title: Republicanism in Australia

text: The Labor Party has supported constitutional change to become a republic since 1991 and has incorporated republicanism into its platform. Labor is currently the only party that proposes a series of plebiscites to restart the republican process. Along with this, Labor spokesperson (and former federal attorney general) Nicola Roxon has previously said that reform will "always fail if we seek to inflict a certain option on the public without their involvement. This time round, the people must shape the debate". In the 2019 federal election, Labor's platform included a two-stage referendum on a republic to be held during the next parliamentary term; however, Labor was defeated in the election.


title: Republicanism in Australia

text: The Greens party is a strong proponent for an Australian republic, and this is reflected in the Greens 'Constitutional Reform & Democracy' policy. In 2009, the Greens proposed legislation to hold a plebiscite on a republic at the 2010 federal election. The bill was subject to a Senate inquiry, which made no recommendation on the subject, and the proposal was subsequently dropped.


title: Republicanism in Australia

text: The Australian Democrats, Australia's third party from the 1970s until the 2000s, strongly supported a move towards a republic through a system of an elected Head of State through popular voting.


title: Farooq Sheikh

text: Farooq Shaikh (25 March 1948 − 28 December 2013) was an Indian actor, philanthropist and television presenter. He was best known for his work in Hindi films from 1973 to 1993 and for his work in television between 1988 and 2002. He returned to acting in films in 2008 and continued to do so until his death on 28 December 2013. His major contribution was in Parallel Cinema or the New Indian Cinema. He worked with directors like Satyajit Ray, Sai Paranjpye, Muzaffar Ali, Hrishikesh Mukherjee and Ketan Mehta.


title: Farooq Sheikh

text: He acted in serials and shows on television and performed on stage in productions such as "Tumhari Amrita" (1992), alongside Shabana Azmi, directed by Feroz Abbas Khan, and presented the TV show, "Jeena Isi Ka Naam Hai" (Season 1). He won the 2010 National Film Award for Best Supporting Actor for "Lahore".


title: Farooq Sheikh

text: Shaikh was born in 1948 at Amroli, a village 90 km off Vadodara, Gujarat, India to Farida and Mustafa Shaikh. His father was a lawyer who worked in Bombay and whose family came from Hansot in the Bharuch district of Gujarat. Shaikh's family were landowners, and he grew up in luxurious surroundings in Nagpada, Bombay. He was the eldest of five children.


title: Farooq Sheikh

text: Shaikh attended St. Mary's School in Bombay and then graduated from St. Xavier's College in the city before studying law at Siddharth College of Law, following his father into the profession. He did not, however, undertake a legal career, instead choosing theatre, having acted in college.


title: Farooq Sheikh

text: At St Xavier's Shaikh met Roopa, his future wife. Both were active in theatre and were later married after nine years; the couple have two daughters Sanaa and Shaista. His time at St. Xavier's was important for both personal and professional reasons and he made many friends there, including Sunil Gavaskar, who was a contemporary. Actor Shabana Azmi, then known mainly as the daughter of noted poet Kaifi Azmi, was Roopa's classmate at St Xavier's.


title: Farooq Sheikh

text: In his early days, he was active in theatre, doing plays with IPTA and with well-known directors like Sagar Sarhadi. In 1973, while Shaikh was in his final year of law school, "MS Sathyu" approached him for his directorial debut "Garam Hawa". His first major film role was in the 1973 film "Garam Hawa", where Farooque had a supporting role and the leading man was Balraj Sahni. The film is credited for being a pioneer of a new wave of Hindi Art cinema. His salary for his debut film was only Rs. 750. He first gained recognition as a quiz master on radio, but it was his participation as an anchor on Bombay Doordarshan shows such as Yuvadarshan and Young World that made him a household name. Shaikh in "Gaman" (1978) acted as the migrant Bombay taxi driver from Badaun in Uttar Pradesh hoping to return to meet his wife, but never saves up enough to return home. He went on to act in several notable films such as Satyajit Ray's "Shatranj Ke Khiladi" (Chess Players) (1977), "Noorie" (1979), "Chashme Buddoor" (1981), "Umrao Jaan" (1981), "Bazaar" (1982), "Saath Saath" (1982), "Rang Birangi" (1983), "Kissi Se Na Kehna" (1983), "Ek Baar Chale Aao" (1983), "Katha" (1983), "Ab Ayega Mazaa" (1984), "Salma" (1985), "Faasle" (1985), "Peechha Karo" (1986), "Biwi Ho To Aisi" (1988), and "Maya Memsaab" (1993). He formed a successful pair with Deepti Naval. He also did a slightly negative role in "Katha".


title: Farooq Sheikh

text: He was paired opposite Shabana Azmi in Sagar Sarhadi's "Lorie", Kalpana Lajmi's "Ek Pal" and Muzaffar Ali's "Anjuman" (1986) and then in the play "Tumhari Amrita". His chemistry with Deepti Naval led to them being cast opposite each other in nine films, namely "Chashme Buddoor", "Katha", "Saath Saath", "Kissi Se Na Kehna", "Rang Birangi", "Ek Baar Chale Aao", "Tell Me Oh Khuda", "Faasle" and "Listen... Amaya". They also appeared as the lead pair in an episode on Hasrat Mohani in the TV serial "Kahkashan".


title: Farooq Sheikh

text: In 2002, in an interview with The Times of India, Shaikh said, "I have never been commercially viable. People recognise me, smile and wave at me — but I have never received marriage proposals written in blood. In his heyday in 70s and 80s, when Rajesh Khanna drove down a street, the traffic stopped — I don't mind not receiving this kind of adulation. But I do miss not having been able to command the kind of work I wanted which Khanna could always do. I miss not being 100 per cent commercially viable like him."


title: Farooq Sheikh

text: In the 1990s, he acted in fewer films. But resurfaced in notable roles in the 2000s. He appeared in "Saas Bahu Aur Sensex" (2008) and "Lahore" (2009), for which he won the 2010 National Film Award for Best Supporting Actor. He appeared as Bunny (Ranbir Kapoor)'s father in "Yeh Jawaani Hai Deewani" (2013). His last film as the leading man was "Club 60" (2013) which was also his last release before his death. Realbollywood.com said about his performance in the film: "As a grieving father who won't allow his loss to be forgotten, he hits all the right notes treading that thin line between melancholy and maudlin with majestic grace." He also appeared in "Youngistaan" and "Children of War", both of which released in 2014, after his demise.


title: Farooq Sheikh

text: In the 80s-90s, Farooque Shaikh appeared in several television serials. He played the title role in an episode dedicated to the poet and freedom fighter Hasrat Mohani in the TV series "Kahkashan" (1988) with Deepti Naval playing his wife. He also worked in the famous TV serial "Shrikant" which aired on Doordarshan from 1987 to 1991. This show was an adaptation of Sarat Chandra Chattopadhyay's novel. This was followed by "Aahaa" on Zee. "Chamatkar" on Sony and "Ji Mantriji" (an adaptation of "Yes, Minister"),on Star Plus were other notable successes. Shaikh also had a cameo in Life OK's "Do Dil Ek Jaan", where he was seen as the leading lady's father in the initial episodes.


title: Farooq Sheikh

text: Earlier in the 70s he compered the Binny Double or Quits Quiz contest, which was telecast over Vividh Bharati.


title: Farooq Sheikh

text: His career on stage that began as a student at St. Xavier's College in the late 1960s reached its peak in the famous play "Tumhari Amrita". It was directed by Feroz Abbas Khan and also featured Shabana Azmi.


title: Farooq Sheikh

text: He hosted the TV show "Jeena Issi Ka Naam Hai", in which he interviewed celebrities from the Hindi film world. His sense of humour and direct humble approach was the USP of the show.


title: Farooq Sheikh

text: Lesser known is his contribution to the UNICEF polio eradication programme. He made several extensive trips to two polio-endemic states, Bihar and Uttar Pradesh, and worked closely with its programme teams who were working with communities to get greater acceptance for the polio vaccine.


title: Farooq Sheikh

text: Farooque Shaikh died of a heart attack in the early hours of 28 December 2013 in Dubai, where he was on holiday with his family. His funeral prayers, held in Mumbai at Millat Nagar Andheri Mosque on 30 December 2013 in the evening, were attended by many personalities, including Javed Akhtar and Shabana Azmi. He was buried in Muslim Qabristan, Four Bungalows, Andheri West. His grave is near that of his mother.


title: Kim Hyo-jin

text: Kim Hyo-jin (; born February 10, 1984) is a South Korean actress and model. She began modeling in teen magazines, and made her acting debut in 1999. She is best known for playing the youngest of the three sisters in sex comedy film "Everybody Has Secrets". She made her theater debut in 2009 in the play "A Midsummer Night's Dream" and followed this up by appearing in the theatrical production "Fool for Love" a year later. In 2020, she played a con artist in the television drama "Private Lives".


title: Kim Hyo-jin

text: Kim began her career modeling in teen magazines, and made her acting debut in 1999. After a series of forgettable roles, she is best known for playing the youngest of the three sisters in sex comedy film "Everybody Has Secrets", and the female lead in family drama "I Am Happy".


title: Kim Hyo-jin

text: Though she continues to act in mainstream films and TV dramas such as "Mary Stayed Out All Night", in recent years Kim has become more adventurous in her choice of projects. She made her theater debut in the plays "A Midsummer Night's Dream", and "Fool for Love", then made an acting leap into queer cinema. Kim said portraying a bisexual in "Five Senses of Eros" (later expanded to "In My End Is My Beginning") and a lesbian in "Life is Peachy" was not a problem for her: "I approached the film in this way: Two people meet and fall in love. And the person that I fall in love with happens to be a woman."


title: Kim Hyo-jin

text: In 2011 Kim replaced Han Chae-young in the Korea-China-Japan joint production "Strangers 6", which tells the story of six individuals assigned by the highest level authorities of their respective countries to protect the three countries' joint economic area from being infiltrated by a hostile organization. Filming in Japan was delayed by the 2011 earthquake and tsunami, and the TV series aired on Japan's WOWOW TV and Korea's Channel A in 2012.


title: Kim Hyo-jin

text: After appearing in Im Sang-soo's erotic suspense drama "The Taste of Money", Kim starred opposite Hidetoshi Nishijima in the Korea-Japan joint production "Genome Hazard", a film adaptation of Tsukasaki Siro's same-titled sci-fi mystery novel.


title: Kim Hyo-jin

text: In 2020, after a long hiatus, she appeared in television drama "Private Lives" (JTBC), playing a con artist alongside Seohyun and Go Kyung-pyo.


title: Kim Hyo-jin

text: Kim first met actor-director Yoo Ji-tae in 2003 when they were models for a clothing brand, and their friendship turned into a romantic relationship in 2006. One of the few Korean star couples who openly admitted their dating status, they are very active in charitable organizations, and in 2011 were both appointed as honorary ambassadors for World Vision.


title: Kim Hyo-jin

text: They announced their engagement in August 2011 (Kim reportedly turned down a movie role to prepare for her upcoming nuptials), and subsequently released pre-wedding photos. Their minimalist invitation was made from environmentally friendly paper and had the number 1,825 written on it, the exact amount of the days the two have spent together as a couple. They were married at the Shilla Hotel in Seoul on December 2, 2011. The date marked the couple's fifth anniversary together and was booked by Yoo one year in advance despite landing on a Friday – an unusual day for a wedding. The ceremony was officiated by the president of World Vision Korea; Yoo and Kim then donated a portion of their monetary gifts to the organization to help build an elementary and middle school in Myanmar. The couple have two sons, born on July 5, 2014 and April 15, 2019.


title: Carol Lawrence

text: Carol Lawrence (born Carolina Maria Laraia; September 5, 1932) is an American actress, appearing in musical theatre and on television. She is known for creating the role of Maria on Broadway in the musical "West Side Story" (1957), receiving a nomination for the Tony Award for Best Featured Actress in a Musical. She appeared at The Muny, St. Louis, in several musicals, including "Funny Girl". She also appeared in many television dramas, including "Rawhide" and "Murder She Wrote". She was married to fellow performer Robert Goulet.


title: Carol Lawrence

text: Born Carolina Maria Laraia on September 5, 1932, in Melrose Park, Illinois, her parents were of Italian ancestry. Her father was born in Trivigno, in the province of Potenza, and her maternal family came from the same town. Laraia graduated from Proviso Township High School, in Maywood, Illinois. She spent one year at Northwestern University and then left to pursue her career.


title: Carol Lawrence

text: Lawrence made her Broadway debut in 1952 in Leonard Sillman's "New Faces of 1952". She achieved success in the role of Maria in the original Broadway production of "West Side Story" in 1957, for which she received a Tony Award for Best Featured Actress in a Musical nomination, losing to Barbara Cook ("The Music Man"). She played the role for two years, and after an appearance in the short-lived show "Saratoga" in 1959 she returned to "West Side Story" for its 1960 season. Other Broadway successes were "Subways Are for Sleeping", "I Do! I Do!" (replacement "She/Agnes", 1967), and "Kiss of the Spider Woman" (1992–93, replacement Spider Woman/Aurora).


title: Carol Lawrence

text: She made a few record albums of standards and showtunes including "Tonight at 8:30" (1960), where she sang studio versions of the songs "Tonight", and "Something's Coming", both from "West Side Story".


title: Carol Lawrence

text: She played several roles at The Muny in St. Louis, Missouri, the largest outdoor theater in the U.S., including Fanny Brice in "Funny Girl" (1975), Charity in "Sweet Charity" (1977), and Lucille Early in "No, No, Nanette" (1990). Among her other musical theatre parts are the title role in "Mame" (2000 at the Helen Hayes Center for Performing Arts in Nyack, New York), Guenevere in "Camelot" (opposite husband Robert Goulet), "Do I Hear a Waltz?" at the Pasadena Playhouse (2001), and "Follies" at the Wadsworth Theatre in Los Angeles in 2002.


title: Carol Lawrence

text: Her television performances include a guest role in "Breaking Point" (as Evelyn Denner in the 1963 episode titled "There Are the Hip, and There Are the Square").


title: Carol Lawrence

text: In October 1976, she appeared as the special guest on the popular weekly variety program "The Bobby Vinton Show", which aired across the United States and Canada. She performed "Friend of the Father". Other appearances include "Rawhide"; "Combat!"; "Wagon Train"; "The Fugitive"; "The Big Valley"; "Hawaii 5-0"; "Marcus Welby, M.D."; "Medical Center"; "Kung Fu"; "Mannix"; "Murder, She Wrote"; "Saved by the Bell"; and "Sex and the City".


title: Carol Lawrence

text: From 1991 to 1993, she played the role of matriarch Angela Eckart on "General Hospital". She hosted five shows of "Chef du Jour" for the Food Network, cooking from "I Remember Pasta", her own cookbook, and setting a record for cookbook sales on the Home Shopping Network.


title: Carol Lawrence

text: In 1999, she appeared in the television movie remake of Jason Miller's "That Championship Season" in a cameo role as Claire's mother (the mother-in-law of Vincent D'Onofrio's character), a role written into the film specifically for her. In 2013, she appeared Off-Broadway at the Westside Theatre Downstairs in Jason Odell Williams's play "Handle with Care."


title: Carol Lawrence

text: Lawrence has written her autobiography, with Phyllis Hobe, titled "Carol Lawrence: The Backstage Story", published in 1990.


title: Carol Lawrence

text: Lawrence and Goulet married while both were Broadway stars; their romance was treated in the press like a fairy-tale. In her 1990 book "Carol Lawrence: The Backstage Story," she accused Goulet of having alcoholism and being an abusive husband and father.


title: Carol Lawrence

text: Lawrence, a registered Democrat, accompanied Democratic National Committee (DNC) Chairman John Bailey, DNC Vice-Chairwoman Margaret B. Price, DNC Secretary Dorothy Vredenburgh Bush, Lena Horne, Richard Adler, and Sidney Salomon on a visit with President John F. Kennedy at The White House on November 20, 1963; two days before his assassination.


title: Phosphor

text: A phosphor is a substance that exhibits the phenomenon of luminescence; it emits light when exposed to some type of radiant energy. The term is used both for fluorescent or phosphorescent substances which glow on exposure to ultraviolet or visible light, and cathodoluminescent substances which glow when struck by an electron beam (cathode rays) in a cathode-ray tube.


title: Phosphor

text: When a phosphor is exposed to radiation, the orbital electrons in its molecules are excited to a higher energy level; when they return to their former level they emit the energy as light of a certain color. Phosphors can be classified into two categories: fluorescent substances which emit the energy immediately and stop glowing when the exciting radiation is turned off, and phosphorescent substances which emit the energy after a delay, so they keep glowing after the radiation is turned off, decaying in brightness over a period of milliseconds to days.


title: Phosphor

text: Fluorescent materials are used in applications in which the phosphor is excited continuously: cathode-ray tubes (CRT) and plasma video display screens, fluoroscope screens, fluorescent lights, scintillation sensors, and white LEDs, and luminous paints for black light art. Phosphorescent materials are used where a persistent light is needed, such as glow-in-the-dark watch faces and aircraft instruments, and in radar screens to allow the target 'blips' to remain visible as the radar beam rotates. CRT phosphors were standardized beginning around World War II and designated by the letter "P" followed by a number.


title: Phosphor

text: Phosphorus, the light-emitting chemical element for which phosphors are named, emits light due to chemiluminescence, not phosphorescence.


title: Phosphor

text: The scintillation process in inorganic materials is due to the electronic band structure found in the crystals. An incoming particle can excite an electron from the valence band to either the conduction band or the exciton band (located just below the conduction band and separated from the valence band by an energy gap). This leaves an associated hole behind, in the valence band. Impurities create electronic levels in the forbidden gap. The excitons are loosely bound electron–hole pairs that wander through the crystal lattice until they are captured as a whole by impurity centers. The latter then rapidly de-excite by emitting scintillation light (fast component). In the case of inorganic scintillators, the activator impurities are typically chosen so that the emitted light is in the visible range or near-UV, where photomultipliers are effective. The holes associated with electrons in the conduction band are independent from the latter. Those holes and electrons are captured successively by impurity centers exciting certain metastable states not accessible to the excitons. The delayed de-excitation of those metastable impurity states, slowed by reliance on the low-probability forbidden mechanism, again results in light emission (slow component).


title: Phosphor

text: Phosphors are often transition-metal compounds or rare-earth compounds of various types. In inorganic phosphors, these inhomogeneities in the crystal structure are created usually by addition of a trace amount of dopants, impurities called "activators". (In rare cases dislocations or other crystal defects can play the role of the impurity.) The wavelength emitted by the emission center is dependent on the atom itself and on the surrounding crystal structure.


title: Phosphor

text: Phosphors are usually made from a suitable host material with an added activator. The best known type is a copper-activated zinc sulfide (ZnS) and the silver-activated zinc sulfide ("zinc sulfide silver").


title: Phosphor

text: The host materials are typically oxides, nitrides and oxynitrides, sulfides, selenides, halides or silicates of zinc, cadmium, manganese, aluminium, silicon, or various rare-earth metals. The activators prolong the emission time (afterglow). In turn, other materials (such as nickel) can be used to quench the afterglow and shorten the decay part of the phosphor emission characteristics.


title: Phosphor

text: Many phosphor powders are produced in low-temperature processes, such as sol-gel, and usually require post-annealing at temperatures of ~1000 °C, which is undesirable for many applications. However, proper optimization of the growth process allows manufacturers to avoid the annealing.


title: Phosphor

text: Phosphors used for fluorescent lamps require a multi-step production process, with details that vary depending on the particular phosphor. Bulk material must be milled to obtain a desired particle size range, since large particles produce a poor-quality lamp coating, and small particles produce less light and degrade more quickly. During the firing of the phosphor, process conditions must be controlled to prevent oxidation of the phosphor activators or contamination from the process vessels. After milling, the phosphor may be washed to remove minor excess of activator elements. Volatile elements must not be allowed to escape during processing. Lamp manufacturers have changed compositions of phosphors to eliminate some toxic elements, such as beryllium, cadmium, or thallium, formerly used.


title: Phosphor

text: The commonly quoted parameters for phosphors are the wavelength of emission maximum (in nanometers, or alternatively color temperature in kelvins for white blends), the peak width (in nanometers at 50% of intensity), and decay time (in seconds).


title: Phosphor

text: Many phosphors tend to lose efficiency gradually by several mechanisms. The activators can undergo change of valence (usually oxidation), the crystal lattice degrades, atoms – often the activators – diffuse through the material, the surface undergoes chemical reactions with the environment with consequent loss of efficiency or buildup of a layer absorbing either the exciting or the radiated energy, etc.


title: Phosphor

text: The degradation of electroluminescent devices depends on frequency of driving current, the luminance level, and temperature; moisture impairs phosphor lifetime very noticeably as well.


title: Phosphor

text: Harder, high-melting, water-insoluble materials display lower tendency to lose luminescence under operation.


title: Phosphor

text: Phosphor layers provide most of the light produced by fluorescent lamps, and are also used to improve the balance of light produced by metal halide lamps. Various neon signs use phosphor layers to produce different colors of light. Electroluminescent displays found, for example, in aircraft instrument panels, use a phosphor layer to produce glare-free illumination or as numeric and graphic display devices. White LED lamps consist of a blue or ultra-violet emitter with a phosphor coating that emits at longer wavelengths, giving a full spectrum of visible light. Unfocused and undeflected cathode-ray tubes have been used as stroboscope lamps since 1958.


title: Phosphor

text: Phosphor thermometry is a temperature measurement approach that uses the temperature dependence of certain phosphors. For this, a phosphor coating is applied to a surface of interest and, usually, the decay time is the emission parameter that indicates temperature. Because the illumination and detection optics can be situated remotely, the method may be used for moving surfaces such as high speed motor surfaces. Also, phosphor may be applied to the end of an optical fiber as an optical analog of a thermocouple.


title: Phosphor

text: In these applications, the phosphor is directly added to the plastic used to mold the toys, or mixed with a binder for use as paints.


title: Phosphor

text: Quenching of the triplet state by O (which has a triplet ground state) as a result of Dexter energy transfer is well known in solutions of phosphorescent heavy-metal complexes and doped polymers. In recent years, phosphorescence porous materials(such as Metal–organic frameworks and Covalent organic frameworks) have shown promising oxygen sensing capabilities, for their non-linear gas-adsorption in ultra-low partial pressures of oxygen.


title: Phosphor

text: Phosphor banded stamps first appeared in 1959 as guides for machines to sort mail. Around the world many varieties exist with different amounts of banding. Postage stamps are sometimes collected by whether or not they are "tagged" with phosphor (or printed on luminescent paper).


title: Phosphor

text: Zinc sulfide phosphors are used with radioactive materials, where the phosphor was excited by the alpha- and beta-decaying isotopes, to create luminescent paint for dials of watches and instruments (radium dials). Between 1913 and 1950 radium-228 and radium-226 were used to activate a phosphor made of silver doped zinc sulfide (ZnS:Ag), which gave a greenish glow. The phosphor is not suitable to be used in layers thicker than 25 mg/cm, as the self-absorption of the light then becomes a problem. Furthermore, zinc sulfide undergoes degradation of its crystal lattice structure, leading to gradual loss of brightness significantly faster than the depletion of radium. ZnS:Ag coated spinthariscope screens were used by Ernest Rutherford in his experiments discovering atomic nucleus.


title: Phosphor

text: Copper doped zinc sulfide (ZnS:Cu) is the most common phosphor used and yields blue-green light. Copper and magnesium doped zinc sulfide yields yellow-orange light.


title: Phosphor

text: Electroluminescence can be exploited in light sources. Such sources typically emit from a large area, which makes them suitable for backlights of LCD displays. The excitation of the phosphor is usually achieved by application of high-intensity electric field, usually with suitable frequency. Current electroluminescent light sources tend to degrade with use, resulting in their relatively short operation lifetimes.


title: Phosphor

text: ZnS:Cu was the first formulation successfully displaying electroluminescence, tested at 1936 by Georges Destriau in Madame Marie Curie laboratories in Paris.


title: Phosphor

text: Powder or AC electroluminescence is found in a variety of backlight and night light applications. Several groups offer branded EL offerings (e.g. IndiGlo used in some Timex watches) or "Lighttape", another trade name of an electroluminescent material, used in electroluminescent light strips. The Apollo space program is often credited with being the first significant use of EL for backlights and lighting.


title: Phosphor

text: White light-emitting diodes are usually blue InGaN LEDs with a coating of a suitable material. Cerium(III)-doped YAG (YAG:Ce, or YAlO:Ce) is often used; it absorbs the light from the blue LED and emits in a broad range from greenish to reddish, with most of its output in yellow. This yellow emission combined with the remaining blue emission gives the "white" light, which can be adjusted to color temperature as warm (yellowish) or cold (bluish) white. The pale yellow emission of the Ce:YAG can be tuned by substituting the cerium with other rare-earth elements such as terbium and gadolinium and can even be further adjusted by substituting some or all of the aluminium in the YAG with gallium. However, this process is not one of phosphorescence. The yellow light is produced by a process known as scintillation, the complete absence of an afterglow being one of the characteristics of the process.


title: Phosphor

text: Some rare-earth-doped Sialons are photoluminescent and can serve as phosphors. Europium(II)-doped β-SiAlON absorbs in ultraviolet and visible light spectrum and emits intense broadband visible emission. Its luminance and color does not change significantly with temperature, due to the temperature-stable crystal structure. It has a great potential as a green down-conversion phosphor for white LEDs; a yellow variant also exists (α-SiAlON). For white LEDs, a blue LED is used with a yellow phosphor, or with a green and yellow SiAlON phosphor and a red CaAlSiN-based (CASN) phosphor.


title: Phosphor

text: White LEDs can also be made by coating near-ultraviolet-emitting LEDs with a mixture of high-efficiency europium-based red- and blue-emitting phosphors plus green-emitting copper- and aluminium-doped zinc sulfide . This is a method analogous to the way fluorescent lamps work.


title: Phosphor

text: Some newer white LEDs use a yellow and blue emitter in series, to approximate white; this technology is used in some Motorola phones such as the Blackberry as well as LED lighting and the original-version stacked emitters by using GaN on SiC on InGaP but was later found to fracture at higher drive currents.


title: Phosphor

text: Many white LEDs used in general lighting systems can be used for data transfer, as, for example, in systems that modulate the LED to act as a beacon.


title: Phosphor

text: It is also common for white LEDs to use phosphors other than Ce:YAG, or to use two or three phosphors to achieve a higher CRI, often at the cost of efficiency. Examples of additional phosphors are R9, which produces a saturated red, nitrides which produce red, and aluminates such as lutetium aluminum garnet that produce green. Silicate phosphors are brighter but fade more quickly, and are used in LCD LED backlights in mobile devices. LED phosphors can be placed directly over the die or made into a dome and placed above the LED: this approach is known as a remote phosphor. Some colored LEDs, instead of using a colored LED, use a blue LED with a colored phosphor because such an arrangement is more efficient than a colored LED. Oxynitride phosphors can also be used in LEDs. The precursors used to make the phosphors may degrade when exposed to air.


title: Phosphor

text: Cathode-ray tubes produce signal-generated light patterns in a (typically) round or rectangular format. Bulky CRTs were used in the black-and-white household television (TV) sets that became popular in the 1950s, as well as first-generation, tube-based color TVs, and most earlier computer monitors. CRTs have also been widely used in scientific and engineering instrumentation, such as oscilloscopes, usually with a single phosphor color, typically green. Phosphors for such applications may have long afterglow, for increased image persistence.


title: Phosphor

text: The phosphors can be deposited as either thin film, or as discrete particles, a powder bound to the surface. Thin films have better lifetime and better resolution, but provide less bright and less efficient image than powder ones. This is caused by multiple internal reflections in the thin film, scattering the emitted light.


title: Phosphor

text: White (in black-and-white): The mix of zinc cadmium sulfide and zinc sulfide silver, the is the white P4 phosphor used in black and white television CRTs. Mixes of yellow and blue phosphors are usual. Mixes of red, green and blue, or a single white phosphor, can also be encountered.


title: Phosphor

text: Red: Yttrium oxide-sulfide activated with europium is used as the red phosphor in color CRTs. The development of color TV took a long time due to the search for a red phosphor. The first red emitting rare-earth phosphor, YVO:Eu, was introduced by Levine and Palilla as a primary color in television in 1964. In single crystal form, it was used as an excellent polarizer and laser material.


title: Phosphor

text: Yellow: When mixed with cadmium sulfide, the resulting zinc cadmium sulfide , provides strong yellow light.


title: Phosphor

text: Green: Combination of zinc sulfide with copper, the P31 phosphor or , provides green light peaking at 531 nm, with long glow.


title: Phosphor

text: Blue: Combination of zinc sulfide with few ppm of silver, the ZnS:Ag, when excited by electrons, provides strong blue glow with maximum at 450 nm, with short afterglow with 200 nanosecond duration. It is known as the P22B phosphor. This material, zinc sulfide silver, is still one of the most efficient phosphors in cathode-ray tubes. It is used as a blue phosphor in color CRTs.


title: Phosphor

text: The phosphors are usually poor electrical conductors. This may lead to deposition of residual charge on the screen, effectively decreasing the energy of the impacting electrons due to electrostatic repulsion (an effect known as "sticking"). To eliminate this, a thin layer of aluminium (about 100 nm) is deposited over the phosphors, usually by vacuum evaporation, and connected to the conductive layer inside the tube. This layer also reflects the phosphor light to the desired direction, and protects the phosphor from ion bombardment resulting from an imperfect vacuum.


title: Phosphor

text: To reduce the image degradation by reflection of ambient light, contrast can be increased by several methods. In addition to black masking of unused areas of screen, the phosphor particles in color screens are coated with pigments of matching color. For example, the red phosphors are coated with ferric oxide (replacing earlier Cd(S,Se) due to cadmium toxicity), blue phosphors can be coated with marine blue (CoO·"n") or ultramarine (). Green phosphors based on ZnS:Cu do not have to be coated due to their own yellowish color.


title: Phosphor

text: The black-and-white television screens require an emission color close to white. Usually, a combination of phosphors is employed.


title: Phosphor

text: The most common combination is (blue + yellow). Other ones are (blue + yellow), and (blue + green + red – does not contain cadmium and has poor efficiency). The color tone can be adjusted by the ratios of the components.


title: Phosphor

text: As the compositions contain discrete grains of different phosphors, they produce image that may not be entirely smooth. A single, white-emitting phosphor, overcomes this obstacle. Due to its low efficiency, it is used only on very small screens.


title: Phosphor

text: The screens are typically covered with phosphor using sedimentation coating, where particles suspended in a solution are let to settle on the surface.


title: Phosphor

text: In beam penetration tubes, different color phosphors are layered and separated with dielectric material. The acceleration voltage is used to determine the energy of the electrons; lower-energy ones are absorbed in the top layer of the phosphor, while some of the higher-energy ones shoot through and are absorbed in the lower layer. So either the first color or a mixture of the first and second color is shown. With a display with red outer layer and green inner layer, the manipulation of accelerating voltage can produce a continuum of colors from red through orange and yellow to green.


title: Phosphor

text: Another method is using a mixture of two phosphors with different characteristics. The brightness of one is linearly dependent on electron flux, while the other one's brightness saturates at higher fluxes—the phosphor does not emit any more light regardless of how many more electrons impact it. At low electron flux, both phosphors emit together; at higher fluxes, the luminous contribution of the nonsaturating phosphor prevails, changing the combined color.


title: Phosphor

text: Such displays can have high resolution, due to absence of two-dimensional structuring of RGB CRT phosphors. Their color palette is, however, very limited. They were used e.g. in some older military radar displays.


title: Phosphor

text: The phosphors in color CRTs need higher contrast and resolution than the black-and-white ones. The energy density of the electron beam is about 100 times greater than in black-and-white CRTs; the electron spot is focused to about 0.2 mm diameter instead of about 0.6 mm diameter of the black-and-white CRTs. Effects related to electron irradiation degradation are therefore more pronounced.


title: Phosphor

text: Color CRTs require three different phosphors, emitting in red, green and blue, patterned on the screen. Three separate electron guns are used for color production (except for displays that use beam-index tube technology, which is rare). The red phosphor has always been a problem, being the dimmest of the three necessitating the brighter green and blue electron beam currents be adjusted down to make them equal the red phosphor's lower brightness. This made early color TVs only usable indoors as bright light made it impossible to see the dim picture, while portable black-and-white TVs viewable in outdoor sunlight were already common.


title: Phosphor

text: The composition of the phosphors changed over time, as better phosphors were developed and as environmental concerns led to lowering the content of cadmium and later abandoning it entirely. The was replaced with with lower cadmium/zinc ratio, and then with cadmium-free .


title: Phosphor

text: The blue phosphor stayed generally unchanged, a silver-doped zinc sulfide. The green phosphor initially used manganese-doped zinc silicate, then evolved through silver-activated cadmium-zinc sulfide, to lower-cadmium copper-aluminium activated formula, and then to cadmium-free version of the same. The red phosphor saw the most changes; it was originally manganese-activated zinc phosphate, then a silver-activated cadmium-zinc sulfide, then the europium(III) activated phosphors appeared; first in an yttrium vanadate matrix, then in yttrium oxide and currently in yttrium oxysulfide. The evolution of the phosphors was therefore (ordered by B-G-R):


title: Phosphor

text: For projection televisions, where the beam power density can be two orders of magnitude higher than in conventional CRTs, some different phosphors have to be used.


title: Phosphor

text: For blue color, is employed. However, it saturates. can be used as an alternative that is more linear at high energy densities.


title: Phosphor

text: For green, a terbium-activated ; its color purity and brightness at low excitation densities is worse than the zinc sulfide alternative, but it behaves linear at high excitation energy densities, while zinc sulfide saturates. However, it also saturates, so or can be substituted. is bright but water-sensitive, degradation-prone, and the plate-like morphology of its crystals hampers its use; these problems are solved now, so it is gaining use due to its higher linearity.


title: Phosphor

text: Some other phosphors commercially available, for use as X-ray screens, neutron detectors, alpha particle scintillators, etc., are:


title: Philomena

text: Philomena (), also known as Saint Philomena or "Philomena of Rome" was a young virgin martyr whose remains were discovered on May 24–25, 1802, in the Catacomb of Priscilla. Three tiles enclosing the tomb bore an inscription, "Pax Tecum Filumena" (i.e. "Peace be unto you, Philomena"), that was taken to indicate that her name (in the Latin of the inscription) was Filumena (), the English form of which is Philomena. Philomena is the patron saint of infants, babies, and youth, and is known as "The Wonder Worker".


title: Philomena

text: The remains were moved to Mugnano del Cardinale in 1805. There, they became the focus of widespread devotion; several miracles were credited to Philomena's intercession, including the healing of Pauline Jaricot in 1835, which received wide publicity. John Vianney attributed to her intercession the extraordinary cures that others attributed to himself.


title: Philomena

text: From 1837 to 1961, celebration of her liturgical feast was approved for some places, but was never included in the General Roman Calendar for universal use. The 1920 typical edition of the Roman Missal included a mention of her, under August 11, in the section headed "Missae pro aliquibus locis" ("Masses for some places"), with an indication that the Mass to be used in those places was one from the common of a virgin martyr, without any collect proper to the saint.


title: Philomena

text: On December 21, 1833, the Holy Office declared that there was nothing contrary to the Catholic faith in the revelations that Sister Maria Luisa di Gesù (1799–1875), a Dominican tertiary from Naples, claimed to have received from Philomena herself.


title: Philomena

text: According to Gesù, Philomena told her she was the daughter of a king in Greece who, with his wife, had converted to Christianity. At the age of about 13, she took a vow of virginity for Christ's sake. When the Emperor Diocletian threatened to make war on her father, her father went with his family to Rome to ask for peace. The Emperor "fell in love" with the young Philomena and, when she refused to be his wife, subjected her to a series of torments: scourging, from whose effects two angels cured her; drowning with an anchor attached to her (two angels cut the rope and raised her to the river bank); and being shot with arrows (on the first occasion her wounds were healed; on the second, the arrows turned aside; and on the third, they returned and killed six of the archers, after which several of the others became Christians). Finally, the Emperor had her decapitated. The story goes that the decapitation occurred on a Friday at three in the afternoon, as with the death of Jesus. The two anchors, three arrows, the palm, and the ivy leaf on the tiles found in the tomb were interpreted as symbols of her martyrdom.


title: Philomena

text: In the Neapolitan nun's account, Philomena also revealed that her birthday was January 10, that her martyrdom occurred on August 10 (the date also of the arrival of her relics in Mugnano del Cardinale), and that her name "Filumena" meant "daughter of light" (from Latin "filia" and "lumen;" however, it is usually taken to be derived from Greek φιλουμένη "philouménē" (hence Latin "u" for "ου") meaning "beloved."). Publication of this account gave rise to critical study both of the account itself and of the many archaeological finds, leading to uncertainty that her supposed tomb was in fact that of a martyr.


title: Philomena

text: On May 24, 1802, in the Catacombs of Priscilla on the Via Salaria Nova, an inscribed loculus (space hollowed out of the rock) was found, and on the following day it was carefully examined and opened. The loculus was closed with three terracotta tiles, on which was the following inscription: "lumena paxte cumfi". It was and is generally accepted that the tiles had not been positioned in the sequence of the words, and that the inscription originally read, with the leftmost tile placed on the right: "pax tecum Filumena" ("Peace with you, Philomena"). Within the loculus was found the skeleton of a female between thirteen and fifteen years old. Embedded in the cement was a small glass phial with vestiges of what was taken to be blood. In accordance with the assumptions of the time, the remains were taken to be those of a virgin martyr named Philomena.


title: Philomena

text: The belief that such vials were signs of the grave of a martyr was still held in 1863, when a December 10 decree of the Sacred Congregation of Rites confirmed a decree of April 10, 1868. But this view has been rejected in practice since the investigations of Giovanni Battista De Rossi (1822–1894).


title: Philomena

text: In 1805, Canon Francesco De Lucia of Mugnano del Cardinale requested relics for his oratory, and on 8 June obtained the remains discovered in May 1802 (reduced to dust and fragments). The relics arrived in Mugnano on August 10, and were placed in the Church of Our Lady of Grace. A new Church of Our Lady of Grace was built, containing a chapel where the sacred relics were moved on September 29, 1805.


title: Philomena

text: In 1827, Pope Leo XII gave to the church in Mugnano del Cardinale the three inscribed terracotta slabs that had been taken from the tomb.


title: Philomena

text: In his "Relazione istorica della traslazione del sagro corpo di s. Filomena da Roma a Mugnano del Cardinale", written in 1833, Canon De Lucia recounted that wonders accompanied the arrival of the relics in his church, among them a statue that sweated some liquid continuously for three days.


title: Philomena

text: A miracle accepted as proved in the same year was the multiplication of the bone dust of the saint, which provided for hundreds of reliquaries without the original amount experiencing any decrease in quantity.


title: Philomena

text: Devotion includes the wearing of the "Cord of Philomena", a red and white cord, which had a number of indulgences attached to it, including a plenary indulgence on the day on which the cord was worn for the first time, indulgences that were not renewed in "Indulgentiarum doctrina", the 1967 general revision of the discipline concerning them. There is also the chaplet of Saint Philomena, with three white beads in honour of the Blessed Trinity and thirteen red beads in honour of the thirteen years of Philomena's life. A sacramental associated with the hallow is the Oil of Saint Philomena, which is used for the healing of the body and soul.


title: Philomena

text: On January 30, 1837, in the aftermath of the cure of Pauline Jaricot, Pope Gregory XVI authorized liturgical celebration of Philomena on August 11 or, according to another source, originally on September 9, first in the Diocese of Nola (to which Mugnano del Cardinale belongs), and soon in several other dioceses in Italy.


title: Philomena

text: On January 31, 1855, Pope Pius IX approved a proper Mass and office dedicated to Saint Philomena with confirmation of the decree "Etsi Decimo" (Rescript of the Sacred Congregation of Rites, Papal Confirmation of Promotor of the Faith Brief Etsi decimo as submitted by Rev. Andrea Fratini, 31 January 1855).


title: Philomena

text: In August 1876, the first issue of "Messenger of Saint Philomena" was published in Paris, France. On October 6, 1876, Father Louis Petit founded the Confraternity of Saint Philomena in Paris. In November 1886, the Confraternity was raised to the rank of Archconfraternity by Pope Leo XIII. On May 21, 1912, Pope Pius X raised it to the rank of Universal Archconfraternity with the Apostolic Brief "Pias Fidelium Societates" stating, with regard to the historical authenticity of Philomena, that: "The current statements (regarding St. Philomena) are and remain always fixed, valid and effective; in this way it has to be judged as normative; and if it is proceeded in another way, it will be null and void, whatever its authority".


title: Philomena

text: The name Philomena was not included in the Roman Martyrology, the official list of saints recognized by the Catholic Church and in which the saints are included immediately upon canonization. In the 1920 typical edition of the Roman Missal Philomena is mentioned, under August 11 (with an indication that the Mass for her feastday was to be taken entirely from the common, so that there was no part, not even the collect, that was proper to her) in the section headed "Masses for some places", i.e. only those places for which it had been specially authorized.


title: Philomena

text: On February 14, 1961, the Holy See ordered that the name of Philomena be removed from all liturgical calendars that mentioned her. This order was given as part of an instruction on the application to local calendars of the principles enunciated in the 1960 Code of Rubrics, which had already been applied to the General Roman Calendar. Section 33 of this document ordered the removal from local calendars of fourteen named feasts, but allowed them to be retained in places that had a special link with the feast. It then added: "However, the feast of Saint Philomena, virgin and martyr (11 August), is to be removed from all calendars." This action did not call into question her existence or sainthood, nor prohibit popular devotion to Saint Philomena. No suspension or prohibition of the Archconfraternity was issued.


title: Philomena

text: Although correlation does not prove causation, the Holy See's instruction to remove the name of Philomena even from local calendars followed the raising of questions by certain scholars, whose interest had been drawn to the phenomenon more especially in connection with the revelations of Sister Maria Luisa di Gesù. The questions were raised in particular by Orazio Marucchi, whose conclusions won the support of Johann Peter Kirsch, an archaeologist and ecclesiastical historian who is the author of the article on Philomena in the "Catholic Encyclopedia". However, according to Mark Miravalle the conclusions have been rejected by others. Historian Michael S. Carter (who supports Miravalle's position) has written about devotion to Saint Philomena within the broader context of veneration of "catacomb martyrs" and their relics in the history of the United States.


title: Philomena

text: The inscription on the three tiles that had provided the Latin name "Filumena" belonged to the middle or second half of the second century, while the body that had been found was of the fourth century, when the persecutions of Christians had ended. Not only the name but also the leaf, the two anchors and the palm that decorated the three tiles, and which had been believed to indicate that Filumena was a martyr (though the necessary connection between these symbols and martyrdom has been denied), had no relation to the person whose remains were found. The disarrangement of the tiles was something fourth-century sextons regularly did when re-using materials already engraved, with the aim of indicating that it was not the same person who was now buried in the place.


title: Philomena

text: In April 2005, at the "Conference of Philomenian Studies – 1805-2005", findings of a study carried out on the tiles by the Opificio delle Pietre Dure e Laboratori di Restauro (Factory of Hard Stones and Restoration Laboratories) of Florence were made public. The analysis confirmed that only one type of mortal lime could be found on the tiles, thus giving strong support to the theory that the tiles had not been re-arranged.


title: Philomena

text: The rector of the shrine in Mugnano del Cardinale disputes these findings. After reporting the decision of the Sacred Congregation of Rites in 1961 as resulting from the studies of scholars, the Italian-language "Enciclopedia Dei Santi" says that there still remain the miracles that occurred and the official recognition that the Catholic Church gave in the nineteenth century, the personal devotion to Saint Philomena of popes and people who were later canonized, and the widespread general devotion that still persists, particularly at Mugnano del Cardinale in the Diocese of Nola, where pilgrims from all over the world arrive continually, giving a display of intense popular devotion.


title: Philomena

text: The website of "The National Shrine of Saint Philomena, Miami, Florida" sees "the action taken in 1960 as the work of the devil in order to deprive the people of God of a most powerful Intercessor, particularly in the areas of purity and faith at a time when these virtues were so much being challenged as they continue to be up until now!"


title: Philomena

text: In his book "It Is Time to Meet St Philomena", Mark Miravalle says that Pope Gregory XVI "liturgically canonized St. Philomena, in an act of the ordinary Papal Magisterium". This contrasts with the usual view that canonization is an exercise of infallible magisterium declaring a truth that must be "definitively held".


title: Philomena

text: The "Roman Martyrology" contains the names of all the saints who have been formally canonized, since "with the canonization of a new saint, that person is officially listed in the catalog of saints, or Martyrology", and "as soon as the beatification or canonization event takes place, the person's name is technically part of the Roman Martyrology". It does not now contain and in fact never included the name of this Philomena, which can be seen to be absent in the 1856 edition published some twenty years after the 1837 decree.


title: Philomena

text: Canonization is a ceremony of the highest solemnity, in which the Pope himself, invoking his supreme authority in the Catholic Church, declares that someone is a saint and inserts that person's name in the catalog of saints. This ceremony has never taken place with regard to Saint Philomena.


title: McKinley Belcher III

text: McKinley Belcher III (born March 23, 1984) is an American actor, known for his starring role as Samuel Diggs in the PBS television series "Mercy Street", Anthony Carter in the Fox genre drama "The Passage", and as Agent Trevor Evans in Netflix crime thriller "Ozark".


title: McKinley Belcher III

text: Belcher was born in Atlanta, Georgia on March 23, 1984 at Grady Memorial Hospital, the first son of McKinley Belcher Jr. and Pamela McGhee Belcher. The family later moved to Powder Springs, where he attended elementary and middle school. Belcher graduated from Campbell High School in Smyrna, Georgia in 2002, where he was in the International Baccalaureate program and ran track and cross country. He went to Belmont University in Nashville, Tennessee, and graduated in 2006 with a B.A. in Communication Studies and Political Science. At Belmont he competed on the Speech and Debate Team, winning awards as a debater and individual speaker. He subsequently went to USC School of Dramatic Arts in Los Angeles, where he won the Ava Greenwald Memorial Award and graduated in 2010 with an MFA in Acting.


title: McKinley Belcher III

text: Belcher appeared Off-Broadway in "Romeo and Juliet" at Classic Stage Company in 2013 and in 2016 won a Drama Desk Award for his performance as amateur boxer Fish in the ensemble of Marco Ramirez's "The Royale" at Lincoln Center, directed by Rachel Chavkin. He also appeared as Sam in Darko Tresnjak's 2015 world premiere production of "Rear Window" at Hartford Stage, alongside Kevin Bacon. Belcher played the dual roles of Teddy and Nicholas in the world premiere of Ken Urban's "A Guide for the Homesick" at the Huntington Theatre Company in 2017, winning both an Elliot Norton Award for Outstanding Actor and an IRNE Award for Best Actor. In 2019 Belcher played Rashad in MCC's off-Broadway production of "The Light", for which he was nominated for an Outer Critics Circle Award for Outstanding Actor in a Play. In 2020 Belcher made his Broadway debut as Private Louis Henson (a role originated by Samuel L. Jackson off-Broadway) in the Broadway premiere of A Soldier's Play at the Roundabout Theatre Company.


title: McKinley Belcher III

text: Belcher made his film debut in John Sayles' 2013 independent film "Go for Sisters", playing Lisa Gay Hamilton's son Rodney. In 2015 he appeared in David Simon's HBO mini-series "Show Me a Hero" as LaTanya Richardson Jackson's son Dwayne Meeks, directed by Paul Haggis. Belcher had his first experience as a series regular as Samuel Diggs in two seasons of PBS's Ridley Scott-produced Civil War drama "Mercy Street". His character, Samuel, is a free man who works as a laborer, but harbors secret knowledge and ability in medicine. In 2018 he was cast as Anthony Carter in Fox's drama The Passage, based on Justin Cronin's novel by the same name. Belcher worked with David Simon again, in HBO's 2022 limited series We Own This City, playing real-life BPD veteran and Gun Trace Task Force officer Momodu Gondo. In 2022 Belcher also joined the cast of Netflix's live-action adaptation of the Japanese manga "One Piece" as Arlong the Saw, a saw shark Fishman and rival to Iñaki Godoy's Luffy.


title: Thames Television

text: Thames Television, commonly simplified to just Thames, was a franchise holder for a region of the British ITV television network serving London and surrounding areas from 30 July 1968 until the night of 31 December 1992.


title: Thames Television

text: Thames Television broadcast from 9:25 Monday morning to 5:15 Friday afternoon (7:00 Friday night until 1982) at which time it would hand over to London Weekend Television (LWT).


title: Thames Television

text: Formed as a joint company, it merged the television interests of British Electric Traction (trading as Associated-Rediffusion) owning 49%, and Associated British Picture Corporation—soon taken over by EMI—owning 51%. Like all ITV franchisees, it was a broadcaster, a producer and a commissioner of television programmes, making shows both for the local region it covered and, as one of the "Big Five" ITV companies, for networking nationally across the ITV regions. After its loss of franchise in 1992, it continued as an independent production company until 2003.


title: Thames Television

text: The British Film Institute describes Thames as having "served the capital and the network with a long-running, broad-based and extensive series of programmes, several of which either continue or are well-remembered today." Thames covered a broad spectrum of commercial public-service television, with a strong mix of drama, current affairs and comedy.


title: Thames Television

text: After Thames was acquired by FremantleMedia it was merged with another Fremantle company, Talkback, to form a new independent production company, Talkback Thames; consequently, Thames ceased to exist as a separate entity. However, on 1 January 2012, the Thames brand was revived and Talkback Thames has now been split into four different labels: Boundless, Retort, Talkback and Thames, within the newly created FremantleMedia UK production arm.


title: Thames Television

text: From its formation in 1954, the Independent Television Authority (ITA) offered broadcasting licences to different companies for weekday and weekend service in its first three Independent Television network locations, the London area, the Midlands, and the North. The initial six contracts were parcelled out to different companies. Associated-Rediffusion (Rediffusion) won the London weekday service while Associated Television (ATV) operated weekends. ATV also won the weekday service in the Midlands, while ABC Weekend TV operated the weekend service. Granada Television won daytime service in the North, and ABC the weekends.


title: Thames Television

text: Geographical and structural changes to the network led to the first significant shakeups of the network, a process that started in 1967 to take effect from 1968. As part of these changes, the separate weekend service was eliminated in the Midlands and North, who would instead be served by a single seven-day schedule. The London weekday/weekend split schedule remained the same, although the weekend contract was extended to include Friday evenings, but was opened to new applicants.


title: Thames Television

text: As a result of the changes to the schedule, ABC was at risk of losing both of its existing franchises, the weekend services that would be going away. Consequently, ABC applied for both the Midlands seven-day operation and the contract to serve London at the weekend, preferring the latter.


title: Thames Television

text: It was widely expected that the company would be awarded the London weekend franchise. Instead, after an impressive application by a consortium led by David Frost and others, this market was awarded to what became London Weekend Television.


title: Thames Television

text: This led to a serious problem for the ITA as ABC was a popular station, whose productions earned vital foreign currency - one such series was "The Avengers". Its station management and presentation style were also well-admired.


title: Thames Television

text: While they were still in the running for the seven-day service in the Midlands, it was clear this would be won by ATV, who was also a large earner of overseas revenue, having won the Queen's Award for Export in 1966.


title: Thames Television

text: In programming, Rediffusion was originally considered stuffy but in the previous contract round of 1964, it had re-invented itself, dropping the name Associated-Rediffusion in favour of the trendier Rediffusion London, to reflect the cultural changes of the time, with its output altered accordingly.


title: Thames Television

text: By the time of the 1967 negotiations, Rediffusion believed that its contract renewal for London weekday service was a formality, and its application reflected this complacency: the company had treated the ITA high-handedly in interviews.


title: Thames Television

text: In the early days of ITV, the company had worked hard to keep the network on-air during financial crises that threatened the collapse of other companies, particularly Granada. It was reported that Rediffusion's chairman Sir John Spencer Wills felt the ITA owed his company a 'debt of gratitude' for this, a comment which particularly annoyed the authority.


title: Thames Television

text: During the interview process, several members of Rediffusion management also appeared in interviews for applicants for other regions, principally the consortium of which David Frost was a member, as well as the interview for Rediffusion, leading the ITA to question the loyalty at the company.


title: Thames Television

text: The outcome proposed by the ITA was a "shotgun marriage" between ABC and Rediffusion. "The combination of these two companies," announced ITA Chairman Lord Hill, "seemed to the Authority to offer the possibility of a programme company of real excellence." The resultant company was awarded the contract to serve London on weekdays.


title: Thames Television

text: Control of the new company would be given to ABC, a move unpopular with Rediffusion. Questioning the ITA's decision, Rediffusion attempted to slow down the merger: only the threat of giving the licence solely to ABC made it relent. To assist Rediffusion financially, the ITA insisted that the new company have two sets of shares: voting shares which would allow ABC to have control (with 51%) and 'B' shares which were to be split equally between the two, thus sharing profits fairly.


title: Thames Television

text: The structure of the new company was also a problem. A merger between the two existing contract holders A.B.C. Television Limited and Rediffusion Television Limited was impossible, owing to internal politics, as was a merger between their respective parent companies Associated British Picture Corporation and British Electric Traction. The answer was found to be a new holding company, Thames Television (Holdings) Ltd. ABC's parent, the Associated British Picture Corporation was taken over by EMI in 1969, and in 1979 became part of Thorn EMI.


title: Thames Television

text: The ITA ordered ABC's managing director Howard Thomas and its director of programmes Brian Tesler to be appointed in similar capacities at the new station, the only individuals named or specified in all 15 franchise awards. ABC had majority control of the new company and the make-up of its board predominantly (and eventually fully) came from ABC. The use of ABC's old studios at Teddington meant the workforce was predominantly ex-ABC, although those at Kingsway were ex-Rediffusion.


title: Thames Television

text: After some discussion as to the name of the new company—some directors favoured ABC London, while others suggested Tower Television to reflect the Post Office Tower and the Tower of London—it was named Thames Television, after the River Thames. This name had been previously considered and rejected by London Weekend Television.


title: Thames Television

text: On 30 July 1968 Thames began broadcasting to London. The opening week was disrupted by sporadic strike action; the following week, the action had spread to all of ITV and resulted in the creation of a management-run ITV Emergency National Service for some two weeks.


title: Thames Television

text: Each week Thames broadcast from the start of transmissions on Monday until its handover to London Weekend Television at 19:00 on Friday. (From 1982, the handover time was 17:15.)


title: Thames Television

text: The former ABC studios at Teddington became Thames's main production base. Thames's corporate base moved to its newly constructed studios and offices on Euston Road (next to Euston Tower) in 1970, when it relinquished Television House, Rediffusion's former London headquarters. The Teddington studios were highly desirable, as they had participated in colour experiments and were already partially converted by the time of the franchise change, and as such had been sought after by both Thames and LWT.


title: Thames Television

text: When Thames was formed, the new company acquired numerous other properties of the former franchise holders. Rediffusion's main studio complex at Wembley was leased to London Weekend Television by order of the ITA before being sold to Lee International in 1977. ABC's Midlands base in Aston, Birmingham (see Alpha Television), co-owned with ATV, was sold in 1971 when ATV moved to new colour television facilities. Its northern base in Didsbury, Manchester was used by Yorkshire Television prior to its Kirkstall Road studios in Leeds being completed, and eventually sold to Manchester Polytechnic in 1970, with a lease on sales offices in central Manchester being surrendered.


title: Thames Television

text: The station continued formats inherited from its predecessors. These included the variety show "Opportunity Knocks", "Armchair Theatre", the last series of "The Avengers" and the detective thrillers "Callan" and "Public Eye", all inherited from ABC. The comedy "Do Not Adjust Your Set", though, originated with Rediffusion, and if nominally a children's show, was one of the forerunners of "Monty Python's Flying Circus".


title: Thames Television

text: More conventional sitcoms, all of which began in Thames's early years, included "Father, Dear Father" (1968–73), the Sid James vehicle "Bless This House" (1971–76), and "Love Thy Neighbour" (1972-76), with a controversial take on race relations. Another sitcom, "Man About the House" (1973–76), was successful enough for two spin-offs, "George and Mildred" (1976–80) and "Robin's Nest" (1977-81).


title: Thames Television

text: The company took over the "This Is Your Life" format in 1969, several years after the BBC had dropped the show in 1964. Another BBC favourite was comedian Benny Hill, the star of "The Benny Hill Show" (1969–89), who was placed under contract. Hill spent most of the rest of his career with Thames.


title: Thames Television

text: "The Sooty Show", cancelled in 1967 by the BBC, now aired on Thames and began on the first day of transmission. It continued after Harry Corbett's retirement in 1975 with his son, Matthew Corbett, and lasted on Thames until late 1992. The company also produced the children's show "Magpie", which began in 1968 and was intended as a rival for "Blue Peter" on BBC 1, and "The Tomorrow People" (1973–79), a science fiction series.


title: Thames Television

text: For pre-school children there was "Rainbow", which started in 1972 and ran for 20 years. The programme used animation and graphics created by Cosgrove Hall, a Thames subsidiary founded in 1972, which made animated series for children. During the hours after "Rainbow" and before the children's slot, "Good Afternoon" was transmitted, a magazine programme. It began after the IBA allowed non-schools broadcasting in this period of the day, when the government relaxed the regulations around daytime television and featured interview editions undertaken by such broadcasters as Mavis Nicholson, and a weekly consumer programme, which eventually became a programme in its own right; "Money-Go-Round".


title: Thames Television

text: Of much greater prestige was "The World at War" (1973–74), a 26-part history of the Second World War using unseen footage and interviews, often of high-level participants. The series, narrated by Sir Laurence Olivier, was commissioned in 1969, took four years to produce, and cost a record £4m (approx £47m in 2018).


title: Thames Television

text: Meanwhile, Thames gained a reputation for drama with such series as "Jenny, Lady Randolph Churchill" (1974), with Lee Remick as the mother of Winston Churchill. It won an Emmy as the best series in its category, as "Edward & Mrs. Simpson" (1978), about the abdication crisis, did later. Other successful series in the genre from this period include "Shades of Greene" (1975-76), "Rock Follies" (1976), and "Armchair Thriller" (1978-80). These programmes were made in the then standard 'hybrid' studio video/location film format, but the British industry was in the slow process of dropping the multi-camera studio format for drama, excepting soaps, to making the genre entirely on film.


title: Thames Television

text: The Thames offshoot Euston Films was founded in 1971 to specialise in drama output made entirely on film, then still a rare practice. Euston made the police series "The Sweeney" (1975–78), "Danger UXB" (1979), and "Minder" (1979–94), plus the last appearance of Nigel Kneale's best known creation in "Quatermass" (1979). In this era, Euston also made single one-off dramas such as "The Naked Civil Servant" (1975).


title: Thames Television

text: On 1 December 1976, the punk band the Sex Pistols were interviewed live on Thames's regional news magazine programme, "Today". Members of the group uttered obscenities during their interview with Bill Grundy. Grundy, in his introduction, said they are "as drunk as I am", but later claimed his comment was a joke, and had allowed the bad language to illustrate the character of the individuals in the group.


title: Thames Television

text: The interview filled two minutes at the end of the programme, but the production team feared trouble in the studio if they stopped the programme mid-air. Thames's telephone switchboard was jammed by complaining viewers. Responding to the incident, Thames said in a statement: "Because the programme was live, it was impossible to foresee the language that would be used."


title: Thames Television

text: The press continued to be interested in the incident for several days. Grundy was suspended and "Today" ended soon afterwards; his career never recovered. Over time, Thames replaced "Today" with a more conventional news offering as seen on other ITV stations. "Thames at Six" was launched, later "Thames News".


title: Thames Television

text: In 1978, Thames secured a contract with Morecambe & Wise. The comedians had worked for the BBC since 1968 with major national success, but the decisive factor leading the duo to leave the corporation was Thames's offer to feature them as main leads in a film made by the company's Euston Films subsidiary. The comedy duo's leading scriptwriter, Eddie Braben, did not initially move to ITV with them, and with Eric Morecambe's failing health, the new shows never gained the audiences or matched the esteem they had previously enjoyed.


title: Thames Television

text: Like most of ITV, Thames was beset by conflicts with trade unions, notably the Association of Cinematograph Television and Allied Technicians (ACTT). A two-week technicians strike in the summer of 1975 shut down the whole of ITV with the technicians being bought off with a 35% pay rise.


title: Thames Television

text: Two years later in May 1977, another strike occurred when production assistants at Thames refused to operate new video equipment. Thames proceeded to sack all the technicians for breach of contract. The following month, both sides backed down over the issues, with all technicians returning to work.


title: Thames Television

text: The worst strike to hit the network originated at Thames. Failure to reach agreement on pay increases and shift allowances in the 1979 pay round resulted in technicians switching off power to the transmission facilities at the Euston Road centre on 6 August. After management restored power, the technicians walked out. Within four days, all but one ITV station had gone off-air after the ACTT asked members at other companies to walk out in claim for a 15% pay rise. The network was off the air for 10 weeks.


title: Thames Television

text: Other Thames shows included "This Week" (known as "TV Eye" between 1979 and 1985), "Rumpole of the Bailey", the game shows "Strike It Lucky", "Give Us a Clue" and "Name That Tune", and the drama "Dodger, Bonzo and the Rest".


title: Thames Television

text: Thames sitcoms during the 1980s and early 1990s included "Keep it in the Family", "Never the Twain", "After Henry", and "Mr. Bean". The Mr. Bean pilot episode, starring Rowan Atkinson as the titular character, was first broadcast on ITV on 1 January 1990, and the eventual run lasted beyond Thames holding of its franchise. Less well-known is its adaptation of "Andy Capp" (1988), starring James Bolam. Two of its post-franchise sitcoms found more success when they transferred away from ITV – "Men Behaving Badly", which moved to the BBC in 1994 and "Is It Legal?", which moved to Channel 4 in 1998. Both were written by Simon Nye and co-produced by independent company Hartswood Films.


title: Thames Television

text: A few years after "The World at War", Thames broadcast "Hollywood" (1980), a 13-part documentary series about the era of the America silent cinema. This series, produced by Kevin Brownlow and David Gill, was followed by the company sponsoring Thames Silents, a project undertaken by Brownlow and Gill of the restoration and screenings (in a limited number of cinemas and on television) of major films from the silent era.


title: Thames Television

text: The two men followed "Hollywood" with series dedicated to leading comics of the silent era, "Unknown Chaplin" (1983) and "" (1987). A programme on Harold Lloyd ("The Third Genius") followed in 1989. "Hollywood" and the Chaplin series were narrated by the actor James Mason. Unusually for a commercial broadcaster, it also produced lavish versions of Gilbert and Sullivan's "The Mikado" and Shakespeare's "A Midsummer Night's Dream".


title: Thames Television

text: Thames's subsidiary production company Euston Films continued to produce many of Thames's highest-profile drama contributions to ITV network programming to the end of its ITV franchise. These included "Reilly, Ace of Spies" (1983), "Jack the Ripper" (1988), "Capital City" (1989–1990), "Selling Hitler" (1991), and "Anglo-Saxon Attitudes" (1992). "The Bill" (1984–2010) began as a one-hour series of separate stories in 1984, but from 1989 until 1998 was broadcast several times a week, usually in a 30 minute slot. Its storylines became overly melodramatic and focussed far more directly on particular police characters rather than the crime from 1998 and its return to the hour long slot and then became much more a soap opera in 2002 (when individual story titles were dropped) until coming full circle dealing predominantly with crime again in about 2007 for the last few years of its existence.


title: Thames Television

text: In January 1985, the company made a deal with international distributors for US production company Lorimar to purchase the UK broadcasting rights for US drama "Dallas", at that time transmitted on BBC1. This broke a gentlemen's agreement between the two sides not to poach each other's imported shows. Thames paid £55,000 a show compared to the £29,000 of the BBC. The deal brought condemnation from the BBC and from other ITV stations, who feared the BBC would poach their imports, pushing up prices.


title: Thames Television

text: The BBC planned to delay transmission of the episodes of "Dallas" that it already had, with the hope to broadcast them at the same time Thames broadcast its new purchases. Ultimately, pressure from several ITV companies (especially Yorkshire Television) to the IBA, forced Thames to sell the series back to the BBC at a loss. Bryan Cowgill, the managing director of Thames left the company, as he believed his position was untenable since the board was unwilling to support his plans to buy the series. In October, Thames paid the BBC, via the IBA, £300,000 in compensation to make up the shortfall in additional cost for new episodes of "Dallas".


title: Thames Television

text: The most controversial programme Thames broadcast was the documentary "Death on the Rock", part of the current affairs "This Week" series. The programme questioned the authority of British troops who had shot dead suspected IRA members allegedly planning a terrorist attack on a British military ceremony in Gibraltar. The documentary was regarded almost as treason by many Conservative politicians, and "The Sunday Times" made claims about one of the witnesses interviewed which were later found to be libellous.


title: Thames Television

text: The following year, in 1989, Thames ended the contract of Benny Hill, a stalwart at the station since 1969. It was believed that the comedian was dismissed because his shows were considered offensive and politically incorrect, but John Howard Davies said the decision was taken because of falling ratings, very high production costs and Hill was looking tired. The show at its peak had 21 million viewers, while the last episode had nine million.


title: Thames Television

text: However, it remained one of the top ten most watched shows across the whole ITV network and was still one of the UK's top TV exports, continuing to air in 97 other countries. Hill himself said "I didn't mind them sacking me; but I did expect a bit more of a pat on the back, after all I had been there for 20 years". Hill made only 58 hour-long episodes in the 20 years he worked for Thames, with the result that, in the UK, the show was generally promoted as specials, but the programmes were reedited as 30-minute episodes for overseas markets.


title: Thames Television

text: Hill gained a following in the United States when this version was screened there. His retained popularity in the UK was confirmed following his death, when Thames (which had refused to air his shows since the cancellation) gave in to public demand to rerun the shows.


title: Thames Television

text: Through the early 1980s, Thames experienced a series of local disputes while management deliberately confronted contractual ‘rackets’, and pursued the introduction of new technologies based on operational requirements rather than precedent. For Thames’s management, this was a materialist operation with a clear dimension, and to weed out unscrupulous bargaining and working practices.


title: Thames Television

text: In the summer of 1984 a major strike was called, this time, over Thames's management unilaterally issuing new rostering schedules (overtime payments for transmission staff), and the use of new cameras and editing equipment. There were no internal discussions of the potential savings that could be derived from new shift patterns, but there was a strong sense that union controls had to be removed before the company embarked on increasing its operations. The technicians walked out, but the station was off the air for just one day as management and administration staff took over their roles.


title: Thames Television

text: On Monday 27 August, ATTC technicians walked out again over the new shift patterns; the strike ended on 3 September 1984, at 1p.m. after the union agreed to rostering according to need, while the management dropped plans for ending six-day working fortnights. Bryan Cowgill said: "The need for sensible change in the way we conduct our operations has been at the heart of this dispute. The outcome of a damaging and costly dispute has resulted in substantial progress towards a more realistic and effective way of working".


title: Thames Television

text: Over the following four weeks, further discussions took place about implementing the plans while introducing new technologies. On Wednesday 17 October, another strike was instigated, as talks failed to reach agreement. The union warned against a management-run service, as it would be a recipe for total network disturbance and a massive loss of programmes, but Thames claimed that it would be justified due to the strike being unofficial. On Monday 22 October, a management-run service started operating; the company claimed the revised schedule was popular with the viewers.


title: Thames Television

text: During the period of the management operated emergency schedule, viewers in the Thames Television region would see the ITV breakfast service TV-am from 6.25am until 9.25am. Once TV-am concluded, when the rest of the UK received schools programmes, Thames viewers were left with a blue screen showing their upcoming emergency schedule which would normally start at around 1.30pm and conclude around midnight. With no access to ITN News, viewers in the Thames region had to make do with short Thames News bulletins. Weekend ITV schedules for the London region were not affected by the strike, with London Weekend Television coming on air on Fridays at 5.15pm as usual.


title: Thames Television

text: The strike ended on 3 November 1984, after 62 film editors agreed to the new conditions, while the ACTT agreed as well to start negotiations about the introductions of new technology. Additional episodes of network productions were screened to help clear the backlog, since no outside programmes were broadcast. Thames said: "We are delighted in the outcome of the dispute which we believe is in the best interests of everyone who works at Thames".


title: Thames Television

text: For the Thames board, the dispute represented a huge, but necessary, cost if the company was to expand its production operations profitably. Profits at Thames dropped – from £14.1M in 1983/84 to £8.75M in 1984/85 – during the strike period, but were able to recover back to £14.6M in 1985/86 just before flotation on the stock market.


title: Thames Television

text: During April 1988, after successfully introducing new technologies and employing more freelance staff, Thames announced the loss of 200 jobs from its permanent workforce, which followed similar action from other ITV companies in a bid to slim down their workforce and alter working practices for economic reasons. Thames made a further 297 employees redundant as part of its restructuring plan to reduce its staff to 1,500 in preparation for the 1991 ITV franchise round.


title: Thames Television

text: In 1982, The Independent Broadcasting Authority decided to change the Thames franchise area, which resulted in the Bluebell Hill transmitter in north Kent, its associated relays and the main relay at Tunbridge Wells being transferred from London to the new "South and South-East of England", TVS franchise, in order to serve the new region better.


title: Thames Television

text: In 1985, Carlton Communications had executed a failed take-over bid for Thames after Thorn EMI and British Electric Traction decided to sell their share of Thames. The deal was blocked by both Richard Dunn, chief executive of Thames, and by the IBA, which concluded 'the proposal would lead to a major change in the nature and characteristic of a viable ITV programme company'.


title: Thames Television

text: Carlton's owner, Michael Green, claimed that the decision left him 'bewildered' and said: 'We are surprised at the IBA's decision. I'm absolutely certain it would not have been a major change to Thames. We have always suggested that we would make absolutely sure the company would continue to be what it is at this moment in time.' The IBA said it had nothing against Carlton owning part of an ITV company, but believed 'any' single ownership of an ITV company was undesirable.


title: Thames Television

text: It has been said that Carlton chief executive Michael Green talked to the then Prime Minister Margaret Thatcher on the matter, which in turn may have helped to shape the 1990 Parliamentary Act which replaced the IBA with the Independent Television Commission and the change in franchise allocation procedures.


title: Thames Television

text: Thames finally floated on the stock market in July 1986, after being blocked by the IBA in late 1982. The shares on offer were being sold by BET and Thorn EMI, which planned to reduce their shareholding from 100% down to 28.8%. A few days afterwards speculation appeared that Carlton had attempted to buy a sizable number of shares; Michael Green, chairman of Carlton, was quoted saying "I can't possibly comment" but a Thames spokesperson pointed out "It does seem quite likely, however, no one share holder can own more than 10% of our equity so it's difficult to see what they might have in mind".


title: Thames Television

text: During 1989 reports appeared that talks were taking place with Carlton about an agreed merger, which resulted in no action. The flotation was not a great success, EMI and BET only managing to reduce their shares to 56.6%, with management acquiring much of the new stock. In March 1990, EMI and BET tried once again to sell off their shares in Thames, with Cartlon and CLT (a Luxembourg-based media company) both in the running.


title: Thames Television

text: However, by October talks had stalled, with EMI and BET still controlling Thames before heading into the 1991 franchise round.


title: Thames Television

text: On 16 October 1991, Thames Television lost its weekday London ITV franchise from the beginning of January 1993 as a result of losing the silent auction used to renegotiate the new franchises. Thames bid £32.5 million while Carlton Television placed a bid of £43.2 million, and since both Thames and Carlton were deemed to have passed the quality threshold, the franchise was awarded to Carlton for having submitted the higher cash bid. Some commentators consequently speculated that Thames had fallen victim to a 'government vendetta', whilst others felt that the auction had been won fairly. Carlton chose to commission the vast majority of its production content from third parties, and rent studio and broadcasting space at LWT's London Studios.


title: Thames Television

text: Thames was bullish after losing, since the company had made confidential contingency plans, which involved 1,000 redundancies and the closure of the Euston Road facility. The company believed it would become "Europe's most powerful Independent producer and programme distributor." "The Times" quoted a spokesman the day after the announcement: "We can be more profitable this way, being forced out of broadcasting will save us £32.5m a year in bid payments, £30 million a year in advertising revenue taxes and about £10m in transmitter cost."


title: Thames Television

text: The transition of ITV companies was never smooth, but Thames's bitterness stayed until the very end. In June 1992 Carlton and the ITV network centre had backed down over its demands for Thames to relinquish its right to broadcast repeats of its own programmings on rival channels for 10 years. Thames believed Carlton's demands were unreasonable and would have forced it to drop most networked programmes on ITV during the autumn of 1992.


title: Thames Television

text: Thames chairman Richard Dunn publicly stated that Carlton chairman Michael Green had done everything in his power to obtain the London weekday franchise since being blocked by the IBA in 1985. Carlton was forced to advertise on LWT to promote its new programme line up until December 1992, following an acrimonious High Court dispute between Thames and Carlton over the selling of rights of hundreds of films in Thames's library. Carlton settled out of court for £13.1M.


title: Thames Television

text: The loss of Thames's franchise was seen as controversial by many, and highly significant by most, given Thames's history within ITV, as a long-standing franchisee in its own right, its heritage from the start of the network through its founding parents ABC and Rediffusion London, and the fact that it was one of the major contributors of content to the ITV network. The auction method used to conduct the new franchise round was a significant change from previous rounds and was brought about by the Broadcasting Act 1990.


title: Thames Television

text: Consequently, the franchise loss became a subject of political debate, with changes brought about by the 1990 act being cited as 'The primary reason for an operation such as Thames being able to lose its licence to broadcast'. That the then Conservative government had passed such an act caused accusations of direct responsibility to be levelled at former Prime Minister Margaret Thatcher in particular, who had presided over its creation.


title: Thames Television

text: Opinions varied on the matter of political motivations; some cite the documentary "Death On The Rock", which may have caused displeasure to the then government, whilst others link it to a more general ideological dislike of the way ITV had been run at the time, with over-manning, and the fact that programme production was generally limited to franchise holders (sometimes critically referred to as barriers to entry), being seen as examples of why more commercial freedom and competition was needed within the network.


title: Thames Television

text: In 2021, Fremantle were licensing various Thames Television programmes to British television channels such as That's TV, Forces TV and Talking Pictures TV. Programmes from the Thames archive include:


title: Thames Television

text: The first idents to be used comprised a plain screen with the words 'from Thames' written in white in the Helvetica font, and a vignette that resembled the famous ident, containing famous London landmarks. The first ident was used to signify programmes made at Rediffusion's old studios at Adastral House, the latter, shows that came from ABC's former Teddington Studios. Some programmes recorded at Teddington, such as some episodes of the 1969 series of "Callan" did, however, use the "from Thames" caption, indicating that they may have been edited at Adastral House rather than Teddington. Both of the company's logos were accompanied by a fanfare called "Salute to Thames", composed by Johnny Hawksworth.


title: Thames Television

text: With the introduction of colour, the ident was remodelled on the vignette, this time using photographs rather than drawings. This ident was designed by agency Minale Tattersfield. It was originally shot by stop-frame animation on 16 mm film, then shot again on 35 mm film in 1976 and finally digitised on computer in 1984. All of these animations featured the same design, which consisted of the skyline slowly rolling up from the River Thames along with the logo, which was reflected briefly on the water and then quickly faded to its static position at the centre of the ident.


title: Thames Television

text: The ident was finally withdrawn in the summer of 1989, when Thames celebrated its 21st anniversary. The revised ident retained the London landmarks but contained them in a blue and orange triangle, pointing downwards, with three wavy blue lines to represent the river and the words 'Thames XXI' in the orange part of the triangle and it was this logo which was used on the first ITV branding idents on 4 September 1989.


title: Thames Television

text: A new ident was launched on 3 September 1990, featuring a redesigned triangle logo containing Big Ben, the British Telecom Tower, the dome of St Paul's Cathedral and the Tower Bridge. Initially, this ident was used only before local programmes; a modified ITV generic ident featuring this new logo was used for networked shows. Once Thames learned it was to lose its franchise to Carlton, the ITV-branded ident was dropped in favour of the local ident which was used at all times from 4 November 1991 until 31 December 1992.


title: Thames Television

text: Thames Television was involved in an attempt to win the new Channel 5 licence when it was first advertised in early 1992. Thames was the main shareholder in a consortium (alongside Warner Bros. Television and others) called Channel Five Holdings. The consortium became the only bidder for the licence in December 1992 after two other groups dropped out. However the ITC rejected the bid as a result of concerns about its business plan and investor backing. The deadline was therefore extended twice before the licence was handed to Channel 5 Broadcasting Limited.


title: Thames Television

text: On 1 November 1992 a new satellite station UK Gold was launched as a joint venture between Thames and BBC Enterprises, to show repeats of shows from both broadcasters. Thames's share was bought out by Flextech in 1996.


title: Thames Television

text: "This Is Your Life" ran on ITV for 26 years until around 1995 when ITV cancelled it and the series was recommissioned by the BBC, with Thames continuing to produce it. The corporation ended the series in 2003. "The Bill" continued on ITV until 2010.


title: Thames Television

text: Following the loss of Thames's franchise, the Euston Road base of Thames was sold off and demolished. The site of the studios is currently occupied by Triton Square and the registered headquarters of the British operation of Spanish bank Santander. The studios at Teddington were sold to a management buy-out team and were part of the Pinewood Group, owners of both Pinewood and Shepperton Studios.


title: Thames Television

text: Thames Television was acquired by Pearson Television in mid-1993. Pearson Television was itself sold by Pearson plc to CLT-UFA in 2000, thus merging to become the RTL Group, and rebranded as FremantleMedia in 2001. In 2003, Thames Television was merged with another FremantleMedia subsidiary, Talkback (founded by comedians Mel Smith and Griff Rhys Jones in 1981) to form Talkback Thames. That subsidiary was split into four new production companies at the start of 2012, with the new Thames producing light entertainment programming.


title: Thames Television

text: Thames is often quoted as a prime example of a good commercial public-service broadcaster with shows covering all aspects of the spectrum and the largest producer in the network. Its shows achieved massive audiences and are still remembered many years later. This is sometimes attributed to the culture of the company, which could be claimed to be a continuation of that at ABC. This station was more highly regarded by the ITA (amongst others) than Rediffusion whose programming was seen as downmarket and whose management-style was viewed as high-handed. The two companies allowed Thames independence (although in later years there were accusations that they both treated the company as a cash cow).


title: Thames Television

text: The children's department also spawned the independent production company Tetra Films, which would later revive some classic Thames children's programmes for ITV – "The Tomorrow People" (1992–5, in association with Thames-owned Reeves Entertainment for ITV and Nickelodeon) and "Rainbow" (1994–96, for HTV) – along with a range of original film and television productions.


title: Anointing

text: By extension, the term is also applied to related acts of sprinkling, dousing, or smearing a person or object with any perfumed oil, milk, butter, or other fat. Scented oils are used as perfumes and sharing them is an act of hospitality. Their use to introduce a divine influence or presence is recorded from the earliest times; anointing was thus used as a form of medicine, thought to rid persons and things of dangerous spirits and demons which were believed to cause disease.


title: Anointing

text: In present usage, "anointing" is typically used for ceremonial blessings such as the coronation of European monarchs. This continues an earlier Hebrew practice most famously observed in the anointings of Aaron as high priest and both Saul and David by the prophet Samuel. The concept is important to the figure of the Messiah or the Christ (Hebrew and Greek for "The Anointed One") who appear prominently in Jewish and Christian theology and eschatology. Anointing—particularly the anointing of the sick—may also be known as unction; the anointing of the dying as part of last rites in the Catholic church is sometimes specified as "extreme unction".


title: Anointing

text: The present verb derives from the now obsolete adjective "anoint", equivalent to "anointed". The adjective is first attested in 1303, derived from Old French , the past participle of "enoindre", from Latin , an intensified form of ("to anoint"). It is thus cognate with "unction".


title: Anointing

text: The oil used in a ceremonial anointment may be called "chrism" (from Greek , "khrîsma", "anointing").


title: Anointing

text: Anointing served and serves three distinct purposes: it is regarded as a means of health and comfort, as a token of honor, and as a symbol of consecration. It seems probable that its sanative purposes were enjoyed before it became an object of ceremonial religion, but the custom appears to predate written history and the archaeological record, and its genesis is impossible to determine with certainty.


title: Anointing

text: Used in conjunction with bathing, anointment with oil closes pores. It was regarded as counteracting the influence of the sun, reducing sweating. Aromatic oils naturally masked body and other offensive odors.


title: Anointing

text: Applications of oils and fats are also used as traditional medicines. The Bible records olive oil being applied to the sick and poured into wounds. Known sources date from times when anointment already served a religious function; therefore, anointing was also used to combat the malicious influence of demons in Persia, Armenia, and Greece. Anointing was also understood to "seal in" goodness and resist corruption, probably via analogy with the use of a top layer of oil to preserve wine in ancient amphoras, its spoiling usually being credited to demonic influence.


title: Anointing

text: For sanitary and religious reasons, the bodies of the dead are sometimes anointed. In medieval and early modern Christianity, the practice was particularly associated with protection against vampires and ghouls who might otherwise take possession of the corpse.


title: Anointing

text: Anointing guests with oil as a mark of hospitality and token of honor is recorded in Egypt, Greece, and Rome, as well as in the Hebrew scriptures. It was a common custom among the ancient Hebrews and continued among the Arabs into the 20th century.