title: Tom Verlaine

text: Vibrato is a large part of Verlaine's style and he makes extensive use of the Jazzmaster's unique vibrato arm. In terms of guitar scales and note selection, Verlaine uses the mixolydian and minor pentatonic scale with clear blues influences similar to many contemporary rock & roll artists. Verlaine distinguished his style mainly in choice of phrasing, often choosing to play slower and less technically demanding riffs than many contemporary lead guitarists. Verlaine uses a thin pick and heavy strings (gauges .050 to .013) and tunes down a half step or more. In contrast to most modern rock guitarists, he uses a wound 3rd string. Verlaine usually plays with the bridge pickup on, but picks over the neck pickup. This, according to him, gives a "full yet clear sound".


title: Tom Verlaine

text: The development of Verlaine's style likely was influenced by the way he learned to play; he told a "Guitar Player" interviewer in 2005 "I never played guitar along with records, so I never learned all the speed licks everybody gravitates to when starting out. I know 19-year-old guitarists who can play Danny Gatton solos note-for-note. They don’t really know what notes they’re playing, but they do them flawlessly."


title: Ethan Frome

text: Ethan Frome is a 1911 book by American author Edith Wharton. It is set in the fictitious town of Starkfield, Massachusetts. The novel has been adapted into a film, "Ethan Frome" (1993).


title: Ethan Frome

text: The novel is a framed narrative. The framing story concerns an unnamed male narrator spending a winter in Starkfield while in the area on business. He spots a limping, quiet man around the village, who is somehow compelling in his demeanor and carriage. This is Ethan Frome, who is a lifelong resident and a local fixture of the community. Frome is described by the narrator as "the most striking figure in Starkfield", "the ruin of a man" with a "careless powerful look ... in spite of a lameness checking each step like the jerk of a chain". Curious, the narrator sets out to learn about him. He learns that Frome's limp arose from having been injured in a "smash-up" twenty-four years before, but further details are not forthcoming, and the narrator fails to learn much more from Frome's fellow townspeople other than that Ethan's attempt at higher education decades before was thwarted by the sudden illness of his father following an injury, forcing his return to the farm to assist his parents, never to leave again. Because people seem not to wish to speak other than in vague and general terms about Frome's past, the narrator's curiosity grows, but he learns little more.


title: Ethan Frome

text: Chance circumstances arise that allow the narrator to hire Frome as his driver for a week. A severe snowstorm during one of their journeys forces Frome to allow the narrator to shelter at his home one night. Just as the two are entering Frome's house, the prologue ends and the framed story begins. The narration switches from the first-person narrator of the prologue to a limited third-person narrator. We then embark on the "first" chapter (Chapter I), which takes place twenty-four years prior.


title: Ethan Frome

text: In Chapter I, Ethan is waiting outside a church dance for Mattie, his wife's cousin, who has for a year lived with Ethan and his sickly wife, Zeena (Zenobia), in order to help out around the house and farm. Mattie is given the occasional night off to entertain herself in town as partial recompense for helping care for the Fromes, and Ethan has the duty of walking her home. It is quickly clear that Ethan has deep feelings for Mattie. Passing the graveyard, he thinks in an intense moment of foreshadowing that, "We'll always go on living here together, and some day she'll lie there beside me." It also becomes clear that Zeena has observed enough to understand that he has these feelings and, understandably, she resents them.


title: Ethan Frome

text: When Zeena leaves for an overnight visit to seek treatment for her various complaints and symptoms in a neighboring town, Ethan is excited to have an evening alone with Mattie. During this evening, the narrator reveals small actions that show that they each have feelings for the other, including a lingering of touching hands on the milk jug, although neither openly declares their love. Mattie makes supper and retrieves from a high shelf Zeena's treasured pickle dish, which Zeena, in a symbol of her stingy nature, never uses, in order to protect it. Mattie uses it to present Ethan with a simple supper, and disaster ensues when the Fromes' cat jumps on the table and knocks it off, shattering it beyond repair. Ethan tries to help by setting the dish's pieces neatly in the cupboard, presenting the false impression of wholeness if not examined closely, with plans to purchase some glue and fix it as soon as he can.


title: Ethan Frome

text: In the morning, Ethan's hopes for more private time with Mattie are foiled by the presence of his hired man. Ethan then goes into town to buy glue for the broken pickle dish, and upon his return finds that Zeena has also come home. Zeena retreats upstairs, proclaiming her illness, and refusing supper because she is not hungry. There, she informs Ethan that she plans to send Mattie away and has already hired another girl to replace her, claiming that she needs someone more efficient because her health is failing more rapidly than ever.


title: Ethan Frome

text: Ethan is angry and frustrated to the point of panic by the thought of losing Mattie, and he is also worried for Mattie, who has no other place to go and no way to support herself in the world. He returns to the kitchen and joins Mattie, and tries to eat, but he is distraught and suddenly blurts out Zeena's plans to send Mattie away. Mattie reacts with shock but rapid acceptance, trying to calm Ethan, while Ethan becomes more agitated and begins to insist that he will not let her go. Ethan kisses her. Moments later, they are interrupted by Zeena, who has decided that she is hungry after all. After supper, Zeena discovers the broken pickle dish and is heartbroken and enraged; this betrayal cements her determination to send Mattie away.


title: Ethan Frome

text: Ethan, miserable at the thought of losing Mattie and worried sick about her fate, considers running away with Mattie, but he lacks the money to do so. He feels that he cannot abandon Zeena because he knows that she would neither be able to run the farm nor sell it (the poor quality of the place has been discussed at several points in the story already). Every plan he thinks of is impossible to carry out, and he remains in despair and frantically trying to think of a way to change this one more turn of events against his ability to have a happy life.


title: Ethan Frome

text: The next morning, Zeena describes her specific and imminent plans for sending Mattie on her way. Panicked, Ethan rushes into town to try to get a cash advance from a customer for a load of lumber in order to have the money with which to abscond with Mattie. His plan is unhinged by guilt, however, when his customer's wife expresses compassion, understanding, and empathy for Ethan's lot, which has involved the repeated duty to care for others, first his parents, then his sickly wife. He realizes that, of all people, he cannot cheat this kindly woman and her husband out of money, since she is one of the few people who have ever seemed to have seen or openly acknowledged Ethan's lifelong plight, as well as his honor in fulfilling his duties.


title: Ethan Frome

text: Ethan comes back to the farm and picks up Mattie to take her to the train station. They stop at a hill upon which they had once planned to go sledding and decide to sled together as a way of delaying their sad parting, after which they anticipate never seeing each other again. After their first run, Mattie suggests a suicide pact: that they go down again, and steer the sled directly into a tree, so they will never be parted and so that they may spend their last moments together. Ethan first refuses to go through with the plan, but in his despair that mirrors Mattie's, he ultimately agrees, and they get on the sled, clutching each other. On the way down, a vision of Zeena's face startles Ethan into swerving a bit, but he corrects their course, and they crash headlong and at high speed into the elm tree. Ethan regains consciousness after the accident but Mattie lies beside him, "cheeping" in pain like a small wounded animal. Ethan is also injured, and the reader is left to understand that this was the "smash-up" that left Ethan with a permanent limp.


title: Ethan Frome

text: The epilogue returns to the framing story and the first-person narrator point of view of the prologue. The framing story resumes precisely where it left off: just as Frome and his visitor, the narrator, enter the Frome household in the story's present. The narrator hears a complaining female voice, and it is easy to assume that it belongs to the never-happy Zeena, but in the final twist of the story, it emerges that it is in fact Mattie, who now lives with the Fromes due to having been paralyzed in the accident. Her misery over her plight and dependence has embittered and "soured" her, and, with roles reversed, Zeena is now forced to care for her as well as Ethan. Further illustrating the psychosomatic nature of most of Zeena's previous complaints, she has now found the strength through necessity to be the caregiver rather than being the invalid. In an agonizing irony, Ethan and Mattie have gotten their wish to stay together, but in mutual unhappiness and discontent, with Mattie helpless and paralyzed, and with Zeena as a constant presence between the two of them.


title: Ethan Frome

text: The story of "Ethan Frome" had initially begun as a French-language composition that Wharton had to write while studying the language in Paris, but several years later she took the story up again and transformed it into the novel it now is, basing her sense of New England culture and place on her ten years of living at The Mount, her home in Lenox, Massachusetts. She would read portions of her novel-in-progress each day to her good friend Walter Berry, who was an international lawyer. Wharton likely based the story of Ethan and Mattie's sledding experience on an accident that she had heard about in 1904 in Lenox, Massachusetts. Five people total were involved in the real-life accident, four girls and one boy. They crashed into a lamppost while sledding down Courthouse Hill in Lenox. A girl named Emily Hazel Crosby was killed in the accident. Wharton learned of the accident from one of the girls who survived, Kate Spencer, when the two became friends while both worked at the Lenox Library. Kate Spencer suffered from a hip injury in the accident and also had facial injuries. It is among the few works by Wharton with a rural setting. Wharton found the notion of the tragic sledding crash to be irresistible as a potential extended metaphor for the wrongdoings of a secret love affair.


title: Ethan Frome

text: Lenox is also where Wharton had traveled extensively and had come into contact with at least one of the victims of the accident; victims of the accident are buried in graves nearby Wharton family members. In her introduction to the novel, Wharton talks of the "outcropping granite" of New England, the austerity of its land and the stoicism of its people. The connection between land and people is very much a part of naturalism; the environment is a powerful shaper of man's fate, and the novel dwells insistently on the cruelty of Starkfield's winters.


title: Ethan Frome

text: "The New York Times" called "Ethan Frome" "a compelling and haunting story." Edith Wharton was able to write an appealing book and separate it from her other works, where her characters in Ethan Frome are not of the elite upper class. However, the problems that the characters endure are still consistently the same, where the protagonist has to decide whether or not to fulfill their duty or follow their heart. She began writing Ethan Frome in the early 1900s when she was still married. The novel was criticized by Lionel Trilling as lacking in moral or ethical significance. Trilling wrote that the ending is "terrible to contemplate," but that "the mind can do nothing with it, can only endure it."


title: Ethan Frome

text: Jeffrey Lilburn notes that some find "the suffering endured by Wharton's characters is excessive and unjustified," but others see the difficult moral questions addressed and note that it "provides insightful commentary on the American economic and cultural realities that produced and allowed such suffering." Wharton was always careful to label "Ethan Frome" as a tale rather than a novel. Critics did take note of this when reviewing the book. Elizabeth Ammons compared the work to fairy tales. She found a story that is "as moral as the classic fairy tale" and that functions as a "realistic social criticism." The moral concepts, as described by Ammons, are revealed with all of the brutality of Starkfield's winters. Comparing Mattie Silver and Zeena Frome, Ammons suggests that Mattie would grow as frigid and crippled as Zeena, so long as such women remain isolated and dependent. Wharton cripples Mattie, says Lilburn, but has her survive in order to demonstrate the cruelty of the culture surrounding women in that period.


title: Ethan Frome

text: The book was adapted to the 1993 film of the same name, directed by John Madden, and starring Liam Neeson, Patricia Arquette, Joan Allen and Tate Donovan.


title: Ethan Frome

text: Cathy Marston adapted the book to a one-act ballet titled "Snowblind" for the San Francisco Ballet. The ballet premiered in 2018, with Ulrik Birkkjaer as Ethan, Sarah Van Patten as Zeena and Mathilde Froustey as Mattie.


title: Timeline

text: A timeline is a display of a list of events in chronological order. It is typically a graphic design showing a long bar labelled with dates paralleling it, and usually contemporaneous events.


title: Timeline

text: Timelines can use any suitable scale representing time, suiting the subject and data; many use a linear scale, in which a unit of distance is equal to a set amount of time. This timescale is dependent on the events in the timeline. A timeline of evolution can be over millions of years, whereas a timeline for the day of the September 11 attacks can take place over minutes, and that of an explosion over milliseconds. While many timelines use a linear timescale—especially where very large or small timespans are relevant -- logarithmic timelines entail a logarithmic scale of time; some "hurry up and wait" chronologies are depicted with zoom lens metaphors.


title: Timeline

text: Time and space, particularly the line, are intertwined concepts in human thought. The line is ubiquitous in clocks in the form of a circle, time is spoken of in terms of length, intervals, a before and an after. The idea of orderly, segmented time is also represented in almanacs, calendars, charts, graphs, genealogical and evolutionary trees, where the line is central.


title: Timeline

text: Originally, chronological events were arranged in a mostly textual form. This took form in annals, like king lists. Alongside them, the table was used like in the Greek tables of Olympiads and Roman lists of consuls and triumphs. Annals had little narrative and noted what happened to people, making no distinction between natural and human actions.


title: Timeline

text: In Europe, from the 4th century, the dominant chronological notation was the table. This can be partially credited to Eusebius who laid out the relations between Jewish, pagan, and Christian histories in parallel columns, culminating in the Roman Empire, according to the Christian view when Christ was born to spread salvation as far as possible. His work was widely copied and was among the first printed books. This served the idea of Christian world history and providential time. The table is easy to produce, append, and read with indices, so it also fit the Renaissance scholars' absorption of a wide variety of sources with its focus on commonalities. These uses made the table with years in one column and places of events(kingdoms) on the top the dominant visual structure of time.


title: Timeline

text: By the seventeenth century, historians had started to claim that chronology and geography were the two sources of precise information which bring order to the chaos of history. In geography, Renaissance mapmakers updated Ptolemy's maps and the map became a symbol of the power of monarchs, and knowledge. Likewise, the idea that a singular chronology of world history from contemporary sources is possible affected historians. The want for precision in chronology gave rise to adding historical eclipses to tables, like in the case of Gerardus Mercator. Various graphical experiments emerged, from fitting the whole of history on a calendar year to series of historical drawings, in the hopes of making a metaphorical map of time. Developments in printing and engraving that made practical larger and more detailed book illustrations allowed these changes, but in the seventeenth century, the table with some modifications continued to dominate.


title: Timeline

text: The modern timeline emerged in Joseph Priestley's "A Chart of Biography", published in 1765. It presented dates simply and provided an analogue for the concept of historical progress that was becoming popular in the 18th century. However, as Priestley recognized, history is not totally linear. The table has the advantage in that it can present many of these intersections and branching paths. For Priestley, its main use was a "mechanical help to the knowledge of history", not as an image of history. Regardless, the timeline had become very popular during the eighteenth and 19th century. Positivism emerged in the 19th century and the development of chronophotography and tree ring analysis made visible time taking place at various speeds. This encouraged people to think that events might be truly objectively recorded.


title: Timeline

text: However, in some cases, filling in a timeline with more data only pushed it towards impracticality. Jacques Barbeu-Duborg's 1753 "Chronologie Universelle" was mounted on a 54 feet long scroll. Charles Joseph Minard's 1869 thematic map of causalities of the French army in its Russian campaign put much less focus on the one-directional line. Charles Renouvier's 1876 "Uchronie", a branching map of the history of Europe, depicted both the actual course of history and counterfactual paths. At the end of the 19th century, Henri Bergson declared the metaphor of the timeline to be deceiving in "Time and Free Will". The question of big history and deep time engendered estranging forms of the timeline, like in Olaf Stapledon's 1930 work "Last and First Men" where timelines are drawn on scales from the historical to the cosmological. Similar techniques are used by the Long Now Foundation, and visual artists have presented the difficulties of chronological representation, like Francis Picabia, On Kawara, J. J. Grandville, and Saul Steinberg.


title: Timeline

text: There are many methods to visualize timelines. Historically, timelines were static images and were generally drawn or printed on paper. Timelines relied heavily on graphic design, and the ability of the artist to visualize the data.


title: Timeline

text: Timelines are often used in education to help students and researchers with understanding the order or chronology of historical events and trends for a subject. To show time on a specific scale on an axis, a timeline can visualize time lapses between events, durations (such as lifetimes or wars), and the simultaneity or the overlap of spans and events.


title: Timeline

text: Timelines are particularly useful for studying history, as they convey a sense of change over time. Wars and social movements are often shown as timelines. Timelines are also useful for biographies. Examples include:


title: Timeline

text: Timelines are also used in the natural world and sciences, such as in astronomy, biology, and geology:


title: Timeline

text: Another type of timeline is used for project management. Timelines help team members know what milestones need to be achieved and under what time schedule. An example is establishing a project timeline in the implementation phase of the life cycle of a computer system.


title: Timeline

text: Timelines, no longer constrained by previous space and functional limitations, are now digital and interactive, generally created with computer software. Microsoft Encarta encyclopedia provided one of the earliest multimedia timelines intended for students and the general public. Hyperhistory and ChronoZoom are other examples of interactive timeline software.


title: CITV

text: CITV (short for Children's ITV, also known as the CITV Channel) is a British free-to-air children's television channel owned by ITV plc. It broadcasts content from the CITV archive and acquisitions, every day from 6 am to 9 pm which was previously 6 am to 6 pm until 21 February 2016. It is also the title of a programming block on the ITV network at weekends.


title: CITV

text: "Children's ITV" launched on 3 January 1983, as a late afternoon programming block on the ITV network for children aged 5–13. It replaced the earlier "Watch It!" branding and introduced networked in-vision continuity links between programmes. These links were originally pre-recorded from a small London studio, up until 1987 when Central won the contract to produce live links from their Birmingham studios. In 2004, presentation of CITV was relocated to Granada Television in Manchester, which saw the demise of in-vision continuity. Nine years later, the operations moved to ITV Granada's MediaCityUK studios in Salford.


title: CITV

text: In 2006, CITV launched as a channel in its own right. The CITV channel averages around 100,000 viewers between 4pm-6pm every day. The CITV programming block on the ITV network airs on weekend mornings from 6 am to 9:25 am, as part of the ITV Breakfast time slot. CITV doesn't have a +1 and HD simulcast, unlike the rest of ITV's portfolio of channels.


title: CITV

text: Before being known as "Children's ITV", the timeslot for children's programmes on the ITV Network was briefly branded as "Watch It!". The "Watch It!" brand started on 29 December 1980 and was presented live by the duty continuity announcer in each ITV region.


title: CITV

text: The notion of networking children's continuity was first suggested within ITV as far back as the early 1970s, but with fierce regional identities prevalent – including scheduling, presentation and programming – the idea stalled until the late 1970s, when the IBA began to express concern that most ITV shows for children were not consistent or fully networked. On Thursdays, the ITV regions were able to broadcast whatever programmes they wished; many non-children's programmes appeared, such as "Looney Tunes". In December 1980, ITV announced its first concerted effort at a more coherent approach to children's output, with the introduction of "Watch It!" each weekday from 4.15  to 5.15 , after the IBA continued to emphasized issues.


title: CITV

text: "Watch It!" was conceived by the promotions department at ATV, with the implementation of the branding differed from region to region, thus it was always transmitted locally and never provided on a network basis. ATV provide different animations each season, to freshen up what was available to each company. Most regions, including Southern/TVS and Granada, would use their own station announcers during "Watch It!" airtime.


title: CITV

text: Shortly after the start of new franchises in 1982, some ITV stations raised concerns that "Watch It!" had not gone far enough to address previous concerns. Central's Controller of Children's Programmes, Lewis Rudd, suggested a different approach to the presentation method. As a result, the Central promotions department came up with the initial concept for Children's ITV. The new look was devised, and links between programmes were pre-recorded using presenters drawn from the constituent programmes. The networking arrangements were similar to those already in place for the transmission of schools programmes – the links were played out from Central and the component programmes came from the supplying companies.


title: CITV

text: Children's ITV went to air on Monday 3 January 1983, between 4  and 5.15  each weekday afternoon, the extra fifteen minutes being filled by a repeat of one of the pre-school programmes shown at lunchtime the same day. Initially featuring a different presenter each month (usually from children's television), the links were pre-recorded in advance in a small studio at a London facility called Molinare, using a single locked-off camera. The first set design was a rocket ship and was used for the first few months. The concept was eventually retired, and the set and style of presentation used began to reflect the presenter doing the presenting that month or the programme that he/she starred in (i.e. Pat Coombs as "The Dressmaker" from Yorkshire Television's "Ragdolly Anna" in a room of antiques in April 1984).


title: CITV

text: By 1985, the links were still being recorded, but using a common, stylized set known as Network Control, which allowed the presenter to be joined by guests in the studio for interviews. The exterior of this fictitious location also featured in the animations and stings. Technical considerations often left the system flawed. With each programme coming from a different playout source (usually from that of the originating ITV company, i.e. if the first programme was "Rainbow", which came from Thames TV, the staff there would have to run the tape while the presenter was talking and wouldn't show Thames TV's skyline ident before the programme's titles) and each link being pre-recorded (played out by Central), things often went wrong on air: Programmes would be rolled early and the links would be cut short. Programmes would also fail to appear and the presenter would be left on screen. Because each link was recorded for the slot available, the presenter would hold the final pose for a few moments so that the transmission controller at Central had something to leave on screen just in case. Pre-recording the links also meant that late schedule changes could not be easily referenced.


title: CITV

text: In September 1985, the BBC revamped their own children's presentation with the introduction of "Children's BBC". Using the BBC1 announcer booth at BBC Television Centre, later dubbed "The Broom Cupboard", Phillip Schofield provided links between the programmes. This format of a small self-op continuity studio using one single presenter (and an occasional puppet) continued in largely the same format until 1993, but was broadcast live and allowed for a looser, more relaxed style of presentation than the rival ITV service.


title: CITV

text: Children's ITV went live two years later. Using the small presentation studio at their Broad Street studios – which had become available since in-vision continuity for the Central region was dropped – former Central announcers Gary Terzza and Debbie Shore presented live links from a set built to look like a transmitting station. Although the studio space was small, the designers' use of a plate glass mirror gave the effect of a much larger set. The new live format gave brought a great deal of flexibility; timings could be altered, schedule changes reflected and breakdowns dealt with in a continuous manner. In 1988, the format was refreshed again with a new single presenter, Mark Granger, replacing Terzza and Shore, in a smaller, more basic studio set which included in-vision monitors showing the VT clock of the next scheduled item.


title: CITV

text: From 3 April 1989, the independent production company "Stonewall Productions" won the contract to produce "Children's ITV" presentation. "Stonewall Productions" was headed up by Michael Jackson, a Central staffer who used his expertise to prepare a suitable application.


title: CITV

text: Whereas Central had restricted links to the station's former in-vision presentation studio, Stonewall chose not to use a fixed set, but instead presented links from various areas of Central's headquarters at Broad Street in Birmingham, utilising a rotating team of presenters which included Clive Warren (now a DJ), Jeanne Downs (a singer), Jerry Foulkes (a producer who left Children's ITV on 22 December 1989) and a large puppet dog called Scally (who started out with Mark during his last few months).


title: CITV

text: Central won back the contract to produce the continuity links from 9 April 1991, choosing to revert links back to a small in-vision studio and using one regular presenter, Tommy Boyd. During the 1991–1993 era, greater importance was being placed throughout television on promotions (trailers) as a way of effectively detailing areas of the schedule to viewers who might not know about them. The 1993 invitation to tender for the provision of the Children's ITV service specified a minimum number of high quality trailers that the successful applicant must produce over the term of the contract. With a large promotions department - and a strong, highly credible reputation for presentation within the ITV network - the contract remained with Central.


title: CITV

text: On 15 February 1993, in-vision presentation was dropped by the first Network Centre controller of children's & daytime programming Dawn Airey (a former Central management trainee) with Steven Ryde providing live out-of-vision continuity links featuring a wide variety of animated characters. On 6 September 1993, CITV was extended to start at 3.30 , when ITV network centre decided to move the pre-school children slot from 12.10 , to be branded under the CITV in the afternoon slot. Around the same time, the "Children's ITV" name was changed to CITV, having been used in some form or another since the previous year. However, the "Children's" was not removed from the logo until Monday 2 September 1996, the same month a digital on-screen graphic (DOG) was introduced.


title: CITV

text: Presentation for the service was moved in 1997 when Central moved into new, smaller studios at Gas Street Studios in Birmingham, which continued until Friday 22 May 1998. A new in-vision service was introduced on Tuesday 26 May 1998 by the new controller of ITV children's output, Nigel Pickard. Steven Ryde became a producer with Stephen Mulhern and Danielle Nicholls becoming the new presentation team. A new logo was introduced, designed by Aaron Camm (with traces predecessors), and henceforth the service was referred to as CiTV, until the 2006 rebrand, initially being broadcast from Studio B at Central's Gas Street Studios.


title: CITV

text: Central retained the contact to produce CITV for a further two years, seeing off two rival bids from other ITV companies. Shortly after launch, CITV started sharing studio space with the West Midlands edition of "Central News" in September 1999, allowing room for a large stylised set created by a company called Dorans Propmakers. The main studio for "Central News West" had previously been used for live music performances during CITV.


title: CITV

text: During 2001, CITV's budget was cut by 17% due to the advertising recession, leading to CITV's controller Janie Grace publicly criticising Carlton and Granada Television, then the main controlling forces in the network, for underinvestment in ITV's children's service. Grace went even further and complained to the regulator ITC, claiming CITV was unlikely to fulfil its range of programming commitments in the following year. Grace also sought support from the ITC for the creation of a separate CITV Ltd company which would allow more children's output to be made in-house - a proposal which ultimately fell apart due to the need for a change in the law and support from the Office of Fair Trading. A new strand was introduced from 3:25  every afternoon and was put in place under the name "CiTV's Telly Tots". The in-house presentation was dropped between 3:25 and 4:00  and replaced with a CGI animated town using a plane, car and a post box as mascots. A child voiceover was used to introduce its pre-school shows. Books and video tapes were introduced to tie-in with the new strand. Further cuts took place again during 2002 which brought the total cutback to 25% of the overall budget (£30 million less).


title: CITV

text: Despite the cutbacks, the ITC noted that CITV had a "sustained an impressive schedule", gave "factual material a fresh look" and "continued to produce good dramas" Just after CITV celebrated its 20th birthday in January 2003, Janie Grace resigned from the post, just before Nigel Pickard was named as ITV's new Director of Programmes. Pickard pledged to produce 80 more hours of children's programming in 2003, against a target of 520 hours in 2002 and extend the range of programmes to include more factual and topical programmes and more mixed entertainment and drama, Once again, concerns about CITV and its structure where highlighted by Angus Fletcher, president of Jim Henson Television Europe, and Anne Wood, founder of Ragdoll Productions, as it could only earn money from a then unreliable advertising market, unlike BBC Worldwide where the likes of Teletubbies, Tweenies and Bob the Builder became key money earners for the Corporation.


title: CITV

text: Steven Andrew took over as ITV's controller of children and youth, overseeing the merger of Carlton and Granada's children's departments. Andrew also began looking at the possibility of launching a CITV channel, which had previously been put on hold by budget cuts. On-screen, various changes to the continuity presenting team saw no less than eight additions and replacements in the space of four years. By 31 August 2004, all in-vision continuity was replaced by a voice over, while ITV plc announced the closure of its presentation and transmission facilities in Birmingham, signalling the end of CITV continuity from Central. Presentation was relocated to Granada in Manchester by November 2004.


title: CITV

text: Further cuts back took place in 2005 added with the perceived rising costs of original production and the effects on advertising revenues following the ban by Ofcom on 'junk food' advertising within children's schedules from 2007 and increasing competition from CBBC and countless digital children's channels for new programmes (especially imported cartoons, typically from America). In Summer 2006, ITV closed down its in-house children's production unit, as part of ITV's then on-going process of restructuring ITV Productions, and blaming the closure because of the competitive production environment, though ITV denied any intention of ditching its children's programming from its network schedule. At the end of 2006, CITV's weekday afternoon strand on the main ITV network ceased, making the CITV channel, which had launched earlier that year, the primary outlet for ITV's kids programming.


title: CITV

text: In July 2009, ITV announced it was the only channel to have an increased budget. Emma Tennant, the then controller of CITV, told the Showcomotion conference "The commissioning budgets for all channels next year are going to be smaller, except CITV, which is growing – but it will not necessarily spend the additional money on original commissions". It was also made clear due to tight budgets it may just lead to more acquisitions rather than new programmes being commissioned.


title: CITV

text: The CITV channel was due to start in 2001 but was axed when "CITV" lost 25% of its budget. When Steven Andrew become controller of children and youth at ITV plc, he stated ""No kids strategy is complete without us being able to play in the cable and satellite world. In fact, we can't not do this and ultimately survive as a kids player in the future"". In early 2004, ITV finally confirmed it was planning to launch a children's channel, but as a joint venture. Charles Allen, chief executive of ITV plc, did not believe in ITV creating a new channel as it was already an "over-populated market", with talk being held with Nickelodeon and Disney. The plans were dropped 12 months later with ITV instead using its own branding, and using spare "Daytime" capacity on new ITV4, channel being launch in the autumn of 2005. The original new channel, with Nickelodeon dubbed "INK" (ITV Nickelodeon Kids) - would have seen the two companies share programmes across each other's networks. Unfortunately each side failed to agree on the exact structure of the new venture and how it would be branded. ITV said "We just got to the point of thinking that it was more sustainable for us to do it ourselves. The deal fizzled out over a period of time". Nickelodeon described the decision to end the talks as a "mutual backing away".


title: CITV

text: The original launch date of the channel was set for November 2005, to coincide with the launch of ITV4 but was held back till 11 February 2006. As a result of problems "clearing the digital rights to children's programming" and "comprehensive" re-branding, it was again pushed back by another four weeks. Promos for the channel began on 20 February, including an online countdown clock, running to the channel's launch date. As has become standard for Freeview channel launches, the channel was allocated an EPG number well before transmission started. Initially, a static 'coming soon' graphic was shown, followed by a preview video loop running from late February 2006 until the launch. The channel launched on 11 March 2006 at 9.25 am, replacing the ITV News Channel on Freeview Channel 75, Homechoice (now known as TalkTalk TV) and Telewest Channel 734. It also launched on Sky Channel 624 on 8 May 2006 and NTL Channel 76/602 on 6 June. Additionally, the channel simulcasts CITV Breakfast (previously known as GMTV2, which was originally broadcast on ITV2, then ITV4) on weekdays between 6 am and 9.25 am.


title: CITV

text: The channel broadcasts daily from 6 am to 6 pm and previously time-shared with ITV4 until 5 February 2008 when ITV4 expanded its broadcast hours to become a full 24-hour channel. As a consequence, it moved to the multiplex space on Freeview originally held by ABC1 from English and Scottish transmitters and S4C from Welsh transmitters, this meant that viewers of the latter were unable to receive the channel on Freeview unless they could receive transmissions from England. On 2 November 2009, the channel was relaunched, with a new logo and new branding to match ITV1 as part of ITV plc's corporate look. The channel's pre-school strand was given a dramatic overhaul, and renamed "Mini CITV". Mini CITV is hosted by a group of spacemen-like beings called the Minis, who oversee presentation items on the channel. With the exception of weekends and holidays, "Mini CITV" took up the majority of output on the channel for a few years, though this was scaled back in 2012. On 9 January 2012, a change in the forward error correction mode on the multiplex allowed CITV to broadcast in Wales on Freeview. On 21 December 2012, the channel aired its first live programme since 2006, a 45-minute CITV special of "Text Santa", ITV's Christmas charity appeal. A year later a series of 10-minute programmes titled "Help for Hattitude" in aid of the above-mentioned appeal was produced for the channel - both programmes were produced in-house by ITV Studios. A new look was introduced on 14 January 2013 to coincide with ITV's corporate rebranding. The channel adopted a "yellowy-orange" logo with playful idents that "burp and fart, and do other things kids love". On the weekend of Saturday 5 and Sunday 6 January 2013, CITV celebrated its thirty years of service with a marathon of archive programming, officially known as the Old Skool Weekend.


title: CITV

text: On 22 February 2016, CITV extended its on-air hours, the channel now finishes at 21:00 rather than the earlier 18:00.


title: CITV

text: On 11 April 2021, CITV's weekend morning block Scrambled! aired for the final time, marking the end of in-vision continuity on both CITV and ITV. CITV would continue to air on ITV on weekend mornings.


title: CITV

text: On Monday 19 September 2022, due to the state funeral for Queen Elizabeth II, normal programming was replaced by ITV London's feed This was at contrast to CBBC and CBeebies channels


title: CITV

text: Programming between 6:00 and 9:25 am is controlled by ITV Breakfast (previously GMTV), who, having rebranded the vast majority of their GMTV children's output as CITV, now use the space to simulcast their programming at weekends on the ITV network and CITV Breakfast on weekdays. ITV takes over at 9.25 am, controlling the rest of the day's programming. When it first launched, GMTV used to sell all the airtime for the channel, making it the first ITV plc-owned channel not to be sold by the in-house sales team. Airtime sales have now been taken back in-house by ITV.


title: CITV

text: Some of the channel's most notable programming has been specially commissioned by CITV, such as "Horrid Henry", "Mr. Bean: The Animated Series", "Grizzly Tales for Gruesome Kids", "Thunderbirds Are Go", "The Rubbish World of Dave Spud", and "Sooty". A number of other programmes are sourced from other broadcasters in the UK and around the world.


title: CITV

text: In the mid-2000s, CITV developed flash games, including the "Harry the Hamster" series and trilogy, where a bridge is built out of plastic pipes for Harry to cross the room in the first game of the series. In "Harry the Hamster 2: The Quest for the Golden Wheel", he searches for eight pieces scattered around a network of plastic pipes and other pathways to build his hamster wheel while trying to avoid running out of energy. Each collected piece refills the energy. In the three-dimensional game "Harry the Hamster 3: Rolling Rodent", he rolls through a garden inside a plastic ball and needs to stomp his enemies, which include frogs, spiders, garden gnomes, and wild rabbits.


title: CITV

text: Mini CITV, which was launched on 2 November 2009, was the slot that housed CITV's pre-school programming. It was aimed at preschool children. Between 2009 and 2012, Mini CITV was shown on weekdays in school term time between 8:45 am to 3 pm, and on weekends and school holidays between 6 am to 7:25 am. ITV broadcast Mini CITV on weekend mornings, there was also a block called The Fluffy Club between 2008 and 2010 on weekend mornings that housed preschool programmes and featured a puppet baby chick in between programmes. A series of little animated rabbit-like characters called the "Minis" were the mascots of the strand (similar to the bugs mascots of its rival CBeebies).


title: CITV

text: On 7 January 2013, the "Mini CITV" name and the "Mini" mascots were dropped from on-screen use and one year later, (7 January 2014) CITV withdrew all of its pre-school programmings from both its weekday and weekend schedules with the exception of "Sooty", which continued to air until 3 September 2018, after which it started airing on ITVBe's new preschool block, LittleBe.


title: CITV

text: The CITV channel launched with a full-day average of 33,000 viewers and a 2.5% share of the child audience. This put it ahead of other channels Cartoon Network (20,000, a 1.5% share), Boomerang (28,000 a 2.1% share) and Nickelodeon (26,000 a 2.0% share). The channel peaked at 4.30 pm with "Bratz" gaining 51,000 viewers and a 3.6% share.


title: CITV

text: The channel took a 0.2% audience share in its first week compared to: CBBC 0.6%, Cartoon Network 0.4%, Boomerang 0.4% and CBeebies 1.4%. Its overall ratings share for March 2006 was 0.1%; by April 2006 this had risen to 0.2%, 0.3% followed in May. In August 2006, the channel became the most popular commercial kids channel between 6 am and 6 pm. On 6 January 2013, the CITV Channel received its highest viewing figures to date: "Danger Mouse", which was shown as part of the Old Skool Weekend to celebrate CITV's 30th anniversary, which attracted 578,000 viewers.


title: Çiğ köfte

text: Çiğ köfte () or chee kofta is a kofta dish that is a regional specialty of southeastern Anatolia in Edessa (modern-day Urfa). The dish is served as an appetizer or meze, and it is closely related with "kibbeh nayyeh" from Lebanese cuisine.


title: Çiğ köfte

text: "Çiğ köfte" is common to Armenian and Turkish cuisines; it is also found in the traditional cuisine of the "Urfalim" Jews.


title: Çiğ köfte

text: Traditionally made with raw meat, there are vegetarian variations made with bulgur and in Urfa, a local meatless version is made with scrambled eggs. In Diyarbakır province locally prepared batches are sold by street vendors.


title: Çiğ köfte

text: In Turkish, "çiğ" means "raw" and "köfte" means meatball. The word "köfte" derives from Persian, ultimately from the Proto-Indo-European root "*(s)kop–" (grind, pound, beaten).


title: Çiğ köfte

text: Bulgur is kneaded with chopped onions and water until it gets soft. Then tomato and pepper paste, spices and very fine ground beef or lamb are added. This absolutely fatless raw mincemeat is treated with spices while kneading the mixture, which is to cook the meat. Lastly, green onions, fresh mint and parsley are mixed in. Some çiğ köfte makers, particularly in Adıyaman, do not use water in their recipes. Instead of water, they use ice cubes and lemons.


title: Çiğ köfte

text: In the beef variant, ground beef is used. Tendons and fat are removed before grinding the beef. High-quality beef is required, since it is served raw.


title: Çiğ köfte

text: Since lamb is considered a "clean meat", it is often used for çiğ köfte instead of beef. Both Armenians and Turks use çiğ köfte as a meze, served almost cold. The raw meatball, or kofta, is not kept overnight and is reserved for special occasions. The lamb used must be deboned and trimmed of gristle and fat before it is prepared. The lamb is supposed to be butchered, bought, and prepared the very same day to ensure freshness.


title: Çiğ köfte

text: With either meat, finely ground bulgur (durum and other wheat) is required. Other ingredients are mild onions, scallions, parsley, and usually green pepper. Variants of the dish may use tomato sauce, Tabasco sauce, and mint leaves. When served, it may be gathered into balls, or in one piece. Crackers or pita bread are sometimes used to consume ıt.


title: Çiğ köfte

text: The dish is often associated with Şanlıurfa province, where it is a popular street food, but it is a popular appetizer all over Turkey. The ingredients are all raw and traditionally include ground meat, bulgur, tomato paste, fresh onion, garlic and other spices for flavoring such as ""isot"" and black pepper. A favorite way of eating çiğ köfte is rolled in a lettuce leaf, accompanied by good quantities of ayran to counter-act the burning sensation that this very spicy food will give.


title: Çiğ köfte

text: A vegetarian version of ciğ köfte may also be made with only bulgur grains. The preparation is similar to the versions that include meat, and some cooks also add pomegranate molasses. Depending on the cook's preferences, spices like cumin may be used instead of "isot" in the preparation of vegetarian versions. Another vegetarian variation from Urfa is made with scrambled eggs.


title: Çiğ köfte

text: Although the traditional recipe requires minced raw meat, the version in Turkey consumed as fast-food (through small franchise shops in every neighborhood of Turkey) must be meatless by law due to hygienic necessities. Therefore, çiğ köfte is, unless specifically made, vegan in Turkey. Meat is replaced by ground walnuts, hazelnuts and potato.


title: Çiğ köfte

text: Chi kofte is considered a delicacy in Cilician Armenian culture and is normally prepared on special occasions, especially during holidays. There are many varieties of chi kofte among Armenian families depending on the historic region they are from and their personal preferences. For example, some may use more or less bulgur, and some may use more or less pepper paste depending on their desired spiciness.


title: Çiğ köfte

text: Traditional Armenian chi kofte is made in two varieties, either in loose meatball form in the shape of a small egg, or flattened on a plate with olive oil and minced green onions, similar to kibbeh nayyeh. However, unlike Levantine Arabs, eating chi kofte with bread is not common among Armenians.


title: Çiğ köfte

text: A vegetarian variety also exists which is shaped very similarly to chi kofte and with a similar texture. Although it is prepared throughout the year, it is particularly popular during Lent in accordance with the diet restrictions of the Armenian Apostolic Church.


title: Çiğ köfte

text: Chi kofte was introduced in the United States by Armenian immigrants, and is commonly referred to as "Armenian beef tartare".


title: Çiğ köfte

text: King Nemrut, the king of an ancient civilization in the Adıyaman region, decides to burn Abraham because he believes in one god. With the order he gave to his people, he gathered all the wood and wood pieces in the kingdom in a big square. There was no wood left for cooking in the houses, and fires were forbidden. The wood and pieces of wood gathered in the square are the only fire to be lit to burn Ibrahim. The people gathered pieces of wood in the square for days by order of the king.


title: Çiğ köfte

text: A hunter, who is unaware of this order because he is hunting on the mountain, brings the deer he has hunted to his house and asks his wife to cook it. She tells about the co-king's prohibition to light a fire. The hunter also obeys the desperate order. The hunter separates the right hind leg of the deer and crushes it with a fine stone. Add the bulgur, black pepper and salt and knead it well with the ground beef. It is rumored that raw meatballs were first made by this hunter and his family.


title: Secure Hash Algorithms

text: The Secure Hash Algorithms are a family of cryptographic hash functions published by the National Institute of Standards and Technology (NIST) as a U.S. Federal Information Processing Standard (FIPS), including:


title: Secure Hash Algorithms

text: The corresponding standards are FIPS PUB 180 (original SHA), FIPS PUB 180-1 (SHA-1), FIPS PUB 180-2 (SHA-1, SHA-256, SHA-384, and SHA-512). NIST has updated Draft FIPS Publication 202, SHA-3 Standard separate from the Secure Hash Standard (SHS).


title: Secure Hash Algorithms

text: In the table below, "internal state" means the "internal hash sum" after each compression of a data block.


title: Secure Hash Algorithms

text: All SHA-family algorithms, as FIPS-approved security functions, are subject to official validation by the CMVP (Cryptographic Module Validation Program), a joint program run by the American National Institute of Standards and Technology (NIST) and the Canadian Communications Security Establishment (CSE).


title: Mimas (moon)

text: Mimas , also designated Saturn I, is a moon of Saturn discovered in 1789 by William Herschel. It is named after Mimas, a son of Gaia in Greek mythology.


title: Mimas (moon)

text: With a diameter of , it is the smallest astronomical body that is known to still be rounded in shape because of self-gravitation. However, Mimas is not actually in hydrostatic equilibrium for its current rotation.


title: Mimas (moon)

text: Mimas was discovered by the astronomer William Herschel on 17 September 1789. He recorded his discovery as follows: "I continued my observations constantly, whenever the weather would permit; and the great light of the forty-feet speculum was now of so much use, that I also, on the 17th of September, detected the seventh satellite, when it was at its greatest preceding elongation."


title: Mimas (moon)

text: The 40-foot telescope was a metal mirror reflecting telescope built by Herschel, with a aperture. The 40 feet refers to the length of the focus, not the aperture diameter as more common with modern telescopes.


title: Mimas (moon)

text: Mimas is named after one of the Giants in Greek mythology, Mimas. The names of all seven then-known satellites of Saturn, including Mimas, were suggested by William Herschel's son John in his 1847 publication "Results of Astronomical Observations made at the Cape of Good Hope". Saturn (the Roman equivalent of Cronus in Greek mythology) was the leader of the Titans, the generation before the Gods, and ruler of the world for some time. The Giants were the subsequent generation, and each group fought a great struggle against the Gods.


title: Mimas (moon)

text: The customary English pronunciation of the name is , though some people attempt a more 'authentic' pronunciation, .


title: Mimas (moon)

text: The Greek and Latin root of the name is "Mimant-", and so the English adjectival form is "Mimantean" or "Mimantian", either spelling pronounced ~ .


title: Mimas (moon)

text: The surface area of Mimas is slightly less than the land area of Spain or California. The low density of Mimas, 1.15 g/cm, indicates that it is composed mostly of water ice with only a small amount of rock. As a result of the tidal forces acting on it, Mimas is noticeably prolate; its longest axis is about 10% longer than the shortest. The ellipsoidal shape of Mimas is especially noticeable in some recent images from the "Cassini" probe. Mimas's most distinctive feature is a giant impact crater across, named Herschel after the discoverer of Mimas. Herschel's diameter is almost a third of Mimas's own diameter; its walls are approximately high, parts of its floor measure deep, and its central peak rises above the crater floor. If there were a crater of an equivalent scale on Earth (in relative size) it would be over in diameter, wider than Australia. The impact that made this crater must have nearly shattered Mimas: the surface antipodal to (opposite through the globe) Herschel is highly disrupted, indicating that the shock waves created by the Herschel impact propagated through the whole moon.


title: Mimas (moon)

text: The Mimantean surface is saturated with smaller impact craters, but no others are anywhere near the size of Herschel. Although Mimas is heavily cratered, the cratering is not uniform. Most of the surface is covered with craters larger than in diameter, but in the south polar region, there are generally no craters larger than in diameter.


title: Mimas (moon)

text: Three types of geological features are officially recognized on Mimas: craters, chasmata (chasms) and catenae (crater chains).


title: Mimas (moon)

text: A number of features in Saturn's rings are related to resonances with Mimas. Mimas is responsible for clearing the material from the Cassini Division, the gap between Saturn's two widest rings, the A Ring and B Ring. Particles in the Huygens Gap at the inner edge of the Cassini division are in a 2:1 orbital resonance with Mimas. They orbit twice for each orbit of Mimas. The repeated pulls by Mimas on the Cassini division particles, always in the same direction in space, force them into new orbits outside the gap. The boundary between the C and B rings is in a 3:1 resonance with Mimas. Recently, the G Ring was found to be in a 7:6 co-rotation eccentricity resonance with Mimas; the ring's inner edge is about inside Mimas's orbit.


title: Mimas (moon)

text: Mimas is also in a 2:1 mean-motion resonance with the larger moon Tethys, and in a 2:3 resonance with the outer F Ring shepherd moonlet, Pandora. A moon co-orbital with Mimas was reported by Stephen P. Synnott and Richard J. Terrile in 1982, but was never confirmed.


title: Mimas (moon)

text: In 2014, researchers noted that the librational motion of Mimas has a component that cannot be explained by its orbit alone, and concluded that it was due to either an interior that is not in hydrostatic equilibrium (an elongated core) or an internal ocean. However, in 2017 it was concluded that the presence of an ocean in Mimas' interior would have led to surface tidal stresses comparable to or greater than those on tectonically active Europa. Thus, the lack of evidence for surface cracking or other tectonic activity on Mimas argues against the presence of such an ocean; as the formation of a core would have also produced an ocean and thus the nonexistent tidal stresses, that possibility is also unlikely. The presence of an asymmetric mass anomaly associated with the crater Herschel was considered to be a more likely explanation for the libration.


title: Mimas (moon)

text: In 2022, scientists at the Southwest Research Institute identified a tidal heating model for Mimas that produced an internal ocean without any surface cracking or visible tidal stresses. The presence of an internal ocean concealed by a stable icy shell between 24 to 31 km in thickness was found to match the visual and librational characteristics of Mimas as observed by "Cassini". Continued measurements of Mimas' surface heat flux will be needed in order to confirm this hypothesis.


title: Mimas (moon)

text: "Pioneer 11" flew by Saturn in 1979, and its closest approach to Mimas was 104,263 km on September 1, 1979. "Voyager 1" flew by in 1980, and "Voyager 2" in 1981.


title: Mimas (moon)

text: Mimas was imaged several times by the "Cassini" orbiter, which entered into orbit around Saturn in 2004. A close flyby occurred on February 13, 2010, when "Cassini" passed by Mimas at .


title: Mimas (moon)

text: When seen from certain angles, Mimas resembles the Death Star, a fictional space station and superweapon known from the 1977 film "Star Wars". Herschel resembles the concave disc of the Death Star's "superlaser". This is a coincidence, as the film was made nearly three years before Mimas was resolved well enough to see the crater.


title: Mimas (moon)

text: In 2010, NASA revealed a temperature map of Mimas, using images obtained by "Cassini". The warmest regions, which are along one edge of Mimas, create a shape similar to the video game character Pac-Man, with Herschel Crater assuming the role of an "edible dot" or "power pellet" known from Pac-Man gameplay.


title: Mark Bosnich

text: Mark John Bosnich (born 13 January 1972) is an Australian former professional footballer, who played as a goalkeeper, and sports pundit. He played in England for Premier League clubs Aston Villa, Manchester United and Chelsea. He also played in Australia for Sydney United, Central Coast Mariners and Sydney Olympic, as well as representing Australia 17 times during his career, scoring one goal for his nation. He was a co-host of "Bill & Boz" on Fox Sports News.


title: Mark Bosnich

text: Manchester United brought Bosnich to England in 1989, but a lack of first-team opportunities and a failed attempt to secure a work visa, saw him return to Australia. A year later, Aston Villa brought him back to England and he established himself as one of the best goalkeepers in the Premier League during the 1990s. Manchester United re-signed him in 1999 as a replacement for the departing Peter Schmeichel, but injuries and a lack of first-team opportunities led to a decline in form. He left Manchester United for Chelsea in 2001, where he again struggled to find a regular place in the starting line-up and continued to battle with injuries. In September 2002, he was released by Chelsea and banned from football for nine months after testing positive for cocaine.


title: Mark Bosnich

text: Bosnich subsequently developed an addiction to the drug and spent the next six years of his life in exile, before training for a comeback in 2007 and eventually making a return to the professional game in his native Australia the following year, before retiring in 2009.


title: Mark Bosnich

text: Bosnich was born and raised in Liverpool, New South Wales. His Croatian father was born in Blato, Korčula, Croatia and migrated to Sydney in 1959. He attended Casula Primary School and later Liverpool Boys High School. Bosnich played for Sydney Croatia youth team before moving to England. In 1989, at the age of 17, he joined Manchester United on a non-contract basis and made his debut for them in a First Division fixture against Wimbledon on 30 April 1990.


title: Mark Bosnich

text: He only played two more games for Manchester United before his registration with the club was cancelled on 30 June 1991. Bosnich had been in England using a student visa and when this expired in July 1991, he then returned to Sydney Croatia briefly in the 1991–92 season. He returned to England signing for Aston Villa on a free transfer on 28 February 1992.


title: Mark Bosnich

text: Bosnich did not claim a regular place in the Aston Villa first team until the 1993–94 season. In the League Cup semi-final against Tranmere Rovers that season, he dramatically stopped three shots in a penalty shoot-out. He later admitted that he should have been sent off before extra-time began for fouling Tranmere's John Aldridge. Villa would go on to win the final, against his former club, Manchester United. In March 1994 Bosnich saved two penalties against Tottenham Hotspur, one from Darren Anderton and one from Nick Barmby, to help secure a 1–1 draw. These were his fourth and fifth penalty saves from open play that season. 1994–95 was Bosnich's first full season as Villa's first-choice goalkeeper, but it was a disappointing season for the club as they narrowly avoided relegation.


title: Mark Bosnich

text: Bosnich was one of the few players to be retained by new manager Brian Little following Atkinson's dismissal in November 1994, as the bulk of Atkinson's team was sold off to make way for a new side. 1995–96 was perhaps the best season of Bosnich's career. He was now widely acclaimed as one of the best goalkeepers in the Premier League, as he helped Villa finish fourth in the league and win the Football League Cup final at Wembley with a 3–0 triumph over Leeds United.


title: Mark Bosnich

text: In 1996, Bosnich was fined £1,000 and censured by the FA after he was found guilty of misconduct by upsetting fans of Tottenham Hotspur (a club with a large Jewish following) with a Nazi salute. Bosnich spent three more seasons at Villa Park before his contract expired and he joined Manchester United on a free transfer. He had played 207 times in seven-and-a-half years with Villa.


title: Mark Bosnich

text: Bosnich was signed for Manchester United in the 1999 close season as successor to Peter Schmeichel, signing on a free transfer after his contract at Villa Park expired. During the season, he picked up a Premier League title medal as United were crowned champions by an 18-point margin. That season Bosnich started 23 league games, Raimond van der Gouw started 11 and Massimo Taibi started 4. Highlights of this season were saving two penalties in January 2000; one from Necaxa's Álex Aguinaga in the 2000 FIFA Club World Championship to secure a 1–1 draw, and the other from Middlesbrough's Juninho to help secure a 1–0 win. He also played a key role in Manchester United becoming the first English team to win the Intercontinental Cup in keeping a clean sheet against Palmeiras of Brazil, in Tokyo.


title: Mark Bosnich

text: He had one season as United's regular goalkeeper, but then they signed the French World Cup-winning goalkeeper Fabien Barthez in June 2000. Soon after, Bosnich found himself as third-choice goalkeeper. Newly appointed Celtic manager Martin O'Neill made an offer to loan Bosnich for the 2000–01 season, but he decided against the move and decided that he would try to regain his place in the Manchester United first team. He had also fallen out of favour with the national side, losing his spot to Mark Schwarzer. With hopes of a first-team return fading, Bosnich was linked with Chelsea.


title: Mark Bosnich

text: In Alex Ferguson's autobiography released in 2013, he called Bosnich a "terrible professional". Bosnich responded to Ferguson, saying, "The fact remains that I was the only player he signed twice at Manchester United. I'm honoured to be mentioned. He's entitled to his view and I'm entitled to mine."


title: Mark Bosnich

text: Bosnich never played a first-team game for United after the arrival of Fabien Barthez, and on 18 January 2001 he signed for Chelsea on a free transfer. Problems with his fitness and injury meant his debut did not happen until the following season in a UEFA Cup tie against Hapoel Tel Aviv. Bosnich was earning A$130,000-a-week (approximately £45,500-a-week) at Chelsea. He was injured in a league game against Everton in November 2001 and this proved to be his final appearance for the club. His career reached rock-bottom in September 2002 when he failed a drugs test and was subsequently sacked by Chelsea and banned from football for nine months.


title: Mark Bosnich

text: The suspension scuppered a move to Bolton Wanderers in the newly introduced winter transfer window. Bosnich was keen on the idea of moving to the Reebok Stadium and the player's agent admitted that dialogue had taken place but Sam Allardyce remained coy about his interest. In the autumn of 2004, he spurned an opportunity to return to football with League One side, Walsall, who were then managed by Paul Merson, who had played alongside Bosnich in his final season at Aston Villa.


title: Mark Bosnich

text: Bosnich developed a $5,000-a-week cocaine addiction and became a recluse. Bosnich took up to of cocaine a day. At one stage, he almost shot his father with an air rifle, thinking it was an intruder in his home. His father convinced him to quit the drug. In early 2007, former Chelsea teammate and QPR goalkeeping coach Ed de Goey gave him inspiration to come out of retirement. By July 2007, Bosnich started training at Queens Park Rangers' training ground in an attempt to initially get fit, with the view to play professionally again. During the summer he lost and claimed to have regained most of his reflexes. In September he kept a clean sheet in goal during a friendly behind closed doors against Barnet, which QPR won 2–0.


title: Mark Bosnich

text: Bosnich returned to Australia in 2008 after many years living in London. Bosnich was confirmed to be the starting goalkeeper for the Central Coast Mariners for their pre-season cup game against Sydney FC on 27 July 2008. Bosnich kept a clean sheet including saving a penalty by Sydney FC's Steve Corica before being substituted in the 80th minute to a standing ovation by both sets of supporters. On 19 August 2008, Bosnich signed a seven-week guest player deal with the Mariners.


title: Mark Bosnich

text: Bosnich made his A-League debut with the Central Coast Mariners on 31 August 2008 in a 4–2 away win against the Queensland Roar at the Suncorp Stadium in Brisbane. Once Mariners first-choice goalkeeper Danny Vukovic had served his suspension, Bosnich did not play again for the Mariners. On 31 May 2009, it was announced that Bosnich had signed to play for Sydney Olympic for the remainder of the NSW Premier League season.


title: Mark Bosnich

text: Bosnich suffered a hamstring injury and he ended his playing career to focus on his television commitments. On 22 October 2010, it was confirmed Bosnich would temporarily join the North Queensland Fury as an interim coach for the fixture against Newcastle Jets, in the absence of Franz Straka and Stuart McLaren, who had been banned from the touchline for two games. However, Bosnich was not allowed by the FFA because he did not have a coaching license.


title: Mark Bosnich

text: His first appearance with the Australia national team came in 1990 against touring USSR club side Torpedo, followed by a number of further appearances in 'unofficial' Socceroos matches in the next few years. His first full international appearance came in 1993 against New Zealand in a qualifying match for the 1994 World Cup. Bosnich also appeared for the Socceroos at the 1992 Barcelona Olympics and the 1997 FIFA Confederations Cup.


title: Mark Bosnich

text: Although his international appearances with the Socceroos were rare, they were memorable occasions. Keeping for Australia in the away leg of its home-and-away qualifier with Iran in a failed attempt to qualify for the 1998 World Cup, Australia losing on away goals in what Bosnich described as "the lowest moment in Australian football". Bosnich also scored a late penalty for his national team in a 13–0 win over the Solomon Islands. In November 2007 he admitted that he was hopeful of selection for Australia to make up for the times he shunned it in favour of his club commitments. "If I ever get the chance to play for Australia again, I will never make the mistake of saying 'no'."


title: Mark Bosnich

text: Bosnich married for the first time in 1992, to an English woman named Lisa Hall. The wedding took place in Sydney, New South Wales, in February. It was rumoured that he married Hall to be able to return to Britain, after problems with his working visa. After two years of marriage, Home Office officials were satisfied it was not a wedding of convenience and Bosnich was allowed to remain indefinitely in Britain. However, the marriage ended just three months later. According to him, "We were in love but our marriage just didn't work out." His second marriage was to Sarah Jarrett, in 1999. He almost failed to reach the altar, having only been released on bail hours before the wedding following an incident at a strip club during his stag night celebrations.


title: Mark Bosnich

text: The marriage lasted only 14 months. Jarrett was pregnant at the time of the divorce, but she lost the baby soon afterwards, in the third month of pregnancy. Bosnich admitted that much of his cocaine problem was due to his relationship with British model Sophie Anderton, claiming that for every line she had, he had to have one too. He does not regret his actions however, crediting them with being able to help someone in need. His addiction worsened and he later said, "There was a stage where I got up to 10 grams a day when I was really down in the dumps." On 16 July 2008, he was made bankrupt at the High Court in London on the petition of a creditor. Bosnich provided special comments for the Socceroos' friendly with Nigeria on 17 November alongside Simon Hill on Australia's Fox Sports and subsequently on SBS' coverage of the 2008 FA Cup final. Bosnich is now a football expert, analyst and commentator for Fox Sports football programmes. As part of this role, he co-hosted Bill & Boz which has since been cancelled. In 2021, Bosnich joined Stan Sport to cover the UEFA Champions League, UEFA Europa League and UEFA Europa Conference League competitions. He also works as a player agent. Bosnich trains at Kostya Tszyu's Boxing Academy in Rockdale. Bosnich lived with his parents in Fairfield when he returned to Australia and now lives in Woolloomooloo with his partner Sarah Jones.


title: Cinderella II: Dreams Come True

text: Cinderella II: Dreams Come True (also known as simply Cinderella: Dreams Come True) is a 2002 American direct-to-video fantasy comedy anthology film. It is directed by John Kafka and features a screenplay written by Jill E. Blotevogel, Tom Rogers, and Julie Selbo. It is the first direct-to-video sequel to the 1950 Disney film "Cinderella", and the first in the series to use digital ink and paint. It stars the voices of Jennifer Hale, Russi Taylor, Corey Burton, and Rob Paulsen. It was released on February 26, 2002.


title: Cinderella II: Dreams Come True

text: In the royal palace, Cinderella's mice friends Gus and Jaq head to a chamber where the Fairy Godmother is reading the story of Cinderella to the other mice. Much to their disappointment, Gus and Jaq arrive just as she has finished the story. With her help, the mice set off to make a new book to narrate what happens after the Happily Ever After, by stringing three segments of stories together into one narrative.


title: Cinderella II: Dreams Come True

text: In the first segment, Cinderella and Prince Charming return from their Honeymoon, and Cinderella reunites with her mice friends and her dog Bruno. She is later put in charge of the palace banquets and parties while the King and Prince Charming are away. However, Cinderella is dissatisfied with the emphasis on tradition, and decides to organize the upcoming party her own way. Although he initially seems to be shocked at Cinderella's changes, the King ends up satisfied with the party.


title: Cinderella II: Dreams Come True

text: In the second segment, Jaq thinks he is too small to help Cinderella in the palace as he did in the first movie. The Fairy Godmother turns him into a human, named "Sir Hugh," so he can help out. However, this does not stop Pom Pom, the palace's cat, from chasing Jaq around. After an incident with an elephant at a fair, he learns to be happy with himself.


title: Cinderella II: Dreams Come True

text: In the last segment, Anastasia, one of Cinderella's stepsisters, falls in love with a baker named Lathyn, of whom her mother Lady Tremaine and older sister Drizella disapprove. Cinderella, unbeknownst to anyone else, arrives and secretly watches as Lady Tremaine berates Anastasia, thus leading her to help Anastasia in getting ready for the ball together. Later at the ball, Anastasia thanks Cinderella for helping her. Lucifer also has an encounter with Pom Pom, the castle's cat, with whom he falls in love.


title: Cinderella II: Dreams Come True

text: The mice finish their book, and the movie ends as they gather in front of the fire with Cinderella, who begins to read their story.


title: Cinderella II: Dreams Come True

text: The songs for the film were performed by Brooke Allison, and while a true soundtrack was never released, all the songs were included on the compilation album "Disney's Princess Favorites", which was released shortly before the film. One song, Put It Together (Bibbidi Bobbidi Boo), was also included on the compilation album "Superstar Hits", which was released shortly after the film.


title: Cinderella II: Dreams Come True

text: While the movie did surpass the $120 million mark, critical reception was mainly negative. Many critics agreed that it looked like pieced-together remains of a rejected television series, akin to "" and "". On Rotten Tomatoes, it currently holds an 11% approval rating based on 9 reviews.


title: Cinderella II: Dreams Come True

text: "Cinderella II: Dreams Come True" was released on February 26, 2002, on DVD and VHS. It was then re-released on December 19, 2006, as a special-edition DVD, going back in the Disney Vault on January 31, 2008. On November 20, 2012, the film was released with the other Cinderella sequel "" as a two-movie collection on DVD and for the first time on Blu-ray. Both sequels along with the 'Diamond Edition' release of the original film returned to the Disney Vault on January 31, 2017.


title: OxygenOS

text: OxygenOS () is an Android-based operating system (OS) developed by Chinese smartphone manufacturer OnePlus exclusively for their smartphones. OxygenOS was developed for their overseas market. There used to also be another version of the OS designed specifically for the Chinese market called HydrogenOS ().


title: OxygenOS

text: In an interview published on 3 September 2016, XDA Developers revealed OnePlus was "actively merging both platforms (OxygenOS and HydrogenOS) into a single cohesive operating system based on Android".


title: OxygenOS

text: Notable features of version 2.0 and 2.1.1 include app permissions, Waves MaxxAudio, SwiftKey keyboard, off-screen gestures, custom icons, dark mode, manual camera mode, and RAW support for 3rd party apps, like Camera FV-5 2.75.


title: OxygenOS

text: On 31 December 2016, OnePlus released OxygenOS 4.0.0 based on Android Nougat and includes its features and several other modifications to the public via OTA download.


title: OxygenOS

text: On 31 January 2018, OnePlus released OxygenOS 5.0.3 based on Android Oreo to the public via OTA download. In May 2018, OnePlus launched OnePlus 6 with OxygenOS based on Android Oreo 8.1.


title: OxygenOS

text: On 25 December 2018, OnePlus released OxygenOS 9.0.0 based on Android Pie for OnePlus 5/5T to the public via OTA download.


title: OxygenOS

text: On 21 September 2019, OnePlus announced the release of OxygenOS version 10.0 based on Android 10 for OnePlus 7 and 7 Pro. This initial release was followed by Android 10 based builds for older devices later.


title: OxygenOS

text: OnePlus released a statement about data collection and analytics, claiming that the data is only used for system improvement and optimization, are not shared with third parties, and can be disabled by users in the system settings. OnePlus also says that they are revising the data analysis mechanism, and will no longer collect certain data.


title: OxygenOS

text: In July 2021, OnePlus merged OxygenOS with Oppo’s ColorOS. Both companies’ software will remain separate and continue to serve their individual regions (OxygenOS for OnePlus phones globally, ColorOS on OnePlus and Oppo devices in China) but share a common codebase, which OnePlus says should standardize its software experience and streamline the development process for future OxygenOS updates.


title: Paris Saint-Germain Féminine

text: Paris Saint-Germain Féminine (), commonly referred to as Paris Saint-Germain, Paris SG, or simply Paris or PSG, are a French professional football club based in Paris. Founded in 1971, they compete in Division 1 Féminine, the top division of French football. Their home ground is the Stade Jean-Bouin. They are the women's department of Paris Saint-Germain.


title: Paris Saint-Germain Féminine

text: PSG have played in the top flight since 2001, when they won the title. The Parisians won their first major honour, the Coupe de France, in 2010. This trophy, coupled with the club's takeover, signalled the start of a new era. PSG went from being a mid-table side to becoming one of the best teams in European football. The Red and Blues have since been crowned Division 1 champions for the first time in 2021, won two more cup titles in 2018 and 2022, and reached the UEFA Women's Champions League final twice.


title: Paris Saint-Germain Féminine

text: The club's home kit colours are red, blue and white. PSG's crest features the Eiffel Tower and a fleur de lys. PSG have an intense rivalry with Olympique Lyonnais. The duo contest French football's most notorious match, known as "Le Classique". They also have a strong rivalry with Paris FC, a fixture referred to as the "Parisian Derby".


title: Paris Saint-Germain Féminine

text: Tamim bin Hamad Al Thani, ruler of Qatar, owns parent club Paris Saint-Germain through state-owned shareholding organization Qatar Sports Investments (QSI), which purchased the club in 2011. The takeover made PSG the richest club in France and one of the wealthiest in the world. QSI took control of the women's team in 2012.


title: Paris Saint-Germain Féminine

text: A year after the foundation of the club, Paris Saint-Germain created their women's section in the summer of 1971 after the French Football Federation (FFF) gave the green light to female football. PSG signed 33 women for the 1971–72 season and the newly formed team began life in the , the lowest level of the football pyramid. They finished second that campaign, their best result ever, and continued life in the Parisian championship for seven more years, albeit with less success.


title: Paris Saint-Germain Féminine

text: Ahead of the 1979–80 season, PSG were promoted to the top flight of French football, the Division 1, after it went from 20 to 48 teams. Their inaugural stint, however, only lasted three seasons, and PSG were relegated back to in 1982. The Red and Blues bounced between the two top divisions over the next 19 years. Following a dramatic 1999–2000 season in which they missed promotion to the elite by losing their last match against promotion contenders , PSG finally steadied the ship in 2001. Led by coach Sébastien Thierry and young defender Laura Georges, the team won 16 out of 18 games played in Group A to claim back their place amongst the best in France. PSG would then clinch the by defeating Group C leader in the final. Since then, Paris SG have never been relegated from Division 1.


title: Paris Saint-Germain Féminine

text: Under incoming manager Cyril Combettes, Paris Saint-Germain remained without major problems in Division 1 but nowhere near the top teams. In the summer of 2005, starlets Sabrina Delannoy and Laure Boulleau signed from CNFE Clairefontaine. Together, they played more than 400 matches with PSG, being their two most capped players. The defending duo experienced everything with the capital side: relegation battles, mid-table finishes, title races and the club's first major trophy. Men and women confounded, Delannoy is PSG's sixth most capped player ever, only behind male counterparts Jean-Marc Pilorget, Sylvain Armand, Safet Sušić, Paul Le Guen and Marco Verratti.


title: Paris Saint-Germain Féminine

text: At the end of March 2007, Cyril Combettes resigned due to relationship problems with the players. He was replaced by Eric Leroy for the 2007–08 season. Despite a difficult start, including a heavy defeat to Montpellier in the first match, the season was a success. Under Leroy's direction, the team finished in fifth place and reached their maiden Challenge de France final. Having crashed out at the same stage in 2005, the Red and Blues learned their lesson and defeated "Parisian Derby" rivals Paris FC (at the time called Juvisy) in the semi-finals. Olympique Lyonnais, however, proved too strong for PSG in the title-decider at the Stade de France, easily taking home the cup with three unanswered strikes.


title: Paris Saint-Germain Féminine

text: Following a disappointing 2008–09 season, Camillo Vaz replaced Éric Leroy in June 2009. PSG recruited French internationals Élise Bussaglia, Julie Soyer and Jessica Houara during that summer. The women's team then celebrated their 38th birthday by making their debut at the Parc des Princes. Usually reserved for the men's side, PSG hosted city rivals Paris FC at the stadium on October 18, 2009. In front of 5,892 spectators, they defeated their guests thanks to an early goal from Camille Abily. The 2009–10 campaign ended with a third place, a first for them on the podium. Better yet, the Parisians also reached their second Challenge de France final after eliminating juggernauts Lyon in the semi-finals.


title: Paris Saint-Germain Féminine

text: Noilhan had left the club shortly before the final, leaving Vaz as the sole coach. This, however, did not stop PSG from crushing defending champions Montpellier at the Stade Robert Bobin to claim their first major title as well as their second trophy ever and their first since 2001. Emblematic club striker , who would retire at the end of the season, opened the scoring in the first half. After the break, PSG added four more goals for a brutal 5–0 scoreline, the largest victory in the history of cup finals.


title: Paris Saint-Germain Féminine

text: The 2010–11 season marked a turning point for Paris. In the summer, Brazilian star Kátia joined on a free signing from Lyon. PSG finished league runners-up behind heavyweights Olympique Lyonnais and qualified to the UEFA Women's Champions League for the first time in their history. The Parisians dramatically defeated second-placed Montpellier in the final game of the season, with team captain Sabrina Delannoy scoring the winning penalty in stoppage time. Élise Bussaglia was named Division 1 Féminine Player of the Season.


title: Paris Saint-Germain Féminine

text: Exempted from the group stage, PSG made their European debut by comfortably eliminating Irish side Peamount in the Round of 16, before being themselves ousted by German giants and future finalists 1. FFC Frankfurt. The rest of the 2011–12 campaign, however, was not as successful. Undermined by the injuries of key players Léa Rubio, Laure Lepailleur and Caroline Pizzala, the team lost its grip and finished in fourth place after suffering a heavy defeat at home to Île-de-France rivals Paris FC. As a result, coach Camillo Vaz left the club at the end of the season.


title: Paris Saint-Germain Féminine

text: PSG bounced back immediately with the professionalisation of the team by new club owners Qatar Sports Investments (QSI) ahead of the 2012–13 campaign. They spent big to build a team capable of competing with the best clubs in France and Europe, including Lyon, and signed its 21 players to a federal contract, something unprecedented in women's football. Renowned international players Shirley Cruz, Kosovare Asllani, Annike Krahn and Linda Bresonik were the first to arrive, as well as Farid Benstiti, the coach who guided Lyon to four consecutive league titles. A season later, PSG recruited Marie-Laure Delie, the first women's football transfer in France, for €50k. As part of this revolution, PSG also moved to the Stade Sébastien Charléty in 2012 and then to the Stade Jean-Bouin in 2018, abandoning the smaller Stade Municipal Georges Lefèvre, which had been their home stadium since 1971.


title: Paris Saint-Germain Féminine

text: These investments allowed PSG to challenge Olympique Lyonnais, with the duo developing a heated rivalry dubbed as "Le Classique". Lyon still kept a head start over Paris during the 2010s, clinching a record 14 consecutive league titles between 2007 and 2020. PSG managed a few important victories during that time, though. League and cup runners-up behind Lyon in 2013–14, they recorded their first ever win over the champions in January 2014, with a solitary goal from Laura Georges at the Stade de Gerland. It was Lyon's first league defeat at home since March 2010, an unbeaten streak spanning 87 matches.


title: Paris Saint-Germain Féminine

text: PSG repeated the feat in 2014–15, this time in the Champions League, as Fatmire Alushi scored the only goal at Gerland to eliminate Lyon in the last 16. Nonetheless, the season ended in disappointment; Paris finished second to Lyon and lost the 2015 UEFA Women's Champions League Final to Frankfurt at the last second. Lyon retaliated in 2015–16 by claiming the championship and then crushing PSG in the Champions League semi-finals. They scored seven times without response, inflicting PSG's biggest defeat in the continental competition and one of their biggest ever. Even worse, Paris finished third in the league and missed qualification to the Champions League. The club did not renew Farid Benstiti's contract and was replaced by Patrice Lair, another former Lyon coach.


title: Paris Saint-Germain Féminine

text: The two sides were back at it again in 2016–17. PSG first beat their rivals, also by a 1–0 margin, in December 2016 despite Lyon still managing to retain the league title. Then, they crossed paths in the French Cup final, won by Lyon after an endless penalty shoot-out, and in the 2017 UEFA Women's Champions League Final, which also had to be decided on penalties. The teams could not be separated after seven kicks each until PSG goalkeeper Katarzyna Kiedrzynek stepped up and missed. Her counterpart Sarah Bouhaddi converted her effort and handed Lyon the European victory. With Bernard Mendy on the bench, filling in after the surprise departure of Lair, the capital outfit exacted revenge on Lyon in the 2017–18 season by defeating them in the French Cup final in May 2018, with a solitary goal from French international striker Marie-Antoinette Katoto.


title: Paris Saint-Germain Féminine

text: Olivier Echouafni was named manager in June 2018, while Mendy stayed on as his assistant. Paris finished league runners-up in 2018–19 and 2019–20, while losing the French Cup and French Super Cup titles to Lyon as well. In Echouafni's third season in charge, PSG ended Lyon's 80-game unbeaten league streak in November 2020 to leapfrog them and go top of the table. Once more, Katoto scored the lone goal of a game played behind closed doors at the Parc des Princes. The Parisians then held on for a crucial goalless draw away at Lyon in the penultimate game and beat Dijon in the final match to win the Division 1 crown for the first time and end their rivals' run of 14 consecutive league titles. They also ended Lyon's stranglehold on the Champions League with a stunning quarterfinal comeback to prevent their rivals from a sixth consecutive European title. They were, however, eliminated by Barcelona in the semifinals.


title: Paris Saint-Germain Féminine

text: In the 2021–22 season, featuring yet another face-off with Lyon, the capital side failed to defend their crown, losing both league ties by an aggregate score of 7–1. PSG hit back in the French Cup, ousting Lyon at the last-16 stage (3–0) and then cruising to their third cup title with an 8–0 win over second-tier side Yzeure in the final. Lyon had the last word, though, eliminating Paris from the Champions League semi-finals 5–3 on aggregate on their way to another continental triumph.


title: Paris Saint-Germain Féminine

text: Parent club Paris Saint-Germain represent both the city of Paris and the nearby royal town of Saint-Germain-en-Laye. As a result, red, blue and white are the club's traditional colours. The red and blue are Parisian colours, a nod to revolutionary figures Lafayette and Jean Sylvain Bailly, and the white is a symbol of French royalty and Saint-Germain-en-Laye.


title: Paris Saint-Germain Féminine

text: On the club's crest, the Eiffel Tower in red and the blue background represent Paris, while the fleur de lys in white is a hint to the coat of arms of Saint-Germain-en-Laye. The fleur de lys is a royal symbol as well and recalls that French King Louis XIV was born in the town. Throughout its history, PSG have brandished several different crests, but all of them have featured the club's three historical colours. Likewise, PSG's most iconic shirts have been predominantly red, blue or white, with the remaining two colours included as well. The club's official mascot, Germain the Lynx, also sports PSG's traditional colours.


title: Paris Saint-Germain Féminine

text: Between 1971 and 2012, Paris Saint-Germain played their home matches at the Stade Municipal Georges Lefèvre, located in Saint-Germain-en-Laye, just across the street from the Camp des Loges, the training center of the club's male football section. When the team professionalised ahead of the 2012–13 season, PSG relocated to the 20,000-seater Stade Sébastien Charléty. They returned to the Georges Lefèvre for the 2017–18 campaign, before moving out again at the start of the 2018–19 season to the 20,000-capacity Stade Jean-Bouin, located across the street from Parc des Princes, home to the men's first football team. Ever since then, only a few matches have been relocated to the Georges Lefèvre.


title: Paris Saint-Germain Féminine

text: The women's team also have occasionally played at the Parc des Princes, usually reserved for games of the men's side. They made their debut on October 18, 2009, defeating "Parisian Derby" rivals Paris FC (previously Juvisy) in front of 5,892 spectators. The stadium was also used during the 2014–15 and 2016–17 UEFA Women's Champions League campaigns. In November 2020, they beat "Le Classique" arch-rivals Olympique Lyonnais at the Parc. The ladies have won five of their six games played at the stadium, with the remaining match ending in defeat.


title: Paris Saint-Germain Féminine

text: Paris Saint-Germain currently train at the Centre Sports et Loisirs de la Banque de France de Bougival. The Camp des Loges will become the training ground of the women's first team and academy in 2022. Their male counterparts will move to the Paris Saint-Germain Training Center. The new venue will have its own stadium. With a total capacity of 5,000, including over 3,000 seats, the arena will host some of the women's games in official competitions such as the Division 1 Féminine and UEFA Women's Champions League.


title: Paris Saint-Germain Féminine

text: Since their inception, Paris Saint-Germain have played 50 seasons, all of them within the top three levels of the French football league system: Division 1, and . PSG began life in the Ligue de Paris in 1971–72, playing regional league football during eight seasons. They were promoted to Division 1 for the first time ahead of the 1979–80 campaign and have now played 30 seasons in the top flight. PSG have been relegated to Division 2 three times, playing a total of twelve seasons in the second tier. They returned to Division 1 in 2001–02 and have never looked back since. The club's worst D1 finish to date is 12th, its placing at the end of the 1994–95 season.


title: Paris Saint-Germain Féminine

text: PSG have won four titles. Domestically, the capital side have clinched one Division 1 championship, three French Cups and one Division 2 title. In international club football, PSG have reached the UEFA Champions League final twice (2015 and 2017). Additionally, PSG have won one unofficial title. Influential officials and players in the club's history include most decorated president Nasser Al-Khelaifi, trophy-winning managers Sébastien Thierry, Camillo Vaz, Bernard Mendy, Olivier Echouafni and Didier Ollé-Nicolle, record appearance maker and longest-serving captain Sabrina Delannoy, and all-time top scorer Marie-Antoinette Katoto.


title: Paris Saint-Germain Féminine

text: Between 2010 and 2016, with the impossibility of supporting the men's team at home or away, the ultras turned to the women's team, and to a lesser extent to the Paris Saint-Germain Academy sides, being the very rare case of fan groups attending games of their club's women's team. Liberté Pour les Abonnés and Nautecia, which were among several groups that reunited Boulogne and Auteuil supporters, were behind this initiative. PSG ultras have also occasionally attended big matches of Paris Saint-Germain Handball, the club's handball team.


title: Paris Saint-Germain Féminine

text: Unlike some fans who switched allegiance to other Parisian clubs such as Paris FC or Créteil, Liberté Pour les Abonnés and Nautecia chose to stay with PSG by supporting the women in France and abroad, from league clashes against rivals Lyon to the 2014–15 UEFA Women's Champions League semifinals versus Wolfsburg and the grand finale in Berlin, where they narrowly lost to Eintracht Frankfurt (2–1).


title: Paris Saint-Germain Féminine

text: A marriage of convenience at first, the ultras began to really enjoy supporting the women for three main reasons: their proximity compared to the men, being able to easily approach female players; their appreciation for the fans, always thanking them after every match; and their solidarity with the ultra movement, publicly supporting a return to the Parc des Princes for men's team games in interviews and social media, in contrast to male players whose communication was more controlled by the club.


title: Paris Saint-Germain Féminine

text: The ultras have also continued to support the women's side since their return to the stadium under the banner of the Collectif Ultras Paris (CUP). During the club's 2016–17 UEFA Women's Champions League campaign, they were at the Parc des Princes for the quarterfinals and semifinals versus Bayern Munich and Barcelona respectively. 300 ultras then travelled to Cardiff in June 2017 to cheer the team at the final, which PSG lost to Lyon in the penalty shootout (0–0; 7–6 on penalties).


title: Paris Saint-Germain Féminine

text: Despite their protests against the management and the attitude of male players in 2022, the CUP were still behind the "exemplary" women's team. They went en masse to the Parc des Princes for the 2021–22 UEFA Women's Champions League quarterfinals against Bayern Munich in March, and then for the semifinals versus Lyon in April. In the latter match, the ultras were part of the club record 43,254 spectators in attendance. Before kick-off, they unfurled a banner reading: "Proud of our colors and proud of our female players."


title: Paris Saint-Germain Féminine

text: Paris Saint-Germain shares an intense rivalry with Olympique Lyonnais; matches between the two teams are referred to as "Le Classique". It is the female version of the rivalry between parent club Paris Saint-Germain and Olympique de Marseille in men's football, also called "Le Classique". Lyon have been the dominant force in French and European football ever since their foundation in 2004, being champions of the Division 1 Féminine in 14 consecutive seasons between 2007 and 2020 as well as winning the UEFA Women's Champions League seven times, five of which were in a row. On the other hand, PSG only began to challenge Lyon's hegemony after 2012, when Qatar Sports Investments (QSI) took over the team. Now with serious financial backing, Paris became a team capable of competing with the best clubs in the world, including Lyon, and thus a fierce rivalry emerged between the two sides in the 2010s.


title: Paris Saint-Germain Féminine

text: The Red and Blues also have a strong rivalry with fellow Île-de-France outfit Paris FC (called Juvisy until 2017). Known as the "Parisian Derby", the duo compete for recognition as the capital's top team. Prior to the appearance of Lyon in the 2000s and the rise of PSG into an elite club in the 2010s, Paris FC were the biggest team in the land and usually had the upper hand against their city rivals. They were the last side to win the league title, aside from Lyon in 2006, before PSG claimed their first crown in 2021. Nowadays, PSG dominate the derby thanks to the huge gulf created between them by the investment of their Qatari owners, while Paris FC are trying to establish themselves as France's third team.


title: Paris Saint-Germain Féminine

text: Tamim bin Hamad Al Thani, ruler of Qatar, bought 70% of parent club Paris Saint-Germain in June 2011 through state-owned shareholding organization Qatar Sports Investments (QSI). In March 2012, QSI purchased the remaining 30% stake to become PSG's sole shareholder, valuing the club at €100m. PSG thus became one of the wealthiest clubs in the world.


title: Paris Saint-Germain Féminine

text: In late June 2019, Paris Saint-Germain announced a long-term contract extension with kit manufacturer Nike, which is now one of European football's most lucrative and the biggest sponsorship agreement in the club's history. The Parisians are now tied to the Swoosh company until 2032 with an annual figure of €80 million. The new deal covers the men's and women's football teams as well as their handball outfit.


title: United States of Indonesia

text: The United States of Indonesia (, , abbreviated as RIS), was a short-lived federal state to which the Netherlands formally transferred sovereignty of the Dutch East Indies (except Netherlands New Guinea) on 27 December 1949 following the Dutch–Indonesian Round Table Conference. This transfer ended the four-year conflict between Indonesian nationalists and the Netherlands for control of Indonesia. It lasted less than a year, before being replaced by the unitary Republic of Indonesia.