title: BBC Breakfast

text: Dermot Murnaghan presented from Washington, D.C. to cover the 2004 US election. Bill Turnbull did the same for the 2008 US presidential election.


title: BBC Breakfast

text: In September 2009, Kate Silverton presented from Lashkargāh, Afghanistan. The programme would return to Afghanistan on 27 and 28 June 2014, when Bill Turnbull presented from Camp Bastion to celebrate Armed Forces Day.


title: BBC Breakfast

text: Bill Turnbull presented live from Brighton for the September 2009 Liberal Democrats Conference, while Sian Williams presented from the Labour and Conservative Party Conferences.


title: BBC Breakfast

text: On 6 April 2010, Sian Williams presented from Westminster in the run-up to the announcement of the 2010 General Election.


title: BBC Breakfast

text: During April and May 2010, Bill Turnbull presented and reported from various locations on the party campaign trail throughout the country.


title: BBC Breakfast

text: On 30 April 2010, Charlie Stayt presented the programme from the University of Birmingham following the final leaders' debate of the election campaign.


title: BBC Breakfast

text: On 12 May 2010, Sian Williams presented the programme from College Green, Westminster the day after David Cameron became Prime Minister. Bill Turnbull also presented from outside 10 Downing Street.


title: BBC Breakfast

text: Following the Cumbria shootings the previous day, Bill Turnbull presented live from the town of Whitehaven on 3 June 2010.


title: BBC Breakfast

text: Bill Turnbull presented on the progress of the Olympic Park in Stratford, East London on 27 July 2010, two years before the Opening Ceremony of the 2012 Summer Olympics. Chris Hollins presented the sports news from the same location.


title: BBC Breakfast

text: Bill Turnbull presented from the September 2010 Liberal Democrats conference in Liverpool and the Labour Conference in Manchester.


title: BBC Breakfast

text: Sian Williams presented from the October 2010 Tory Conference in Birmingham. He additionally presented from College Green, Westminster in anticipation of the unveiling of Chancellor George Osborne's spending review and at the unveiling itself, both in October 2010.


title: BBC Breakfast

text: On 19 May 2012, Louise Minchin presented the 1st day of the 2012 Olympics Torch Relay from Lands End with Charlie Stayt presenting from the BBC Breakfast studio.


title: BBC Breakfast

text: From 27 July to 12 August, BBC Breakfast rebranded (as it usually does with all Olympics) to Olympic Breakfast and presented from a temporary studio built for the 2012 Olympics with a view of the Queen Elizabeth Olympic Park in the background


title: BBC Breakfast

text: A special split edition of the programme aired for the wedding of Prince William and Kate Middleton, with Sian presenting from Westminster Abbey and Bill live from Buckingham Palace. Naga Munchetty would later present from Windsor Castle to mark the wedding of Prince Harry and Meghan Markle.


title: BBC Breakfast

text: On 17 April 2013, Charlie Stayt presented the show from St Paul's Cathedral, London for a special split edition in the build-up of the funeral of Baroness Margaret Thatcher.


title: BBC Breakfast

text: On 13 March 2015, Bill Turnbull presented from St Paul's Cathedral, London in the lead up to a special service of remembrance to mark the end of operations in Afghanistan.


title: BBC Breakfast

text: On 12 June 2016, Louise Minchin presented from outside Buckingham Palace in the lead up to the finale of the Queen's 90th Birthday celebrations.


title: BBC Breakfast

text: Naga Munchetty presented from outside the Palace of Westminster covering the aftermath of the United Kingdom's European Union membership referendum results.


title: BBC Breakfast

text: During a special edition focusing on the Manchester terror attack that took place the previous night, Louise Minchin presented from outside Manchester Arena where the attack happened, and Dan Walker presented in the studio.


title: BBC Breakfast

text: Charlie Stayt and Louise Minchin spoke to MPs in Westminster on 10 June 2017 about the hung Parliament result from 8 June.


title: BBC Breakfast

text: Naga Munchetty and Charlie Stayt presented a special on the Grenfell Tower fire that happened during the night, followed by a broadcast the next day with Charlie live from West London and Naga in the studio talking to people.


title: BBC Breakfast

text: On 13 December 2018, Naga Munchetty and Charlie Stayt presented live from College Green, Westminster focusing on the unsuccessful vote of no confidence in Prime Minister Theresa May by Conservative Party MPs.


title: BBC Breakfast

text: Charlie Stayt and Steph McGovern presented live from Endcliffe Park in Sheffield when a flypast took place for the 75th anniversary of the "Mi Amigo" crash.


title: BBC Breakfast

text: On 17 April 2021 Charlie Stayt presented BBC Breakfast from Windsor Castle on the day of Prince Philip, Duke of Edinburgh funeral with Naga Munchetty presenting the show from the studio.


title: BBC Breakfast

text: In September 2006, "Breakfast" launched its own video podcast called the "Breakfast Takeaway". BBC News had already launched three other services: "Newsnight", the "Ten O'Clock News" and "STORYFix" (also previously shown on television at weekends on News 24). The "Breakfast Takeaway" was available Monday to Friday in MP4 format where it could be downloaded and viewed from a home or office computer.


title: BBC Breakfast

text: The video podcasts were a one-year trial. After the BBC reviewed the trial, the podcasts were discontinued in July 2007.


title: BBC Breakfast

text: In 2003, the Breakfast production team was commissioned by BBC One to make a week long series called "The Day Team From Chatsworth," presented by Nicki Chapman and presenter of the BBC's "Countryfile" programme, John Craven. It took a behind-the-scenes look at the stately home Chatsworth House, and was broadcast separately on BBC One at 10:30am.


title: BBC Breakfast

text: A number of other guests or celebrity presenters have been used on "Breakfast" to present themed days or weeks, even though some have never been mainstream news reporters or presenters. Many of these have seen the programme extended to 9:30am.


title: Luigi Pirandello

text: Luigi Pirandello (; 28 June 1867 – 10 December 1936) was an Italian dramatist, novelist, poet, and short story writer whose greatest contributions were his plays. He was awarded the 1934 Nobel Prize in Literature for "his almost magical power to turn psychological analysis into good theatre." Pirandello's works include novels, hundreds of short stories, and about 40 plays, some of which are written in Sicilian. Pirandello's tragic farces are often seen as forerunners of the Theatre of the Absurd.


title: Luigi Pirandello

text: Pirandello was born into an upper-class family in an area called "Caos" ("Chaos" in Italian, but in Sicilian dialect lit. "Trouser", from the shape of a nearby ravine), near Porto Empedocle, a poor suburb of Girgenti (Agrigento, a town in southern Sicily). His father, Stefano, belonged to a wealthy family involved in the sulphur industry, and his mother, Caterina Ricci Gramitto, was also of a well-to-do background, descending from a family of the bourgeois professional class of Agrigento. Both families, the Pirandellos and the Ricci Gramittos, were ferociously anti-Bourbon and actively participated in the struggle for unification and democracy ("Il Risorgimento"). Stefano participated in the famous Expedition of the Thousand, later following Garibaldi all the way to the battle of Aspromonte, and Caterina, who had hardly reached the age of thirteen, was forced to accompany her father to Malta, where he had been sent into exile by the Bourbon monarchy. But the open participation in the Garibaldian cause and the strong sense of idealism of those early years were quickly transformed, above all in Caterina, into an angry and bitter disappointment with the new reality created by the unification. Pirandello would eventually assimilate this sense of betrayal and resentment and express it in several of his poems and in his novel "The Old and the Young". It is also probable that this climate of disillusion inculcated in the young Luigi the sense of disproportion between ideals and reality which is recognizable in his essay on humorism ("L'Umorismo").


title: Luigi Pirandello

text: Pirandello received his elementary education at home, but was much more fascinated by the fables and legends, somewhere between popular and magic, that his elderly servant Maria Stella used to recount to him than by anything scholastic or academic. By the age of twelve, he had already written his first tragedy. At the insistence of his father, he was registered at a technical school, but eventually switched to the study of the humanities at the "ginnasio", something which had always attracted him.


title: Luigi Pirandello

text: In 1880, the Pirandello family moved to Palermo. It was here, in the capital of Sicily, that Luigi completed his high school education. He also began reading omnivorously, focusing, above all, on 19th-century Italian poets such as Giosuè Carducci and Arturo Graf. He then started writing his first poems and fell in love with his cousin Lina.


title: Luigi Pirandello

text: During this period, the first signs of serious differences arose between Luigi and his father; Luigi had discovered some notes revealing the existence of Stefano's extramarital relations. As a reaction to the ever-increasing distrust and disharmony that Luigi was developing toward his father, a man of a robust physique and crude manners, his attachment to his mother would continue growing to the point of profound veneration. This later expressed itself, after her death, in the moving pages of the novella "Colloqui con i personaggi" in 1915.


title: Luigi Pirandello

text: His romantic feelings for his cousin, initially looked upon with disfavour, were suddenly taken very seriously by Lina's family. They demanded that Luigi abandon his studies and dedicate himself to the sulphur business so that he could immediately marry her. In 1886, during a vacation from school, Luigi went to visit the sulphur mines of Porto Empedocle and started working with his father. This experience was essential to him and would provide the basis for such stories as "Il Fumo", "Ciàula scopre la Luna" as well as some of the descriptions and background in the novel "The Old and the Young". The marriage, which had seemed imminent, was postponed.


title: Luigi Pirandello

text: Pirandello then registered at the University of Palermo in the departments of Law and of Letters. The campus at Palermo, and above all the Department of Law, was the centre in those years of the vast movement which would eventually evolve into the Fasci Siciliani. Although Pirandello was not an active member of this movement, he had close ties of friendship with its leading ideologists: Rosario Garibaldi Bosco, Enrico La Loggia, Giuseppe De Felice Giuffrida and Francesco De Luca.


title: Luigi Pirandello

text: In 1887, having definitively chosen the Department of Letters, he moved to Rome in order to continue his studies. But the encounter with the city, centre of the struggle for unification to which the families of his parents had participated with generous enthusiasm, was disappointing and nothing close to what he had expected. "When I arrived in Rome it was raining hard, it was night time and I felt like my heart was being crushed, but then I laughed like a man in the throes of desperation."


title: Luigi Pirandello

text: Pirandello, who was an extremely sensitive moralist, finally had a chance to see for himself the irreducible decadence of the so-called heroes of the Risorgimento in the person of his uncle Rocco, now a greying and exhausted functionary of the prefecture who provided him with temporary lodgings in Rome. The "desperate laugh",the only manifestation of revenge for the disappointment undergone, inspired the bitter verses of his first collection of poems, "Mal Giocondo" (1889). But not all was negative; this first visit to Rome provided him with the opportunity to assiduously visit the many theatres of the capital: Il Nazionale, Il Valle, il Manzoni. "Oh the dramatic theatre! I will conquer it. I cannot enter into one without experiencing a strange sensation, an excitement of the blood through all my veins..."


title: Luigi Pirandello

text: Because of a conflict with a Latin professor, he was forced to leave the University of Rome and went to Bonn with a letter of presentation from one of his other professors. The stay in Bonn, which lasted two years, was fervid with cultural life. He read the German romantics, Jean Paul, Tieck, Chamisso, Heinrich Heine and Goethe. He began translating the "Roman Elegies" of Goethe, composed the "Elegie Boreali" in imitation of the style of the "Roman Elegies", and he began to meditate on the topic of humorism by way of the works of Cecco Angiolieri.


title: Luigi Pirandello

text: In March 1891 he received his doctorate in Romance Philology with a dissertation on the dialect of Agrigento: "Sounds and Developments of Sounds in the Speech of Craperallis".


title: Luigi Pirandello

text: After a brief sojourn in Sicily, during which the planned marriage with his cousin was finally called off, he returned to Rome, where he became friends with a group of writer-journalists including Ugo Fleres, Tomaso Gnoli, Giustino Ferri and Luigi Capuana. Capuana encouraged Pirandello to dedicate himself to narrative writing. In 1893 he wrote his first important work, "Marta Ajala", which was published in 1901 as "l'Esclusa". In 1894 he published his first collection of short stories, "Amori senza Amore". He married in 1894 as well. Following his father's suggestion he married a shy, withdrawn girl of a good family of Agrigentine origin educated by the nuns of San Vincenzo: Maria Antonietta Portulano.


title: Luigi Pirandello

text: The first years of matrimony brought on in him a new fervour for his studies and writings: his encounters with his friends and the discussions on art continued, more vivacious and stimulating than ever, while his family life, despite the complete incomprehension of his wife with respect to the artistic vocation of her husband, proceeded relatively tranquilly with the birth of two sons (Stefano and Fausto) and a daughter (Rosalia "Lietta"). In the meantime, Pirandello intensified his collaborations with newspaper editors and other journalists in magazines such as "La Critica" and "La Tavola Rotonda" in which he published, in 1895, the first part of the "Dialoghi tra Il Gran Me e Il Piccolo Me".


title: Luigi Pirandello

text: In 1897 he accepted an offer to teach Italian at the Istituto Superiore di Magistero di Roma, and in the magazine "Il Marzocco" he published several more pages of the "Dialogi". In 1898, with Italo Falbo and Ugo Fleres, he founded the weekly "Ariel", in which he published the one-act play "L'Epilogo" (later changed to "La Morsa") and some novellas (La Scelta, Se...). The end of the 19th century and the beginnings of the 20th were a period of extreme productivity for Pirandello. In 1900, he published in "Il Marzocco" some of the most celebrated of his novellas ("Lumie di Sicilia", "La Paura del Sonno"...) and, in 1901, the collection of poems "Zampogna". In 1902 he published the first series of "Beffe della Morte e della Vita" and his second novel, "Il Turno".


title: Luigi Pirandello

text: The year 1903 was fundamental to the life of Pirandello. The flooding of the sulphur mines of Aragona, in which his father Stefano had invested not only an enormous amount of his own capital but also Antonietta's dowry, precipitated the financial collapse of the family. Antonietta, after opening and reading the letter announcing the catastrophe, entered into a state of semi-catatonia and underwent such a psychological shock that her mental balance remained profoundly and irremediably shaken.


title: Luigi Pirandello

text: Pirandello, who had initially harboured thoughts of suicide, attempted to remedy the situation as best he could by increasing the number of his lessons in both Italian and German and asking for compensation from the magazines to which he had freely given away his writings and collaborations. In the magazine "New Anthology", directed by G. Cena, meanwhile, the novel which Pirandello had been writing while in this horrible situation (watching over his mentally ill wife at night after an entire day spent at work) began appearing in episodes. The title was "Il Fu Mattia Pascal" ("The Late Mattia Pascal"). This novel contains many autobiographical elements that have been fantastically re-elaborated. It was an immediate and resounding success. Translated into German in 1905, this novel paved the way to the notoriety and fame which allowed Pirandello to publish with the more important firms such as Treves, with whom he published, in 1906, another collection of novellas "Erma Bifronte". In 1908 he published a volume of essays entitled "Arte e Scienza" and the important essay "L'Umorismo", in which he initiated the legendary debate with Benedetto Croce that would continue with increasing bitterness and venom on both sides for many years.


title: Luigi Pirandello

text: In 1905 he took his wife to stay in Chianciano Terme together with their children where they stay there for two months in what the writer called the "village nestled on the windy hill" right in "opposite the Collegiata ". Two short stories contained in the book "Short stories for a year" are coveted in this country: "Bitter water" and "Pallino and Mimì".


title: Luigi Pirandello

text: In 1909 the first part of "I Vecchi e I Giovani" was published in episodes. This novel retraces the history of the failure and repression of the Fasci Siciliani in the period from 1893 to 1894. When the novel came out in 1913 Pirandello sent a copy of it to his parents for their fiftieth wedding anniversary along with a dedication which said that "their names, Stefano and Caterina, live heroically." However, while the mother is transfigured in the novel into the otherworldly figure of Caterina Laurentano, the father, represented by the husband of Caterina, Stefano Auriti, appears only in memories and flashbacks, since, as was acutely observed by Leonardo Sciascia, "he died censured in a Freudian sense by his son who, in the bottom of his soul, is his enemy." Also in 1909, Pirandello began his collaboration with the prestigious journal "Corriere della Sera" in which he published the novellas "Mondo di Carta" ("World of Paper"), "La Giara", and, in 1910, "Non è una cosa seria" and "Pensaci, Giacomino!" ("Think it over, Giacomino!") At this point Pirandello's fame as a writer was continually increasing. His private life, however, was poisoned by the suspicion and obsessive jealousy of Antonietta who began turning physically violent.


title: Luigi Pirandello

text: In 1911, while the publication of novellas and short stories continued, Pirandello finished his fourth novel, "Suo Marito", republished posthumously (1941), and completely revised in the first four chapters, with the title "Giustino Roncella nato Boggiòlo". During his life the author never republished this novel for reasons of discretion; within are implicit references to the writer Grazia Deledda. But the work which absorbed most of his energies at this time was the collection of stories "La Vendetta del Cane", "Quando s'è capito il giuoco", "Il treno ha fischiato", "Filo d'aria" and "Berecche e la guerra". They were all published from 1913 to 1914 and are all now considered classics of Italian literature.


title: Luigi Pirandello

text: As Italy entered the First World War, Pirandello's son Stefano volunteered for service and was taken prisoner by the Austro-Hungarians. In 1916 the actor Angelo Musco successfully recited the three-act comedy that the writer had extracted from the novella "Pensaci, Giacomino!" and the "pastoral" comedy "Liolà".


title: Luigi Pirandello

text: In 1917 the collection of novellas "E domani Lunedì" ("And Tomorrow, Monday...") was published, but the year was mostly marked by important theatrical representations: "Così è (se vi pare)" ("Right you are (if you think so)"), "A birrita cu' i ciancianeddi" and "Il Piacere dell'onestà" ("The Pleasure Of Honesty"). A year later, "Ma non è una cosa seria" ("But It's Nothing Serious") and "Il Gioco delle parti" ("The Game of Roles") were all produced on stage. Pirandello's son Stefano returned home when the war ended.


title: Luigi Pirandello

text: In 1919 Pirandello had his wife placed in an asylum. The separation from his wife, despite her morbid jealousies and hallucinations, caused great suffering for Pirandello who, even as late as 1924, believed he could still properly care for her at home. She never left the asylum.


title: Luigi Pirandello

text: 1920 was the year of comedies such as "Tutto per bene", "Come prima meglio di prima", and "La Signora Morli". In 1921, the "Compagnia di Dario Niccodemi" staged, at the Valle di Roma, the play, "Sei personaggi in cerca d'autore", "Six Characters in Search of an Author". It was a clamorous failure. The public divided into supporters and adversaries, the latter of whom shouted, "Asylum, Asylum!" The author, who was present at the performance with his daughter Lietta, left through a side exit to avoid the crowd of enemies. The same drama, however, was a great success when presented in Milan. In 1922 in Milan, "Enrico IV" was performed for the first time and was acclaimed universally as a success. Pirandello's international reputation was developing as well. The "Sei personaggi" was performed in London and New York.


title: Luigi Pirandello

text: Pirandello was an Italian nationalist and supported Fascism in a moderate way. In 1924 he wrote a letter to Benito Mussolini asking him to be accepted as a member of the National Fascist Party.


title: Luigi Pirandello

text: In 1925 Pirandello, with the help of Mussolini, assumed the artistic direction and ownership of the Teatro d'Arte di Roma, founded by the Gruppo degli Undici. He described himself as "a Fascist because I am Italian." For his devotion to Mussolini, the satirical magazine "Il Becco Giallo" used to call him "P. Randello" ("randello" in Italian means cudgel). Mussolini's support brought him international fame and a worldwide tour, introducing his work to London, Paris, Vienna, Prague, Budapest, Germany, Argentina, and Brazil.


title: Luigi Pirandello

text: He expressed publicly apolitical belief, saying "I'm apolitical, I'm only a man in the world." He had continuous conflicts with fascist leaders. In 1927 he tore his fascist membership card to pieces in front of the startled secretary-general of the Fascist Party. For the remainder of his life, Pirandello was always under close surveillance by the secret fascist police OVRA.


title: Luigi Pirandello

text: His play, "The Giants of the Mountain", has been interpreted as evidence of his realization that the fascists were hostile to culture; yet, during a later appearance in New York, Pirandello distributed a statement announcing his support of Italy's annexation of Abyssinia. He then gave his Nobel Prize medal to the Fascist government to be melted down as part of the 1935 ("Gold to the Fatherland") campaign during the Second Italo-Ethiopian War.


title: Luigi Pirandello

text: Pirandello's conception of the theatre underwent a significant change at this point. The idea of the actor as an inevitable betrayer of the text, as in the "Sei personaggi," gave way to the identification of the actor with the character that they play. The company took their act throughout the major cities of Europe, and the Pirandellian repertoire became increasingly well known. Between 1925 and 1926 Pirandello's last and perhaps greatest novel, "Uno, Nessuno e Centomila" ("One, No one and One Hundred Thousand"), was published serially in the magazine "Fiera Letteraria". He was one of the contributors of the nationalist women's magazine, "Lidel", and the Fascist daily "Il Tevere".


title: Luigi Pirandello

text: On 14 July 1930, a version of his short play "The Man with the Flower in His Mouth", adapted and produced by Lance Sieveking, co-produced with John Logie Baird's company,and starring Val Gielgud and Lionel Millard, became the first drama broadcast in both picture and sound when the British Broadcasting Corporation showed it for London audiences.


title: Luigi Pirandello

text: Pirandello was nominated "Academic of Italy" in 1929, and in 1934 he was awarded the Nobel Prize for Literature after he had been nominated by Guglielmo Marconi, member of the Royal Academy of Italy. He was the last Italian playwright to be chosen for the award until Dario Fo won on 9 October 1997.


title: Luigi Pirandello

text: Pirandello died alone in his home at Via Bosio, Rome, on 10 December 1936. He refused a State funeral offered by Mussolini and only in 1947 were his cremated remains buried in Sicily. The Via Luigi Pirandello in Acquaviva delle Fonti is named after him.


title: Luigi Pirandello

text: Nearly all of Pirandello's plays were translated into English by the actor Robert Rietti. Pirandello's poetry was translated for the first time in 2016 by George Hochfield. William Weaver is a noted translator of Luigi Pirandello. Frederick May translated a number of Pirandello's plays and short stories in editions published by Oxford University Press and Penguin Books.


title: Thank You for Being a Friend

text: "Thank You for Being a Friend" is a song written by Andrew Gold. It was recorded for Gold's third album, "All This and Heaven Too". The song reached number 25 on the "Billboard" Hot 100 chart in 1978. On the "Cash Box" chart, "Thank You for Being a Friend" spent two weeks at number 11. A cover by Cynthia Fee was the theme song for the NBC sitcom "The Golden Girls".


title: Thank You for Being a Friend

text: According to Gold, "Thank You for Being a Friend" was "just this little throwaway thing" that took him "about an hour to write".


title: Thank You for Being a Friend

text: The song was later re-recorded by Cynthia Fee to serve as the theme song for the NBC sitcom "The Golden Girls", and recorded again for the series' CBS spin-off "The Golden Palace".


title: Thank You for Being a Friend

text: Additionally, the song was featured as a dedication to the host on Casey Kasem's final "American Top 20/10", broadcast on the Fourth of July weekend in 2009; at the end of two World Series games (Game 5 in 1988 and Game 4 in 1990); in the "It's Always Sunny in Philadelphia" episode "Mac's Mom Burns Her House Down"; at the end of Super Bowl XL; in the episode of "The Simpsons" titled "Double, Double, Boy in Trouble"; on episodes of the TV shows "Dancing with the Stars", "Family Guy", "New Girl", "Looking", "Unbreakable Kimmy Schmidt", "The Goldbergs", "Arrested Development", "Atlanta", and the TV special "Trolls Holiday", as well as on a May 2010 episode of "Saturday Night Live" hosted by "Golden Girls" star Betty White, in which past and present cast members sang the song followed by a death metal version of the song performed by White herself while wearing a ski mask. Elaine Paige and Dionne Warwick released a recording of the song on Paige's duet album "Elaine Paige and Friends" in 2010. Other notables who covered the song include ex-Beatle Ringo Starr whose unreleased recording of the composition was produced by longtime Andrew Gold confederate Peter Asher, and actress/chanteuse Bernadette Peters who used it to open her 1979 live video release "Bernadette Peters In Concert".


title: Thank You for Being a Friend

text: The song was included in the Wearside Jack tape by someone purporting to be the Yorkshire Ripper; covered by ska-pop band Suburban Legends on their 2015 album "Forever in the FriendZone", and re-imagined by Virginia punk-rockers The Blanche Devereauxs on their 2009 LP "Midnight Cheesecake Banter". It was also recorded by singer-songwriter and sometime Gold collaborator Stephen Bishop; ensembles such as the Starlite Singers, Wild Stylerz, Smooch, Bliss, The Blue Rubatos, and Micah's Rule; singers Alyssa Bonagura, Angela Galuppo, Valerie DeLaCruz, and Brynn Marie; and bandleader Brandon Schott, with instrumental interpretations by groups including the London Studio Orchestra, Orlando Pops Orchestra, the Twilight Trio, and the Instrumental All Stars with Dominic Kirwan.


title: Thank You for Being a Friend

text: Various iterations of the composition have also been used in a number of advertisements, including a commercial for the New York Lottery, a German ad for Toyota, a U.K. ad for KFC, a special one-off ad for Arby's to commemorate the end of Jon Stewart's run as host of TV's "The Daily Show", a web ad for the Radio City Music Hall dance troupe the Rockettes, 2019 Campbells Soup Commercial, a 2013 Super Bowl ad for the National Football League, and in a trailer for the movie "Deadpool 2", posted on lead actor Ryan Reynolds's Twitter account to thank fans for the box-office success of the superhero blockbuster.


title: Thank You for Being a Friend

text: The chorus of the song is sampled in Rachel Platten's song of the same name on of "". In 2020, a version of the song was sung by Jane and Kat in "The Bold Type", Season 4, Episode 16 "Not Far from the Tree".


title: Ethereum Classic

text: Ethereum Classic is an open source, blockchain-based distributed computing platform featuring smart contract (scripting) functionality. It supports a modified version of Nakamoto consensus via transaction-based state transitions executed on a public Ethereum Virtual Machine (EVM).


title: Ethereum Classic

text: Ethereum Classic maintains the original, unaltered history of the Ethereum network. The Ethereum project's mainnet initially released via Frontier on 30 July 2015. However, due to a hack of a third-party project, the Ethereum Foundation created a new version of the Ethereum mainnet on 20 July 2016 with an "irregular state change" implemented that erased The DAO theft from the Ethereum blockchain history. The Ethereum Foundation endorsed the new, altered version of the Ethereum blockchain; Ethereum (code: ETH). The older, unaltered version of Ethereum was renamed and continued on as Ethereum Classic (code: ETC).


title: Ethereum Classic

text: Ethereum Classic's native Ether token is a cryptocurrency traded on digital currency exchanges under the currency code ETC. Ether is created as a reward to network nodes for a process known as "mining", which validates computations performed on Ethereum Classic's EVM. Implemented on 11 December 2017, the current ETC monetary policy seeks the same goals as bitcoin of being mechanical, algorithmic, and capped. ETC can be exchanged for network transaction fees or other assets, commodities, currencies, products, and services.


title: Ethereum Classic

text: Ethereum Classic provides a decentralized Turing-complete virtual machine, the Ethereum Virtual Machine (EVM), which can execute scripts using an international network of public nodes. The virtual machine's instruction set is Turing-complete in contrast to others like bitcoin script. Gas, an internal transaction pricing mechanism, is used to mitigate spam and allocate resources on the network.


title: Ethereum Classic

text: Several codenamed prototypes of the Ethereum platform were developed by the Ethereum Foundation, as part of their proof-of-concept series, prior to the official launch of the Frontier network. Ethereum Classic followed this codebase after the DAO incident.


title: Ethereum Classic

text: On 20 July 2016, as a result of the exploitation of a flaw in The DAO project's smart contract software, and subsequent theft of $50 million worth of Ether, the Ethereum network split into two separate blockchains – the altered history was named Ethereum (ETH) and the unaltered history was named Ethereum Classic (ETC).


title: Ethereum Classic

text: On 28 May 2016, a paper was released detailing security vulnerabilities with the DAO that could allow Ether to be stolen. On 9 June 2016, Peter Vessenes publicly disclosed the existence of a critical security vulnerability overlooked in many Solidity contracts, a recursive call bug. On 12 June 2016, Stephan Tual publicly claimed that the DAO funds were safe despite the newly-discovered critical security flaw.


title: Ethereum Classic

text: On 15 July 2016, a short notice on-chain vote was held on the DAO hard fork. Of the 82,054,716 ETH in existence, only 4,542,416 voted, for a total voter turn out of 5.5% of the total supply on 16 July 2016; 3,964,516 ETH (87%) voted in favor, 1/4 of which came from a single address, and 577,899 ETH (13%) opposed the DAO fork. The expedited process of the carbon vote drew criticism from opponents of the DAO fork. Proponents of the fork were quick to market the vote as an effective consensus mechanism, pushing forward with the DAO fork four days later.


title: Ethereum Classic

text: The first Ethereum Classic block that was not included in the forked Ethereum chain was block number 1,920,000, which was generated by Ethereum Classic miners on 20 July 2016.


title: Ethereum Classic

text: A mechanism called the "Difficulty Bomb" was designed to push the Ethereum chain from proof-of-work consensus mechanism to proof-of-stake in the future by exponentially increasing the difficulty of mining. This Difficulty Bomb was added to the network on block 200,000 in an upgrade named "Ice Age". While Ethereum Classic participants debated the merits of the Difficulty Bomb, a network upgrade called "Die Hard" at block 3,000,000 delayed the effects of the mechanism. Once the network participants came to consensus on the issue, Ethereum Classic upgraded its network on block 5,900,000 to permanently defuse the Difficulty Bomb. This abandoned a future with proof-of-stake and committed the network to the proof-of-work consensus mechanism.


title: Ethereum Classic

text: In an attempt to modernize the Ethereum Classic protocol, several protocol upgrades were scheduled to activate features that the Ethereum network already enabled over the past years. Atlantis, activated in September 2019, enabled the outstanding Byzantium changes, Agharta, in January 2020, brought Ethereum's Constantinople patches, and Phoenix finally achieved protocol parity between Ethereum Classic and Ethereum with the introduction of the Istanbul protocol upgrade. Since the Phoenix protocol activated, applications are fully cross-compatible between the Ethereum Classic and Ethereum Foundation networks.


title: Ethereum Classic

text: After a series of 51% attacks on the Ethereum Classic network in 2020, a change to the underlying Ethash mining algorithm was considered by the community to prevent being a minority proof-of-work chain in the Ethash mining algorithm where Ethereum is dominating the hashrate. After evaluating various options such as Monero's RandomX or the standardized SHA-3-256, it was eventually decided to double the Ethash epoch duration from 30,000 to 60,000 in order to reduce the DAG size and prevent Ethash miners to easily switch to Ethereum Classic. This modified Ethash is also referred to as "ETChash" or "Thanos" upgrade.


title: Ethereum Classic

text: As with other cryptocurrencies, the validity of each ether is provided by a blockchain, which is a continuously growing list of records, called "blocks", which are linked and secured using cryptography. By design, the blockchain is inherently resistant to modification of the data. It is an open, distributed ledger that records transactions between two parties efficiently and in a verifiable and permanent way. Unlike Bitcoin, Ethereum Classic operates using accounts and balances in a manner called state transitions. This does not rely upon unspent transaction outputs (UTXOs). The state denotes the current balances of all accounts and extra data. The state is not stored on the blockchain, it is stored in a separate Merkle Patricia tree. A cryptocurrency wallet stores the public and private "keys" or "addresses" which can be used to receive or spend Ether. These can be generated through BIP 39 style mnemonics for a BIP 32 "HD wallet". In the Ethereum tech stack, this is unnecessary as it does not operate in a UTXO scheme. With the private key, it is possible to write in the blockchain, effectively making an ether transaction.


title: Ethereum Classic

text: To send Ether to an account, the Keccak-256 hash of the public key of that account is needed. Ether accounts are pseudonymous in that they are not linked to individual persons, but rather to one or more specific addresses.


title: Ethereum Classic

text: "ETC" is a fundamental token for operation of Ethereum Classic, which thereby provides a public distributed ledger for transactions. It is used to pay for Gas, a unit of computation used in transactions and other state transitions. Within the context of Ethereum Classic it might be called ether, but it should not be confused with ETH, which is also called ether.


title: Ethereum Classic

text: It is listed under the currency code ETC and traded on cryptocurrency exchanges, and the Greek uppercase Xi character (Ξ) is generally used for its currency symbol. It is also used to pay for transaction fees and computational services on the Ethereum Classic network.


title: Ethereum Classic

text: Ethereum Classic addresses are composed of the prefix "0x", a common identifier for hexadecimal, concatenated with the rightmost 20 bytes of the Keccak-256 hash (big endian) of the ECDSA public key (the curve used is the so-called "secp256k1", the same as bitcoin). In hexadecimal, two digits represent a byte, meaning addresses contain 40 hexadecimal digits. An example of an Ethereum Classic address is codice_1. Contract addresses are in the same format, however, they are determined by sender and creation transaction nonce. User accounts are indistinguishable from contract accounts given only an address for each and no blockchain data. Any valid Keccak-256 hash put into the described format is valid, even if it does not correspond to an account with a private key or a contract. This is unlike bitcoin, which uses base58check to ensure that addresses are properly typed.


title: Ethereum Classic

text: On 11 December 2017, the total supply of Ether on Ethereum Classic was hard capped at ETC 210,700,000 via the Gotham hard fork upgrade. This added a bitcoin-inspired deflationary emission schedule that is documented in Ethereum Classic Improvement Proposal (ECIP) 1017. The emission schedule, also known as "5M20", reduces the block reward by 20% every 5,000,000 blocks. Socially, this block reward reduction event has taken the moniker of "the fifthening."


title: Ethereum Classic

text: The people who continued with Ethereum Classic advocate for blockchain immutability, and the concept that "code is law" against the pro-fork side (Ethereum) which largely argued for extra-protocol intentionality, decentralized decision-making, and conflict resolution.


title: Ethereum Classic

text: On 20 July 2016, due to reliance on the same clients, the DAO fork created a replay attack where a transaction was broadcast on both the ETC and ETH networks. On 13 January 2017, the Ethereum Classic network was updated to resolve transaction replay attacks. The networks are now officially operating separately.


title: Ethereum Classic

text: On 10 August 2016, the ETH proponent Robin Hood Group transferred 2.9 million stolen ETC to Poloniex in an attempt to sell ETC for ETH on the advice of Bitly SA; 14% was successfully converted to ETH and other currencies, 86% was frozen by Poloniex. On 30 August 2016, Poloniex returned the ETC funds to the RHG. They set up a refund contract on the ETC network.


title: Ethereum Classic

text: On 29 June 2017, the Ethereum Classic Twitter account made a public statement indicating reason to believe that the website for Classic Ether Wallet had been compromised. The Ethereum Classic Twitter account confirmed the details released via Threatpost. The Ethereum Classic team worked with Cloudflare to place a warning on the compromised domain warning users of the phishing attack.


title: Ethereum Classic

text: In January 2019, Ethereum Classic was subject to double-spending attacks. From July through August 2020, Ethereum Classic suffered from more 51% attacks.


title: Gris

text: Gris is a platform-adventure game by Spanish developer Nomada Studio and published by Devolver Digital. The game was released for Nintendo Switch, macOS and Microsoft Windows in December 2018, for iOS in August 2019, for PlayStation 4 in November 2019, for Android in April 2020, for Amazon Luna in November 2021, and for PlayStation 5, Xbox One and Xbox Series X/S in December 2022. The game has sold over 1 million copies.


title: Gris

text: The game follows a girl named Gris, who wakes up in the palm of a crumbling statue of a woman. She attempts to sing out, but quickly becomes choked up and the statue's hands crumble, dropping her to the colourless earth below. After landing, she continues walking forward and discovers a number of strange structures that seem to be powered by mysterious points of light resembling stars. Gris can collect these lights to gain new abilities, such as turning into a heavy block of stone, and creating new pathways made of constellations.


title: Gris

text: After reaching a central tower, Gris can travel to four new locations to collect lights and restore colour back to her world at statues resembling the broken one from the beginning of the story. These areas include a desert filled with windmills, a lush forest, underwater caverns, and a world with buildings made of light. Along the way she encounters various living beings, some of which help her on her journey, as well as an inky black monster which manifests as large creatures that threaten to consume her. The final power Gris obtains is the ability to sing again, which brings life to various plants and mechanical animals. In addition, hints throughout the story via other statues similar to the first reveal that the woman that Gris constantly grieves in front is her late mother.


title: Gris

text: Gris eventually collects enough stars to form a constellation path to the heavens, but the final pathway is blocked by the creature, who morphs into a monstrous form of herself and swallows her whole. She wakes up in an ocean of toxic black sludge and swims to the surface. As she climbs a tower rising out of the ocean, the creature tries to pull her back. However, Gris begins singing and her mother's statue begins to reform itself through the power of her voice. Just as she is completely consumed by the black oil, the statue of Gris's mother comes alive and begins singing as well, banishing the creature and the sea of despair. Encouraged by her mother's song, Gris continues to sing and the duet fully restores the world back to its beauty and colour. Gris and her mother tearfully embrace, with Gris giving a farewell kiss and she climbs the final constellation path into the light and the unknown, having accepted her mother's death and moving forward with the knowledge of her mother's love still being with her.


title: Gris

text: If all mementos are collected, Gris's childhood is revealed in a secret room. It is nighttime. A child Gris is in the meadows with her mother. Gris's mother encloses a firefly between her hands then releases it to fly around child Gris. Then under the bright full moon child Gris and her mother embrace.


title: Gris

text: "Gris" was developed by Nomada Studio, a Barcelona-based company which was formed after a chance meeting between two Ubisoft employees, Roger Mendoza and Adrián Cuevas, and artist Conrad Roset. The two met Roset while attending a going away party held for Cuevas who was temporarily moving to Ubisoft Montreal to work on "Rainbow Six Siege". Roset noted to Mendoza and Cuevas that he was interested in working on video games, at the time the two were interested in creating an independent game but lacked the artistic skills, so the three decided to form Nomada Studios.


title: Gris

text: Intending the game to be "a mix of "Journey" and "Ori and the Blind Forest"", the game was designed with accessibility in mind. As such there are no fail states, a decision that proved to be challenging. Mendoza has described their approach as "If there's a puzzle you can probably finish it at the second or third try. When the puzzle is more complicated, we give the player options." Partway through development the team consulted with a psychologist about the game's narrative themes of grief (especially the five stages of grief) and depression, resulting in gameplay decisions to echo the turmoil of the main character. An example of this is how at the beginning of the game the player is unable to jump which helps reinforce the notion that "something is wrong with this girl".


title: Gris

text: The art style created some unique problems for the developers. Since the game becomes more lively as players progress designing the early areas in an appealing way proved challenging. The team eventually solved this problem by taking inspiration from Iwagumi style aquariums. Another challenging issue was readability, which resulted in several level design and camera angle tweaks during development. Initially the main character's dress was going to change as more colors became unlocked, however this eventually proved impractical due partly to the camera angles. The game's title refers to the name of the protagonist, as well as the Spanish word for the colour grey.


title: Gris

text: "EGMNow" wrote that "with an arresting art style and admirable commitment to minimalist game design, "Gris" manages to turn a straightforward, often derivative platformer into something that feels far more special and important."


title: Gris

text: "GameSpot" stated "Gris understands intrinsically how magical video games can be and continually pushes your imagination until you're almost bursting with joy. The ways in which it reinvents itself as you gain powers and dive ever deeper into this world is truly special, and just as it knows exactly when to pull back the camera or introduce a new song, it's keenly aware of when it's time to say goodbye. Like a comet streaking across the sky, Gris is full of wonder and beauty and leaves you with a warm glow in your heart."


title: Gris

text: Apple stated "This spectacularly satisfying puzzle-platformer is a soul-stirring work of digital art—one that explores hope, grief and the triumph of piecing a life back together after tragic loss" and awarded it Mac Game of the Year in 2019.


title: Gris

text: As of March 2019, "Gris" has sold 300,000 copies worldwide. By April 2020, sales exceeded one million units.


title: Puppetry of the Penis

text: Puppetry of the Penis is a comedic live performance-art show featuring a series of genital contortions. The show was initially conceived as the title of a highbrow art calendar released by Australian Simon Morley in 1996. The calendar showcased twelve penis "installations" (the manipulation of male genitalia into a variety of recognisable forms). In response to increasing requests for live demonstrations, in 1997 Morley enlisted fellow Australian, David "Friendy" Friend, to devise a performance show consisting of body-based genital comedy.


title: Puppetry of the Penis

text: The show involves two nude men who bend, twist, and fold their penises and scrotums into various shapes. The theatrical contortion of the male genitalia (penis, scrotum, and testicles) accompanied by comedic narration has since spread internationally. It is humorously termed "dick trick" or "genital origami," referring to the flexibility of the human penis, testicles and scrotum.


title: Puppetry of the Penis

text: "Puppetry of the Penis" was first performed on stage at the 1998 Melbourne International Comedy Festival in Australia, featuring the creators, Morley and Friend, as the premiere cast. The show has since appeared on the international stage, featuring productions in Australia, New Zealand, the UK, Europe, Canada, the United States, South Africa and Argentina. The initial Australian tour was the subject of Australian comedian Mick Molloy's 2000 documentary "Tackle Happy". The duo has recruited supporting production teams and actors across Australia, the UK and the U.S., allowing international performance demands to be met. Due to the success of the show, the business was expanded to cater for private parties around Australia.


title: Puppetry of the Penis

text: In 1996, Australian comedian Simon Morley created an art calendar that showcased close-up images of twelve penis 'installations'. The concept was based on Morley and his youngest brother's creation of a series of party tricks involving various contortions of their genitalia. In order to market the calendars, Morley devised a live routine. Morley's first demonstration, held in a garage in 1997, was received well by audience members, and encouraged him to pursue the creation of a stage show in which to showcase the tricks. Morley originally intended to recruit his brother to perform the act alongside him, however he had already committed to a part on the Australian TV show Neighbours. Morley enlisted David "Friendy" Friend, a Melbourne resident who had previously run a small entertainment business that catered to bachelorette parties, as his stage partner, and together they developed a comedy routine based on Morley's original concept. The title of the calendar, 'Puppetry of the Penis', was the inspiration for the title of the subsequent performance show, which featured a repertoire of similar contortions.


title: Puppetry of the Penis

text: The run-time for the performance is approximately one hour. The main acts are preceded by a 25 minute stand-up comedy act, with varying comedians in different productions. The majority of the show features a series of 'tricks', which are manipulations of the actors' penises into various forms. The creators describe this as "genital origami". The contortions simulate commonly identifiable shapes, such as objects, architecture and people. The tricks include the Big Mac, the Loch Ness Monster, the wristwatch, the pelican, the Eiffel Tower, the hamburger, the bulldog, the windsurfer and others. The show consists of approximately 45 genital manipulations, accompanied by sound effects and comedic narration.


title: Puppetry of the Penis

text: The performers wear only sneakers and velvet magician's capes and stand with their backs to the audience. A large-screen live-action projection is used to allow audiences to view the acts close-up. The installations are projected, 20 times life size, onto an upstage screen for audience viewing. The show also includes a brief instructional demonstration for audiences to replicate the contortions, as well as an audience participation segment.


title: Puppetry of the Penis

text: The show debuted in 1998 at the Melbourne International Comedy Festival to sold out audiences, where it won the "Outright Best Show" award. The success of the initial performance prompted an eight-month tour of Australia that covered 20,000 kilometres. The national tour was captured in the 2000 documentary "Tackle Happy", directed by comedian Mick Molloy.


title: Puppetry of the Penis

text: "Puppetry of the Penis" returned to tour Australia in March 2001, with a new cast consisting of Daniel Lewry, Steve Harrison and Jim MacGregor, under the management of Ross Mollison Productions. It ran from 30 March 2001 to 20 May 2001 at the Forum Theatre in Melbourne, hosted by the Melbourne International Comedy Festival. The tour continued in July at Her Majesty's Theatre in Adelaide and in October at the Footbridge Theatre at the University of Sydney. In 2002 "Puppetry of the Penis" performed at Riverside Theatre in Parramatta, the Playhouse Theatre in Canberra, the IMB Theatre in Wollongong, Tivoli Theatre in Bowen Hills, Brolga Theatre in Maryborough, Pilbeam Theatre in Rockhampton and Enmore Theatre in Sydney. The show appeared again at the Melbourne International Comedy Festival in April 2002, with performers Brett Hartin and Richard Sutherland. In 2003 "Puppetry of the Penis" was hosted in Armidale at the University of New England Arts Theatre and the Orange Civic Theatre in Orange before returning to the Melbourne International Comedy Festival in March 2003, with a new Director's Cut version of the production, featuring performers Brett Hartin and Aaron Bloomfield. The "Puppetry of the Penis" Director's Cut tour continued in Australia throughout 2003 and 2004, adding to the cast performer Barry Brisco from New York and featuring the return of Morley and Friend from their U.S. tour. The show briefly halted touring in Australia, temporarily reopening in April 2006 at the Canberra Theatre in Canberra and in March 2007 at the Enmore Theatre in Sydney. The show continued to perform each year at the Melbourne International Comedy Festival, hosted at the Athenaeum Theatre, produced by A-List Entertainment production company. In 2008 "Puppetry of the Penis" premiered at the Adelaide Fringe Festival at the Royalty Theatre, which has hosted the show in subsequent years.


title: Puppetry of the Penis

text: In 2000, the creators performed the show at the Edinburgh International Fringe Festival, which was positively received by audiences. The show was then booked by a West End producer for a five-week run at London's Whitehall Theatre, but numerous extensions led to the completion of a six-month tour in London's West End. This was followed by performances in New Zealand, Canada, the United States, Spain, Germany, Belgium, Italy, Portugal, Norway, The Netherlands, Argentina, Switzerland and Iceland.


title: Puppetry of the Penis

text: In 2001, Morley and Friend licensed the show to local production company Mollison Productions, which produced seven supporting companies and a troupe of actors to assist with international performance demands and tours. On 5 October 2001 "Puppetry of the Penis" made its New York debut at the John Houseman Theatre on New York's 42nd Street. The show was produced Thomas Milazzo and Ross Mollison of Mollison Productions. The original creators, Morley and Friend, starred in the production, which featured an opening stand-up comedy act by Wendy Vousden. The production ran successfully for over a year, closing on 3 November 2002.


title: Puppetry of the Penis

text: In 2003, the duo licensed the show to Foster Entertainment in the U.S. "Puppetry of the Penis", presented by David Foster of Foster Entertainment and Simon Morley, returned to New York's 42nd Street on 4 August 2009 at the Bleecker Street Theatre. The cast consisted of Rich Binning, Chris Cannon, Christopher Goodwin and Gavin Stewart, with opening acts by Rachel Feinstein, Giulia Rozzi and Amy Schumer. The show, originally intending to end on 30 August, extended its Off-Broadway engagement and ran until 4 October 2009. Bleecker Street Theatre hosted a subsequent 8 week run of the show from 13 July 2010 to 4 September 2010.


title: Puppetry of the Penis

text: The production has also established a flagship show in Las Vegas, which runs five nights a week at The Jewel Box Theatre in the Erotic Heritage Museum. At one stage, the "Puppetry of the Penis" production managed eight franchises across the globe. The show has performed in a diverse range of venues during the course of its international tours. The UK tour included performances at the Grand Opera House in Belfast and the Arts Centre in New Milton. As of 2003, the show had played in over 15 private venues in the U.S., with the country-run theatre in Rosslyn being the first public arts facility in the country to host the show. "Puppetry of the Penis" has grossed over fifty million dollars, and performed in 35 countries in six different languages.


title: Puppetry of the Penis

text: "Puppetry of the Penis" has been noted for its controversial material amongst theatre critics and journalists. In a review of the production at the Whitehall Theatre in London, published in "The Independent", Sarah Barrell said "[the show] is certainly one of the more playfully subversive pieces of theatre to come within reach of the capital's centres of power".


title: Puppetry of the Penis

text: The show has received positive reviews from major international news outlets. Lyn Gardner of "The Guardian" called the production a "gently witty, surprisingly charming little show", and remarked that the material was handled with "a high degree of decorum". British critic Jill Sharp called the show a "theatrical extravaganza, celebrating with tongue-in-cheek innocence the flexibility of the phallus". "The Washington Post" noted the performers' "irrepressible wit… [they] will leave you laughing ridiculously".


title: Puppetry of the Penis

text: Other reviews were less favourable, criticising the show for its sexually graphic subject material. Conservative art critic Roger Kimball of the "New Criterion" magazine called the production as "a juvenile example of the normalisation of deviance", likening it to toilet humour. Kimball said that the show was nothing more than a repulsive "publicity stunt".


title: Puppetry of the Penis

text: Performance shows outside the pornography industry that feature genitalia risk breaching obscenity laws, even when legitimatised as genuine works of art. The "Puppetry of the Penis" production employs practical measures, such as having performers stand with their backs to the audience, in order to avoid claims of public obscenity, and to enable the show to be performed in mainstream and civic theatres. In its production history, the show has faced bans from several international venues on the grounds of indecency.


title: Puppetry of the Penis

text: In May 2002, "Puppetry of the Penis" was banned from performing at the Royal Wanganui Opera House, New Zealand. The mayor, Chas Poynter, said "the community is aghast and upset about this show". While the council was not able to prohibit performances of the show in other venues in the municipal, city authorities retained the power to ban the production at the civic opera house.


title: Puppetry of the Penis

text: In June 2002, the show was barred from being staged in civic theatres in the Cairns and Bundaberg Councils in Queensland. Despite reviewing the ban at the request of Executive Producer Thomas Milazzo, the councils ultimately refused to allow the show to use their facilities. In regard to the decision, Bundaberg mayor Kay McDuff said the show was not "appropriate" for the Bundaberg civic theatres.


title: Puppetry of the Penis

text: In October 2002, Friend and Morley appeared as guests on "The Tonight Show with Jay Leno" to promote their U.S. tour. The U.S. television network NBC permitted the broadcast despite protests from religious groups. Due to controversies surrounding the show, Salt Lake City's NBC affiliate station, which is owned by the Church of Jesus Christ of Latter-day Saints, refused to broadcast the program.


title: Puppetry of the Penis

text: In August 2004, during a U.S. tour of the production, Chicago Citizens for Community advocacy group filed a complaint, claiming that the show was "illegal and subject to law enforcement". The Chicago Police ignored protests to ban the performance.


title: Puppetry of the Penis

text: On 4 October 2002, Morley and Friend were interviewed on KRON-TV's "Morning News" show to promote performances of "Puppetry of the Penis" in San Francisco. The duo appeared dressed only in capes and during the course of the live broadcast, one of the performers briefly exposed his penis. The Enforcement Bureau of the U.S. Federal Communications Commission (FCC) received a complaint from a viewer and launched an investigation into alleged television broadcast indecency. The FCC concluded that Young Broadcasting of San Francisco, KRON-TV's proprietor, was liable for a fine of $27,000 for violating federal restrictions regarding the broadcast of indecent material. This was the maximum fine for a breach of this nature. The Commission rejected Young Broadcasting's claims of bona-fide news coverage immunity, on the grounds that the puppetry "display was not incidental to the coverage of a news event". The station issued a press release apologising for the incident and paid the fee.


title: Puppetry of the Penis

text: An early 2002 appearance by the duo on the Canadian comedy game show "Gutterball Alley" was also the subject of a complaint to the Canadian Broadcast Standards Council that year. The council concluded that the depictions of penises in the episode did not contravene its policies around nudity, as it was relevant and appropriate within the narrative context, but it found The Comedy Network culpable for not running a viewer advisory around the use of four-letter words in the dialogue.


title: Puppetry of the Penis

text: In February 2012, the Australian Advertising Standards Bureau received a complaint regarding a billboard advertising "Puppetry of the Penis" at the Twelfth Night Theatre in Bowen Hills, Brisbane. While the ad featured no nudity, the complainant protested the "thrusting of the male genital part into the public area". The ASB deemed the use of anatomical words acceptable in the context and the complaint was dismissed.


title: Puppetry of the Penis

text: The use of comedy as a method of subverting or critiquing traditional assumptions and social dynamics has been commented on by several theorists. "Puppetry of the Penis" uses theatrical and absurdist humour to deconstruct conventional representations of male genitalia. The show reduces the penis to a malleable object for the purposes of comedy, disassociating it from the taboo of sex and masculinity. Theatre critic Joe Adcock wrote in his review of the performance, "The strictures of genteel decorum are violated. And so are the dogmas of smut."


title: Puppetry of the Penis

text: Critics and academics note that "Puppetry of the Penis" possesses a cultural value beyond its outwardly superficial subject matter. The show demystifies and demythologises the male sexual organ by displaying it with hyper-visibility and boldness. In her book, Maria San Filippo states that displaying the penis "to spectacular effect ultimately renders it de-fetishized". She comments that in "Puppetry of the Penis", the phallus is desexualised and separated from its traditional symbolic connotations, instead becoming purely a source of amusement.


title: Puppetry of the Penis

text: Academic Elizabeth Stephens notes that "Puppetry of the Penis" represents a change in the "representability" of the penis, with its contortions rendering the organ as "humiliated, tortured or laughed at". She writes that while the penis is noticeably visible in the show, the phallus appears only in a distorted form, making it unrecognisable as a penis. According to Stephens, "this freakshow spectacularization of the penis, in which it becomes visible only to be constituted as an object of ridicule or amusement… represents anxieties about the role of the penis in the construction of masculinity". Stephens states that "Puppetry of the Penis" deconstructs traditional assumptions about the phallus and its symbolic attachment to masculinity.


title: Puppetry of the Penis

text: Kovacs discusses the subversion of traditional phallic symbolism that "Puppetry of the Penis" presents in its performances. She comments that conventional representations of the penis allude to power, dominance and violence, and states that the show "challenges preconceived notions of the penis and its function as an object of sexuality and symbol of power". According to Kovacs, audiences are drawn to such productions as they challenge social norms and transfer taboo subjects from the private sphere "and into the social realm through the agency of humour".


title: Puppetry of the Penis

text: The creators published an instructional book, entitled "Puppetry of the Penis: The Ancient Art of Genital Origami", in 2000. It features photographs, accompanied by illustrations and text, demonstrating how to replicate 26 of the installations.


title: Puppetry of the Penis

text: A Director's Cut version of the show was introduced at the Melbourne International Comedy Festival in 2003. It featured new performers Brett Hartin and Aaron Bloomfield, and showcased home videos from the United States tour of the production. Subsequent performances began with a multi-media presentation of the show's development over the previous decade. They included video footage of original creators Morley and Friend on tour, performance highlights, and audience reactions.


title: Puppetry of the Penis

text: The initial Australian national tour of "Puppetry of the Penis" was the subject of the documentary "Tackle Happy", directed and produced by Australian comedian Mick Molloy. The documentary focuses on the creators, Morley and Friend, and their production journey. It showcases the complications that the duo experienced during this time, including legal disputes, backstage tension and the difficulties of prolonged touring. The documentary is interspersed with dialogue from comedian Tony Martin and director Mick Molloy.


title: Kayal (TV series)

text: Kayal is a 2021 Indian-Tamil language Family drama series premiered on 25 October 2021 on Sun TV and it is available for worldwide streaming on Sun NXT. The show is produced by Vision Time Pvt. Ltd. The series stars Chaitra Reddy and Sanjeev Karthick


title: Kayal (TV series)

text: Kayal, a hardworking woman is the only earner in her family. She faces many hurdles in her life, like her younger sister's wedding, an uncle determined for her downfall, and workplace harassment, and the story revolves around how she bravely fights these problems.


title: Chandragupta I

text: Chandragupta I (Gupta script: "Cha-ndra-gu-pta", r. c. 319–335 or 319–350 CE) was a king of the Gupta Empire, who ruled in northern and central India. His title "Maharajadhiraja" ("great king of kings") suggests that he was the first emperor of the dynasty. It is not certain how he turned his small ancestral kingdom into an empire, although a widely accepted theory among modern historians is that his marriage to the Licchavi princess Kumaradevi helped him extend his political power. Their son Samudragupta further expanded the Gupta empire.


title: Chandragupta I

text: Chandragupta was a son of the Gupta king Ghatotkacha, and a grandson of the dynasty's founder Gupta, both of whom are called "Maharaja" ("great king") in the Allahabad Pillar inscription. Chandragupta assumed the title "Maharajadhiraja" ( "great king of kings") and issued gold coins, which suggests that he was the first imperial ruler of the dynasty.


title: Chandragupta I

text: Chandragupta certainly reigned in the first quarter of the 4th century CE, but the exact period of his reign is uncertain. His assumption of the title "Maharajadhiraja" has led to suggestions that he founded the Gupta calendar era, and that the epoch of this era marks his coronation. Based on this argument, several historians, including V. A. Smith and P. L. Gupta, date Chandragupta's ascension to 319-320 CE, which they believe to be the beginning of the Gupta era. However, this is merely an assumption, and the identity of the founder of the Gupta era is not certain. Some historians, such as D. C. Sircar and R. C. Majumdar, theorize that the Gupta era marks the coronation of his son Samudragupta. S. R. Goyal theorizes that the era was started by the later king Chandragupta II, but its beginning was dated to Samudragupta's ascension.


title: Chandragupta I

text: Chandragupta I probably had a long reign, as the Allahabad Pillar inscription suggests that he appointed his son as his successor, presumably after reaching an old age. However, the exact period of his reign is debated.


title: Chandragupta I

text: Chandragupta married the Lichchhavi princess Kumaradevi. Licchavi is the name of an ancient clan that was headquartered at Vaishali in present-day Bihar during the time of Gautama Buddha. A Lichchhavi kingdom existed in the present-day Nepal in the first millennium CE. However, the identity of Kumaradevi's Lichchhavi kingdom is not certain.


title: Chandragupta I

text: An 8th-century inscription of the Lichchhavi dynasty of Nepal claims that their legendary ancestor Supushpa was born in the royal family of Pushpapura, that is, Pataliputra in Magadha. According to some historians, such as V. A. Smith, the Lichchhavis ruled at Pataliputra during Samudragupta's time. However, this inscription states that Supushpa ruled 38 generations before the 5th-century king Manadeva, that is, centuries before Chandragupta's period. Therefore, the claim made in this inscription, even if true, cannot be taken as concrete evidence of the Lichchhavi rule at Pataliputra during Chandragupta's time.


title: Chandragupta I

text: The Lichchhavi kingdom of Kumaradevi is unlikely to have been located in present-day Nepal because Samudragupta's Allahabad Pillar inscription mentions Nepala (that is, Nepal) as a distinct, subordinate kingdom. Given the lack of any other evidence, historian R. C. Majumdar assumed that during Chandragupta's time, the Lichchhavis ruled at Vaishali, which is the only other base of the clan known from the historical records.


title: Chandragupta I

text: The gold coins attributed to Chandragupta bear portraits of Chandragupta and Kumaradevi, and the legend "Lichchhavayah" ("the Lichchhavis"). Their son Samudragupta is described as "Lichchhavi-dauhitra" ("Lichchhavi daughter's son") in the Gupta inscriptions. Except Kumaradevi, these inscriptions do not mention the paternal family of the dynasty's queens, which suggests that the Gupta family considered Kumaradevi's marriage to Chandragupta an important event.


title: Chandragupta I

text: Numismatist John Allan theorized that Chandragupta defeated a Lichchhavi kingdom headquartered at Vaishali, and that Kumaradevi's marriage to him happened as part of a peace treaty. He suggested that the Guptas considered this marriage a prestigious one simply because of the ancient lineage of the Lichchhavis. However, the ancient text "Manusamhita" regards the Lichchhavis as "unorthodox and impure" ("vratya"). Therefore, it is unlikely that the Guptas proudly mentioned Samudragupta's Lichchhavi ancestry to increase their social prestige. Also, it is unlikely that the Guptas allowed the name of the Lichchhavis to appear on the dynasty's coins after defeating them.


title: Chandragupta I

text: It is more likely that the marriage helped Chandragupta extend his political power and dominions, enabling him to adopt the title "Maharajadhiraja". The appearance of the Lichchhavis' name on the coins is probably symbolic of their contribution to the expansion of the Gupta power. After the marriage, Chandragupta probably became the ruler of the Lichchhavi territories. Alternatively, it is possible that the Gupta and the Lichchhavi states formed a union, with Chandragupta and Kumaradevi being regarded as the sovereign rulers of their respective states, until the reign of their son Samudragupta, who became the sole ruler of the united kingdom.


title: Chandragupta I

text: Little is known about Chandragupta other than his ancestry, his marriage, and his expansion of the Gupta power, as evident from his title "Maharajadhiraja". The territorial extent of Chandragupta's kingdom is not known, but it must have been substantially larger than that of the earlier Gupta kings, as Chandragupta bore the title "Maharajadhiraja". Modern historians have attempted to determine the extent of his kingdom based on the information from the "Puranas" and the Allahabad Pillar inscription issued by his son Samudragupta.


title: Chandragupta I

text: The Allahabad Pillar inscription names several kings subjugated by Samudragupta. Based on the identity of these kings, several modern historians have tried to determine the extent of the territory that he must have inherited from Chandragupta. For example, since the king of the northern part of the Bengal region is not mentioned among the kings subjugated by Samudragupta, these historians theorize that northern Bengal was a part of Chandragupta's kingdom. However, such conclusions cannot be made with certainty, as the identity of several of the kings subjugated by Samudragupta is a matter of debate. Nevertheless, the information from the inscription can be used to determine the territories that were not a part of Chandragupta's kingdom:


title: Chandragupta I

text: A passage in the "Vayu Purana" states that the Guptas ruled over Saketa (modern Ayodhya), Prayaga, and Magadha. Based on this, multiple modern scholars have theorized that Chandragupta ruled over these territories. However, this conclusion is not certain, as the "Vayu Purana" does not mention the name of a specific ruler. Scholars critical of this theory argue that the passage describes the territories of either the dynasty's founder Gupta or its 6th century rulers who oversaw the kingdom's decline. Critics also point out that the corresponding passage in the "Vishnu Purana" states that the Guptas and the Magadhas jointly ruled over Prayaga and Magadha, and does not mention Saketa at all. The corresponding passage in the various manuscripts of "Bhagavata Purana" either does not mention the word "Gupta", or uses it as a common noun meaning "protected" instead of using it as the name of a specific dynasty. Even somes manuscripts of the "Vayu Purana" use the words "Guhya", "sapta" or "Manidhanyaka" instead of "Gupta". Supporters of the theory dismiss these as scribal mistakes. Historian Ashvini Agrwal argues that the "Vayu Purana" passage cannot be a reference to the Gupta territories during the empire's period of decline, as it does not mention Bengal, which formed a part of the Gupta kingdom during this period.


title: Chandragupta I

text: According to historian R. C. Majumdar, Chandragupta's kingdom may have included the whole of present-day Bihar, and a part of present-day Uttar Pradesh and Bengal. Historian Dilip Kumar Ganguly believes that he ruled a large kingdom extending from Allahabad in the west to the Ganges river in Bengal in the east; the kingdom excluded south-eastern Bengal (Samatata), northern Bengal (Vanga), eastern Bengal, and western Bengal (the kingdom of Chandravarman). Historian Ashvini Agrwal states that his kingdom included central and eastern Uttar Pradesh (including Prayaga and Awadh), and Bihar; but not Bengal.


title: Chandragupta I

text: Gold coins bearing portraits of Chandragupta and Kumaradevi have been discovered at Mathura, Ayodhya, Lucknow, Sitapur, Tanda, Ghazipur, and Varanasi in Uttar Pradesh; Bayana in Rajasthan; and Hajipur in Bihar. The obverse of these coins depicts portraits of Chandragupta and Kumaradevi, with their names in the Gupta script. The reverse shows a goddess seated on a lion, with the legend ""Li-ccha-va-yah"" (𑁊, "the Lichchhavis").


title: Chandragupta I

text: Various scholars, including numismatist John Allan, have considered that the gold coins bearing the portraits of Chandragupta and Kumaradevi were issued by Samudragupta to commemorate his parents, while others have attributed the issue of these coins to Chandragupta himself, or even suggested that these coins were issued by the Lichchhavis.


title: Chandragupta I

text: V. S. Pathak theorized that the coins show the royal couple in the "vaivahika" (nuptial) pose, but there is no concrete evidence that the coins depict the royal wedding. S.V. Sohoni theorized that the coins depicted Chandragupta taking leave of Kumaradevi while going on a military campaign, but this is doubtful given the lack of a phrase indicative of military prowess (unlike the coins of their son Samudragupta). The coins probably simply depict Chandragupta and Kumaradevi as joint rulers.


title: Chandragupta I

text: The identity of the female figure appearing on the reverse of these coins is uncertain. It is unlikely that she was a Gupta queen, as the depiction of a female figure seated on a lion is characteristic of a goddess in historical art of India. Some historians, such as A. S. Altekar, have identified the goddess as Durga. However, although Durga is often represented as seated on a lion, this attribute is not unique to her: Lakshmi has also been depicted as seated on a lion. For example, Hemadri's works mention "Simha-vahini" ("having lion as her vahana") Lakshmi, and images from Khajuraho depict "Simha-vahini" Gajalakshmi. Some scholars, such as John Allan, have identified the goddess on the coins as Lakshmi, who is the goddess of fortune and the wife of Vishnu. She may have been featured on the coins as a symbol of the Guptas' royal prosperity, or as a mark of their Vaishnavite affiliation, but this cannot be said with certainty. The goddess may also have been a tutelary goddess of the Lichchhavis, whose name appears below her image, but this cannot be said with certainty either.


title: Chandragupta I

text: The Allahabad Pillar inscription and the Eran stone inscription of Samudragupta state that his father Chandragupta selected him as the next king. The Allahabad Pillar inscription states that Chandragupta appointed him to "protect the earth", which suggests that Chandragupta renounced the throne in his old age, and appointed his son as the next king.


title: Chandragupta I

text: The discovery of the coins issued by a Gupta ruler named Kacha have led to some debate about Chandragupta's successor. According to one theory, Kacha was another name for Samudragupta. Another theory is that Kacha was the elder brother of Samudragupta, and succeeded their father Chandragupta.


title: Chandragupta I

text: The "Kaliyuga-raja-vrttanta" section of the "Bhavishyottara Purana" mentions that Kacha was a son of Chandragupta I from a Licchavi princess. It describes Kacha as jointly ruling with his father, and states that Samudragupta killed their father. However, these passages (and possibly the entire text) are a modern forgery.


title: Mathematical object

text: In the usual language of mathematics, an "object" is anything that has been (or could be) formally defined, and with which one may do deductive reasoning and mathematical proofs. Typically, a mathematical object can be a value that can be assigned to a variable, and therefore can be involved in formulas. Commonly encountered mathematical objects include numbers, sets, functions, expressions, geometric objects, transformations of other mathematical objects, and spaces. Mathematical objects can be very complex; for example, theorems, proofs, and even theories are considered as mathematical objects in proof theory.


title: Mathematical object

text: The ontological status of mathematical objects has been the subject of much investigation and debate by philosophers of mathematics.


title: Mathematical object

text: Categories are simultaneously homes to mathematical objects and mathematical objects in their own right. In proof theory, proofs and theorems are also mathematical objects.


title: Silvio Piola

text: Silvio Piola (; 29 September 1913 – 4 October 1996) was an Italian footballer who played as a striker. He is known as a highly prominent figure in the history of Italian football due to several records he set, and he is regarded as one of the greatest strikers of his generation, as well as one of the best Italian players of all time. Piola was part of the squad that won the 1933–35 Central European International Cup & the squad that won the 1938 FIFA World Cup with Italy, scoring two goals in the final, ending the tournament as the second best player and the second highest scorer.


title: Silvio Piola

text: Piola is third in the all-time goalscoring records of the Italian national team. He is also the highest goalscorer in Italian first league history, with 290 goals (274 in Serie A and 16 in Divisione Nazionale), and also in Serie A history. He played 566 Serie A games, putting him fourth on the all-time list for appearances in Italy's top flight. Piola is the only player to have the honour of being the all-time Serie A top scorer of three different teams (Pro Vercelli, Lazio and Novara) Piola is also the highest scoring Italian player in all competitions, with 364 goals (391 if his goals in the Divisione Nazionale and for the Italy B team are also included). Throughout his career, including friendlies, Piola scored 682 goals.


title: Silvio Piola

text: After his death a pair of Italian stadiums were renamed after him: one in Novara in 1997 and another in Vercelli in 1998. In 2011, he was posthumously inducted into the Italian Football Hall of Fame.


title: Silvio Piola

text: Piola began his career with Italian club side Pro Vercelli, making his Serie A debut against Bologna on 16 February 1930, scoring 13 goals in his first year, at the age of 17. On 29 October 1933, Piola scored six goals, the joint-most goals scored in a single match in Serie A, in a 7–2 win over Fiorentina. He went on to score 51 goals in 127 appearances in Serie A for Pro Vercelli.


title: Silvio Piola

text: In 1934, he moved to Lazio, who had been on the receiving end of his first Serie A goal on 11 November 1930. He was to spend the next nine seasons there. Piola was the Serie A top scorer twice while at Lazio, in 1937 and 1943. Piola was Lazio's highest all-time leading goalscorer with 149 goals until it was surpassed in 2021 by Ciro Immobile.


title: Silvio Piola

text: After leaving Lazio, he spent war-torn 1944 at Torino, where he scored an amazing 27 goals in just 23 games. Toward the end of the war, he joined Novara. Then, from 1945 to 1947, Piola played for Juventus, before moving back to Novara, where he stayed for seven more seasons. During his final years with Novara, Piola became the oldest player in Serie A history to score two goals in a single league match, a feat which he managed on 1 February 1953, at the age of 39 years, 4 months and 2 days, against his former team Lazio; the record stood until 20 April 2016, when Francesco Totti came off the bench and scored twice to help Roma come from behind to defeat Torino 3–2 at home, at the age of 39 years, 6 months and 23 days. To this day, Piola is still currently the highest all-time goalscorer in Serie A.


title: Silvio Piola

text: His first game for Italy came against Austria on 24 March 1935, when he also scored his first goal for the team. He was a World Cup winner in 1938, when he scored two of Italy's goals in the 4–2 victory over Hungary; he finished the tournament as the second highest scorer and was named the second best player, also earning a place in the Team of the Tournament.


title: Silvio Piola

text: Piola went on to play 34 games for Italy and score 30 goals between 1935–1952, a tally that would surely have been greater if not for the interruption caused by World War II. He served as the national side's captain from 1940 until 1947. In 1939 he scored a goal with his hand to England 47 years before Diego Armando Maradona. His last international appearance was in 1952, when Italy drew 1–1 with England. Piola is currently Italy's third highest goalscorer of all-time, behind only Giuseppe Meazza, and Luigi Riva. He also co-holds, with Riva, the national team's record for most goals on opposition soil with 13.


title: Silvio Piola

text: Regarded as one of the greatest strikers of all time, Piola was widely renowned for his goalscoring ability throughout his career, and his eye for goal. He was considered to be a modern and well-rounded player during his time, as he used his physical attributes, intelligence, and control to play with his back to goal, and lay off the ball for teammates in order to provide them with assists. Piola's vision, work-rate, and technical ability, as well as his passing ability, made him a tactically versatile player, who was capable of playing in several positions, and he was deployed on the wing, in midfield, or as a creative advanced playmaker or second striker on occasion. Piola particularly excelled as a centre-forward, however; his speed, positional sense, offensive movement, and opportunism enabled him to lose his markers with his attacking runs and receive his team-mates' deliveries or pounce on loose balls in the area. Piola was also known for his powerful and accurate finishing ability with his head and both feet, from any position on the pitch, which made him a prolific goalscorer throughout his career. Due to his agility and athletic ability, Piola also excelled in the air, and he was capable of scoring spectacular acrobatic goals from volleys and bicycle kicks. Despite his talent and his reputation, he was occasionally accused of diving throughout his career. Unlike his legendary international team-mate, club rival, and friend Giuseppe Meazza, however, with whom he was often compared, Piola was much more reserved both on and off the pitch, and he preferred to score through efficiency and pragmatism rather than flamboyance. On top of his playing ability and prolific goalscoring, Piola also stood out for his longevity throughout his career.


title: Prem Mandir, Vrindavan

text: Prem Mandir (lit. The Temple of Love) is a Hindu temple in Vrindavan, Mathura district, Uttar Pradesh, India. It is nearly holy city Mathura. It is maintained by Jagadguru Kripalu Parishat, an international non-profit, educational, spiritual, charitable trust.


title: Prem Mandir, Vrindavan

text: The complex is on a 55-acre site on the outskirts of Vrindavan. It is dedicated to Radha Krishna and Sita Ram. Radha Krishna are on the first level and Sita Ram are on the second level.


title: Prem Mandir, Vrindavan

text: The temple was established by the fifth Original Jagadguru Shri Kripalu Ji Maharaj. Different Leelas of Shri Krishna and Rasik saints are depicted all over the wall of the main temple.


title: Prem Mandir, Vrindavan

text: Construction began in January 2001 and the inauguration ceremony took place from 15 to 17 February 2012. The temple was opened to public on 17 February. The cost was 150 crore rupees ($23 million). The presiding deity are Shri Radha Govind (Radha Krishna) and Shri Sita Ram. A 73,000 square feet, pillar-less, dome shaped satsang hall is being constructed next to Prem Mandir, which will accommodate 25,000 people at a time. Surrounded by beautiful gardens and fountains, the temple complex has life-size depictions of four leelas of Shri Krishna – Jhulan leela, Govardhan leela, Raas leela and Kaliya Naag leela.


title: Prem Mandir, Vrindavan

text: It is sister temple of Bhakti Mandir which was opened in 2005 and another sister temple which is known as Kirti Mandir, Barsana opened in 2019.


title: Prem Mandir, Vrindavan

text: The foundation stone was laid by Jagadguru Shri Kripalu Ji Maharaj in the presence of thousand devotees on 14 January 2001. The structure took around 12 years to construct, involving around 1000 artisans.


title: Prem Mandir, Vrindavan

text: The Vrindavan site was developed by Kripalu Ji Maharaj, whose main ashram was at Vrindavan. He dedicated the gift of love to Shri Vrindavan Dham.


title: Prem Mandir, Vrindavan

text: Prem Mandir is constructed entirely of Italian marble. The total dimensions of the temple including its flag is 125 ft. high, 190 ft. long and the 128 ft. wide raised platform serves as the seat of the two-storeyed white monument.


title: Prem Mandir, Vrindavan

text: A circumambulation route has been constructed on the mandir prāṅgaṇa (प्राङ्गण), the platform of the temple, enabling visitors to view the 48 panels depicting the pastimes of Shri Radha Krishna which are carved on the outer walls of the temple. The walls are made of solid Italian marble, 3.25 ft. thick. The thickness of the walls of the garbha-griha is 8 ft to bear the weight of huge shikhar, swarna kalash and the flag. 84 panels have also been set up on the exterior of the temple and display the loving pastimes of Shri Radha Krishna. Other than this, numerous portraits of Radha Krishna Leela, or the miracles of Lord Krishna, can also be found inside the temple.


title: Brujeria (band)

text: Brujeria () is an American extreme metal band formed in Los Angeles, California in 1989. The band has Spanish lyrics with topics such as Satanism, anti-Christianity, sex, immigration, narcotics smuggling, and politics. Brujeria portrays Mexican imagery, with several members being Hispanic and Latino Americans, while the band's name stands for "brujería" (Spanish for "witchcraft").


title: Brujeria (band)

text: Brujeria alumni include Fear Factory guitarist Dino Cazares and drummer Raymond Herrera, as well as Billy Gould, Nicholas Barker, Jeff Walker and Shane Embury. They perform under pseudonyms and portray themselves as a Latino band consisting of drug lords, concealing their identities due to being wanted by the FBI. In videos and photographs of the band, they are shown wearing bandanas, balaclavas, serapes, and are often shown wielding machetes.


title: Brujeria (band)

text: Brujeria was formed at a party in 1989 in the spirit of creating a grindcore and death metal band representative of the Latino/Chicano community. Its members, the guitarist Dino Cazares, Jello Biafra, drummer Pat Hoed, bass guitarist Billy Gould and vocalist Juan Brujo, used pseudonyms as most were in other known bands.


title: Brujeria (band)

text: Their first single, "¡Demoniaco!", was released in 1990. In 1992, "Machetazos" was released and with it came the band's first line-up change. Jello Biafra departed the group, Pinche Peach was introduced as an additional vocalist and Raymond Herrera took on the drums; Pat Hoed, the band's former drummer, became a second vocalist. "Machetazos" and "El Patrón" (1994) were produced and distributed through Jello Biafra's record label Alternative Tentacles.


title: Brujeria (band)

text: The band was criticized from its inception for its lyrics about drugs, sex and Satanism. These topics, while the subjects of many other death metal acts, were inspired by the actions of Adolfo Constanzo, Cuban-American-born Mexican drug smuggler, practitioner of Palo Mayombe and serial killer.


title: Brujeria (band)

text: Controversy was created by the cover of their first album "Matando Güeros" (1993), which featured a severed head being held by a hand. Subsequently, the image of the head would become an emblem of the band, transforming themselves into their mascot known as "Coco Loco" ("mad/crazy bogeyman" or "mad/crazy head" in Mexican slang), and is seen frequently on album covers and merchandise. The severed head is of a drug dealer in a photo taken from a Mexican publication. This album saw the addition of Shane Embury on guitar and bass guitar.


title: Brujeria (band)

text: In 1995, they released their second full-length "Raza Odiada", with the usual themes but with significant changes in their music and for many critics and fans their best work to date. "Raza Odiada" featured the single "La Ley De Plomo", whose music video proved successful on music channels such as MTV, featuring late at night on heavy metal shows.


title: Brujeria (band)

text: The group started to become increasingly popular, but nevertheless, decided to remain anonymous and declined all offers to organize concerts (except on rare occasions), confounding supporters, who were eager to see them live. Two years later came the EP "Marijuana", featuring a cover-parody of the popular song "The Macarena" and four live songs from its first official concert.


title: Brujeria (band)

text: 1999 saw the release of "Spanglish 101", a compilation of label Kool Arrow Records' artists, protesting against the dominance of English. On this album, the band released a couple of new tracks: "Marcha de Odio" which would later be included in their next album, "Brujerizmo" and "Don Quijote Marijuana", cover of Magazine 60's hit song Don Quixote, an issue that attracted attention for its techno-dance style, completely different from the band's heavy metal sound.


title: Brujeria (band)

text: In 2000, 5 years after the last LP, Brujerizmo was released, which incorporated Nicholas Barker as a second drummer, Jesse Pintado on the guitar and Gaby Dominguez, as "Pititis", who represents a female demon as the female vocalist.


title: Brujeria (band)

text: The next release was a compilation, called "Mextremist! Greatest Hits", released in 2001, which included classic tracks, alternate versions, remixes, a multimedia track with video, and some new themes, such as the collaboration with Mucho Muchacho on "Narco-Peda" and "Asesino" which featured Tony Campos of Static-X. The record, rather than being a compilation, was more like a disc of rarities and B-sides, since most of the songs were not the album versions, but the versions on the EPs and singles. The disc also included a video cover for the Magazine 60 song "Don Quichotte" named "Don Quijote Marihuana".


title: Brujeria (band)

text: 2002 came with many plans for the band, first they went to record new material for their eagerly awaited fourth album. However, this seems to have been put on hold due to altercations between Cazares and Herrera related to the temporary breakup of Fear Factory. Herrera departed Brujeria in 2002, shortly before Fear Factory reformed without Cazares. The band then announced the launch of various side-projects for each of the band members, starting with Asesino who launched that same year, "Corridos de Muerte" with the band featuring Tony Campos and Emilio Marquez.


title: Brujeria (band)

text: There is a DVD compilation of the band called "Permission of Satan". This DVD was produced by Juan Brujo and Henry about the recording period of the "Asesino" album and videos of his first three presentations of the official tour of Brujeria, The Mexecutioner Tour. Also includes images of the addition of "Wee Man" Jason Acuña of "Jackass", Satanico Army Band, Mariachi Terror, and others. The DVD was homemade and distributed by Juan Brujo.


title: Brujeria (band)

text: Brujeria declined to do live performances in its early years, however, on June 11, 1997, they played at the Whisky a Go Go club in Hollywood. The short concert itself was incorporated into the EP "Marijuana" as a side B. On October 2, 2003, the band played its first official concert in Chicago, USA, and began its first tour known as The Mexecutioner Tour, which concluded on January 24, 2004 in Guadalajara, Mexico. Also in 2003, Roadrunner Records released a compilation of tracks from the studio albums, the band titled "The Mexecutioner! - The Best of Brujeria". The band, now with Nicholas Barker on drums, decided to promote the work as the band had never done before, which included interviews, concerts and more. Starting with a second tour called "Tour II", which began on February 7, 2004, in Mexicali and the first appearance of Pititis the female voice of the band, their first visit to Brazil and Argentina, concluding the tour on August 8, 2004 in Buenos Aires.


title: Brujeria (band)

text: After that, the band was absent from the stage and uncertainty about the group's future arose, it was speculated that the reason for this was that they were working on a new album but none materialized. Also during this period of time, several vital members of the group such as Dino Cazares, departed after alleged differences with frontman Juan Brujo. In 2006, there was news from the band with the release of "The Singles" which is a revival of the EP and singles of the band and the beginning of a new global concert tour known as "No Seas Pendejo Tour" that began in Buenos Aires, Argentina on January 28 and also included the presentation in Vive Latino 2006 in Mexico featuring two new members: Tony Laureano on drums and Jeff Walker on bass. Shane Embury left bass and switched to guitar. At their first appearance in Europe Viña Rock, Spain, the tour concluded on 6 August of that year in Houston, Texas. Later, in September of that year, they returned to do a small tour in Spain known as "Don Quijote Marijuana Tour" now with Patrik Jensen on guitar and Adrian Erlandsson on drums.


title: Brujeria (band)

text: After several years on hiatus, and internal problems, Brujeria reformed in 2007 and decided it was time to return to the scene. Juan Brujo (vocals), Pat Hoed (second vocals), Jeff Walker (bass), Shane Embury (guitar) and Adrian Erlandsson (drums) started a new tour called "Weapon of Change Tour". Lasting from February 21 to December 15, the band performed in England, Italy, Spain, France, Germany, the United States, Mexico, Colombia, Argentina, Brazil, Peru, Chile, and Ecuador. Between April and June 2008, Brujeria returned to Europe to play some concerts as an extension of the "Weapon of Change Tour", including dates at SWR MetalFest XI in Barroselas (Portugal), again Viña Rock (Albacete, Spain) and in Kobetasonik, a rock festival that takes place in the Basque Country (Spain). In November and December of that year, the band began another tour called "Accept No Imitations Tour". Brujeria played at the 10th annual Maryland Death Fest in May 2012.


title: Brujeria (band)

text: They performed a world tour between 2007 and 2008. In an interview in June 2009, bassist Shane Embury stated that the band's fourth studio album was going to be released that year, and that it could be released by the band itself. In October 2014, they signed with indie giant Nuclear Blast for an album in 2015. On July 1, 2016, the band announced that they would finally release their fourth studio album "Pocho Aztlan" on September 16. The album is their first in sixteen years, and their first to feature Hongo Jr., El Cynico, El Sangron and Cuernito.


title: Brujeria (band)

text: Since the release of "Pocho Aztlan", Brujeria has continued to tour regularly and released a series of one-off singles, including two anti-Trump songs "Viva Presidente Trump!" and "Amaricon Czar" (in 2016 and 2019 respectively), and "COVID-666" in 2020. The band has been working on new material as of February 2022.


title: Black Sunday (1977 film)

text: Black Sunday is a 1977 American action thriller film directed by John Frankenheimer and based on Thomas Harris' novel of the same name. It was produced by Robert Evans, and stars Robert Shaw, Bruce Dern and Marthe Keller. It was nominated for the Edgar Allan Poe Award in 1978. The screenplay was written by Ernest Lehman, Kenneth Ross and Ivan Moffat. Ross had previously written the screenplay for "The Day of the Jackal", a similar plot-driven political thriller. The inspiration of the story came from the Munich massacre, perpetrated by the Black September organization against Israeli athletes at the 1972 Summer Olympics, giving the title for the novel and film.


title: Black Sunday (1977 film)

text: Michael Lander is a pilot who flies the Goodyear Blimp over National Football League games to film them for network television. Secretly deranged by years of torture as a POW in the Vietnam War, he had a bitter court martial on his return and a failed marriage. He longs to kill himself and to take with him as many as possible of the cheerful, carefree civilians he sees from his blimp each weekend.