title: Baha Men

text: They achieved great, but short-lived, popularity with a 2000s remake of "Who Let the Dogs Out" (originally composed by Anslem Douglas), produced by Greenberg and Michael Mangini. The song was a chart success in many countries and also became a popular song at US sporting events. "Who Let the Dogs Out" also earned the band several awards: a Grammy Award in 2001 for Best Dance Recording; "Billboard Music Awards" for World Music Artist of the Year and World Music Album of the Year; and a Nickelodeon Kids Choice Award for Favorite Song. In 2002, they won another Kids' Choice Award for Favorite Band.


title: Baha Men

text: In June 2008, "Who Let the Dogs Out" was discussed on "I Love the New Millennium". The Baha Men's most recent album was "Ride With Me", released in 2015.


title: Baha Men

text: After releasing "Night & Day" in the summer of 2014, the Baha Men released a Christmas Medley mixing "The Little Drummer Boy" with "Silver Bells". Their single "Off the Leash" was released digitally on 1 July 2015. On 25 October 2015, the band performed the halftime show for the New York Giants/Dallas Cowboys football game at MetLife Stadium.


title: Baha Men

text: In 2018, the group joined Our Last Night for a metal cover of their hit song "Who Let the Dogs Out" and, in April 2019, released a new single, "Let's Go", dedicated to the teams playing in the Final Four.


title: Baha Men

text: The Baha Men appeared in a special scene from "Between the Lions" where Leona and Theo meet them while reading some books inside the library.


title: Baha Men

text: They performed onstage for a Season 14 episode of "The Bachelorette", which took place in the Bahamas.


title: Baha Men

text: The band has even made an appearance on the big screen, when they starred as themselves in the 1994 romantic comedy "My Father the Hero" starring Gérard Depardieu and Katherine Heigl.


title: Boyd Tinsley

text: Boyd Calvin Tinsley (born May 16, 1964) is an American violinist and mandolinist who is best known for having been a member of the Dave Matthews Band.


title: Boyd Tinsley

text: Tinsley was raised in a musical family. His father was a choir director and his uncle a bassist who also played the trumpet for local bands.


title: Boyd Tinsley

text: Tinsley graduated from the University of Virginia. While there, he became a member of the Sigma Nu fraternity.


title: Boyd Tinsley

text: In 1991, Dave Matthews asked Tinsley to play violin on the song "Tripping Billies" with his band for their demo tape. Tinsley left his existing band (the Boyd Tinsley Trio) to join Dave Matthews Band. He became a full-time band member in 1992. Matthews later said, "We had no plans of adding a violinist. We just wanted some fiddle tracked on this one song "Tripping Billies", and Boyd was a friend of Leroi. He came in and it just clicked. That completely solidified the band, gave it a lot more power."


title: Boyd Tinsley

text: After noticeably struggling at shows during 2014 in Australia, Tinsley revealed via his Twitter page that he had developed arthritis in his right hand. Tinsley underwent surgery to correct carpal tunnel syndrome.


title: Boyd Tinsley

text: In February 2018, Tinsley took a leave of absence from the band to focus on his health. On May 18, 2018, the band announced that Tinsley had been fired in response to a lawsuit filed by former Crystal Garden band member James Frost-Winn alleging sexual misconduct by Tinsley.


title: Boyd Tinsley

text: In August 2015, Tinsley formed Crystal Garden with Mycle Wastman, Charlie Csontos and Matt Frewen. For two years, he looked for a specific group of musicians who would form a modern day rock band. On the forming of the band, Tinsley commented, "The band was an idea I had maybe three years ago. I really wanted to create a young rock band – not a pop band – but a real rock band that had the same sensibility that rock from the 1960s and 1970s had to it. You know, something rocking from the heart and expressing something real". In their first week of recording sessions at Boyd's studio in Virginia they tracked the bulk of their first studio album, "Let The Rocks Cry Out", which Tinsley produced. The album was released digitally on all platforms March 14, 2017 and physically on April 22, 2017. The band appeared on numerous morning shows.


title: Boyd Tinsley

text: On February 2, 2018, attorneys for former Crystal Garden band member James Frost-Winn sent Tinsley a demand letter in an effort to obtain an out-of-court settlement in regard to sexual harassment allegations. The case was settled in June 2019.


title: Boyd Tinsley

text: In 2003, Tinsley released a solo album, "True Reflections", featuring the title track he had written over a decade earlier. Tinsley was the principal songwriter of the album. "True Reflections" focuses on Tinsley as a singer-songwriter and does not feature much violin playing.


title: Boyd Tinsley

text: On March 20, 2009, Tinsley appeared with former U.S. poet laureate Rita Dove at the Paramount Theater in Charlottesville when she launched her poetry book "Sonata Mulattica", about 19th-century violin virtuoso George Bridgetower; Tinsley is mentioned in the first poem in the book, "The Bridgetower". He composed and performed a musical piece for the event, read a poem from the book and discussed his musical life in particular and the role of classically trained African-American musicians in general with Dove.


title: Boyd Tinsley

text: Tinsley was a writer for the short film "Faces in the Mirror", which was first shown at the Woodstock Film Festival on October 13, 2012.


title: Boyd Tinsley

text: Tinsley has two children with his wife Emily: a daughter, Abagail (born 1996) and a son, Noah (born 1999).


title: Boyd Tinsley

text: Tinsley played in a celebrity doubles tennis match in 2007 with John McEnroe against Pete Sampras and Autria Godfrey. He has recorded a song called "The Ghosts of Wimbledon" for the 2006 ESPN coverage of the tournament. Tinsley sponsored the Boyd Tinsley Tennis Program in Charlottesville.


title: Book of Malachi

text: The Book of Malachi (Hebrew: , "") is the last book of the Neviim contained in the Tanakh, canonically the last of the Twelve Minor Prophets. In the Christian ordering, the grouping of the prophetic books is the last section of the Old Testament, making Malachi the last book before the New Testament.


title: Book of Malachi

text: The book is commonly attributed to a prophet named Malachi, as its title has frequently been understood as a proper name, although its Hebrew meaning is simply "My Messenger" (the Septuagint reads "his messenger") and may not be the author's name at all. The name occurs in the superscription at 1:1 and in 3:1, although it is highly unlikely that the word refers to the same character in both of these references. Thus, there is substantial debate regarding the identity of the book's author. One of the Targums identifies Ezra (or Esdras) as the author of Malachi. Priest and Historian Jerome suggests that this may be because Ezra is seen as an intermediary between the prophets and the "great synagogue." There is, however, no historical evidence yet to support this claim.


title: Book of Malachi

text: Some scholars note affinities between Zechariah 9–14 and the Book of Malachi. Zechariah 9, Zechariah 12, and Malachi 1 are all introduced as The word of Elohim. Some scholars argue that this collection originally consisted of three independent and anonymous prophecies, two of which were subsequently appended to the Book of Zechariah as what they refer to as Deutero-Zechariah, with the third becoming the Book of Malachi. As a result, most scholars consider the Book of Malachi to be the work of a single author who may or may not have been identified by the title Malachi. The present division of the oracles results in a total of 12 books of minor prophets, a number parallelling the sons of Jacob who became the heads of the 12 Israelite tribes. The "Catholic Encyclopedia" asserts, "We are no doubt in presence of an abbreviation of the name Mál'akhîyah, that is Messenger of Elohim."


title: Book of Malachi

text: Little is known of the biography of the author of the Book of Malachi, although it has been suggested that he may have been Levitical. The books of Zechariah and Haggai were written during the lifetime of Ezra (see 5:1); perhaps this may explain the similarities in style.


title: Book of Malachi

text: According to the editors of the 1897 Easton's Bible Dictionary, some scholars believe the name "Malachi" is not a proper noun but rather an abbreviation of "messenger of Yah". This reading could be based on Malachi 3:1, "Behold, I will send "my messenger"...", if "my messenger" (מַלְאָכִ֔י "mal’āḵî") is taken literally as the name "Malachi".


title: Book of Malachi

text: Several scholars consider both Zechariah 9–14 and Malachi to be anonymous and were therefore placed at the end of the Book of the Twelve. Wellhausen, Abraham Kuenen, and Wilhelm Gustav Hermann Nowack argue that is a late addition, pointing to Zechariah and . However, other scholars, including the editors of the "Catholic Encyclopedia", argue that the grammatical evidence leads us to conclude that Malachi is in fact a name.


title: Book of Malachi

text: Another interpretation of the authorship comes from the Septuagint superscription, ὲν χειρὶ ἀγγήλου αὐτοῦ ("en cheiri angēlou autou", which can be read as either "by the hand of his messenger" or as "by the hand of his angel". The "angel" reading found an echo among the ancient Church Fathers and ecclesiastical writers, and even gave rise to the "strangest fancies", especially among the disciples of Origen of Alexandria.


title: Book of Malachi

text: There are very few historical details in the Book of Malachi. The greatest clue as to its dating may lie in the fact that the Persian-era term for governor ( "pehâ") is used in 1:8. This points to a post-exilic (that is, after 538 BCE) date of composition both because of the use of the Persian period term and because Judah had a king before the exile. Since, in the same verse, the temple has been rebuilt, the book must also be later than 515 BC. Malachi was apparently known to the author of Ecclesiasticus early in the 2nd century BC. Because of the development of themes in the book of Malachi, most scholars assign it to a position after Haggai and Zechariah, close to the time when Ezra and Nehemiah came to Jerusalem in 445 BC.


title: Book of Malachi

text: The Book of Malachi was written to correct the lax religious and social behaviour of the Israelites – particularly the priests – in post-exilic Jerusalem. Although the prophets urged the people of Judah and Israel to see their exile as punishment for failing to uphold their covenant with God, it was not long after they had been restored to the land and to Temple worship that the people's commitment to their God began, once again, to wane. It was in this context that the prophet commonly referred to as Malachi delivered his prophecy.


title: Book of Malachi

text: In 1:2, Malachi has the people of Israel question God's love for them. This introduction to the book illustrates the severity of the situation which Malachi addresses. The graveness of the situation is also indicated by the dialectical style with which Malachi confronts his audience. Malachi proceeds to accuse his audience of failing to respect God as God deserves. One way in which this disrespect is made manifest is through the substandard sacrifices which Malachi claims are being offered by the priests. While God demands animals that are "without blemish" (Leviticus 1:3, NRSV), the priests, who were "to determine whether the animal was acceptable" (Mason 143), were offering blind, lame and sick animals for sacrifice because they thought nobody would notice.


title: Book of Malachi

text: In 2:1, Malachi states Yahweh Sabaoth is sending a curse on the priests who have not honored him with appropriate animal sacrifices: "Now, watch how I am going to paralyze your arm and throw dung in your face--the dung from your very solemnities--and sweep you away with it. Then you shall learn that it is I who have given you this warning of my intention to abolish my covenant with Levi, says Yahweh Sabaoth."


title: Book of Malachi

text: In 2:10, Malachi addresses the issue of divorce. On this topic, Malachi deals with divorce both as a social problem ("Why then are we faithless to one another ... ?" 2:10) and as a religious problem ("Judah ... has married the daughter of a foreign god" 2:11). In contrast to the book of Ezra, Malachi urges each to remain steadfast to the wife of his youth.


title: Book of Malachi

text: Malachi also criticizes his audience for questioning God's justice. He reminds them that God is just, exhorting them to be faithful as they await that justice. Malachi quickly goes on to point out that the people have not been faithful. In fact, the people are not giving God all that God deserves. Just as the priests have been offering unacceptable sacrifices, so the people have been neglecting to offer their full tithe to God. The result of these shortcomings is that the people come to believe that no good comes out of serving God.


title: Book of Malachi

text: Malachi assures the faithful among his audience that in the eschaton, the differences between those who served God faithfully and those who did not will become clear. The book concludes by calling upon the teachings of Moses and by promising that Elijah will return prior to the Day of Yahweh.


title: Book of Malachi

text: The book of Malachi is divided into three chapters in the Hebrew Bible and the Greek Septuagint and four chapters in the Latin Vulgate. The fourth chapter in the Vulgate consists of the remainder of the third chapter starting at verse 3:19.


title: Book of Malachi

text: The majority of scholars consider the book to be made up of six distinct oracles. According to this scheme, the book of Malachi consists of a series of disputes between Yahweh and the various groups within the Israelite community. In the course of the book's three or four chapters, Yahweh is vindicated while those who do not adhere to the law of Moses are condemned. Some scholars have suggested that the book, as a whole, is structured along the lines of a judicial trial, a suzerain treaty or a covenant—one of the major themes throughout the Hebrew Scriptures. Implicit in the prophet's condemnation of Israel's religious practices is a call to keep Yahweh's statutes.


title: Book of Malachi

text: The Book of Malachi draws upon various themes found in other books of the Bible. Malachi appeals to the rivalry between Jacob and Esau and of Yahweh's preference for Jacob contained in Book of Genesis 25–28. Malachi reminds his audience that, as descendants of Jacob (Israel), they have been and continue to be favoured by God as God's chosen people. In the second dispute, Malachi draws upon the Levitical Code (e.g. Leviticus 1:3) in condemning the priest for offering unacceptable sacrifices.


title: Book of Malachi

text: In the third dispute (concerning divorce), the author of the Book of Malachi likely intends his argument to be understood on two levels. Malachi appears to be attacking either the practice of divorcing Jewish wives in favour of foreign ones (a practice which Ezra vehemently condemns) or, alternatively, Malachi could be condemning the practice of divorcing foreign wives in favour of Jewish wives (a practice which Ezra promoted). Malachi appears adamant that nationality is not a valid reason to terminate a marriage, "For I hate divorce, says the Lord . . ." (2:16).


title: Book of Malachi

text: In many places throughout the Hebrew Scriptures – particularly the Book of Hosea – Israel is figured as Yahweh's wife or bride. Malachi's discussion of divorce may also be understood to conform to this metaphor. Malachi could very well be urging his audience not to break faith with Yahweh (the God of Israel) by adopting new gods or idols. It is quite likely that, since the people of Judah were questioning Yahweh's love and justice (1:2, 2:17), they might be tempted to adopt foreign gods. William LaSor suggests that, because the restoration to the land of Judah had not resulted in anything like the prophesied splendor of the messianic age which had been prophesied, the people were becoming quite disillusioned with their religion.


title: Book of Malachi

text: Indeed, the fourth dispute asserts that judgment is coming in the form of a messenger who "is like refiner's fire and like fullers' soap . . ." (3:2).


title: Book of Malachi

text: Following this, the prophet provides another example of wrongdoing in the fifth dispute – that is, failing to offer full tithes. In this discussion, Malachi has Yahweh request the people to "Bring the full tithe . . . [and] see if I will not open the windows of heaven for you and pour down on you an overflowing blessing" (3:10). This request offers the opportunity for the people to amend their ways. It also stresses that keeping the Lord's statutes will not only allow the people to avoid God's wrath, but will also lead to God's blessing. (It is this portion of Malachi which is used as support for the view that tithing is required of Christians.)


title: Book of Malachi

text: In the sixth dispute, the people of Israel illustrate the extent of their disillusionment. Malachi has them say "'It is vain to serve God . . . Now we count the arrogant happy; evildoers not only prosper, but when they put God to the test they escape'" (3:14–15). Once again, Malachi has Yahweh assure the people that the wicked will be punished and the faithful will be rewarded.


title: Book of Malachi

text: In the light of what Malachi understands to be an imminent judgment, he exhorts his audience to "Remember the teaching of my servant Moses, that statutes and ordinances that I commanded him at Horeb for all Israel" (4:4; 3:22, MT). Before the Day of the Lord, Malachi declares that Elijah (who "ascended in a whirlwind into heaven . . . [,]" 2 Kings 2:11) will return to earth in order that people might follow in God's ways.


title: Book of Malachi

text: Primarily because of its messianic promise, the Book of Malachi is frequently referred to in the Christian New Testament. What follows is a brief comparison between the Book of Malachi and the New Testament texts which refer to it (as suggested in Hill 84–88).


title: Book of Malachi

text: Although many Christians believe that the messianic prophecies of the Book of Malachi have been fulfilled in the life, ministry, transfiguration, death and resurrection of Jesus of Nazareth, most Jews continue to await the coming of the prophet Elijah who will prepare the way for the Lord.


title: Michael Crichton bibliography

text: Michael Crichton (1942–2008) was an American novelist and screenwriter. He wrote 28 novels and his books have sold over 200 million copies worldwide, and over a dozen have been adapted into films.


title: Bill Kazmaier

text: William Kazmaier (born December 30, 1953) is an American former world champion powerlifter, world champion strongman and professional wrestler. During the 1970s and 1980s, he set numerous powerlifting and strongman world records, and won two International Powerlifting Federation (IPF) World Championships and three World's Strongest Man titles. In the 1980s, Kazmaier became famous for his claim to be "the strongest man who ever lived" by equaling and surpassing spectacular and versatile feats of strength of famous strongmen of the 20th century. He is widely considered to be one of the all-time greatest competitors in strength competitions.


title: Bill Kazmaier

text: Kazmaier is of German ancestry. A star athlete in high school, Kazmaier played football for two years at the University of Wisconsin–Madison before dropping out in 1974 to concentrate on lifting weights at the Madison YMCA. There he learned the fundamentals of powerlifting. Kazmaier then struggled to earn a living as an oil rigger, a bouncer, and a lumberjack.


title: Bill Kazmaier

text: At the 1978 Amateur Athletic Union (AAU) National Championships in Los Angeles, California, Kazmaier squatted 782 lbs, bench pressed 534 lbs, and deadlifted 804 lbs in the 275-pound weight class, which immediately placed him in the top rank in his first national powerlifting appearance. In 1979 at age 25, he set a world record with a bench press of 622 lbs on the way to winning his first IPF World Powerlifting Championship in Dayton, Ohio. His winning lifts included an 865 lbs squat, the 622 lbs bench press and an 804 lbs deadlift for a 2291 lbs total. He repeated the success in 1983 by first winning the United States Powerlifting Federation (USPF) National Powerlifting Championships in July and later the IPF World Championship in November for a second time. He won this IPF World Championship despite two major injuries. He had a severe pectoral injury, from which he never recovered completely, and shortly before the IPF Championships, had torn his hip flexors in the squat.


title: Bill Kazmaier

text: The world record bench press in early 1979 was 612 lbs, held by Lars Hedlund. Kazmaier moved the world record stepwise up from 617.3 lbs in July, 1979 to 622.8 lbs in November 1979 to 633.8 lbs in May, 1980 and finally to 661.4 lbs at the USPF West Georgia Open Powerlifting Championships, held in Columbus, Georgia on January 31, 1981. In this competition, Kazmaier officially became the first human to bench press 300 kg (661.4 lbs) (raw) "in an IPF-sanctioned meet"* and recorded his lifetime best three-lift-total of 2425 lbs (1100 kg), a powerlifting world record that remained unsurpassed for more than a decade. His winning lifts were: a 925.9 lbs (420 kg) squat, the 661.4 lbs (300 kg) bench press and an 837.8 lbs (380 kg) deadlift. The bench press and deadlift were done raw (unequipped), while the squat was performed with wraps and a marathon squat suit. His powerlifting performance is regarded as one of the best of all time.


title: Bill Kazmaier

text: In November 1981, Kazmaier became one of the few lifters in history to hold world records in three of the four powerlifting events at the same time by setting a new deadlift world record at 402 kg (886.7 lbs) raw in competition. From 1981 onwards Kazmaier's career was affected by multiple muscle tears and injuries, preventing him from setting the bar even higher. He sustained chest, shoulder and triceps injuries, ruling out further records in the bench press.


title: Bill Kazmaier

text: Kazmaier competed in six World's Strongest Man contests. In 1979 World's Strongest Man, he came in third after leading throughout much of the competition and beating powerlifting icon Don Reinhoudt in the car lift by deadlifting a 2555 lbs car. In the following years, he dominated the competitions in 1980, 1981, and 1982, winning all by a large margin. He was the first man to win the WSM title three times and remains one of only two men ever to win it three times in a row.


title: Bill Kazmaier

text: In his 1980 title win, Kazmaier won five of ten events and tied for first in another. He won the log lift, the engine race, the steel bar bend, the girl squat lift, the silver dollar deadlift, and the final tug of war. The runner-up in the competition, Lars Hedlund, was over 28 points behind.


title: Bill Kazmaier

text: During Kazmaier's title defense at the 1981 World's Strongest Man he won the squat event with 969 lbs (440 kg) (on a smith machine) for a world record, just after tearing his pectoralis major muscle while bending cold rolled steel bars in the bar bend event before. After this tear, he lost more than one-hundred pounds off his bench press, making his 1983 IPF world championship win all that much more significant. Following his win in the squat he went on to win the silver dollar deadlift with a 940 lbs (426.4 kg) lift. Of 11 events he had five wins, two second places, one third and a fourth. His wins included the log lift, deadlift, squat, loading race and engine race.


title: Bill Kazmaier

text: In the 1982 World's Strongest Man competition Kazmaier won the first three events. A notable performance in this WSM was his 1055 lbs silver dollar deadlift.


title: Bill Kazmaier

text: Despite being the reigning champion, the organizers decided not to invite Kazmaier to compete in the following four WSM competitions, with Kazmaier claiming it was because he was "too dominant". His absence cleared the way for Kazmaier's main rival, Geoff Capes, to win the title in 1983. Kazmaier continued to compete in lesser known strongman tournaments, such as the Scottish Power Challenge and the Le Defi Mark Ten International.


title: Bill Kazmaier

text: He returned to the World's Strongest Man Contest in 1988, where he won three of eight events – the log press, the deadlift and the sack race – and took two second places including the truck pull, but he was disqualified for moving his hands in the sausage forward hold, so the time was stopped prematurely. With two events to go, he was leading the field and was the favorite to win the following "weight over the bar event", in which a 56 lbs weight has to be thrown over a bar. He was holding the World Record in this event from the Highland Games 1984 with a height of 18 feet 3 inches. The event took place on water for the first time and Bill's concern about problems with his orientation on water were borne out. Although he threw the weight at least 3 feet higher than the bar, he failed to get the direction right. So he dropped out at only 15 feet 1 inch. With Kazmaier's closest rival Jón Páll Sigmarsson winning the event with a throw over 15 feet 7 inches, Kazmaier came in overall second to Jón Páll. Kazmaier had defeated Sigmarsson in 1987 at the Le Defi Mark Ten event in Canada, and also prior to WSM in 1988, at the World Musclepower Classic.


title: Bill Kazmaier

text: In Kazmaiers' final WSM appearance at the 1989 World's Strongest Man, he severely injured his ankle in the first event and already had a ripped biceps. He came in fourth, directly behind Jón Páll Sigmarsson. Kazmaier was the first man to press the "unliftable" Thomas Inch dumbbell* and became only the fifth person to lift it above the knee, setting this record on October 13, 1990.


title: Bill Kazmaier

text: In addition to WSM contests, Kazmaier also competed in other strongman competitions successfully, such as the Strongbow Strongman Challenge, the Scottish Power Challenge, Le Defi Mark Ten Challenge, the World Muscle Power Championships and the Pure Strength contest. He ended his career as a competitive strongman in 1990.


title: Bill Kazmaier

text: With three Worlds Strongest Man titles, Kazmaier is one of the most successful competitors in the history of the contest. Strength author David Webster called him "the greatest American strength athlete of all time", and a 2008 poll of experts rated him as top superheavyweight lifter of all time and "one of the strongest men who ever lived." He was featured in Flex magazine in May 2008, in which a top ten list of the strongest men in history was published where Kazmaier was voted "the third strongest man that ever lived", just behind Mark Henry and Žydrūnas Savickas.


title: Bill Kazmaier

text: Inspired by Jim Thorpe, Kazmaier sought to transfer his talents to other sports, trying out for the NFL's Green Bay Packers in 1981. He also trained as a wrestler with Verne Gagne and Brad Rheingans, and entered professional wrestling in 1986, with a WWF match in Calgary, Alberta on November 10, 1986, defeating David Barbie. During the 1980s, he had wrestled for promotions such as Stampede Wrestling in Canada and Continental Championship Wrestling in America. He would also wrestle for Fighting Network RINGS in Japan in early 1991.


title: Bill Kazmaier

text: His biggest national exposure came when he debuted for World Championship Wrestling in the summer of 1991. He received several shots at Lex Luger's WCW World Heavyweight Championship but failed to win the title. He also briefly teamed with Rick Steiner, only to lose to The Enforcers in a tournament final for the WCW World Tag Team Championship. At Halloween Havoc 1991, in Chattanooga, he beat Oz by submission. At the 1991 Starrcade Battlebowl: The Lethal Lottery, Kazmaier and his partner Jushin "Thunder" Liger defeated Diamond Dallas Page and Mike Graham in Norfolk, Virginia. While in WCW, Kazmaier also wrestled for New Japan Pro-Wrestling. In NJPW, his theme music was "Poundcake" by Van Halen.


title: Bill Kazmaier

text: Kazmaier opened a fitness club, Kaz Fitness Center, in Auburn, Alabama in the early 1980s. The gym closed in 2005. Kazmaier then opened, and continues to operate, S.W.A.T. gym in Opelika, Alabama. Both served as a place for him to train and as headquarters for DynaKaz Inc., Kazmaier's own exercise equipment import-export company, which markets fitness products worldwide.


title: Bill Kazmaier

text: Upon retiring from active competition in the 1990s, Kazmaier was hired as a co-commentator for the American ESPN broadcast of the annual World's Strongest Man competition along with Todd Harris and 2006 World's Strongest Man winner Phil Pfister. He also comments in the British broadcast.


title: Bill Kazmaier

text: Kazmaier considers his most important contributions to public life to be his work as a motivational speaker for 3D Sports Tech, addressing school and YMCA groups. "I can and I will" is the message he conveys to inspire young people to lead healthier and more productive lives.


title: Bill Kazmaier

text: Bill Kazmaier's nickname is "Kaz". He is the youngest child of William Bartholomew and Florence Louise Steinhoff Kazmaier. He had one brother, two sisters, and a half brother. His father owned soda water bottling plants in Burlington and Kenosha, Wisconsin.


title: Bill Kazmaier

text: In 1974 Kazmaier read a Bible verse in Psalm 40 while at the Madison YMCA and subsequently became a devoted Christian, crediting much of his success and exceptional strength to "the power of Jesus Christ." He lives in Auburn, Alabama and has a son, Eric.


title: Bill Kazmaier

text: Career aggregate total (3 best official lifts) – 1122 kg (420 + 300 + 402) / 2474,0 lbs (925.9 + 661.4 + 886.7)


title: Bill Kazmaier

text: "These are just a few of his accomplishments in his life:" Second, shortly before the IPF Championships, he tore his hip flexors in the squat.


title: Inductive effect

text: In chemistry, the inductive effect in a molecule is a local change in the electron density due to electron-withdrawing or electron-donating groups elsewhere in the molecule, resulting in a permanent dipole in a bond.


title: Inductive effect

text: The halogen atoms in an alkyl halide are electron withdrawing while the alkyl groups have electron donating tendencies. If the electronegative atom (missing an electron, thus having a positive charge) is then joined to a chain of atoms, usually carbon, the positive charge is relayed to the other atoms in the chain. This is the electron-withdrawing inductive effect, also known as the ' effect. In short, alkyl groups tend to donate electrons, leading to the ' effect. Its experimental basis is the ionization constant. It is distinct from and often opposite to the mesomeric effect.


title: Inductive effect

text: Covalent bonds can be polarized depending on the relative electronegativity of the two atoms forming the bond. The electron cloud in a σ-bond between two unlike atoms is not uniform and is slightly displaced towards the more electronegative of the two atoms. This causes a permanent state of bond polarization, where the more electronegative atoms has a fractional negative charge (δ–) and the less electronegative atom has a fractional positive charge (δ+).


title: Inductive effect

text: For example, the water molecule has an electronegative oxygen atom that attracts a negative charge. This is indicated by δ- in the water molecule in the vicinity of the O atom, as well as by a δ+ next to each of the two H atoms. The vector addition of the individual bond dipole moments results in a net dipole moment for the molecule. A polar bond is a covalent bond in which there is a separation of charge between one end and the other - in other words in which one end is slightly positive and the other slightly negative. Examples include most covalent bonds. The hydrogen-chlorine bond in HCl or the hydrogen-oxygen bonds in water are typical.


title: Inductive effect

text: The effect of the sigma electron displacement towards the more electronegative atom by which one end becomes positively charged and the other end negatively charged is known as the inductive effect. " effect is a permanent effect & generally represented by an arrow on the bond."


title: Inductive effect

text: However, some groups, such as the alkyl group, are less electron-withdrawing than hydrogen and are therefore considered as electron-releasing/ electron-donating groups. This is electron-releasing character and is indicated by the effect. In short, alkyl groups tend to give electrons, leading to the induction effect. However, such an effect has been questioned.


title: Inductive effect

text: As the induced change in polarity is less than the original polarity, the inductive effect rapidly dies out and is significant only over a short distance. Moreover, the inductive effect is permanent but feeble since it involves the shift of strongly held σ-bond electrons and other stronger factors may overshadow this effect.


title: Inductive effect

text: Relative inductive effects have been experimentally measured with reference to hydrogen, in increasing order of "" effect or decreasing order of effect, as follows:


title: Inductive effect

text: And <chem>C-H<C-D<C-T</chem> in increasing order of "+I" effect, where H is Hydrogen and D is Deuterium and T is Tritium. All are isotopes of hydrogen. <br>The strength of inductive effect is also dependent on the distance between the substituent group and the main group that react; the longer the distance, the weaker the effect.


title: Inductive effect

text: Inductive effects can be expressed quantitatively through the Hammett equation, which describes the relationship between reaction rates and equilibrium constants with respect to substituent.


title: Inductive effect

text: The inductive effect can be used to determine the stability of a molecule depending on the charge present on the atom and the groups bonded to the atom. For example, if an atom has a positive charge and is attached to a group its charge becomes 'amplified' and the molecule becomes more unstable. Similarly, if an atom has a negative charge and is attached to a group its charge becomes 'amplified' and the molecule becomes more unstable. In contrast, if an atom has a negative charge and is attached to a group its charge becomes 'de-amplified' and the molecule becomes more stable than if I-effect was not taken into consideration. Similarly, if an atom has a positive charge and is attached to a group its charge becomes 'de-amplified' and the molecule becomes more stable than if I-effect was not taken into consideration. The explanation for the above is given by the fact that more charge on an atom decreases stability and less charge on an atom increases stability.


title: Inductive effect

text: The inductive effect also plays a vital role in deciding the acidity and basicity of a molecule. Groups having effect (Inductive effect) attached to a molecule increases the overall electron density on the molecule and the molecule is able to donate electrons, making it basic. Similarly, groups having effect attached to a molecule decreases the overall electron density on the molecule making it electron deficient which results in its acidity. As the number of groups attached to a molecule increases, its acidity increases; as the number of groups on a molecule increases, its basicity increases.


title: Inductive effect

text: The strength of a carboxylic acid depends on the extent of its ionization constant: the more ionized it is, the stronger it is. As an acid becomes stronger, the numerical value of its pK drops.


title: Inductive effect

text: In acids, the electron-releasing inductive effect of the alkyl group increases the electron density on oxygen and thus hinders the breaking of the O-H bond, which consequently reduces the ionization. Due to its greater ionization, formic acid (pK=3.74) is stronger than acetic acid (pK=4.76). Monochloroacetic acid (pK=2.82), though, is stronger than formic acid, due to the electron-withdrawing effect of chlorine promoting ionization.


title: Inductive effect

text: In benzoic acid, the carbon atoms which are present in the ring are "sp hybridised". As a result, benzoic acid (pK=4.20) is a stronger acid than cyclohexanecarboxylic acid (pK=4.87). Also, in aromatic carboxylic acids, electron-withdrawing groups substituted at the "ortho" and "para" positions can enhance the acid strength.


title: Inductive effect

text: Since the carboxyl group is itself an electron-withdrawing group, dicarboxylic acids are, in general, stronger acids than their monocarboxyl analogues.


title: Inductive effect

text: The Inductive effect will also help in polarization of a bond making certain carbon atom or other atom positions.


title: Chase Coleman III

text: Charles Payson "Chase" Coleman III (born June 1975) is an American billionaire hedge fund manager, and the founder of Tiger Global Management. As of October 2021, his net worth is estimated at US$10.3 billion.


title: Chase Coleman III

text: Coleman grew up in Glen Head, Long Island. His father, C. Payson Coleman Jr., born in 1950, is a partner at the New York law firm Pillsbury Winthrop Shaw Pittman, and his mother, Kim Coleman, owns an interior design firm.


title: Chase Coleman III

text: His grandfather, Charles Payson Coleman, who was managing partner of the New York law firm Davis Polk & Wardwell until his death in 1982, was married to Mimi C. Thompson (), a descendant of Peter Stuyvesant, the last Dutch Governor who surrendered New Amsterdam to the British.


title: Chase Coleman III

text: Coleman followed his father to both Deerfield Academy and Williams College, where he graduated in 1997, and was co-captain of the lacrosse team.


title: Chase Coleman III

text: He started his career in 1997, working for Julian Robertson and his hedge fund, Tiger Management. Coleman had grown up with Robertson’s son, Spencer, who lived close to Glen Head, in Locust Valley. In 2000, Robertson closed his fund, and entrusted Coleman with over $25 million to manage, making him one of the 30 or more so-called "Tiger Cubs", fund managers who started their fund management careers with Tiger Management. “I’ve known Chase since he was a young boy on Long Island and a good friend of my son Spencer,” [Julian] Robertson said.


title: Chase Coleman III

text: Coleman serves as partner of the investment firm he founded, Tiger Global Management. The hedge fund was an early investor in both Facebook and LinkedIn.


title: Chase Coleman III

text: On the "Forbes" 2019 list of the world's billionaires, he was ranked #458 with a net worth of US$4.5 billion. According to "Business Insider", he was born into "old money" and has made a lot of "new money" as well. According to "Institutional Investor", he made an estimated $2.5 billion in 2020.


title: Chase Coleman III

text: In 2012 Coleman donated US $31,000 to the National Republican Senatorial Committee and US $5,000 to Mitt Romney's presidential campaign. He has also donated to Democratic candidates, including $10,000 to New York Governor Andrew Cuomo, $4,950 to Manhattan Borough President Scott Stringer, and $2,700 to New York Senator Charles Schumer.


title: Chase Coleman III

text: Coleman married Stephanie Ercklentz, the daughter of lawyer Enno Ercklentz Jr. and Mai Harrison and step-daughter of Ridgely W. Harrison Jr., at Bethesda-by-the-Sea, Palm Beach, Florida, in 2005. She is a Wellesley College graduate who worked in investment banking for Merrill Lynch and Marketing and PR for Anne Klein and Vera Wang. Ercklentz was featured in the film, "Born Rich", a 2003 documentary about growing up in the world's richest families. Her mother, Mai Harrison (née Vilms), is the grand-niece of Jüri Vilms, a member of the Estonian Salvation Committee and leader of the Estonian Independence Movement.


title: Chase Coleman III

text: The couple resides in New York City with their 4 children. In 2007, they bought an estate on Meadow Lane in Southampton for $32.5 million. In 2008, they bought the entire sixth floor of a Fifth Avenue building at 66th Street from Veronica Hearst, the daughter-in-law of William Randolph Hearst, for US$36.5 million. In 2016, the Colemans bought the fifth floor for $52 million and infamously allowed party guests to graffiti the walls in 2018 before demolition to combine it with their existing home. They also own properties in Palm Beach, Florida.


title: BloodPop

text: Michael Tucker (born August 15, 1990), known professionally as BloodPop (stylized as BloodPop), is an American musician, record producer, and songwriter. He has previously used the monikers Blood Diamonds, Blood, and Michael Diamond. He is known for writing and producing songs for Lady Gaga, Britney Spears, Justin Bieber, Madonna, and John Legend. In 2017, he released a collaboration with Bieber, "Friends", as his debut single under the BloodPop moniker.


title: BloodPop

text: Tucker was born in Kansas City, Missouri, United States. Tucker studied jazz guitar in school and, under the guidance of Cody Critcheloe of SSION, learned how to produce music in his parents' basement while he studied at the Kansas City Art Institute. He moved to Vancouver in the late 2000s to study video editing and bonded with fellow creatives while frequently DJ'ing at school parties. In his spare time, he continued producing music with Ableton and sporadically released glitchy, multi-layered electropop instrumentals online, eventually catching the attention of Transparent Records and dubstep artist Skrillex's Owsla imprint. He then relocated to Los Angeles.


title: BloodPop

text: After relocating to Los Angeles and using the monikers "Blood" and "Blood Diamonds", Tucker began to make his mark by working with established artists. He collaborated with Grimes (on his debut 2011 EP, "Phone Sex", and later on her 2014 track, "Go"), while also being drafted in to officially remix tracks by artists such as Kendrick Lamar, Beyoncé, Ellie Goulding, and Major Lazer. In 2014, he worked alongside fellow producers Avicii and DJ Dahl on Madonna's 13th album. The record, "Rebel Heart," was released the following year, with Tucker providing input on the tracks "Devil Pray", "Iconic", and "Body Shop". Tucker also earned a prominent production credit for smash hit, "Sorry", on "Purpose", the fourth album by Justin Bieber, in 2015.


title: BloodPop

text: Tucker then went on to produce tracks for Britney Spears, Fifth Harmony, and Hana before working on Lady Gaga's 2016 album, "Joanne", alongside Mark Ronson and Kevin Parker of Tame Impala. Tucker began operating under the name BloodPop that year, and he rounded off 2016 by producing John Legend's "What You Do to Me". The following year saw him return with a remix of "Little of Your Love" by indie pop trio Haim, as well as a single co-written with Bieber entitled "Friends". 2019 saw Tucker issue the jubilant single "Newman" under the BloodPop moniker, as well as contributing to Post Malone's "Internet".


title: BloodPop

text: Tucker executive produced Lady Gaga's sixth studio album, "Chromatica," including lead single, "Stupid Love".


title: BloodPop

text: Tucker has been dating American songwriter and producer Hana since May 2013. They met in a recording session.


title: The Haunted Mansion (2003 film)

text: The Haunted Mansion is a 2003 American supernatural horror comedy film directed by Rob Minkoff and based on Walt Disney's theme park attraction of the same name. The film stars Eddie Murphy as a realtor who, along with his family, becomes trapped in a haunted mansion. Terence Stamp, Nathaniel Parker, Marsha Thomason, and Jennifer Tilly appear in supporting roles.


title: The Haunted Mansion (2003 film)

text: The film was theatrically released in the United States on November 26, 2003, to mostly negative reviews from critics but performed well at the box office with $182.3 million worldwide on a $90 million budget. A reboot directed by Justin Simien is set to be released in August 2023.


title: The Haunted Mansion (2003 film)

text: Jim and Sara Evers are successful realtors with two children, Michael and Megan. A workaholic with little time for his family, Jim misses his wedding anniversary and tries to make amends by suggesting a vacation to the nearby lake. Sara is contacted by the occupants of Gracey Manor, located in the nearby bayou; Jim, eager to make a deal after learning where the mansion is, takes his family there, meeting its owner, Edward Gracey, his butler Ramsley and his other servants; maid Emma and footman Ezra.


title: The Haunted Mansion (2003 film)

text: When a rainstorm floods the nearby river, Gracey lets the family stay for the night. Ramsley takes Jim to the library to discuss the deal with Gracey, but Jim becomes trapped in a secret passage. Gracey gives Sara a tour of the mansion, discussing his past and his “grandfather’s” death after the suicide of his lover, Elizabeth Henshaw. Megan and Michael follow a spectral orb to the attic, where they find a portrait of a woman that bears an almost identical resemblance to Sara. Emma and Ezra appear, and identify the woman as the late Elizabeth.


title: The Haunted Mansion (2003 film)

text: Meanwhile, Jim meets Madame Leota, the ghost of a gypsy whose head is encased in a crystal ball. He runs into Emma, Ezra and his children, and returns to Leota for answers about Elizabeth's likeness to Sara. It is then revealed that the mansion's inhabitants are ghosts, cursed a century ago by Elizabeth's and Gracey's untimely deaths, and can only enter the afterlife when the lovers are reunited; Sara is believed to be Elizabeth's reincarnation. Leota sends the Evers to the mansion's cemetery to find a key that will reveal the truth about Elizabeth's death. In a crypt beneath a mausoleum, Jim and Megan find the key, but inadvertently disturb its undead residents. However, they escape with help from Michael, who overcomes his arachnophobia.


title: The Haunted Mansion (2003 film)

text: Leota leads them to a trunk in the attic, which Jim unlocks to find a letter Elizabeth wrote to Gracey, revealing she truly loved him and wanted to marry him, indicating that she did not commit suicide as everyone believed. Ramsley then appears and reveals he murdered Elizabeth to prevent Gracey from abandoning his heritage, as he believed their relationship was unacceptable. To hide the truth, Ramsley traps the children in a trunk and literally throws Jim out of the mansion. As Gracey and Sara rendezvous in the ballroom, she is confused when he asks if she recognizes him, and he insists she is his beloved Elizabeth. The room fills with dancing ghosts as Gracey reveals his ghostly self, but Sara denies being Elizabeth. This gives Gracey second thoughts, but Ramsley insists that Sara "is" Elizabeth and, in time, she will remember. Ramsley then blackmails Sara into marrying Gracey in exchange for her children's safety.


title: The Haunted Mansion (2003 film)

text: Encouraged by Leota, Jim manages to re-enter the mansion, rescue his children, and stop Sara and Gracey's wedding. He gives Gracey Elizabeth's letter and Ramsley's crime is exposed. As Gracey angrily confronts Ramsley, the latter hypocritically rages at his master's apparent selfishness for loving Elizabeth and summons wraiths to attack the group. However, with the truth revealed, a fiery entity emerges from the ballroom's fireplace and drags Ramsley down to Hell to face eternal punishment. Ramsley attempts to take Jim with him, but he is saved by Gracey. Sara collapses, having been poisoned by Ramsley during the wedding ceremony, but the spectral orb appears and possesses Sara. The orb is revealed to be Elizabeth's ghost, who could only be released from her current form once the truth was revealed, and thanks Jim for saving her. Elizabeth and Gracey reunite as Sara is subsequently revived.


title: The Haunted Mansion (2003 film)

text: With the curse finally lifted, Gracey gives the Evers the deed to the mansion and departs to Heaven with Elizabeth, Emma, Ezra, and the mansion's other inhabitants. The Evers drive across the Lake Pontchartrain Causeway for a proper vacation, accompanied by Leota and four singing busts that they encountered while searching for the mausoleum, strapped to the back of their car.


title: The Haunted Mansion (2003 film)

text: The film's chief makeup artist Rick Baker appears in the graveyard scene as a ghost behind a tombstone, using an appearance based on a portrait of the Ghost Host seen in the attraction. The cast also includes an uncredited Martin Klebba as Pickwick, one the ghosts in the graveyard, albeit unnamed and only known as "Happy Ghost" and director Rob Minkoff's nephew, who appears as the paperboy in the opening scene.


title: The Haunted Mansion (2003 film)

text: The mansion scenes were filmed at Sable Ranch in Santa Clarita, California. The main building was constructed over a period of weeks while the cupola and chimneys on the top of the mansion were computer-generated. The rest of film was shot in New Orleans and surrounding areas. The mansion's architecture is Renaissance-influenced with a mix of antebellum and Dutch-colonial revival architecture. One evidence of this is the exterior design, which is a mix-up of the attraction's exteriors in both Disneyland and Walt Disney World, with the conservatory being a nod to the latter.


title: The Haunted Mansion (2003 film)

text: Five Hidden Mickeys are seen throughout the film; the most notable ones being the padlock at the mansion's gates, the second when an axe wielded by an animated suit of armor nearly hits Jim, and a third which is briefly seen when Ramsley poisons a goblet of wine during the wedding ceremony. Two other hidden mickeys are the couch in the library and the windows on the doors Jim passes when he is chased by musical instruments summoned by Madame Leota. Before leaving the mansion via a hearse to find the mausoleum, Ezra exclaims "there's always my way," a pivotal line of dialogue from the attraction.


title: The Haunted Mansion (2003 film)

text: The costume and special effects designers wanted the ghost characters to become "more dead" the farther they were from the mansion. While Ezra and Emma look human in the house, their leaving it causes them to become blue and transparent. The zombies in the mausoleum were described as the "deadest as they are farthest away". Rick Baker, the chief costume designer, did the prosthetic makeup for the zombies in the mausoleum, using skull heads for the zombie design. He also designed one of the zombies as an elderly man holding a cane in order for the mausoleum scene not to be too frightening to viewers.


title: The Haunted Mansion (2003 film)

text: This was the first film to air on Disney Channel to contain any profanity besides "hell" or "damn", the "Big ass termites!" line uttered by Jim when he sees the breathing door.


title: The Haunted Mansion (2003 film)

text: In the opening scene of the film, Nathaniel Parker had great difficulty trying to carry Marsha Thomason up the staircase, which is shown on the expressions of his face. This was due to her slippery silk dress.


title: The Haunted Mansion (2003 film)

text: According to Box Office Mojo, "The Haunted Mansion" grossed $24,278,410 on its opening weekend with an average of $7,776 per theatre in the United States. With the domestic gross at $75,847,266, the film gained more than a quarter of the earnings of its theme-ride predecessor "". The film achieved better in other markets, with an international total of $106,443,000.


title: The Haunted Mansion (2003 film)

text: On Rotten Tomatoes, the film has a rating of 14% based on 140 reviews and an average rating of 4.2/10. The site's critical consensus reads, "Neither scary nor funny, "The Haunted Mansion" is as lifeless as the ghosts in the movie." On Metacritic, the film has a score of 34 out of 100 based on 34 critics, indicating "generally unfavorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.


title: The Haunted Mansion (2003 film)

text: David Sterritt of Christian Science Monitor wrote "While it may supply giggles and shivers to preteens, grownups should think twice before entering this all-too-haunted house." Roger Ebert in "The Chicago Sun-Times" gave the film two and a half stars out of a possible four, writing "The surprising thing about "The Haunted Mansion" isn't that it's based on a Disney theme park ride, but that it has ambition. It wants to be more than a movie version of the ride. I expected an inane series of nonstop action sequences, but what I got was a fairly intriguing story and an actual plot that is actually resolved. That doesn't make the movie good enough to recommend, but it makes it better than the ads suggest." In one of the film's positive reviews, Sheri Linden of Hollywood Reporter called the film "A pleasant and atmospheric family romp, offering enough mildly chilling thrills to keep everyone entertained during its brief running time."


title: The Haunted Mansion (2003 film)

text: Although considered a critical and box office failure upon its release, "The Haunted Mansion" has undergone a reassessment over the past several years. Like "Clue" (1985), "The Monster Squad" (1987), and "Hocus Pocus" (1993), all similar dark-yet-broadly-comical films that initially opened to poor reviews and disappointing box office results before growing an appreciative audience over time, "The Haunted Mansion" has grown in popularity since its original theatrical run and has achieved cult status, as noted by media outlets such as Insider Inc. and Full Circle Cinema.


title: The Haunted Mansion (2003 film)

text: Author and Disney historian Jeff Baham attributes the film's increased popularity to its original intended audience — the pre-teens and teens who saw it during its initial release and subsequent home video release — who have grown up with an appreciation for the film, and who now, as adults, are introducing it to their own children:


title: The Haunted Mansion (2003 film)

text: On episode 35 of the Doombuggies podcast, published May 13, 2022 and entitled "The Haunted Mansion Movies," Baham expands on this:


title: The Haunted Mansion (2003 film)

text: "The Haunted Mansion" is now a popular Halloween movie and is regularly featured on Halloween season cable programming blocks such as ABC Family's "13 Nights of Halloween". The film also appears on many lists of "Best Halloween Movies" (especially the youth-centric lists) including those of "Elle", Country Living, "Today", We Got This Covered, Woman’s Day, Redbook, Good Housekeeping, and others.


title: The Haunted Mansion (2003 film)

text: The film was released on VHS and DVD on April 20, 2004. The film was released on Blu-Ray disc on October 17, 2006.


title: The Haunted Mansion (2003 film)

text: In July 2010, it was announced that a reboot adaptation based on Disney's The Haunted Mansion was in development for Walt Disney Pictures, with Guillermo del Toro as writer and producer. The film remained in development until Ryan Gosling entered early negotiations to star in April 2015, while D.V. DeVincentis was hired to rewrite the script. In September 2016, Brigham Taylor was hired as an additional producer.


title: The Haunted Mansion (2003 film)

text: In August 2020, it was announced that writer Katie Dippold would write a new screenplay, and that Dan Lin and Jonathan Eirich would co-produce. Justin Simien signed on as director in April 2021, and Tiffany Haddish, Lakeith Stanfield, Owen Wilson, Rosario Dawson, and Danny DeVito had all signed on to star by October that same year. The film is scheduled for release on August 11, 2023.


title: The Twilight Zone (1959 TV series, season 1)

text: The first season of "The Twilight Zone" aired Fridays at 10:00–10:30 pm (EST) on CBS from October 2, 1959, to July 1, 1960. There are 36 episodes, including the pilot, "Where Is Everybody?" The theme music for this season, written by Bernard Herrmann, is different from the music most commonly associated with the series, written by Marius Constant for the second season onwards.


text: The opening intro for most of these episodes features a series of lagoon graphics by UPA, with Rod Serling's narration:


text: "There is a fifth dimension, beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination. It is an area which we call "The Twilight Zone"."


text: A different intro was used for the final four episodes, featuring an animated close-up of an eye that metamorphosed into a setting sun and an abridged version of Herrmann's theme music. Serling's narration for this went as follows:


text: "You are about to enter another dimension. A dimension not only of sight and sound but of mind. A journey into a wondrous land of imagination. Next stop—"The Twilight Zone"."


text: The graphics for this opening were by Pacific Title, as were those for the openings in the subsequent seasons.


text: At least one episode, "Mr. Denton on Doomsday", is known to have had this opening dubbed over the original lagoon opening when it was aired as a summer repeat in 1960. The following summer, a number of first-season episodes had the second season intro dubbed over the original when they were aired as repeats. The original openings have since been restored for those episodes.


text: Segments of the original first season intro continued to be used as an intermission graphic up through season three.


title: Shadow play

text: Shadow play, also known as shadow puppetry, is an ancient form of storytelling and entertainment which uses flat articulated cut-out figures (shadow puppets) which are held between a source of light and a translucent screen or scrim. The cut-out shapes of the puppets sometimes include translucent color or other types of detailing. Various effects can be achieved by moving both the puppets and the light source. A talented puppeteer can make the figures appear to walk, dance, fight, nod and laugh.


title: Shadow play

text: Shadow play is popular in various cultures, among both children and adults in many countries around the world. More than 20 countries are known to have shadow show troupes. Shadow play is an old tradition and it has a long history in Southeast Asia, especially in Indonesia, Malaysia, Thailand, and Cambodia. It has been an ancient art and a living folk tradition in China, India, Iran and Nepal. It is also known in Egypt, Turkey, Syria, Greece, Germany, France, and the United States.


title: Shadow play

text: Shadow play probably developed from "par" shows with narrative scenes painted on a large cloth and the story further related through song. As the shows were mostly performed at night the par was illuminated with an oil lamp or candles. Shadow puppet theatre likely originated in Central Asia-China or in India in the 1st millennium BCE. By at least around 200 BCE, the figures on cloth seem to have been replaced with puppetry in Indian "tholu bommalata" shows. These are performed behind a thin screen with flat, jointed puppets made of colorfully painted transparent leather. The puppets are held close to the screen and lit from behind, while hands and arms are manipulated with attached canes and lower legs swinging freely from the knee.


title: Shadow play

text: The evidence of shadow puppet theatre is found in both old Chinese and Indian texts. The most significant historical centers of shadow play theatre have been China, Southeast Asia and the Indian subcontinent.


title: Shadow play

text: According to Martin Banham, there is little mention of indigenous theatrical activity in the Middle East between the 3rd century CE and the 13th century, including the centuries that followed the Islamic conquest of the region. The shadow puppet play, states Banham, probably came into vogue in the Middle East after the Mongol invasions and thereafter it incorporated local innovations by the 16th century. Little mention of shadow play is found in Islamic literature of Iran, but much is found in Turkish and 19th-century Ottoman Empire-influenced territories.


title: Shadow play

text: While shadow play theatre is an Asian invention, hand puppets have a long history in Europe. As European merchant ships sailed in the search of sea routes to India and China, they helped diffuse popular entertainment arts and cultural practices into Europe. Shadow theatre became popular in France, Italy, Britain and Germany by the 17th century. In France, shadow play was advertised as "ombres chinoises", while elsewhere they were called "magic lantern". Goethe helped build a shadow play theatre in Tiefurt in 1781.


title: Shadow play

text: According to Stephen Herbert, the popular shadow theatre evolved nonlinearly into projected slides and ultimately into cinematography. The common principle in these innovations were the creative use of light, images and a projection screen. According to Olive Cook, there are many parallels in the development of shadow play and modern cinema, such as their use of music, voice, attempts to introduce colors and mass popularity.


title: Shadow play

text: Richard Bradshaw is an Australian shadow puppeteer known for his characters like "Super Kangaroo". Bradshaw's puppetry has been featured in television programs made by Jim Henson as well as the long-running ABC children's TV series "Play School".


title: Shadow play

text: The Shadow Theatre of Anaphoria (relocated to Australia from California) combines a mixture of reconstructed and original puppets with multiple sources of lights. The company is under the direction of Kraig Grady.


title: Shadow play

text: Australian company Shadowplay Studios' debut game "Projection: First Light" was inspired by shadow puppetry and its art style replicates the traditional shadow play canvas using black props and sepia backgrounds. They visited Richard Bradshaw to gain more insight into shadow puppetry, to make their game more authentic and to get references for the game's shadow puppet characters.


title: Shadow play

text: In Cambodia, the shadow play is called "Nang Sbek Thom", or simply as "Sbek Thom" (literally "large leather hide"), "Sbek Touch" ("small leather hide") and "Sbek Por" ("colored leather hide").


title: Shadow play

text: It is performed during sacred temple ceremonies, at private functions, and for the public in Cambodia's villages. The popular plays include the "Ramayana" and "Mahabharata" epics, as well as other Hindu myth and legends. The performance is accompanied by a pinpeat orchestra.


title: Shadow play

text: The "Sbek Thom" is based on the Cambodian version of the Indian epic "Ramayana", an epic story about good and evil involving Rama, Sita, Lakshmana, Hanuman and Ravana. It is a sacred performance, embodying Khmer beliefs built on the foundations and mythologies of Brahmanism and Buddhism.


title: Shadow play

text: Cambodian shadow puppets are made of cowhide, and their size are usually quite large, depicting a whole scene, including its background. Unlike their Javanese counterparts, Cambodian shadow puppets are usually not articulated, rendering the figure's hands unmovable, and are left uncolored, retaining the original color of the leather. The main shadow puppet production center is Roluos near Siem Reap. Cambodian shadow puppetry is one of the cultural performances staged for tourists alongside Cambodian traditional dances.


title: Shadow play

text: The "Sbek Thom" figures are unlike puppets because they are large and heavy, with no moveable parts. The "Sbek Touch", in contrast, are much smaller puppets with movable parts; their shows have been more popular. The "Sbek Thom" shadow play involves many puppeteers dancing on the screen, each puppeteer playing one character of the "Ramayana", while separate narrators recite the story accompanied by an orchestra.


title: Shadow play

text: There are several myths and legends about the origins of shadow puppetry in China. The most famous one has it that Chinese shadow puppetry originated when the favorite concubine of Emperor Wu of Han (156 BCE – 87 BCE) died and magician Shao-weng promised to raise her spirit. The emperor could see a shadow that looked like her move behind the curtains that the magician had placed around some lit torches. It is often told that the magician used a shadow puppet, but the original text in "Book of Han" gives no reason to believe in a relation to shadow puppetry. Although there are many earlier records of all kinds of puppetry in China, clear mention of Chinese shadow play does not occur until the Northern Song dynasty (960–1127). A 1235 book mentions that the puppets were initially cut out of paper, but later made of colored leather or parchment. The stories were mostly based on history and half fact half fiction, but comedies were also performed.


title: Shadow play

text: Shadow theatre became quite popular as early as the Song dynasty, when holidays were marked by the presentation of many shadow plays. During the Ming dynasty there were 40 to 50 shadow show troupes in the city of Beijing alone. The earliest shadow theatre screens were made of mulberry paper. The storytellers generally used the art to tell events between various war kingdoms or stories of Buddhist sources. Today, puppets made of leather and moved on sticks are used to tell dramatic versions of traditional fairy tales and myths. In Gansu province, it is accompanied by Daoqing music, while in Jilin, accompanying Huanglong music forms some of the basis of modern opera.


title: Shadow play

text: The origins of Taiwan's shadow puppetry can be traced to the Chaochow school of shadow puppet theatre. Commonly known as leather monkey shows or leather shows, the shadow plays were popular in Tainan, Kaohsiung, and Pingtung as early as the Qing dynasty (1644–1911 A.D.). Older puppeteers estimate that there were at least seventy shadow puppet troupes in the Kaohsiung area alone in the closing years of the Qing. Traditionally, the eight to twelve-inch puppet figures, and the stage scenery and props such as furniture, natural scenery, pagodas, halls, and plants, are all cut from leather. As shadow puppetry is based on light penetrating through a translucent sheet of cloth, the "shadows" are actually silhouettes seen by the audience in profile or face on. Taiwan's shadow plays are accompanied by Chaochow melodies which are often called "priest's melodies" owing to their similarity with the music used by Taoist priests at funerals. A large repertoire of some 300 scripts of the southern school of drama used in shadow puppetry and dating back to the fourteenth and fifteenth centuries has been preserved in Taiwan and is considered to be a priceless cultural asset.


title: Shadow play

text: In Plato's allegory of the cave (circa 380 BCE), Socrates described a kind of shadow play with figures made out of stone, wood, or other materials, presented to prisoners who in all of their life could see nothing more than the shadows on the wall in front of them. This was an imaginative illustration of ideas about (false or limited) the relations between knowledge, education and a truthful understanding of reality. Plato compared a wall that screens off the people who carry the figures to the kind of partitions used by puppet (marionette) players to hide behind. Apparently, there was no existing form of shadow theatre known in ancient Greece that Socrates/Plato could refer to.


title: Shadow play

text: Shadow plays started spreading throughout Europe at the end of the 17th century, probably via Italy. It is known that several Italian showmen performed in Germany, France and England during this period.


title: Shadow play

text: In 1675 German polymath and philosopher Gottfried Wilhelm Leibniz imagined a kind of world exhibition that would show all kinds of new inventions and spectacles. In a handwritten document he supposed it should include shadow theatre.


title: Shadow play

text: French missionaries brought the shadow show from China to France in 1767 and put on performances in Paris and Marseilles, causing quite a stir. In time, the "ombres chinoises" (French for "Chinese shadows") with local modification and embellishment, became the "ombres françaises" and struck root in the country. The popularity of "ombres chinoises" reflected the chinoiserie fashion of the days.


title: Shadow play

text: French showman François Dominique Séraphin first presented his shadow spectacle in a hôtel particulier in Versailles in 1771. He would go on to perform at the Palace of Versailles in front of royalty. In 1784 Séraphin moved to Paris, performing his shows at his permanent theatre in the newly opened Palais-Royal from 8 September 1784. The performances would adapt to the political changes and survived the French Revolution. Séraphin developed the use of clockwork mechanisms to automate the show. His nephew took over the show after Séraphin's death in 1800 and it was continued by his heirs until the theatre closed in 1870.


title: Shadow play

text: The art was a popular entertainment in Paris during the 19th century, especially in the famous Paris nightclub district of Montmartre. The cabaret Le Chat noir ("The Black Cat") produced 45 "Théatre d'ombres" shows between 1885 and 1896 under the management of Rodolphe Salis. Behind a screen on the second floor of the establishment, the artist Henri Rivière worked with up to 20 assistants in a large, oxy-hydrogen back-lit performance area and used a double optical lantern to project backgrounds. Figures were originally cardboard cut-outs, but were replaced with zinc figures since 1887. Various artists took part in the creation, including Steinlen, Adolphe Willette and Albert Robida. Caran d'Ache designed circa 50 cut-outs for the very popular 1888 show "L'Epopée". Musée d'Orsay has circa 40 original zinc figures in its collection. Other cabarets would produce their own versions; the "ombres" evolved into numerous theatrical productions and had a major influence on phantasmagoria.


title: Shadow play

text: In Italy, the Museum of Precinema collezione Minici Zotti in Padua houses a collection of 70 French shadow puppets, similar to those used in the cabaret Le Chat Noir, together with an original theatre and painted backdrops, as well as two magic lanterns for projecting scenes. So far, the shadow plays identified are "La Marche a l'étoile" (introduced by Henri Rivière), "Le Sphinx" (introduced by Amédée Vignola), "L'Âge d'or" and "Le Carneval de Venise". The shadow puppets were presumably created for a tour in France or abroad at the end of the 19th century.


title: Shadow play

text: Nowadays, several theatre companies in France are developing the practice of shadow puppets: Le Théâtre des Ombres, Le Théâtre du Petit Miroir, Le Théâtre Les Chaises, and La Loupiote.


title: Shadow play

text: Shadow puppets are an ancient part of India's culture, particularly regionally as the "keelu bomme" and "Tholu bommalata" of Andhra Pradesh, the "Togalu gombeyaata" in Karnataka, the "charma bahuli natya" in Maharashtra, the "Ravana chhaya" in Odisha, the "Tholpavakoothu" in Kerala and the "thol bommalatta" in Tamil Nadu. Shadow puppet play is also found in pictorial traditions in India, such as temple mural painting, loose-leaf folio paintings, and the narrative paintings. Dance forms such as the Chhau of Odisha literally mean "shadow". The shadow theatre dance drama theatre are usually performed on platform stages attached to Hindu temples, and in some regions these are called "Koothu Madams" or "Koothambalams". In many regions, the puppet drama play is performed by itinerant artist families on temporary stages during major temple festivals. Legends from the Hindu epics "Ramayana" and the "Mahabharata" dominate their repertoire. However, the details and the stories vary regionally.


title: Shadow play

text: During the 19th century and early parts of the 20th century of the colonial era, Indologists believed that shadow puppet plays had become extinct in India, though mentioned in its ancient Sanskrit texts. In the 1930s and thereafter, states Stuart Blackburn, these fears of its extinction were found to be false as evidence emerged that shadow puppetry had remained a vigorous rural tradition in central Kerala mountains, most of Karnataka, northern Andhra Pradesh, parts of Tamil Nadu, Odisha and southern Maharashtra. The Marathi people, particularly of low caste, had preserved and vigorously performed the legends of Hindu epics as a folk tradition. The importance of Marathi artists is evidenced, states Blackburn, from the puppeteers speaking Marathi as their mother tongue in many non-Marathi speaking states of India.


title: Shadow play

text: According to Beth Osnes, the "tholu bommalata" shadow puppet theatre dates back to the 3rd century BCE, and has attracted patronage ever since. The puppets used in a "tholu bommalata" performance, states Phyllis Dircks, are "translucent, lusciously multicolored leather figures four to five feet tall, and feature one or two articulated arms". The process of making the puppets is an elaborate ritual, where the artist families in India pray, go into seclusion, produce the required art work, then celebrate the "metaphorical birth of a puppet" with flowers and incense.


title: Shadow play

text: The "tholu pava koothu" of Kerala uses leather puppets whose images are projected on a backlit screen. The shadows are used to creatively express characters and stories in the "Ramayana". A complete performance of the epic can take forty-one nights, while an abridged performance lasts as few as seven days. One feature of the "tholu pava koothu" show is that it is a team performance of puppeteers, while other shadow plays such as the "wayang" of Indonesia are performed by a single puppeteer for the same "Ramayana" story. There are regional differences within India in the puppet arts. For example, women play a major role in shadow play theatre in most parts of India, except in Kerala and Maharashtra. Almost everywhere, except Odisha, the puppets are made from tanned deer skin, painted and articulated. Translucent leather puppets are typical in Andhra Pradesh and Tamil Nadu, while opaque puppets are typical in Kerala and Odisha. The artist troupes typically carry over a hundred puppets for their performance in rural India.


title: Shadow play

text: Shadow puppet theatre is called "wayang" in Indonesia, wherein a dramatic story is told through shadows thrown by puppets and sometimes combined with human characters. Wayang is an ancient form of storytelling that renowned for its elaborate puppets and complex musical styles. The earliest evidence is from the late 1st millennium CE, in medieval-era texts and archeological sites. Around 860 CE an Old Javanese charter issued by Maharaja Sri Lokapala mentions three sorts of performers: atapukan, aringgit, and abanol. Ringgit is described in an 11th-century Javanese poem as a leather shadow figure.


title: Shadow play

text: "Wayang kulit", a style of "wayang" shadow play, is particularly popular in Java and Bali. The term derived from the word "wayang" literally means "shadow" or "imagination" in Javanese; it also connotes "spirit". The word "kulit" means "skin", as the material from which the puppet is made is thin perforated leather sheets made from buffalo skin.


title: Shadow play

text: Performances of shadow puppet theater in Bali are typically at night, lasting until dawn. The complete "wayang kulit" troupes include "dalang" (puppet master), "nayaga" (gamelan players), and "sinden" (female choral singer). Some of the "nayaga" also perform as male choral singers. The "dalang" (puppet master) performs the "wayang" behind the cotton screen illuminated by oil lamp or modern halogen lamp, creating visual effects similar to animation. The flat puppet has moveable joints that are animated by hand, using rods connected to the puppet. The handle of the rod is made of carved buffalo horn. On November 7, 2003, UNESCO designated "wayang kulit" from Indonesia as one of the Masterpieces of the Oral and Intangible Heritage of Humanity.


title: Shadow play

text: In Malaysia, shadow puppet plays are also known as "wayang kulit". In Malay, "wayang" means "theater", while "kulit" means "skin/leather" and refers to the puppets that are made out of leather. Stories presented are usually mythical and morality tales. There is an educational moral to the plays, which usually portray a battle. Malay shadow plays are sometimes considered one of the earliest examples of animation. The "wayang kulit" in the northern states of Malaysia such as Kelantan is influenced by and similar to Thai shadow puppets, while the "wayang kulit" in the southern Malay peninsula, especially in Johor, is borrowed from Javanese Indonesian "wayang kulit" with slight differences in the story and performance.


title: Shadow play

text: The puppets are made primarily of leather and manipulated with sticks or buffalo horn handles. Shadows are cast using an oil lamp or, in modern times, a halogen light, onto a cotton cloth background. They are often associated with gamelan music.


title: Shadow play

text: Shadow theatre in Thailand is called "nang yai"; in the south there is a tradition called "nang talung". "Nang yai" puppets are normally made of cowhide and rattan. Performances are normally accompanied by a combination of songs and chants. Performances in Thailand were temporarily suspended in 1960 due to a fire at the national theatre. "Nang" drama has influenced modern Thai cinema, including filmmakers like Cherd Songsri and Payut Ngaokrachang.


title: Shadow play

text: A more bawdy comedy tradition of shadow play was widespread throughout the Ottoman Empire, possibly since the late 14th century. It was centered around the contrasting interaction between the figures Karagöz and Hacivat: an unprincipled peasant and his fussy, educated companion. Together with other characters they represented all the major social groups in Ottoman culture. The theatres had an enormous following and would take place in coffee houses and in rich private houses and even performed before the sultan. Every quarter of the city had its own Karagöz.


title: Shadow play

text: The Karagöz theatre consisted of a three sided booth covered with a curtain printed with branches and roses and a white cotton screen by about three feet by four which was inserted in the front. The performance had a three man orchestra who sat at the foot of a small raised stage where they would play for the audience. The show would start when the puppet master lit the oil lamp. The show could be introduced by a singer, accompanied by a tambourine player. The background and scenery would sometimes include moving ships, riders moving on horseback, swaying palm trees and even dragons. The sound effects included songs and various voices.


title: Shadow play

text: Puppets were made to be about 15 inches or 35–40 centimeters high and oiled to make them look translucent. The puppets were made of either horse, water buffalo or calf skin. They had movable limbs and were jointed with waxed thread at the neck, arms, waist and knees and manipulated from rods in their back and held by the finger of the puppet master. The hide is worked until it is semi-transparent; then it is colored, resulting in colorful projections. Karagöz theatre was also adapted in Egypt and North Africa.


title: Shadow play

text: In the 1910s, the German animator Lotte Reiniger pioneered silhouette animation as a format, whereby shadow-play-like puppets are filmed frame-by-frame. This technique has been kept alive by subsequent animators and is still practised today, though cel animation and computer animation has also been used to imitate the look of shadow play and silhouette animation. By the 1920s, shadow puppetry had breached the world of German Expressionism, through the silent film Warning Shadows.


title: Shadow play

text: Traditional Chinese shadow puppetry was brought to audiences in the United States in the 1920s and 1930s through the efforts of Pauline Benton. Contemporary artists such as Annie Katsura Rollins have perpetuated the medium, sometimes combining the form with Western theatre.


title: Shadow play

text: Shadow theatre is still popular in many parts of Asia. Prahlad Acharya is one famous Indian magician who incorporates it into his performances.


title: Nicholas Mosley

text: Nicholas Mosley, 3rd Baron Ravensdale, 7th Baronet, MC, FRSL (25 June 1923 – 28 February 2017) was an English novelist.


title: Nicholas Mosley

text: Mosley was born in London in 1923. He was the eldest son of Sir Oswald Mosley, 6th Baronet, a British politician, and his first wife, Lady Cynthia Mosley, a daughter of The 1st Marquess Curzon of Kedleston (Viceroy of India and later, at the time of Nicholas's birth, Foreign Secretary). In 1932 his father, Sir Oswald Mosley, founded the British Union of Fascists and became an open supporter of Benito Mussolini. The following year, when he was only 9, Nicholas's mother, Lady Cynthia, died, and in 1936 Diana Mitford, one of the Mitford sisters, who was already his father's mistress, became his stepmother.


title: Nicholas Mosley

text: As a young boy he began to stammer, and attended weekly sessions with the speech therapist Lionel Logue to help him manage it. He later said that his father claimed never really to have noticed this stammer, but still, he may, as a result of it, have been less aggressive when speaking to him than towards other people. Mosley was educated at Eton and Balliol College, Oxford. In 1940, his father was interned because of his campaigning against the war with Germany. The younger Mosley was still soon commissioned into the Rifle Brigade and saw active service in Italy, winning the Military Cross in 1945.


title: Nicholas Mosley

text: In 1966, Mosley succeeded his aunt Irene Curzon, 2nd Baroness Ravensdale, his mother's elder sister, as Baron Ravensdale, thus gaining a seat in the House of Lords. On the death of his father, on 3 December 1980, he also succeeded to the Mosley Baronetcy of Ancoats. In 1983, two years after his father's death, Lord Ravensdale published "Beyond the Pale: Sir Oswald Mosley and Family 1933–1980" in which he proved to be a harsh critic of his father. He called into question his father's motives and understanding of politics. The book contributed to the Channel 4 television programme "Mosley" (1998), based on Oswald Mosley's life. At the end of the serial, Nicholas is portrayed meeting his father in prison to ask him about his national allegiance.


title: Nicholas Mosley

text: He was a half-brother of Max Mosley, former President of the Fédération Internationale de l'Automobile (FIA).


title: Nicholas Mosley

text: Mosley married twice and was the father of five children. On 14 November 1947 he married firstly Rosemary Laura Salmond (divorced 1974, died 1991), daughter of Sir John Maitland Salmond and the Honourable Monica Margaret Grenfell, and they had four children:


title: Nicholas Mosley

text: In 1974, after a divorce, he married secondly Verity Elizabeth Raymond, daughter of John Raymond, and had one son:


title: M. G. Ramachandran filmography

text: M. G. Ramachandran (17 January 1917 – 24 December 1987), popularly known by his initials "MGR", was an Indian actor, director and producer who had an extensive career primarily in Tamil language films. After starring in numerous commercially successful films from the 1950s to the early 1970s, he has continued to hold a matinée idol status in Tamil Nadu. Ramachandran made his debut in Ellis R. Dungan's 1936 film "Sathi Leelavathi", where he played a police inspector. He followed it with a string of minor appearances and supporting roles in many films, notably "Ashok Kumar" (1941), where he played the general of emperor Ashoka's army, and as a captain in Dungan's "Meera" (1945).


title: M. G. Ramachandran filmography

text: Ramachandran's breakthrough came with his first lead role in A. S. A. Sami's swashbuckler film "Rajakumari" (1947) where he played a villager who marries a princess. Based on the "Arabian Nights", "Rajakumari" was a commercially successful venture. He established himself as an action hero akin to Errol Flynn and Douglas Fairbanks in Tamil cinema with "Manthiri Kumari" (1950) and "Marmayogi" (1951). Both films had political undertones which earned Ramachandran a Robin Hood persona of being a champion for the downtrodden. His performance as the caring brother Rajendran who tries to keep his family together in "En Thangai" (1952) earned him critical acclaim. In 1953, he made his debut in Malayalam films opposite B. S. Saroja in "Genova". Ramachandran continued to play roles which enabled him to adopt his ideas of fighting injustice meted out to the poor such as an outlaw in "Malaikkallan" (1954), and "Nadodi Mannan" (1958). In the latter, he featured in dual roles, as a king and a commoner, for the first time in his career. Both "Malaikkallan" and "Nadodi Mannan" were commercially successful, becoming the highest-grossing films of their respective release years. In addition to social dramas, Ramachandran received positive feedback and commercial success for swashbuckler films such as "Alibabavum 40 Thirudargalum" (1956), the first South Indian full-length colour film, "Madurai Veeran" (1956), "Chakravarthi Thirumagal" (1957), and "Mahadevi" (1957).


title: M. G. Ramachandran filmography

text: According to Ashish Rajadhyaksha and Paul Willemen in the book "Encyclopedia of Indian Cinema", the success of Ramachandran's 1961 film "Thirudathe," marked a beginning of transition to roles that had "a contemporary setting". He often played "a saintly member of an oppressed class". The act of showering love and affection for his family members was a recurring theme in his films during this period. The films he appeared in during the 1960s played a crucial part in his subsequent career as a politician. The 1963 comedy-drama film "Periya Idathu Penn" had him play a farmer who seeks revenge from his village's zamindar. The following year, he appeared in "Thozhilali" as a bus conductor who exposes the fraudulent methods of a rival bus company, and in "Padagotti" as a fisherman who resolves to end the dispute between two fishing communities. In 1965, he collaborated with Tapi Chanakya in "Enga Veettu Pillai", where he featured as twins of opposite natures, one a coward and the other courageous. He also featured in B. R. Panthulu's "Aayirathil Oruvan" the same year as a doctor who joins, and later becomes the leader of, a rebellion against a dictator. Both the films were major commercial successes. The romantic comedy "Anbe Vaa" (1966), where Ramachandran played an industrialist and was his only film under AVM Productions, is considered an antithesis of the roles he was doing during this period and was also commercially successful. He continued to achieve success at the box-office with films like "Arasa Kattalai" and "Kaavalkaaran" (both released in 1967), also garnering acclaim for the latter. Ramachandran's portrayal of twins, a club dancer and a criminal, who are separated as children in "Kudiyirundha Koyil" (1968) garnered him the Tamil Nadu State Film Award for Best Actor. In 1969, he appeared as a prince who brings down a tyrant who usurps his throne and mistreats his people in K. Shankar's "Adimai Penn", and as a government clerk who masquerades as a billionaire to defeat the corrupt trio of a doctor, a builder and a merchant in "Nam Naadu". The former won him the Best Film at the Tamil Nadu State Film Awards.


title: M. G. Ramachandran filmography

text: Ramachandran began the 1970s with roles in such social dramas as "Mattukkara Velan" and "Engal Thangam" (both released in 1970), both of which enjoyed commercial success. The following year, he received the National Film Award for Best Actor for his role as a cycle rickshaw driver in "Rickshawkaran", making it the first film and him the first actor from South Indian cinema to win the award. It went on to become the highest-grossing film of the year. He then directed and produced the science fiction film "Ulagam Sutrum Valiban" (1973) where he also starred in dual roles as brothers, a scientist and a CBI officer. It became his most commercially successful film to that point. Ramachandran retired from filmmaking in 1978 to take up his duties as the Chief Minister of Tamil Nadu; his last venture, entitled "Madhuraiyai Meetta Sundharapandiyan," was a commercial failure.


title: World record progression 50 metres freestyle

text: The first world record in the men's 50 metres freestyle in long course (50 metres) swimming was recognized by the International Swimming Federation (FINA) in 1976. In the short course (25 metres) swimming events the world's governing body recognizes world records since March 3, 1991.


text: The drop in world record times in the 2008/2009 coincided with the introduction of polyurethane suits from Speedo (LZR, 50% polyurethane) in 2008 and by Arena (X-Glide), Adidas (Hydrofoil) and Italian swimming suit manufacturer Jaked (all 100% polyurethane) in 2009. FINA's ban on non-textile suit came into effect in January 2010. FINA also released a list of approved suits.


title: Libor

text: The London Inter-Bank Offered Rate is an interest-rate average calculated from estimates submitted by the leading banks in London. Each bank estimates what it would be charged were it to borrow from other banks. The resulting average rate is usually abbreviated to Libor () or LIBOR, or more officially to ICE LIBOR (for Intercontinental Exchange LIBOR). It was formerly known as BBA Libor (for British Bankers' Association Libor or the trademark bba libor) before the responsibility for the administration was transferred to Intercontinental Exchange. It is the primary benchmark, along with the Euribor, for short-term interest rates around the world. Libor was phased out at the end of 2021, and market participants are being encouraged to transition to risk-free interest rates.


title: Libor

text: As of late 2022, parts of it have been discontinued, and the rest is scheduled to end within 2023; the Secured Overnight Financing Rate (SOFR) is its replacement.


title: Libor

text: Libor rates are calculated for five currencies and seven borrowing periods ranging from overnight to one year and are published each business day by Thomson Reuters. Many financial institutions, mortgage lenders, and credit card agencies set their own rates relative to it. At least $350 trillion in derivatives and other financial products are tied to Libor.


title: Libor

text: In June 2012, multiple criminal settlements by Barclays Bank revealed significant fraud and collusion by member banks connected to the rate submissions, leading to the Libor scandal. The British Bankers' Association said on 25 September 2012 that it would transfer oversight of Libor to UK regulators, as proposed by Financial Services Authority managing director Martin Wheatley's independent review recommendations. Wheatley's review recommended that banks submitting rates to Libor must base them on actual inter-bank deposit market transactions and keep records of those transactions, that individual banks' Libor submissions be published after three months, and recommended criminal sanctions specifically for manipulation of benchmark interest rates. Financial institution customers may experience higher and more volatile borrowing and hedging costs after implementation of the recommended reforms. The UK government agreed to accept all of the Wheatley Review's recommendations and press for legislation implementing them.


title: Libor

text: Significant reforms, in line with the Wheatley Review, came into effect in 2013 and a new administrator took over in early 2014. The British government regulates Libor through criminal and regulatory laws passed by Parliament. In particular, the Financial Services Act 2012 brings Libor under UK regulatory oversight and creates a criminal offence for knowingly or deliberately making false or misleading statements relating to benchmark-setting.


title: Libor

text: The London Interbank Offered Rate (LIBOR) came into widespread use in the 1970s as a reference interest rate for transactions in offshore Eurodollar markets.


title: Libor

text: In 1984, it became apparent that an increasing number of banks were trading actively in a variety of relatively new market instruments, notably interest rate swaps, foreign currency options and forward rate agreements. While recognizing that such instruments brought more business and greater depth to the London Inter-bank market, bankers worried that future growth could be inhibited unless a measure of uniformity was introduced. In October 1984, the British Bankers' Association (BBA)—working with other parties, such as the Bank of England—established various working parties, which eventually culminated in the production of the BBA standard for interest rate swaps, or "BBAIRS" terms. Part of this standard included the fixing of BBA interest-settlement rates, the predecessor of BBA Libor. From 2 September 1985, the BBAIRS terms became standard market practice. BBA Libor fixings did not commence officially before 1 January 1986. Before that date, however, some rates were fixed for a trial period commencing in December 1984.


title: Libor

text: Member banks are international in scope, with more than sixty nations represented among its 223 members and 37 associated professional firms as of 2008. Seventeen banks for example currently contribute to the fixing of US Dollar Libor. The panel contains the following member banks:


title: Libor

text: Libor is widely used as a reference rate for many financial instruments in both financial markets and commercial fields. There are three major classifications of interest rate fixings instruments, including standard inter bank products, commercial field products, and hybrid products that often use Libor as their reference rate.


title: Libor

text: In the United States in 2008, around sixty percent of prime adjustable-rate mortgages and nearly all subprime mortgages were indexed to the US dollar Libor. In 2012, around 45 percent of prime adjustable rate mortgages and more than 80 percent of subprime mortgages were indexed to the Libor. American municipalities also borrowed around 75 percent of their money through financial products that were linked to the Libor. In the UK, the three-month British pound Libor is used for some mortgages—especially for those with adverse credit history. The Swiss franc Libor is also used by the Swiss National Bank as their reference rate for monetary policy.


title: Libor

text: The usual reference rate for euro denominated interest rate products, however, is the Euribor compiled by the European Banking Federation from a larger bank panel. A euro Libor does exist, but mainly, for continuity purposes in swap contracts dating back to pre-EMU times. The Libor is an estimate and is not intended in the binding contracts of a company. It is, however, specifically mentioned as a reference rate in the market standard International Swaps and Derivatives Association documentation, which are used by parties wishing to transact in over-the-counter interest rate derivatives.


title: Libor

text: The British Bankers' Association published a basic guide to the BBA Libor, which contains a great deal of detail as to its history and its current calculation.


title: Libor

text: Libor is calculated by the Intercontinental Exchange (ICE) and published by Refinitiv. It is an index that measures the cost of funds to large global banks operating in London financial markets or with London-based counterparties. Each day, the BBA surveys a panel of banks (18 major global banks for the USD Libor), asking the question, "At what rate could you borrow funds, were you to do so by asking for and then accepting interbank offers in a reasonable market size just prior to 11 am?" The BBA throws out the highest four and lowest four responses, and averages the remaining middle ten, yielding a 22% trimmed mean. The average is reported at 11:30 am.


title: Libor

text: Libor is actually a set of indexes. There are separate Libor rates reported for seven different maturities (length of time to repay a debt) for each of five currencies. The shortest maturity is overnight, the longest is one year. In the United States, many private contracts reference the three-month dollar Libor, which is the index resulting from asking the panel what rate they would pay to borrow dollars for three months.


title: Libor

text: In 1986, the Libor initially fixed rates for three currencies. These were the US dollar, British pound sterling and the Deutsche Mark. Over time this grew to sixteen currencies. After a number of these currencies in 2000 merged into the euro, there remained ten currencies. Following reforms of 2013 Libor rates are calculated for five currencies.


title: Libor

text: Until 1998, the shortest duration rate was one month, after which the rate for one week was added. In 2001, rates for a day and two weeks were introduced Following reforms of 2013 Libor rates are calculated for 7 maturities.


title: Libor

text: GBP and CHF LIBOR futures are traded on Intercontinental Exchange (ICE) and on CurveGlobal, part of the London Stock Exchange Group. USD LIBOR futures (aka Eurodollar futures) are traded on the Chicago Mercantile Exchange. JPY LIBOR futures (aka Euroyen futures) are traded on the Tokyo Financial Exchange and the Chicago Mercantile Exchange.


title: Libor

text: Interest rate swaps based on short Libor rates currently trade on the interbank market for maturities up to 50 years. In the swap market a "five-year Libor" rate refers to the five-year swap rate where the floating leg of the swap references three- or six-month Libor (this can be expressed more precisely as for example "5-year rate vs 6-month Libor"). "Libor + basis points", when talking about a bond, means that the bond's cash flows have to be discounted on the swaps' zero-coupon yield curve shifted by basis points to equal the bond's actual market price. The day count convention for Libor rates in interest rate swaps is Actual/360, except for the GBP currency for which it is Actual/365 (fixed).