kind of compound verb, is sometimes classed along with the modals or as a semi-modal.


title: English modal verbs

text: The "had" of "had better" can be contracted to " 'd", or in some informal usage (especially American) can be omitted. The expression can be used with a perfect infinitive: "you'd better have finished that report by tomorrow". There is a negative form "hadn't better", used mainly in questions: "Hadn't we better start now?" It is more common for the infinitive to be negated by means of "not" after "better": "You'd better not do that" (meaning that you are strongly advised not to do that).


title: English modal verbs

text: The verbs "dare" and "need" can be used both as modals and as ordinary conjugated (non-modal) verbs. As non-modal verbs they can take a "to"-infinitive as their complement ("I dared to answer her"; "He needs to clean that"), although "dare" may also take a bare infinitive ("He didn't dare go"). In their uses as modals they govern a bare infinitive, and are usually restricted to questions and negative sentences.


title: English modal verbs

text: Examples of the modal use of "dare", followed by equivalents using non-modal "dare," where appropriate:


title: English modal verbs

text: The modal use of "need" is close in meaning to "must" expressing necessity or obligation. The negated form "need not" ("needn't") differs in meaning from "must not", however; it expresses lack of necessity, whereas "must not" expresses prohibition. Examples:


title: English modal verbs

text: Modal "need" can also be used with the perfect infinitive: "Need I have done that?" It is most commonly used here in the negative, to denote that something that was done was (from the present perspective) not in fact necessary: "You needn't have left that tip".


title: English modal verbs

text: The verbal expression "used to" expresses past states or past habitual actions, usually with the implication that they are no longer so. It is followed by the infinitive (that is, the full expression consists of the verb "used" plus the "to"-infinitive). Thus the statement "I used to go to college" means that the speaker formerly habitually went to college, and normally implies that this is no longer the case.


title: English modal verbs

text: While "used to" does not express modality, it has some similarities with modal auxiliaries in that it is invariant and defective in form and can follow auxiliary-verb syntax: it is possible to form questions like "Used he to come here?" and negatives like "He used not" (rarely "usedn't") "to come here". More common, however, (though not the most formal style) is the syntax that treats "used" as a past tense of an ordinary verb, and forms questions and negatives using "did": "Did he use(d) to come here? He didn't use(d) to come here".


title: English modal verbs

text: Note the difference in pronunciation between the ordinary verb "use" and its past form "used" (as in "scissors are used to cut paper"), and the verb forms described here: .


title: English modal verbs

text: The verbal use of "used to" should not be confused with the adjectival use of the same expression, meaning "familiar with", as in "I am used to this", "we must get used to the cold". When the adjectival form is followed by a verb, the gerund is used: "I am used to going to college in the mornings".


title: English modal verbs

text: In English, modal verbs as "must, have to, have got to, can't" and "couldn't" are used to express deduction and contention. These modal verbs state how sure the speaker is about something.


title: English modal verbs

text: In formal standard English usage, since modals are followed by a base verb, which modals are not, modal verbs cannot be used consecutively. That requirement then dictates they can be followed by only non-modal verbs. "Might have to" is acceptable ("have to" is not a modal verb), but "*might must" is not, even though "must" and "have to" can normally be used interchangeably. Two rules from different grammatical models supposedly disallow the construction. Proponents of Phrase structure grammar see the surface clause as allowing only one modal verb, while main verb analysis would dictate that modal verbs occur in finite forms.


title: English modal verbs

text: A greater variety of double modals appears in some regional dialects. In English, for example, phrases such as "would dare to" and "should have to" are sometimes used in conversation and are grammatically correct. The double modal may sometimes be in the future tense, as in "We must be able to work" with "must" being the main auxiliary and "be able to" as the infinitive. Other examples include "You may not dare to run" or "I would need to have help".


title: English modal verbs

text: To put double modals in past tense, only the first modal is changed as in "I could ought to". Double modals are also referred to as multiple modals.


title: English modal verbs

text: To form questions, the subject and the first verb are swapped if the verb requires no do-support, such as "Will you be able to write?" If the main auxiliary requires do-support, the appropriate form of "to do" is added to the beginning, as in "Did he use to need to fight?" If modals are put in the perfect tense, the past participle of the infinitive is used, as in "He had been going to swim" or "You have not been able to skate". In questions, the main verb and subject are swapped, as in "Has she had to come?"


title: English modal verbs

text: "I might could do something," for instance, is an example of a double modal construction that can be found in varieties of Southern American and Midland American English.


title: English modal verbs

text: Many English modals have cognates in other Germanic languages, albeit with different meanings in some cases. Unlike the English modals, however, these verbs are not generally defective; they can inflect, and have forms such as infinitives, participles and future tenses (for example using the auxiliary in German). Examples of such cognates include:


title: English modal verbs

text: Since modal verbs in other Germanic languages are not defective, the problem of "double modals" (see above) does not arise: the second modal verb in such a construction simply takes the infinitive form, as would any non-modal verb in the same position. Compare the following translations of English "I want to be able to dance", all of which translate literally as "I want can dance" (except German, which translates as "I want dance can"):


title: Pseudomonarchia Daemonum

text: Pseudomonarchia Daemonum, or "False Monarchy of Demons", first appears as an Appendix to "De praestigiis daemonum" (1577) by Johann Weyer. An abridgment of a grimoire similar in nature to the "Ars Goetia" (first book of "The Lesser Key of Solomon"), it contains a list of demons, and the appropriate hours and rituals to conjure them.


title: Pseudomonarchia Daemonum

text: The "Pseudomonarchia" predates, and differs somewhat from, "Ars Goetia". The "Pseudomonarchia" lists sixty-nine demons (in contrast to the later seventy-two), and their sequence varies, along with some of their characteristics. The demon Pruflas appears only in "Pseudomonarchia", and "Pseudomonarchia" does not attribute any sigils to the demons.


title: Pseudomonarchia Daemonum

text: Weyer referred to his source manuscript as "Liber officiorum spirituum, seu Liber dictus Empto. Salomonis, de principibus et regibus daemoniorum." ("Book of the offices of spirits, or the book called 'Empto'. Solomon, concerning the princes and kings of demons.") This work is likely related to a very similar 1583 manuscript titled "The Office of Spirits", both of which appear ultimately be an elaboration on a fifteenth-century manuscript titled "Le Livre des Esperitz" (of which 30 of its 47 spirits are nearly identical to spirits in the "Ars Goetia").


title: Jor-El

text: Jor-El, originally known as Jor-L, is a fictional character appearing in American comic books published by DC Comics. Created by writer Jerry Siegel and artist Joe Shuster, Jor-El first appeared in a newspaper comic strip in 1939 with Superman.


title: Jor-El

text: Jor-El is Superman's biological father, the husband of Lara, and a leading scientist on the planet Krypton before its destruction. He foresees his planet's fate but is unable to convince his colleagues in time to rescue most of Krypton's inhabitants. Jor-El is able to save his infant son Kal-El (Superman) by launching him towards Earth in a homemade spaceship just moments before Krypton explodes. When Superman later constructs his headquarters, the Fortress of Solitude, he honors his biological parents with the inclusion of a statue of Jor-El and Lara holding up a globe of Krypton, the fortress also holds a holographic copy of Jor-El's consciousnesses, letting Superman able to interact with his father for advice and his knowledge. Most renditions of Jor-El show him with a strong resemblance to Superman due to being father and son.


title: Jor-El

text: Jor-El was portrayed by Marlon Brando in the films "Superman", "Superman II" and "Superman Returns". This character was portrayed by Russell Crowe in the film "Man of Steel". Angus Macfadyen portrayed the character in the first season of the television series "Superman & Lois".


title: Jor-El

text: Joe Shuster and Jerry Siegel, the creators of both Superman and Jor-L, first introduced a character named "Jor-L" in 1936, more than a year before the first Superman story was published. The original "Jor-L" appeared in "New Adventure Comics" (released in 1936, cover-dated January 1937), a re-titled issue #12 of the previous "New Comics", which would be re-titled again, starting with issue #32, as the 45-year-long "Adventure Comics" series.


title: Jor-El

text: Featured in the four-page Shuster and Siegel strip "Federal Men", this "Jor-L" is not an extraterrestrial but, instead, a far-future "ace sleuth" in the service of "Interplanetary Federation Headquarters". The character battles "Nira-Q", the outer-space-faring "bandit queen", in the year 3000 A.D. The 1936 "Jor-L" exists as part of a story within a story, as Shuster and Siegel's strip presents the tale as a scientist's forecast of future crime-fighting told to the contemporary 1930s-era G-man heroes of "Federal Men".


title: Jor-El

text: Jor-El was first referred to indirectly in "Action Comics" #1 in 1938, which only mentioned a scientist who sends his son to Earth. He made his first full-fledged appearance in the "Superman" newspaper comic strip in 1939, where his name was spelled as "Jor-L". His name first appeared as being spelled "Jor-el" in the "Superman" novel "The Adventures of Superman" (1942) written by George Lowther. Later comic books capitalized the "E" in "El." Jor-El's first appearance in a comic book was in "More Fun Comics" #101.


title: Jor-El

text: In the 1960s, now known as part of the Silver Age of Comic Books, DC Comics introduced to its superhero stories the fictional concept of different versions of characters from real-world publication history existing in separate "universes" that could communicate with each other. As DC developed this concept through further stories, the version of Superman's father during the previous Golden Age of Comic Books was identified as "Jor-"L"", matching the original spelling of the character's name, who lived on the Krypton of the Earth-Two "universe" (derived from the versions of characters and stories that appeared during the earlier "Golden Age" period of publication history). In contrast, the concept presented "Jor-"El"" as no longer another spelling of the same name but a different character entirely: the father of the then-contemporary "Silver Age" version of Superman, who lived on the Krypton of the Earth-One "universe" (used to describe the setting for then-current "Silver Age" stories and characters, some of which had been substantially changed from their "Golden Age" versions).


title: Jor-El

text: A retelling of Superman's origin story in 1948 first delved into detail about Jor-El. However, his formal and more familiar Silver Age aspects were firmly established starting in the late 1950s. Over the course of the next several decades, there was a definitive summarization in the miniseries "World of Krypton" in 1979 (not to be confused with the similarly-named post-"Crisis on Infinite Earths" late-1980s comic miniseries).


title: Jor-El

text: As presented in the "World of Krypton" miniseries and other stories from the Silver Age of Comic Books, Jor-El was Krypton's leading scientist, inventing, among other devices, the "Jor-El," a hovercar. He also discovered a parallel plane of existence which he called the Phantom Zone and invented a device by which it could be entered, which he called the Phantom Zone Projector. This device got him a seat on the Science Council, Krypton's ruling body. He lived in Krypton's major city of Kryptonopolis.


title: Jor-El

text: Even before Jor-El's birth, the El family was renowned across Krypton for its various contributions to Kryptonian society. Ancestors of Jor-El included Val-El, a famous explorer; Sul-El, the inventor of Krypton's first telescope; Tala-El, the author of Krypton's first planetary constitution; Hatu-El, the inventor of Krypton's first electromagnet and first electric motor; and Gam-El, the father of modern Kryptonian architecture.


title: Jor-El

text: Jor-El had two brothers: Zor-El, who lived in Argo City and eventually became the father of Kara, alias Supergirl, and an identical twin brother named Nim-El, who lived in Kandor. In several stories, Jor-El's father was established as Jor-El I, and his mother as Nimda (nee An-Dor). Jor-El eventually met and married Lara, the daughter of Lor-Van and a young astronaut in Krypton's fledgling space program (which was soon permanently grounded after Jax-Ur blew up one of Krypton's inhabited moons, leading to eternal banishment to the Phantom Zone); the two had an infant son, Kal-El.


title: Jor-El

text: When Krypton began experiencing a series of earthquakes, Jor-El investigated. He soon discovered, to his horror, that Krypton's core was extremely unstable and indeed radioactive, and worse, that it would eventually reach critical mass and explode, taking the entire planet and its populace with it. Jor-El tried to convince the members of the Science Council of this impending disaster and urged re-establishing Krypton's space program so giant spacecraft could be built to carry the populace to another habitable world. However, the Council was dismissive of Jor-El's findings and refused to comply with his plan. Some even accused him of treachery, trying to cause chaos so he could take over. This had been a plot of General Zod's, which having failed, caused his banishment to the Phantom Zone. Thus the Council was wary of Jor-El's motives.


title: Jor-El

text: Around the time he discovered his homeworld's impending doom, Jor-El met his own son Kal-El without realizing it (Kal-El had accidentally travelled back in time). There were supporters of Jor-El's theory, but when a ship was constructed to evacuate them, the city of Kandor was shrunken and stolen by Brainiac, removing the people who believed in Jor-El's work.


title: Jor-El

text: Frustrated, Jor-El continued his work on space travel on his own, hoping to build a spacecraft to save his own family. This work included launching several smaller test rockets; one of these rockets included the family dog, who responded to the name of "Krypto." However, as time ran short, Jor-El soon found that he would only have enough time to build a spacecraft to save his son Kal-El. He decided to send Kal-El to Earth, realizing he would gain superhuman powers under Earth's more intense yellow sun and lower gravity. As Krypton finally went through its final destructive stages, Jor-El and Lara placed their son in the rocket and launched him toward Earth, before they themselves were killed along with almost all the rest of the planet's population. Lara could have fit inside the rocket as well, but she chose to stay behind to increase Kal-El's chances of reaching Earth.


title: Jor-El

text: After the 1985-1986 miniseries "Crisis on Infinite Earths" and John Byrne's 1986 miniseries "The Man of Steel" rewrote Superman's origins, details about Jor-El's background and character were changed. In Byrne's version, Jor-El inhabited a cold and emotionally sterile Krypton where even bodily contact was forbidden. Indeed, Jor-El himself was considered a "throwback" for actually expressing emotions toward his mate Lara and favoring the less sterilized days of past Kryptonian eras. Another change in this version was Jor-El genetically altering his son's fetus (gestating in a "birthing matrix") to allow him to leave Krypton (in this version of the mythos, Kryptonians were genetically "bonded" to the planet itself, not allowing them to leave) and merely attaching a warp engine to the matrix instead of constructing a ship wholesale. The result was that Kal-El was "born" when the birthing matrix opened on Earth.


title: Jor-El

text: In the 1990s series "Starman" Jor-El meets a time-traveling Jack Knight and Mikaal Tomas, two individuals who both bore at various points the name "Starman", and had been accidentally sent 70 years back in time and hurled across space. Jor-El thereby first learns of Earth's existence; in return, Jor-El helps Knight and Tomas escape from his overbearing father Seyg-El.


title: Jor-El

text: In the 2004 miniseries "", Jor-El, along with Krypton and Lara, was, more or less, reinstated to his Silver Age versions, though with such updated touches as Lara contributing equally to the effort of sending Kal-El, once again an infant while on Krypton, to Earth. In this version, Jor-El discovers Earth moments before launching his son's spacecraft. Also, the conclusion of the miniseries has the adult Superman, on Earth, seeing his parents through Lex Luthor's time-space communicator, and on Krypton, seconds before its destruction, Jor-El and Lara see their son alive and well on Earth and know that their efforts were successful. As with Byrne's conflicting view of Krypton, the "Birthright" origins of Jor-El, Krypton, and Luthor have recently been retconned, and, following "Infinite Crisis", they are no longer valid in comics canon.


title: Jor-El

text: However, a more recent storyline co-written by Geoff Johns and "Superman" director Richard Donner presented yet another version of Jor-El and Krypton which reintroduced General Zod and the Phantom Zone criminals. With art by Adam Kubert, Jor-El is depicted for the first time with a beard and the design of Kryptonian society is distinct yet again from "Birthright" and "Man of Steel", incorporating elements of Donner's work on the first two Christopher Reeve films, in particular the notion of Krypton's Council threatening Jor-El with harsh penalty of exile to the very Phantom Zone he himself had discovered if he were to make public his predictions of their planet's imminent doom or otherwise attempt to "create a climate of panic."


title: Jor-El

text: Jor-El is shown here to have been mentored by friend and noted scientist Non, who corroborated Jor-El's findings regarding Krypton's impending destruction, when the two were arrested and brought to trial before the Council by Zod and Ursa. When Non defies the Council's dire prohibitions and elects to spread the word of the coming apocalypse, he is abducted by Council agents and apparently lobotomized, thus explaining the character's mute simple-mindedness, brutality and destructiveness in line with Jack O'Halloran's performance as Non in the first two Reeve films. Appalled, Zod and Ursa propose to Jor-El that they band together and overthrow the Council, but Jor-El will have none of it. When their murderous insurrection fails, the Council forces Jor-El to exile them to the Phantom Zone and never speak of his findings again, lest he face the same fate. For this perceived betrayal, Zod declares that he will escape and conquer Krypton (confident that Jor-El will actually discover some way to save the planet) and force the scientist and his son to kneel before him one day.


title: Jor-El

text: Having been re-built via a Kryptonian crystal during the "One Year Later" story arc, the current version of the Fortress of Solitude, which was also designed to essentially be visually identical to the Donner and Bryan Singer films, now contains an advanced interactive "recording" of Jor-El which, although visually dissimilar to Marlon Brando, is otherwise identical in function to that featured in "Superman Returns".


title: Jor-El

text: "Superman/Batman" #50 presents Jor-El sending a probe to Earth that makes contact with Thomas Wayne while he is on a drive with a pregnant Martha, the probe holographically transmitting Thomas' consciousness to Krypton so that Jor-El could better learn what kind of world Earth was to help him decide which of many possible candidates he should send his son to. Thomas tells Jor-El that the people of Earth aren't perfect, but are essentially a good and kind race who would raise the child right, convincing Jor-El to send Kal-El there. Thomas recorded his encounter in a diary, which was discovered by his son Bruce Wayne in the present day.


title: Jor-El

text: Following two line-wide revisions of DC superhero comic books, branded by DC Comics as “New 52” and “DC Rebirth”, the character Jor-El was revised to be still alive within the books’ fictional setting. The 2017-19 miniseries "Doomsday Clock" presented his survival as the act of Doctor Manhattan, who whisked Jor-El away as Krypton crumbled and taken to Earth, where he crashed in a war-torn nation. After being nursed back to health by locals (his own superpowers developing in a delayed manner as he was hidden in a basement away from sunlight), Jor-El saw firsthand the atrocities of man, as a dictator usurped all of what the people owned, causing them to starve. After witnessing these atrocities, Jor-El is forced to watch the horrors of mankind over the centuries and is represented as Mister Oz, who had been monitoring Superman since his pre-"Flashpoint" counterpart appeared during storylines of "The New 52", a line-wide revision of DC superhero comic books. Jor-El becomes dissatisfied with humanity and attempts to force his son and his family to leave in the believe that Earth cannot be saved, but when Superman forces him to acknowledge that he is attacking his own son, he withdraws. It is later established that Jor-El was a member of the "Circle", a clandestine organization composed of five powerful cosmic beings and intergalactic rulers including Appa Ali Apsa, Sardath of Rann and the being who destroyed Krypton named Rogol Zaar.


title: Jor-El

text: In the "Elseworlds" series "", Jor-El is able to save himself and Lara and accompany Kal-El to Earth, where Jor-El sets up the corporation JorCorp while Lara establishes the self-help movement Raology.


title: Jor-El

text: In "Superman Adventures" (based on the animated series), the story arc "Family Reunion" sees Superman accidentally travel to a parallel universe where a single Kryptonian city survived Krypton's destruction, with its natives including Jor-El and Lara. Unfortunately, this version of Lara has been driven insane by Krypton's destruction, and plans to lead the city in the conquest of Earth, to the extent that she has already brainwashed the "local" Superman and Supergirl after killing the Kents. Jor-El and the displaced Superman are able to rally Superman's foes, such as Luthor and Metallo, to force Lara's forces back to the city, at which point Jor-El sacrifices himself to destroy the city and the rest of his people to generate a powerful explosion that will send Superman back to his home reality.


title: Jor-El

text: In the Elliot S! Maggin 1978 novel "", Jor-El is shown as having sent a navigation probe ahead of Kal-El's spaceship, in order to find a suitable foster parent on his new planet. In Kryptonian society, scientific achievement was a preeminent virtue, so Jor-El's probe was programmed to seek out the leading scientific mind on Earth, presumably to adopt Kal-El. The probe landed (in the early 1950s, although the date is non-specific) in Princeton, New Jersey, where it soon appeared outside the window of Albert Einstein and communicated its mission to him through telepathy, along with precise details of where Kal-El's rocket would land (near Smallville, Kansas), several days later.


title: Jor-El

text: In the 2007 novel "The Last Days of Krypton" by Kevin J. Anderson, Jor-El is shown as a science hero who is respected and admired by all of the people of Krypton and has a standing offer of a place on the Council. Yet his clashing with this conservative Council over new discoveries supplies much of the tension in the book. General Zod and his two minions make a bid to take over Krypton, first posing as Krypton's saviours.


title: Tyler Perry Studios

text: Tyler Perry Studios (TPS) is an American film production studio in Atlanta, Georgia founded by actor, filmmaker, and playwright Tyler Perry in 2006.


title: Tyler Perry Studios

text: In 2019, Perry celebrated the grand opening of his newest Atlanta studio location; he purchased of the former Fort McPherson complex in 2015 to make it the new home of Tyler Perry Studios. Tyler Perry Studios is the largest film production studio in the United States, and established Perry as the first African-American to outright own a major film production studio. Through 34th Street Films, a production arm of Tyler Perry Studios, Perry guides the work of other filmmakers.


title: Tyler Perry Studios

text: In 2018, Perry sold his previous studio location opened in 2008 to another minority-owned film production company. The previous studio location occupied two former Delta Air Lines affiliated buildings in the Greenbriar area of southwest Atlanta, and included of sets and office space.


title: Tyler Perry Studios

text: Tyler Perry Studios is a notable resource for Atlanta's robust economy. The company often advertises for film and crew positions at its southwest Atlanta location.


title: Tyler Perry Studios

text: Perry has full ownership of his films, and Lions Gate Entertainment used to serve as his distributor for all of his films starting from "Diary of a Mad Black Woman" to "A Madea Family Funeral". After signing his deal with ViacomCBS, Mr. Perry's films are now distributed by Paramount Pictures and Netflix starting with "Nobody's Fool" and "A Fall from Grace". His first film, "Diary of a Mad Black Woman", produced on a budget of $5.5 million, became an unexpected commercial success prompting widespread discussion among industry watchers about whether middle-class African-Americans were simply not being addressed by mainstream Hollywood movies. Its final gross box office receipts were $50.6 million, although it was critically panned scoring only 16 percent approval rating on the website Rotten Tomatoes. On its opening weekend, February 24, 2006, Perry's film version of "Madea's Family Reunion" opened at No. 1 with $30.3 million. The film eventually grossed $65 million and, like "Diary", almost all of it in the United States. The film was jump-started by an hour-long appearance by Perry and his co-stars on the daily talk show "The Oprah Winfrey Show".


title: Tyler Perry Studios

text: His next project for Lionsgate, "Daddy's Little Girls", starring British actor Idris Elba and Gabrielle Union was released in the U.S. on February 14, 2007. It grossed over $31 million. Perry wrote, directed, produced and starred in his next film, "Why Did I Get Married?", which was released on October 12, 2007. It opened as the top-grossing movie in its first weekend, earning $21.4 million at the box office. It is loosely based on the play which Perry wrote in 2004. Filming began March 5, 2007, in Whistler, British Columbia, Vancouver, then Atlanta, where Perry opened his own studio. Janet Jackson, Sharon Leal, Jill Scott, and Tasha Smith appear in the film. Perry's 2008 film, "Meet the Browns", which was released on March 21, opened at No. 2 with a $20,082,809 weekend gross. "The Family That Preys" opened on September 12, 2008, and grossed over $35.1 million as of October. "Madea Goes to Jail" opened at No. 1 on February 20, 2009, grossing $41 million and becoming his largest opening to date. This was Perry's seventh film with Lionsgate.


title: Tyler Perry Studios

text: On May 1, 2012, a four-alarm fire engulfed portions of the studio complex, causing the partial collapse of one building. Less than three months later, another fire broke out on the roof of another building on the morning of August 27, 2012. On November 20, 2019, it hosted the MSNBC and Washington Post 2020 Democratic Party presidential debate on the Oprah Winfrey sound stage. It also hosted Miss Universe 2019 on December 8.


title: Tyler Perry Studios

text: In June 2021, Tyler Perry and T.D. Jakes announced they were purchasing over 130 acres in Atlanta including a proposed expansion of Tyler Perry Studios for an entertainment district with theaters, retail shops and restaurants.


title: Tyler Perry Studios

text: Before moving to its first southwest Atlanta location in 2008, the studios used the former studio space at 99 Krog Street in Inman Park on the BeltLine in central Atlanta. Perry had purchased the land from Atlanta Stage Works in 2006 for a reported $7 million. The studios were later converted into the Krog Street Market.


title: Tyler Perry Studios

text: In 2019, Tyler Perry Studios officially moved into of the former Fort McPherson complex in southwest Atlanta. The studio has of the site dedicated to standing permanent sets, including a replica of a luxury hotel lobby, a White House replica, a mansion, a mock cheap hotel, a trailer park set, and a real 1950s-style diner that was relocated from a town away. It has a residential neighborhood cul-de-sac with 12 homes, many of them with actual functioning interiors...furnished and decorated, not simply "facades." It also hosts 12 soundstages named after highly accomplished African-Americans in the entertainment industry.


title: New Guinea singing dog

text: The New Guinea singing dog or New Guinea Highland dog is an ancient (basal) lineage of dog found in the New Guinea Highlands, on the island of New Guinea. Once considered to be a separate species in its own right, under the name "Canis hallstromi", it is closely related to the Australian dingo. The dog is unique among canines, as it is one of the few to be considered “barkless” (hence its common name of “singing dog”), and known for its unusual “yodel”-like style of vocalizing. Another so-called “barkless”, albeit domesticated, dog is the Basenji, of African lineage.


title: New Guinea singing dog

text: In 1989, the Australian mammalogist Tim Flannery took a photo of a black-and-tan dog in Telefomin District. He noted that these dogs lived with local tribal peoples in the mountains, and that feral populations lived in the alpine and sub-alpine grasslands of the Star Mountains and the Wharton Range. The photo was published in his book, "Mammals of New Guinea". In 2012, Australian wilderness-adventure guide Tom Hewett took a photo of a tawny, thick-coated dog in the Puncak Mandala region of West Papua, Indonesia. In 2016, a literature review found no definitive evidence that the earliest possible dogs, within captive populations of New Guinea singing dogs, were wild animals; successive generations of puppies were raised as members of village populations, thus being domestic dogs.


title: New Guinea singing dog

text: In 1999, a study of mitochondrial DNA (mtDNA) indicated that the domestic dog may have originated from multiple grey wolf populations, with the dingo and New Guinea singing dog "breeds" having developed at a time when human populations were more isolated from each other. In the third edition of "Mammal Species of the World" published in 2005, the mammalogist W. Christopher Wozencraft listed under the wolf "Canis lupus" its wild subspecies, and proposed two additional subspecies: ""familiaris" Linnaeus, 1758 [domestic dog]" and ""dingo" Meyer, 1793 [domestic dog]". Wozencraft included "hallstromi" – the New Guinea singing dog – as a taxonomic synonym for the dingo. Wozencraft referred to the mtDNA study as one of the guides in forming his decision. The inclusion of "familiaris" and "dingo" under a "domestic dog" clade has been noted by other mammalogists. This classification by Wozencraft is debated among zoologists.


title: New Guinea singing dog

text: The New Guinea singing dog's taxonomic status is debated, with proposals that include treating it within the species concept (range of variation) of the domestic dog "Canis familiaris", a distinct species "Canis hallstromi", and "Canis lupus dingo" when considered a subspecies of the wolf. In 2019, a workshop hosted by the IUCN/SSC Canid Specialist Group considered the New Guinea singing dog and the dingo to be feral dogs "Canis familiaris", and therefore should not be assessed for the IUCN Red List.


title: New Guinea singing dog

text: During the Torres expedition to the south coast of New Guinea and the Torres Strait in 1606, small dogs were recorded by Captain Don Diego de Prado y Tovar:


title: New Guinea singing dog

text: On 26 October 1897, the Lieutenant-Governor of British New Guinea, Sir William MacGregor, was on Mount Scratchley, Central Province, Papua New Guinea. At an elevation of he recorded that "animals are rare," but listed "wild dog." MacGregor obtained the first specimen and later Charles Walter De Vis wrote a description of it in 1911. De Vis summarised from his description that:


title: New Guinea singing dog

text: ... it is not a "truly a wild dog"; in other words that there was a time when its forebears were not wild. ...But if we decide that this dog is merely feral, of a domestic breed run wild, as dogs are apt to do, how are we to account for its habitat on Mount Scratchley?


title: New Guinea singing dog

text: In 1954, collectors for the Australian Museum observed these dogs around villages situated at on Mount Giluwe in the Southern Highlands Province. In 1956, Albert Speer and J. P. Sinclair obtained a pair of singing dogs in the Lavani Valley that was situated in Southern Highlands Province. The two dogs had been obtained from natives. The dogs were sent to Sir Edward Hallstrom who had set up a native animal study center in Nondugi, and from there to the Taronga Zoo in Sydney, Australia. In 1957, Ellis Troughton examined the two singing dog specimens from the Taronga Zoo and classified them as a distinct species "Canis hallstromi" in honour of Hallstrom.


title: New Guinea singing dog

text: By the close of the last glacial period 11,700 years ago, five ancestral lineages had diversified from each other and were expressed in ancient dog samples found in the Levant (7,000 YBP), Karelia (10,900 YBP), Lake Baikal (7,000 YBP), ancient America (4,000 YBP), and in the New Guinea singing dog (present day).


title: New Guinea singing dog

text: Mitochondrial genome sequences indicates that the dingo falls within the domestic dog clade, and that the New Guinea singing dog is genetically closer to those dingoes that live in southeastern Australia than to those that live in the northwest. The dingo and New Guinea singing dog lineage can be traced back through the Malay Archipelago to Asia.


title: New Guinea singing dog

text: In 2020, the first whole genome analysis of the dingo and the New Guinea singing dog was undertaken. The study indicates that the ancestors of these two dogs arose in southern East Asia, migrated through Island Southeast Asia 9,900 YBP, and reached Australia 8,300 YBP. The study rejects earlier suggestions that these dogs arrived from southern Asia 4,300 YBP or as part of the Austronesian expansion into Island Southeast Asia, which arrived in New Guinea about 3,600 YBP. The genetic evidence is that dingoes arrived in Australia 8,300 YBP and brought by an unknown human population.


title: New Guinea singing dog

text: In 2017 the New Guinea Highland Wild Dog Foundation announced to the media that in 2016 it and the University of Papua had located and photographed a group of 15 of what it referred to as "highland wild dogs." DNA analysis of scats indicate that these dogs have a genetic relationship with other dogs found in Oceania, including the dingo and the New Guinea singing dog.


title: New Guinea singing dog

text: In 2020, a nuclear genome study indicates that the highland wild dogs from the base of Puncak Jaya, within the Tembagapura district in the Mimika Regency of Papua, Indonesia, were the population from which captive New Guinea singing dogs were derived. The study revealed that the wild dogs show much more genetic diversity than the captive animals, which are severely inbred. This indicates the wild population is healthy. The size and distribution of the wild population is not known. Mitochondrial DNA indicates that the highland wild dogs possess the A29 haplotype, rather than the A79 haplotype which is found in the New Guinea singing dog. The A29 haplotype is found in dingoes, some New Guinea singing dogs, and some Asian, Arctic, and village dogs. A phylogenetic tree shows the highland wild dogs to be basal to the dingo and New Guinea singing dog, and therefore the potential originator of both.


title: New Guinea singing dog

text: These dogs live wildly in a harsh and remote environment between in elevation, which suggests they are a lineage of proto-dog that is related to the dingo and are not feral village dogs. This has led to some researchers to suggest that the taxon "Canis dingo" is appropriate for the only truly wild-living dog populations – the dingo, the New Guinea Highland wild dog, and the New Guinea singing dog.


title: New Guinea singing dog

text: Australian mammalogist Tim Flannery in his book the "Mammals of New Guinea" describes the "New Guinea Wild Dog" as looking similar to the dingo, only smaller. Most of these dogs in New Guinea are domesticated with large numbers being kept by widows and bachelors, with hunters keeping at least two for assisting them with hunting. These dogs do not bark, and their chorused howling makes a haunting and extraordinary sound, which has led to their alternative name of "New Guinea Singing Dog." Flannery published in his book a photo of a black-and-tan dog in the Telefomin District. He wrote that these dogs live with native people in the mountains, and that there were feral populations living in the alpine and sub-alpine grasslands of the Star Mountains and the Wharton Range.


title: New Guinea singing dog

text: Compared with other forms of dog, the New Guinea singing dog is described as relatively short-legged and broad-headed. These dogs have an average shoulder height of and weigh . They do not have rear dewclaws.


title: New Guinea singing dog

text: The limbs and spine of the New Guinea singing dog are very flexible and they can spread their legs sideways to 90°, comparable to the Norwegian Lundehund. They can also rotate their front and hind paws more than domestic dogs, which enables them to climb trees with thick bark or branches that can be reached from the ground; however, their climbing skills do not reach the same level as those of the gray fox, and are closely related to those of a cat.


title: New Guinea singing dog

text: The eyes, which are highly reflective, are triangular (or almond-shaped) and are angled upwards from the inner to outer corners with dark eye rims. Eye color ranges from dark amber to dark brown. Their eyes exhibit a bright green glow when lights are shone on them in low light conditions. There are two features which researchers believe allow New Guinea singing dogs to see more clearly in low light. One is that of their pupils, which open wider and allow in more light than in other dog varieties. The other is that they possess a higher concentration of cells in the tapetum.


title: New Guinea singing dog

text: New Guinea singing dogs have erect, pointed, fur-lined ears. As with other wild dogs, the ears 'perk,' or lay forward, which is suspected to be an important survival feature for the form. The ears can be rotated like a directional receiver to pick up faint sounds. Their tails are bushy, long enough to reach the hock, free of kinks, and have a white tip.


title: New Guinea singing dog

text: Pups are born with a dark chocolate brown pelt with gold flecks and reddish tinges, which changes to light brown by the age of six weeks. Adult coloration occurs around four months of age. For adult dogs, the colors brown, black, and tan have been reported, all with white points. The sides of the neck and zonal stripes behind the scapula are golden. Black and very dark guard hair is generally lightly allocated over the hair of the spine, concentrating on the back of the ears and the surface of the tail over the white tip. The muzzle is always black on young dogs. Generally, all colors have white markings underneath the chin, on the paws, chest and tail tip. About one third also have white markings on the muzzle, face and neck. By 7 years of age, the black muzzle begins to turn grey.


title: New Guinea singing dog

text: All sightings in the wild were of single dogs or pairs, therefore it can be inferred that wild New Guinea singing dogs do not form permanent packs. Tim Flannery's short 1989 report on dogs in the mountains of Papua New Guinea described them as "extraordinarily shy" and "almost preternaturally canny." According to Robert Bino (1996), these dogs only use their resting places under roots and ledges in New Guinea sporadically. Bino conjectured that these dogs are highly mobile and forage alone and concluded that they therefore might use several hiding places in their home range.


title: New Guinea singing dog

text: During research observations, the examined dogs generally showed a lower threshold of behaviour (e.g., scent rolling) than other domestic dogs, as well as an earlier developmental onset than other domestic dogs or grey wolves (e.g., hackle biting at two weeks compared to other domestic dogs/grey wolves at 6 weeks) and a quantitative difference (e.g., reduced expression of intraspecific affiliate behaviours). The dogs observed did not show the typical canid play bow; however, Imke Voth found this behaviour during examinations in the 1980s.


title: New Guinea singing dog

text: Additionally, New Guinea singing dogs have an unusual form of auto-erotic stimulation, which includes a strong tendency to target the genitals for both playful and aggressive bites, a cheek-rub that may be a marking behaviour and a tooth-gnashing threat.


title: New Guinea singing dog

text: During estrus, when potential partners are present, same-sex New Guinea singing dogs often fight to the point of severe injury. Furthermore, adults also display a high degree of aggression towards unfamiliar dogs, which would indicate that they are strongly territorial. Their distinctive aggression could not be observed to that extent among Australian dingoes (who live without human contact).


title: New Guinea singing dog

text: Researchers have noted rough play behaviour by the mothers towards their pups, which often switched over to agonistic behaviour as well as "handling." The mothers did not adequately react to the pups' shouts of pain but rather interpreted it as further "invitation" for "playing." The researchers stated that this behaviour was noted in their subjects only and does not necessarily apply to all singing dogs.


title: New Guinea singing dog

text: New Guinea singing dogs are named for their distinctive and melodious howl, which is characterized by a sharp increase in pitch at the start and very high frequencies at the end. The howling of these dogs can be clearly differentiated from that of Australian dingoes, and differs significantly from that of grey wolves and coyotes.


title: New Guinea singing dog

text: An individual howl lasts an average of 3 seconds, but can last as long as 5 seconds. At the start, the frequency rises and stabilizes for the rest of the howling, but normally shows abrupt changes in frequency. Modulations can change quickly every 300–500 milliseconds or every second. Five to eight overtones can generally be distinguished in a spectrographic analysis of the howling.


title: New Guinea singing dog

text: New Guinea singing dogs sometimes howl together, which is commonly referred to as chorus howling. During chorus howling, one dog starts and others join in shortly afterward. In most cases, chorus howling is well synchronized, and the howls of the group end nearly simultaneously. Spontaneous howling is most common during the morning and evening hours. A trill, with a distinctly "bird-like" character, is emitted during high arousal. It is a high-frequency pulsed signal whose spectral appearance suggests a continuous source that is periodically interrupted, and might last as long as 800 milliseconds. Such a sound is not known for any other canid; however, a similar sound (with lower frequency) has been described for a dhole at the Moscow Zoo. When they are kept with dogs that bark, New Guinea singing dogs may mimic the other dogs.


title: New Guinea singing dog

text: The New Guinea singing dog possesses an annual seasonality, and if not impregnated will have a second estrus within a few weeks after the end of the first. Sometimes they will have a third. Males in captivity often participate in raising the pups, including the regurgitation of food. Female New Guinea singing dogs are protective of their young and will aggressively attack their male counterpart if they suspect he poses a danger to the pups. During the first breeding season following their birth, especially if there is a potential mate present, pups are often aggressively attacked by the same-sex parent.


title: New Guinea singing dog

text: Reports from local sources in Papua New Guinea from the 1970s and the mid-1990s indicate that New Guinea singing dogs—like wild dogs found in New Guinea, whether they were pure New Guinea singing dogs or hybrids—fed on small to middle-sized marsupials, rodents, birds, and fruits. Robert Bino stated that their prey consisted of cuscuses, wallabies, and possibly dwarf cassowaries. New Guinea singing dogs in captivity do not require a specialized diet, but they seem to thrive on lean raw meat diets based on poultry, beef, elk, deer, or bison.


title: New Guinea singing dog

text: Since 1956, New Guinea singing dogs have been obtained or sighted in the wild chiefly in mountainous terrain around the central segment of the New Guinea Highlands, a major island-extensive east–west running mountain range formation, as the 1956 dogs obtained by Speer and Sinclair (see 'History and classification' section above) were in what's now typically spelled the Lavani Valley slightly to the East, the Star Mountains slightly to the West of center sited reports through 1976. Reports of the Kalam people capturing New Guinea singing dogs in the mid-1970s imply the human tribe's range just off center east on the northeastern mainland coast (see 'Relationship with humans' section below). A 2007 sighting in the Kaijende Highlands was east of the center. The 2012 sighting was near Puncak Mandala slightly to the west, all in the highlands around the range's spine.


title: New Guinea singing dog

text: The reported habitat of the New Guinea singing dog consists of mountains and swampy mountain regions of Papua New Guinea at an altitude of 2,500 to 4,700 meters. The main vegetation zones are the mixed forest, beech and mossy forest, sub-alpine coniferous forest and alpine grassland. Based on archaeological, ethnographic, and circumstantial evidence, it can be assumed that New Guinea singing dogs were once distributed over the whole of New Guinea and later restricted to the upper mountains. Since there have been no verified sightings of these dogs in Papua New Guinea since the 1970s until an August 2012 photograph in the wild, these dogs are now apparently rare.


title: New Guinea singing dog

text: There were reports of New Guinea singing dogs in the Star Mountains until 1976, and in the mid-1970s reports of capture and training, but not breeding by the Kalam people (see § Relationship with humans).


title: New Guinea singing dog

text: In his 1998 book "Throwim Way Leg", Tim Flannery states that the dokfuma (which he describes as sub-alpine grassland with the ground being sodden moss, lichens and herbs growing atop a swamp) at 3,200 meters elevation had plenty of New Guinea singing dogs, which could usually be heard at the beginning and end of each day. When alone in his campsite one day, a group of canines came within several hundred meters of him. Flannery apparently did not have his camera along or ready, since he reported no pictures taken.


title: New Guinea singing dog

text: In 1996 Robert Bino undertook a field study of these dogs, but was not able to observe any wild New Guinea singing dogs and instead used signs, such as scats, paw prints, urine markings and prey remnants, to make conclusions about their behaviour. No DNA sampling was conducted. There have been reports from local residents that wild dogs have been seen or heard in higher reaches of the mountains.


title: New Guinea singing dog

text: In a 2007 report, a more recent sighting was the fleeting glimpse of a dog at Lake Tawa in the Kaijende Highlands. Local assistants assured the researchers that the dogs at Lake Tawa were wild-living dogs, since there were no villages near that location. It needs to be made clear, however, that "wild-living" does not necessarily mean that canines observed by natives are New Guinea singing dogs. It is possible that they are simply feral domestic dogs or New Guinea singing dog hybrids.


title: New Guinea singing dog

text: On 24 August 2012, the second known photograph of a New Guinea singing dog in the wild was taken by Tom Hewitt, Director of Adventure Alternative Borneo, in the Jayawijaya Mountains or Star Mountains of Papua Province, Indonesia, Western New Guinea by a trek party returning from Puncak Mandala, at approximately 4,760 m high the highest peak in the Jayawijaya range and second highest freestanding mountain of Oceania, Australasia, New Guinea and Indonesia (though Hewitt himself seems to erroneously say this peak is in the Star Mountains, which are adjacent to the Jayawijaya range, and also casually calls the region 'West Papua' rather than Indonesia's Papua Province in the Western geopolitical 'half' of the New Guinea landmasses, while his identification of the peak is quite clear, including its estimated elevation which is distinctive among New Guinea's peaks). In a valley flanked by waterfalls on both sides among approximately high limestone peaks, replete with such flora and fauna as cycads, grasses and blooms of the highlands, cuscuses, possums, tree kangaroos, unidentified ground-nesting birds in swamp grass, and a bird-of-paradise species heard but not seen, Hewitt relates that his veteran trek guide called out "dog" four times and pointed to fetch Hewitt and his trek client from their explorations behind large boulders and have them realize that ahead and above the guide and camp cook on a rocky outcrop was a dog, in Hewitt's words "not scared, but...genuinely curious...as we were of it, and it certainly felt like a rare meeting for both sides. The guides and cook were also surprised.” While the guide had at first approached "quite close", the dog retreated as the party came toward it, though it stayed on the hillside while being photographed for a mutual observation session of about 15 minutes. Hewitt only became fully aware of the importance of his party's sighting and photograph of this dog when he contacted Tom Wendt, New Guinea Singing Dog International (NGSDI)'s founder upon returning home, then regretting that he did not videorecord the encounter. Hewitt and Wendt observe that West Papuan locals report that sightings are rare, and that New Guinea singing dogs have not been domesticated by current human inhabitants of their area.


title: New Guinea singing dog

text: In 2016, a literature review found that "there is no definitive evidence that...the founding members of captive populations of New Guinea Singing Dogs were wild-living animals or the progeny of wild-living animals rather than being born and raised as members of village populations of domestic dogs." In the same year, the New Guinea Highland Wild Dog Foundation announced to the media that it and the University of Papua had located and photographed a group of 15 of what it referred to as "highland wild dogs". DNA analysis of scats indicate that these dogs have a genetic relationship with other dogs found in Oceania, including the dingo and the New Guinea singing dog.


title: New Guinea singing dog

text: According to reports from the late 1950s and mid-1970s, wild dogs believed to be New Guinea singing dogs were shy and avoided contact with humans. It was reported in the mid-1970s that the Kalam in the highlands of Papua caught young New Guinea singing dogs and raised them as hunting aids, but did not breed them. Some of these dogs probably stayed with the Kalam and reproduced. The Eipo tribe kept and bred wild dogs as playmates for their children. Although the majority of the highland tribes never used village dogs as a food source, it is known that even today they attempt to catch, kill and eat wild dogs. Dog-findings in archaeological sites of New Guinea are rare, mostly consisting of teeth (used as ornaments) and trophy-skulls. Since the beginning of the 20th century, the inhabitants of the highlands started to keep chickens, and New Guinea singing dogs had a penchant for poultry. To add to the problem, natives kept other domestic dogs. The crossbred dogs were generally larger in size, as well as less of a challenge to train, so they tended to be of more value than New Guinea singing dogs. One might conclude that the relationship between the contemporary New Guineans and their dogs will give information about how they treated the New Guinea singing dogs, but modern "village dogs" are not genetically representative of pure New Guinea singing dogs.


title: New Guinea singing dog

text: In the past, the New Guinea singing dog was considered "unworthy" of scientific study, as it was regarded as an insignificant variety of feral domestic dog. However, due to its potential value as a resource for the determination of the process of canid evolution and domestication, particularly in relation to the dingo, as well as several of its unique genetic, behavioural, ecological, reproductive and morphological characteristics, limited research has been undertaken. The New Guinea Department of Environment and Conservation has announced protection measures.


title: New Guinea singing dog

text: Hybridization is one of the most serious threats facing the New Guinea singing dog. New Guinea singing dogs are handicapped, as are many canids such as the Australian dingo, by their susceptibility to being bred by canines other than those of their own kind. This vulnerability has, and is still, causing a "watering down" of dingo genes needed to maintain purity.


title: New Guinea singing dog

text: There are two organizations formed for conserving and preserving New Guinea singing dogs. They are the New Guinea Singing Dog Conservation Society, founded in 1997, and New Guinea Singing Dog International, a preservation, captive breed, adoption and pet education group. Both of these organizations are based in the United States.


title: You're Beautiful (TV series)

text: You're Beautiful () is a 2009 South Korean television series starring Jang Keun-suk, Park Shin-hye, Jung Yong-hwa of CNBLUE, and Lee Hong-gi of F.T. Island. The series follows fictional musician band, A.N.JELL, and how the relationship between its members changes when a girl posing as her twin brother joins the band. It aired on SBS from October 7 to November 26, 2009, for 16 episodes.


title: You're Beautiful (TV series)

text: Ko Mi-nyeo (Park Shin-hye) has lived at an orphanage with her twin brother, Ko Mi-nam, since childhood after their father died. Years later, Mi-nam becomes a music idol and Mi-nyeo lives in a junior nun dorm to fulfill her dream of becoming a nun. One day, Mi-nam successfully auditions for and wins the "A.N Entertainment" vocal auditions to join the musical band A.N.Jell. However, he must leave for the United States in order to correct his botched plastic surgery. Mi-nam's manager, Ma Hoon-yi (Kim In-kwon) approaches Mi-nyeo and requests her to pose as Mi-nam for a month till he recovers. Mi-nyeo is against it at first, but eventually agrees, as a path to fame would give the twins an opportunity to find their mother. Thus, Mi-nyeo poses as her brother and joins the band A.N.Jell, where she meets its members: the arrogant Hwang Tae-kyung (Jang Keun-suk), the gentle Kang Shin-woo (Jung Yong-hwa) and the bubbly Jeremy (Lee Hong-gi).


title: You're Beautiful (TV series)

text: At first, Tae-kyung is against Mi-nam's addition and makes her life hard, while Shin-woo and Jeremy are friendly to her. Eventually, Tae-kyung discovers that Mi-nam is a girl and threatens to reveal it, but Mi-nam manages to win him over. Through their interactions, Tae-kyung began to develop feelings for Mi-nam. Shin-woo and Jeremy also developed feelings for her, even though the latter thinks that Mi-nam is a boy. As Mi-nyeo struggles to hide her secret from the media while performing with A.N.JELL, she discovers her mother's past, which is somehow connected with Tae-kyung.


title: You're Beautiful (TV series)

text: Jang Keun-suk and Park Shin-hye were both cast first, with director Hong Sung-chang stating that the two were well-suited to convey the "fresh" idol stars concept he wanted. Lee Hong-gi (a singer with the idol group F.T. Island) had been a child actor, and this was his acting comeback after a five-year break (his last acting project being "Kkangsoon" in 2005). Jung Yong-hwa made his acting debut with this role, which he auditioned for whilst preparing to debut with his band CNBLUE in Japan.


title: You're Beautiful (TV series)

text: During its run, several car companies offered to have their cars be used on the drama for promotional purposes. The latest car from the German automaker Audi introduced their Audi S4 on the miniseries, with Jang Keun-suk driving it.


title: You're Beautiful (TV series)

text: Although the drama achieved mediocre ratings for broadcast, it managed to gain a cult following with many fans watching the drama online.


title: You're Beautiful (TV series)

text: Due to the popularity of the show, the soundtrack album of the miniseries sold 20,000 copies within its first seven days of release. The album became a top seller on various music sites, such as MelOn, Dosirak, and Mnet. At the end of 2011, the album amassed a total of 57,000 copies in South Korea. The album was written and produced by Han Sung-ho, who also worked on the dramas "Lovers", "On Air", and "Brilliant Legacy".


title: You're Beautiful (TV series)

text: Because the drama features a concert footage of A.N.JELL in it, the cast members actually performed a mini-concert, where it was reported that as many 25,000 fans showed up. The group performed the songs "Promise" and "Still". Jang Keun-suk also sang "Good Bye" and "What Should I Do", the latter is the track Tae-kyung remakes for his mother in the drama. Park Shin-hye sang her character's theme song, "Lovely Day".


title: You're Beautiful (TV series)

text: The series was also broadcast throughout Asia. It aired on channels such as Fuji TV in Japan, CCTV in China, BBTV in Thailand, 8TV in Malaysia on 2010, Channel U in Singapore, Indosiar in Indonesia, Mbc4 in UAE and ABS-CBN in Philippines When the series was broadcast in Japan on Fuji TV, it scored very high ratings beating out all of its competitors in its timeslot. The series became so popular in Japan it is believed to have overtaken the popularity of "Winter Sonata", another popular Korean drama in Japan.


title: You're Beautiful (TV series)

text: A Japanese remake of this drama aired in Japan in 2011 with the title "Ikemen desu ne", and included a cameo appearance by Jang Keun-suk in episode 8 as himself. A Taiwanese remake, "Fabulous Boys" was broadcast in 2013, which included a cameo by Park Shin-hye in the first episode as Go Mi-nyeo.


title: Elettra Rossellini Wiedemann

text: Elettra-Ingrid Rossellini Wiedemann (born July 26, 1983) is an American food editor, writer, fashion model, and socialite. She is the daughter of Italian actress and model Isabella Rossellini and Jonathan Wiedemann, an American. Her maternal grandparents were Swedish actress Ingrid Bergman and Italian film director Roberto Rossellini.


title: Elettra Rossellini Wiedemann

text: Wiedemann was born and raised in New York City. She has three half siblings from her father's second marriage. She also has a brother on her mother's side. She attended high school at the United Nations International School, where she became fluent in French. Growing up, Wiedemann suffered from scoliosis, a spinal condition that had also afflicted her mother, and had to wear a back brace 23 hours a day from the ages of 12 to 17.


title: Elettra Rossellini Wiedemann

text: She attended college at The New School, graduating with a Bachelor of Arts in International Relations. She attended a two-year graduate school program at the London School of Economics in order to receive a master's degree in Biomedicine, Bioscience and Society.


title: Elettra Rossellini Wiedemann

text: Wiedemann worked as a fashion model and spokesperson for over 10 years before "Impatient Foodie". She was discovered by Bruce Weber and quickly became one of the industry's most coveted models, shooting with photographers such as Karl Lagerfeld, Patrick Demarchelier, Annie Leibovitz, Arthur Elgort, Mario Testino, and Craig McDean for magazines such as "American Vogue", "French Vogue", "Harpers Bazaar", "Another", "Muse", "GQ", "French Elle" and "Italian Elle", to name a few. She has also been a spokesmodel for Lancôme since 2004 and done ads for Lancôme makeup, fragrance, and skin care worldwide.


title: Elettra Rossellini Wiedemann

text: While she was modeling, Wiedemann attended graduate school at the London School of Economics (LSE), ultimately receiving her Masters of Science (MSc) in Biomedicine, Biosciences and Society in 2010. Her MSc dissertation was an analysis of a biotech proposal known as Vertical Farming and the future of feeding urban populations in light of climate change. At the time, her dissertation was the first ever cross-disciplinary analysis of Vertical Farming, for which she received the top possible mark of a Distinction.


title: Elettra Rossellini Wiedemann

text: Upon graduation from the LSE, Wiedemann launched a pop-up restaurant, GOODNESS. GOODNESS featured a different chef and different menu every day. GOODNESS popped up twice at NY Fashion Week and at Iceland's Design March Festival before turning into a show ("Elettra's Goodness") on Vogue's new channel. Guests included Blake Lively, Seth Meyers, Grace Coddington, and Karlie Kloss.


title: Elettra Rossellini Wiedemann

text: She has also written for publications including Refinery29, VICE Munchies, "Teen Vogue," "SELF", "Paper Magazine", "The Cut", and "Cherry Bombe".


title: Elettra Rossellini Wiedemann

text: Wiedemann was married to restaurateur James Marshall from 2012 to 2015. She has two sons, Ronin Hendrick Lane (born January 2, 2018) and Viggo River Lane (born June 14, 2021), with actor Caleb Lane.


title: Elettra Rossellini Wiedemann

text: She raced in several triathlons and three Half Ironman races. For her last race (Ironman 70.3 in Lake Stevens), she renounced energy gels and baked all of her own bite-sized food for racing fuel, and is convinced it helped her achieve her fastest 70.3 time.


title: Elettra Rossellini Wiedemann

text: She has an older cousin Tommaso who made two films, "Interno Giorno" (2011) and "Playing with Plays" (2019).


title: Vivaldi (web browser)

text: Vivaldi ( ) is a freeware, cross-platform web browser developed by Vivaldi Technologies, a company founded by Tatsuki Tomita and Jon Stephenson von Tetzchner, who was the co-founder and CEO of Opera Software. Vivaldi was officially launched on April 6, 2016.


title: Vivaldi (web browser)

text: Although intended for general users, it is first and foremost targeted towards technically-inclined users as well as former Opera users disgruntled by its transition from the Presto layout engine to a Chromium-based browser that resulted in the loss of many of its iconic features. Despite also being Chromium-based, Vivaldi aims to revive the features of the Presto-based Opera with its own proprietary modifications.


title: Vivaldi (web browser)

text: Vivaldi released a mobile (Android) beta version on September 6, 2019, and a regular release on April 22, 2020.


title: Vivaldi (web browser)

text: Vivaldi began as a virtual community website that replaced My Opera, which was shut down by Opera Software in March 2014. Jon Stephenson von Tetzchner was angered by this decision because he believed that this community helped make the Opera web browser what it was. Tetzchner then launched the Vivaldi Community—a virtual community focused on providing registered users with a discussion forum, blogging service, and numerous other practical web services—to make up for My Opera's closure. Later, on January 27, 2015, Vivaldi Technologies launched the first technical preview of the Vivaldi web browser. Its name comes from the Italian composer Antonio Vivaldi, which, according to one of its creators, is an easy name to be remembered and understood worldwide.


title: Vivaldi (web browser)

text: In September 2021, Vivaldi replaced Firefox as the default browser on the Manjaro Cinnamon Community Edition, the decision its developers cited on its feature-richness and exceptional customizability. In December 2021, Vivaldi became the first web browser to be available for the Android Automotive operating system used in the Swedish electric vehicle manufacturer Polestar's Polestar 2. For safety purposes, the browser can only be used when the car is parked.


title: Vivaldi (web browser)

text: Vivaldi has a minimalistic user interface with basic icons and fonts, and, optionally, a color scheme that changes based on the background and design of the web page being visited. The browser also allows users to customize the appearance of UI elements such as background color, overall theme, address bar and tab positioning, and start pages. According to CEO Jon von Tetzchner, Vivaldi's unique customizability is how the browser caters to experienced users.


title: Vivaldi (web browser)

text: Vivaldi comes with built-in ad blocker, pop up blocker and tracker blocker. These features block intrusive ads, help web pages load faster, and protect against malicious ads and trackers. It comes with built-in e-mail client with IMAP and POP3 support. Some of the Mail features are saved searches and offline message search. The browser can be used as a feed reader to save RSS and Atom feeds. It also comes with built-in Vivaldi Calendar to manage events in the browser. Vivaldi Translate is powered by Lingvanex and can instantly translate websites, without the need for third-party extensions.