title: Factory Records

text: By 1992, the label's two most successful bands caused the label serious financial trouble. The Happy Mondays were recording their troubled fourth album "Yes Please!" in Barbados, and New Order reportedly spent £400,000 on recording their comeback album "Republic". London Records were interested in taking over Factory but the deal fell through when it emerged that, due to Factory's early practice of eschewing contracts, New Order rather than the label owned New Order's back catalogue.


title: Factory Records

text: Factory Communications Ltd, the company formed in 1981, declared bankruptcy in November 1992. Many former Factory acts, including New Order, found a new home at London Records.


title: Factory Records

text: The Haçienda closed in 1997 and the building was demolished shortly afterwards. It was replaced by a modern luxury apartment block in 2003, also called The Haçienda. In October 2009, Peter Hook published his book on his time as co-owner of the Haçienda, "How Not to Run a Club", and in 2010 he had six bass guitars made using wood from the Haçienda's dancefloor.


title: Factory Records

text: The 2002 film "24 Hour Party People" is centred on Factory Records, the Haçienda, and the infamous, often unsubstantiated anecdotes and stories surrounding them. Many of the people associated with Factory, including Tony Wilson, have minor parts; the central character, based on Wilson, is played by actor and comedian Steve Coogan.


title: Factory Records

text: Anthony Wilson, Factory Records' founder, died on 10 August 2007 at age 57, from complications arising from renal cancer.


title: Factory Records

text: Colin Sharp, the Durutti Column singer during 1978 who took part in the "A Factory Sample" EP, died on 7 September 2009, after suffering a brain haemorrhage. Although his involvement with Factory was brief, Sharp was an associate for a short while of Martin Hannett and wrote a book called "Who Killed Martin Hannett", which upset Martin's surviving relatives, who stated the book included numerous untruths and fiction. Only months after Sharp's death, Larry Cassidy, Section 25's bassist and singer, died of unknown causes, on 27 February 2010.


title: Factory Records

text: In early 2010, Peter Hook, in collaboration with the Haçienda's original interior designer Ben Kelly and British audio specialists Funktion-One, renovated and reopened FAC 251 (the former Factory Records headquarters on Charles Street) as a nightclub. The club still holds its original name, FAC 251, but people refer to it as "Factory". Despite Ben Kelly's design influences, Peter Hook insists, "It's not the Haçienda for fucks sake". The club has a weekly agenda, featuring DJs and live bands of various genres.


title: Factory Records

text: In May 2010, James Nice, owner of LTM Recordings, published the book "Shadowplayers". The book charts the rise and fall of Factory and offers detailed accounts and information about many key figures involved with the label.


title: Factory Records

text: Musical releases, and essentially anything closely associated with the label, were given a catalogue number in the form of either FAC, or FACT, followed by a number. FACT was reserved for full-length albums, while FAC was used for both single song releases and many other Factory "productions", including: posters (FAC 1 advertised a club night), The Haçienda (FAC 51), a lawsuit filed against Factory Records by Martin Hannett (FAC 61), a hairdressing salon (FAC 98), a broadcast of Channel 4's "The Tube" TV series (FAC 104), customised packing tape (FAC 136), a bucket on a restored watermill (FAC 148), the Haçienda cat (FAC 191), a bet between Wilson and Gretton (FAC 253), a radio advertisement (FAC 294), and a website (FAC 421). Similar numbering was used for compact disc media releases (FACD), CD Video releases (FACDV), Factory Benelux releases (FAC BN or FBN), Factory US releases (FACTUS), and Gap Records Australia releases (FACOZ), with many available numbers restricted to record releases and other directly artist-related content.


title: Factory Records

text: Numbers were not allocated in strict chronological order; numbers for Joy Division and New Order releases generally ended in 3, 5, or 0 (with most Joy Division and New Order albums featuring multiples of 25), A Certain Ratio and Happy Mondays in 2, and the Durutti Column in 4. Factory Classical releases were 226, 236 and so on.


title: Factory Records

text: Despite the demise of Factory Records in 1992, the catalogue was still active. Additions included the "24 Hour Party People" film (FAC 401), its website (FAC 433) and DVD release (FACDVD 424), and a book, "Factory Records: The Complete Graphic Album" (FAC 461).


title: Factory Records

text: In 1989, Factory Classical was launched with five albums by composer Steve Martland, the Kreisler String Orchestra, the Duke String Quartet (which included Durutti Column viola player John Metcalfe), oboe player Robin Williams and pianist Rolf Hind. Composers included Martland, Benjamin Britten, Paul Hindemith, Francis Poulenc, Dmitri Shostakovich, Michael Tippett, György Ligeti and Elliott Carter. Releases continued until 1992, including albums by Graham Fitkin, vocal duo Red Byrd, a recording of Erik Satie's "Socrate", Piers Adams playing Handel's Recorder Sonatas, Walter Hus and further recordings both of Martland's compositions and of the composer playing Mozart.


title: Factory Records

text: In 1994, Wilson attempted to revive Factory Records, in collaboration with London Records, as "Factory Too". The first release was by Factory stalwarts the Durutti Column; the other main acts on the label were Hopper and Space Monkeys, and the label gave a UK release to the first album by Stephin Merritt's side project the 6ths, "Wasps' Nests". A further release ensued: a compilation EP featuring previously unsigned Manchester acts East West Coast, the Orch, Italian Love Party, and K-Track. This collection of 8 tracks (2 per band) was simply entitled "A Factory Sample Too" (FACD2.02). The label was active until the late 1990s, latterly independent of London Records, as was "Factory Once", which organised reissues of Factory material.


title: Factory Records

text: In 2012, Peter Saville and James Nice formed a new company called Factory Records Ltd., in association with Alan Erasmus and Oliver Wilson (son of Tony). This released only a vinyl reissue of "From the Hip" by Section 25. Nice subsequently revived the Factory Benelux imprint for Factory reissues, and for new recordings by Factory-associated bands. In 2019 Warner Music Group marked the 40th anniversary of Factory as a record label with a website, exhibition, and select vinyl editions including "Unknown Pleasures" and box set compilation Communications 1978-1992.


title: Factory Records

text: The bands with the most numerous releases on Factory Records include Joy Division/New Order, Happy Mondays, Durutti Column and A Certain Ratio. Each of these bands has between 15 and 30 FAC numbers attributed to their releases.


title: Factory Records

text: An exhibition By Colin Gibbins took place celebrating the 20th anniversary of the closing of Factory Records (1978–1992) and its musical output, Colin's collection was displayed at the Ice Plant, Manchester, between 4 and 7 May 2012. The exhibition was called FACTVM (from the Latin for 'deed accomplished').


title: Factory Records

text: In October 2019 a new box set was released containing both rarities and the label’s releases from its first two years.


title: Factory Records

text: From 19 June until 3 January 2022, Manchester's Science and Industry Museum is hosting an exhibition commemorating Factory Records entitled "'Use Hearing Protection: The early years of Factory Records"' Featuring graphic designs by Peter Saville, previously unseen items from the Factory archives, and objects loaned from the estates of both Tony Wilson and Rob Gretton, the former manager of Joy Division and New Order.


title: Ek Main Aur Ekk Tu

text: Ek Main Aur Ekk Tu () is a 2012 Indian Hindi-language romantic comedy film co-written and directed by Shakun Batra in his directorial debut and produced by Karan Johar and Hiroo Yash Johar under the banner of Dharma Productions, alongside Ronnie Screwvala of UTV Motion Pictures. The film stars Imran Khan and Kareena Kapoor, with Ratna Pathak Shah, Boman Irani and Ram Kapoor in supporting roles. The plot centers on an uptight architect named Rahul Kapoor, living in Las Vegas, Nevada, who loses his job and, following a night of debauchery, accidentally marries a free-spirited hairstylist named Riana Braganza. After mutually deciding to annul the marriage, Rahul begins a one-sided attraction for Riana, which threatens to ruin their new friendship.


title: Ek Main Aur Ekk Tu

text: Development began in 2010, when Johar signed Batra and Khan for a film to be made under his banner. Inspired by the Woody Allen style of film-making, Ayesha Devitre and Batra worked on the script, with principal photography taking place in Vegas, Los Angeles, Pataudi and Mumbai. The film features music by Clinton Cerejo and Amit Trivedi, with the former composing the score and the latter composing the songs. The lyrics for songs were written by Amitabh Bhattacharya. Originally slated to release during the fall of 2011, "Ek Main Aur Ekk Tu" eventually released on 10 February 2012, to positive critical reception, with major praise directed to Kapoor and Khan's performance, and proved a moderate commercial success.


title: Ek Main Aur Ekk Tu

text: Rahul Kapoor, an architect, has always been on the road to perfection, as per the wishes of his domineering father, Sushil Kapoor and socialite mother, Seema Kapoor. After suddenly losing his job in Vegas, he hides the truth from his parents and looks for another job. Unable to cope with unemployment, he goes to a psychologist and runs into another patient, Riana Braganza. A series of events lead Riana to believe that he is sent by her ex-boyfriend to stalk her, and she ends up taking his file by mistake.


title: Ek Main Aur Ekk Tu

text: Riana, who later realises her mistake, calls him and apologises for her behaviour. They meet up on Christmas Eve and Riana invites Rahul to have a few drinks with her. A few drinks turn into a night of intoxicated revelry and they end up marrying each other. Horrified the following morning, they decide to get it annulled as soon as possible. Meanwhile, Riana, who is also unemployed and has not paid her rent, loses her accommodation and an initially hesitant Rahul lets her stay with him till her problem gets resolved. During these few days, they get to know each other better. Rahul is revealed to be interested in photography while Riana recounts her ambition to be a ballet dancer, which was destroyed after she broke her ankle in childhood. Their friendship develops as Riana gives Rahul a long break he always wanted. As they grow closer, Rahul develops feelings for Riana, who fails to reciprocate them.


title: Ek Main Aur Ekk Tu

text: As New Year's Eve approaches, Riana plans to visit her family in India and asks Rahul to accompany her. He disagrees initially, as his parents live in Mumbai, but later succumbs to her argument. Upon arrival, she introduces him to her family, making his feelings towards her grow. The next day, Riana takes him to visit her school. Amidst reflecting over her past relationships, he unsuccessfully tries to kiss her. Realising that she does not feel the way he does, he angrily leaves the school, only to almost run into a car revealed to be his mother's. He lies and tells his mother that he is in India for a research trip, and that Riana is a colleague. They have lunch with Rahul's parents, where he spins a web of intricate lies to avoid telling his father the truth. He leaves Riana's house and returns to his parents, trying to tell them the truth, but once again is overpowered by his father.


title: Ek Main Aur Ekk Tu

text: Two days later, during a family dinner, Rahul angrily divulges the complete truth to his in-denial parents and their business partners, after realising the meaninglessness of his pretense he indulged in all these years. He rushes back to Riana to apologise for his behaviour while Riana apologises she never intended to lead him on. After a night of reflection and deep conversation, they decide to maintain their friendship.


title: Ek Main Aur Ekk Tu

text: The duo return to Las Vegas and finalise their annulment. Rahul gets a new job, while making time for photography. He remains hopeful that one day he will convince Riana to go back to that chapel with him. Both remain good friends, with an ending note from Rahul claiming that he is finally happy with his life, as the credits roll.


title: Ek Main Aur Ekk Tu

text: Pre-production work on "Ek Main Aur Ekk Tu" began in 2010 when Karan Johar announced his plans of making a new project with debutant Shakun Batra. Following the success of their previous collaboration "I Hate Luv Storys" (2010), Khan was contracted by Johar to play the male lead. In an attempt to sign in an actress who had never worked with Khan before, Kapoor was confirmed to play the female lead several days later. She had to cut her hair short and sport red streaks for her role. On casting Khan and Kapoor, Johar commented, "They could get their real life personality onto the film. Imran is meant to be this very perfectionist young man. So while he is a very stuffy kind of a character, he is also very focused and doesn't let himself go. On the other hand Kareena plays this woman who is like a modern version of Geet from "Jab We Met"."


title: Ek Main Aur Ekk Tu

text: Batra mentioned, "It's a slice of life film, driven by characters. The plot is not primary, emotions of the characters are at the forefront. It is set on two weeks of the life of two characters, played by Imran and Kareena." On the other hand, Johar said it was inspired by the Woody Allen style of film-making. He added that there would be "lot more conversation happening here" and there would be "these walk-talk sequences where it is just you and the camera in motion."


title: Ek Main Aur Ekk Tu

text: Principal photography commenced in November 2010 in Las Vegas, Nevada after Khan had completed working on "Mere Brother Ki Dulhan" and later continued in Los Angeles. After completing the film's first schedule, the crew shifted to shoot in Pataudi, in the Indian state of Haryana, followed by Mumbai. As photography began in Vegas, media sources began to report that it could be an adaptation of the American romantic comedy, "What Happens in Vegas" (2008). Johar, however, went on to deny these reports, claiming that, if he wanted to remake the film, he would have bought the rights to it. Originally referred to as "Short Term Shaadi", the title and first look was launched by Johar in August 2011 via Twitter. According to him, ""Short Term Shaadi" was just a working title that attached itself to this film through the making. Neither the director nor I were happy with it from the start." The name "Ek Main Aur Ekk Tu" was derived from a song from the Rishi Kapoor and Neetu Singh starrer "Khel Khel Mein" (1975).


title: Ek Main Aur Ekk Tu

text: On deciding to set the stot in Vegas, Batra said that "the character of the place is very well defined and we need to show it as Las Vegas. It can't be shown as any other city. Since most films are not set there, it gets difficult. In case of "Ek Main Aur Ekk Tu", our film is set in Las Vegas and Mumbai." As filming took place during the winter in Vegas, the production team shot for double shifts to be cost effective.


title: Ek Main Aur Ekk Tu

text: The music rights of "Ek Main Aur Ekk Tu" were sold to T-Series for . The soundtrack, which released on 26 December 2011, featured music composed by Amit Trivedi with lyrics by Amitabh Bhattacharya. Batra mentioned that Trivedi was his first choice for music director and added that while the track "Gubbare" was the first to be recorded, the title track took the longest to compose.


title: Ek Main Aur Ekk Tu

text: The soundtrack met with a positive response, with Avijit Ghosh of "The Times of India" mentioning, "Composer Amit Trivedi and lyricist Amitabh Bhattacharya are among the finest musical team in Bollywood. In "Ek Main Aur Ekk Tu", they are again at their best. The seductive "Auntyji" and the racy title track have a delightful breeziness. And the more evocative tracks such as "Gubbare Gubbare" and "Aahatein" stay with you for long". While praising the compositions, Joginder Tuteja of "Bollywood Hungama" commented that the album belonged to a "niche audience". He added that the songs "Ek Main Aur Ekk Tu" and "Kar Chalna Shuru Tu" would make the most impression. Mitesh Saraf of "Planet Bollywood", while summarising his review wrote, "The album has some cool songs to chill out to and they should sound even better on screen."


title: Ek Main Aur Ekk Tu

text: The film released worldwide on 10 February 2012, coinciding with Valentine's Day celebrations. Upon release, "Ek Main Aur Ekk Tu" received positive reviews and was a moderate box office success.


title: Ek Main Aur Ekk Tu

text: The trailers of "Ek Main Aur Ekk Tu" faced trouble with the censor board before release. Initially, the word "sex" was objected to by the board and asked to be removed. Later, a scene depicting Kapoor pinching Khan's buttocks was considered inappropriate for television promos and had to be removed.


title: Ek Main Aur Ekk Tu

text: Rachel Saltz of "The New York Times" noted, "The happy surprise of "Ek Main aur Ekk Tu" is that it's not crude, sniggering or vindictive. Instead it's rather sweet and sometimes even a little unexpected." Avijit Ghosh of "The Times of India" gave 4 out of 5 stars and said that, ""Ek Main Aur Ekk Tu" is the sweetest heartbreak that Bollywood has conjured in a long, long time." Taran Adarsh of Bollywood Hungama also gave 4 out of 5 stars saying, "This take on love is refined, smart, lively and thoroughly pleasing thanks to its characters, conversations and the inherent humor." Piyali Dasgupta of NDTV, in her 4-star review, explained, "I'll play on the film's USP for this review and keep it short and crisp. No extra lines. But, just like you need to read this, you need to go and watch the film." "DNA India" recommended it and gave 4 stars out of 5 concluding, "All in all, "Ek Main Aur Ekk Tu" is a delightful film that keeps getting better along the way, and ends fabulously. Clocking under two hours, the film is a breezy watch that will leave you with a smile."


title: Ek Main Aur Ekk Tu

text: "MiD DAY" gave 3.5 stars out of 5, commenting, "The climax is brave, unpredictable and real. Go watch! "Ek Main Aur Ekk Tu" is a small packet of joy." "India Today", too, gave 3.5 stars out of 5 saying, ""Ek Main Aur Ekk Tu" is a gentle little film, where even the regulation song with Americans dancing to Bollywood music in the middle of Vegas don't look so bad." A review carried by "Birmingham Mail" mentioned,


title: Ek Main Aur Ekk Tu

text: "Daily Bhaskar" gave 3 out of 5 stars and concluded saying, "Overall, "Ek Main Aur Ekk Tu" is a typical popcorn entertainment with super-amazing climax which puts it in a different league altogether." Sukanya Verma for Rediff too gave the film 3 stars out of 5, and commented, ""Ek Main Aur Ekk Tu" is neither on the epic side like Dharma Productions' great, grand ancestors nor weighed down by an overload of pop culture references of those that define the genre." Komal Nahta for Koimoi, too, gave 3 out of 5 stars, saying "Ek Main Aur Ekk Tu" is an entertaining and enjoyable fare for the city audience. Rajeev Masand of CNN-IBN gave it 3 out of 5 stars and said ""Ek Main Aur Ekk Tu" is a narrative that unfolds mainly through dialogue, and the lighter moments come at you as the odd couple gets to know each other. The humor hits the mark many times and falls flat occasionally, but the movie doesn't grate because the characters aren't trying too hard to be cute."


title: Ek Main Aur Ekk Tu

text: "The Economic Times" gave 2.5 stars out of 5, and said "It's perfect in whatever it offers. But what it offers is quite average in volume." Shubhra Gupta of "The Indian Express" gave 2.5 stars out of 5 and said "The film passes by pleasantly enough past all its expected roadsigns, providing a smile and an occasional chuckle but making you wish for more newness."


title: Ek Main Aur Ekk Tu

text: On the contrary, Kunal Guha of Yahoo! gave 2 stars out of 5, saying "this film doesn't subscribe to every cliché associated with this auspicious day for getting Main and Tu to become Hum."


title: Ek Main Aur Ekk Tu

text: "Ek Main Aur Ekk Tu" opened well in multiplexes in North India, while other areas had an average opening at multiplexes. On its first day, it earned about nett, with major collections coming from Mumbai, Delhi NCR, Punjab and Mysore. It collected nett on Saturday, while on Sunday, hence totaling its first weekend collection around .


title: Ek Main Aur Ekk Tu

text: On Monday, the film netted around , with a 50% drop in collections as compared to first day. On Tuesday, "Ek Main Aur Ekk Tu" had a jump and earned around nett, owing to Valentine's Day. At the end of its first week, "Ek Main Aur Ekk Tu" earned a total of . It added and during its second and third week respectively, taking its total to around nett.


title: Ek Main Aur Ekk Tu

text: "Ek Main Aur Ekk Tu" had a decent opening at the international box office. In the UK, in its opening weekend, the film collected £ in 53 screens. It fared even better in the United States, collecting $1.7 million from 111 screens in its opening weekend.


title: Chip butty

text: A chip butty is a sandwich filled with chips (thick-cut deep fried potatoes, similar to steak fries), optionally eaten with condiments such as brown sauce, ketchup, mayonnaise, or malt vinegar. The bread may be slices from a loaf or a bread roll, and is usually buttered. The chip butty can be found in fish and chip shops and other casual dining establishments in the British Isles.


title: Chip butty

text: Other names for the sandwich may relate to the variety of bread used, such as chip roll or chip muffin, or a regional type of bread roll such as chip bap, chip cob or chip barm.


title: Chip butty

text: A variation frequently seen in the North of England is the scallop butty, in which potato scallops (potato slices that have been battered and deep fried) are used in place of chips.


title: Chip butty

text: Kate Fox noted in her book "Watching the English", "even if you call it a chip sandwich rather than a butty, it is about as working-class as food can get".


title: Chip butty

text: A football chant called "The Greasy Chip Butty Song" (sung to the tune of "Annie's Song" by John Denver) is popular with the supporters of Sheffield United Football Club.


title: Drag king

text: Drag kings are mostly female performance artists who dress in masculine drag and personify male gender stereotypes as part of an individual or group routine. A typical drag show may incorporate dancing, acting, stand-up comedy and singing, either live or lip-synching to pre-recorded tracks. Drag kings often perform as exaggeratedly macho male characters, portray marginalised masculinities such as construction workers and rappers or they will impersonate male celebrities like Elvis Presley, Michael Jackson and Tim McGraw.


title: Drag king

text: In the late 1800s and early 1900s, several drag kings became British music hall stars and British pantomime has preserved the tradition of women performing in male roles. Starting in the mid-1990s, drag kings started to gain some of the fame and attention that drag queens have known.


title: Drag king

text: While the term "drag king" was first cited in print in 1972, there is a longer history of female performers dressing in male attire. In China, the practice of "female men [characters]" ("kunsheng"; see also "sheng" roles), where women portrayed men in stage performances, were first documented during the middle Tang dynasty (617-908 CE) and continued through the early Qing, when the Qianlong Emperor banned actresses from performing in 1722, before being revived in the late 19th and 20th centuries as the ban on actresses was loosened. In theatre and opera there was a tradition of breeches roles and en travesti. Actress and playwright Susanna Centlivre appeared in breeches roles around 1700. The first popular male impersonator in U.S. theatre was Annie Hindle, who started performing in New York in 1867; in 1886 she married her dresser, Annie Ryan. British music hall performer Vesta Tilley was active in the late 19th and early 20th centuries as a male impersonator. Other male impersonators on the British stage were Ella Shields and Hetty King. Blues singer Gladys Bentley performed in male attire in New York, Los Angeles and San Francisco from the 1920s through 1940s. Stormé DeLarverie performed in male drag along with female impersonators at the Jewel Box Revue in the 1950s and 1960s, as documented in the film "Storme: The Lady of the Jewel Box"; DeLarverie was also a veteran of the Stonewall riots. Drag king culture in Australia flourished in lesbian bars from the 1990s and 2000s, but began to fade in the 2010s.


title: Drag king

text: The term "drag king" is sometimes used in a broader sense, to include female-bodied people who dress in traditionally masculine clothing for other reasons. This usage includes women temporarily attempting to pass as men and women who wish to present themselves in a masculine gender role without identifying as a man. Diane Torr began leading Drag King Workshops in 1989 that offer women a lesson in passing as men. Torr was featured in the 2002 film on drag kings "Venus Boyz".


title: Drag king

text: Drag kings have historically been more marginalised by pop culture than drag queens, who began playing a larger role in mainstream pop culture from the late 20th Century onwards. Drag kings have also historically been marginalised in academic LGBT studies. Recently, drag kings have started to play a slightly more visible role in the LGBT community. "Sleek Magazine" described this renaissance of drag king culture in a 2019 article titled "What's behind the drag king revolution?"


title: Drag king

text: The British drag king collective 'Pecs', a troupe made up entirely of women and non-binary people, was founded in 2013 and went on to perform at Soho Theatre and The Glory. In 2016 director Nicole Miyahara produced "The Making of a King", a documentary film chronicling the lives of contemporary drag kings in Los Angeles. The first drag king to appear in a television show was New Zealand artist and comedian Hugo Grrrl who won the inaugural season of the New Zealand reality competition House of Drag in 2018. In 2019 American artist Landon Cider was the first drag king and cisgender woman to appear on a televised US drag competition when he won the third season of The Boulet Brother's Dragula.


title: Drag king

text: A British lesbian cabaret organisation called Lesburlesque made it part of their mission to promote drag kings on the wider British cabaret circuit. Their founder Pixie Truffle gave an interview to the "Guardian" newspaper in the United Kingdom on her desire for drag kings to close the gap with queens and with male stand-up comedians.


title: Drag king

text: Similar to some drag queens who prefer to be seen as actors—like Justin Bond and Lypsinka—some drag kings prefer not to be pigeon-holed by the "drag king" label. "I think when people assume that somebody is queer, or different, or trans, they always want to put something before their name," said Murray Hill in an interview. "And that is what drag king has been. Why can not you just call me a comedian like Jerry Seinfeld is called a comedian?"


title: Drag king

text: In recent years, some drag king performers have adopted other terms to describe their own performance styles, particularly if they deviate from the more traditional forms of "kinging". Common names including "gender blurring" acknowledge the merging of both male and female traits in the performances. Vancouver performer Rose Butch adopted the ambiguous label "drag thing". Long-time performer Flare called the stage of drag king styles that emerged in Toronto's scene in the mid-2010s as "unicorn drag".


title: Drag king

text: Face: One method drag kings use to modify their facial features is burning a wine cork and smudging it along the jaw to create the illusion of a beard or stubble. Kings may aim to deepen the colour of their eyebrows or create a fuller look with dark eyeliner or other makeup. Similarly some methods call for layering liquid eyeliner over the cork ash, or dark makeup, base. When trying to achieve a realistic look, drag kings may add crepe hair over the makeup using glue, thus completing the illusion of a full beard.


title: Drag king

text: Look: Drag kings also make use of items such as socks and silicone prosthetics when packing, creating the illusion of a male appendage between the legs.


title: Drag king

text: Stage Presence and Performance: An important part of gender illusion, this refers to the way a drag performer utilises body language and takes up space on stage. Some kings will incorporate more aggressive choreography into their routines to emulate or expand on stereotypical masculine characteristics. Accessories, rhinestones and elaborate costumes contribute to a drag king's performance.


title: Drag king

text: Body shaping apparel, most commonly binders, kinesiology tape, and sports bras, are used to create the look of a flat chest. For hiding one's breasts some use a method involving cutting a hole in the crotch of pantyhose for the head and making sleeves out the legs.


title: Drag king

text: 2016–present – "Moriarty the Patriot", in which the spy known as James Bond is a drag king persona of Irene Adler, an associate of Sherlock Holmes and the titular Moriarty brothers.


title: Cynthia Plaster Caster

text: Cynthia Plaster Caster (born Cynthia Dorothy Albritton; May 24, 1947 – April 21, 2022) was an American visual artist and self-described "recovering groupie" who gained fame for creating plaster casts of celebrities' erect penises.


title: Cynthia Plaster Caster

text: Albritton began her career in 1968 by casting penises of rock musicians. She later expanded her subjects to include filmmakers and other types of artists, eventually amassing a collection of 50 plaster phalluses. In 2000, she added casting female artists' breasts.


title: Cynthia Plaster Caster

text: Cynthia Dorothy Albritton was born in Chicago. Shy as a young girl, Albritton sought out a way to make contact with the opposite sex. In the late 1960s, she became caught up in free love and rock music. Albritton studied at the University of Illinois Chicago. In college, when her art teacher gave the class an assignment to "plaster cast something solid that could retain its shape", she hit upon the idea of casting erect male genitalia, which would then go flaccid and exit the mold. Finding a dental mold-making substance called alginate to be sufficient, she found her first celebrity client in Jimi Hendrix, the first of many to submit to the idea.


title: Cynthia Plaster Caster

text: Meeting Frank Zappa, who found the concept of "casting" both humorous and creative as an art form (though he himself had no interest in submitting to the procedure), Albritton found in him something of a patron. He moved her to Los Angeles, which she described as a veritable groupie heaven, with no lack of willing assistants eager to prepare the subjects for casting. In 1971, after her apartment was burgled, Zappa and Albritton decided the casts should be preserved for a future exhibition, entrusting them to Zappa's legal partner, Herb Cohen, for safekeeping. The exhibition idea did not take off however due to a sudden lack of rock stars willing to participate. She made no casts between 1971 and 1980. After years of wrangling, Albritton found herself in 1993 having to go to court in order to retrieve the 25 casts Cohen held (she got all but three of them back). In 2000, Albritton finally held her first exhibition of the casts in New York City. She also decided to begin casting women's breasts as an egalitarian move.


title: Cynthia Plaster Caster

text: In 2001, a film documentary, "Plaster Caster", was made about her. She also contributed to the BBC Three documentary "My Penis and I" (2005), made by British filmmaker Lawrence Barraclough about his anxiety over his 9 cm (-inch) erect penis. She has inspired at least two songs: "Five Short Minutes" by Jim Croce and "Plaster Caster" by Kiss. She is also mentioned in Momus' song "The Penis Song" on his album "Folktronic" and the Le Tigre song "Nanny Nanny Boo Boo". In 1969, Pamela Des Barres, of Frank Zappa's group The GTOs, recorded a telephone conversation with Cynthia from Chicago for the GTOs album "Permanent Damage".


title: Cynthia Plaster Caster

text: She is the inspiration for the character 'Juicy Lucy' in "Good Girls Revolt", whom Patty interviews as a witness to the Altamont riot.


title: Cynthia Plaster Caster

text: Albritton died from cerebrovascular disease at a care facility in Chicago on April 21, 2022, aged 74.


title: Cynthia Plaster Caster

text: Shortly before her death, Albritton donated her 1968 plaster cast of Jimi Hendrix's erect penis to the Icelandic Phallological Museum.


title: Capra (genus)

text: Capra is a genus of mammals, the goats, composed of up to nine species, including the markhor and many species known as ibexes. The domestic goat ("Capra hircus") is a domesticated species derived from the wild goat ("Capra aegagrus"). Evidence of goat domestication dates back more than 8,500 years.


title: Capra (genus)

text: Wild goats are animals of mountain habitats. They are very agile and hardy, able to climb on bare rock and survive on sparse vegetation. They can be distinguished from the genus "Ovis", which includes sheep, by the presence of scent glands close to the feet, in the groin, and in front of the eyes, and the absence of other facial glands, and by the presence of a beard in some specimens, and of hairless calluses on the knees of the forelegs.


title: Capra (genus)

text: The Rocky Mountain goat is in a separate genus, "Oreamnos". Present-day genetic and phenotypic differences between the "Capra" species are largely related to (1) discontinuity of and impeded migration between "Capra" populations during glacial periods, and (2) insufficient time in the postglacial period for now-adjoining "Capra" populations to overcome behavioral mechanisms impeding hybridization in the wild so as to erase these differences.


title: Capra (genus)

text: All members of the genus "Capra" are bovids (members of the family Bovidae), and more specifically caprines (subfamily Caprinae). As such they are ruminants, meaning they chew the cud, and have four-chambered stomachs which play a vital role in digesting, regurgitating, and redigesting their food.


title: Capra (genus)

text: The genus has sometimes been taken to include "Ovis" (sheep) and "Ammotragus" (Barbary sheep), but these are usually regarded as distinct genera, leaving "Capra" for ibexes. In this smaller genus, some authors have recognized only two species, the markhor on one side and all other forms included in one species on the other side. Today, nine species are usually accepted:


title: Capra (genus)

text: The goats of the genus "Capra" have complex systematic relationships, which are still not completely resolved. Recent studies based on mitochondrial DNA suggest that the Siberian ibex and the Nubian ibex represent distinct species, which are not very closely related to the physically similar Alpine ibex. The Alpine ibex forms a group with the Spanish ibex. The West Caucasian tur appears to be more closely related to the wild goat than to the East Caucasian tur. The markhor is relatively little separated from other forms—previously it had been considered to be a separate branch of the genus.


title: Capra (genus)

text: Almost all wild goat species are allopatric (geographically separated)—the only geographical overlaps are the wild goat ("Capra hircus") with the East Caucasian tur ("Capra caucasica cylindricornis"), and the markhor ("Capra falconeri") with the Siberian ibex ("Capra siberica"). In both cases, the overlapping species do not usually interbreed in the wild, but in captivity, all "Capra" species can interbreed, producing fertile offspring.


title: Capra (genus)

text: Along with sheep, goats were among the first domesticated animals. The domestication process started at least 10,000 years ago in what is now northern Iran. Easy human access to goat hair, meat, and milk were the primary motivations. Goat skins were popularly used until the Middle Ages for water and wine bottles when traveling and camping, and in certain regions as parchment for writing.


title: Barbara Goodson

text: Barbara Goodson is an American voice actress who has done voice-over work in cartoons and shows. Her best-known role was providing the English dub voice of the main villain Empress Rita Repulsa in the "Power Rangers" franchise, starting with "Mighty Morphin Power Rangers", and including "Power Rangers Zeo", "", and "Power Rangers in Space". Other "Power Rangers" characters she has played include Prince Sprocket and Orbus in "Power Rangers Zeo", and Mandilok in "Power Rangers Wild Force". She also voiced Red Fraggle and Wingnut in Jim Henson's cartoon "", Ladyborg in "Beetleborgs Metallix", and Mother Talzin on "", the last of which she won a Best Actress award from the website Behind The Voice Actors. She also voiced in HBO's "Adventures of Tom Sawyer" as Tom and "FLCL" as Naota. For her work in the series "CloudBread", in which she is a cast member as Wooley, Ruiz, Grandma, and Teacher Ellie, she was nominated for "Best Children's Programming" in 2011 for an Annie Award. She was also awarded an Earphones Award for narrating Blair Clemons in the Time/Warner book "On a Night Like This".


title: Barbara Goodson

text: Goodson was born in Brooklyn, New York. She grew up in New Jersey and now lives in Santa Monica, California with her husband Bruce Gustafson.


title: Ocean Colour Scene

text: Ocean Colour Scene (often abbreviated to OCS) are an English rock band formed in Solihull in 1989. They have had five top 10 albums including a number one in 1997. They have also achieved seventeen top 40 singles and six top 10 singles to date.


title: Ocean Colour Scene

text: Ocean Colour Scene were formed after two other bands called The Boys and Fanatics disbanded. Fanatics released an EP titled "Suburban Love Songs". OCS signed to Phfftt Records in 1990.


title: Ocean Colour Scene

text: Their first single, "Sway", was released in September 1990 during the indie era. When their record label was swallowed up by larger company Phonogram their eponymous début album was remixed, against the band's wishes, to fit in with the Baggy/indie-dance musical trend of the time. The album was largely deemed a failure. Being in dispute with their label, the band were forced back onto unemployment benefits, with no real direction and being only able to write new music with no outlet for it.


title: Ocean Colour Scene

text: In 1993, the start of the turnaround occurred. Paul Weller invited the band to support him on some dates of his tour. On the back of these performances, Weller invited guitarist Steve Cradock to play on one of his singles, and vocalist Simon Fowler to sing on his album, "Wild Wood". Cradock was asked to play live with Weller on his tour, and the money Cradock made kept the band afloat during this time.


title: Ocean Colour Scene

text: The band recorded a demo that was sent to various industry figures. After hearing this tape, Noel Gallagher invited the band to play with Oasis on their 1995 tour. This support slot brought OCS to the attention of more record labels, and eventually in late 1995, the band signed with MCA Records.


title: Ocean Colour Scene

text: With the explosion of the Britpop scene, OCS's music became nationally and internationally known. Their second album "Moseley Shoals" was released to mixed-to-positive reviews, containing four hit singles and reached No. 2 in the UK Albums Chart. They also played at one of the concerts at Knebworth House supporting Oasis in August 1996.


title: Ocean Colour Scene

text: "Marchin' Already", the follow-up to "Moseley Shoals", went to No. 1 in the UK Albums Chart, displacing Oasis' "Be Here Now" at the top of the charts in 1997. In 1998 they headlined their own arena tour in support of "Marchin' Already" and played three sold out nights at Stirling Castle, Scotland.


title: Ocean Colour Scene

text: "One from the Modern" was released in 1999, and peaked in the UK Albums Chart at No. 4. The record spawned three top 40 singles, "Profit in Peace", "So Low" and "July".


title: Ocean Colour Scene

text: After splitting with bassist Damon Minchella, the band continued to record and perform. Releases in 2001 ("Mechanical Wonder"), 2003 ("North Atlantic Drift"), 2005 ("A Hyperactive Workout for the Flying Squad") and 2007 ("On the Leyline") continued the trend of releasing new material every two years.


title: Ocean Colour Scene

text: 2004 saw the band release their first live album, "Live: One for the Road". The album was a compilation of nineteen live tracks taken from various concerts. In 2006 the band released a live acoustic album, "Live at the Jam House", which consisted of fifteen live tracks and also contained four new songs in "Great Man in Waiting", "The Word", "Still Trying" and "Matilda's England".


title: Ocean Colour Scene

text: The band also released a live album in December 2006, which was recorded at Birmingham Academy and spread over two discs. People attending the gig were able to purchase the recording straight afterwards.


title: Ocean Colour Scene

text: In 2009, the band went into the studio with producer Gavin Monaghan, known for his work with Editors, Scott Matthews and The Twang, to work on a new album, "Saturday", with a release date of 1 February 2010 to mark the 21st anniversary of the band. The album had a working title of 'Rockfield', named after the studios where it was recorded, but it was released as "Saturday" - both "Rockfield" and "Saturday" being tracks thereon.


title: Ocean Colour Scene

text: On 2 November 2009, the band released a free downloadable version of a new song, "Mrs Maylie". "Magic Carpet Days", the first single from "Saturday", was released on 25 January, followed by the album a few days later. The album charted at No. 35 on the UK Albums Chart. A second single, "Saturday", was released in May 2010 but it failed to chart. On 24 July 2010 they performed at the Wickerman Festival.


title: Ocean Colour Scene

text: On 11 October 2010, the band released a 4-CD box set, "21", to celebrate the 21st anniversary of the band. It included many previously unreleased tracks and a brand new song entitled "Twenty One".


title: Ocean Colour Scene

text: In March 2011, the band released a 15th anniversary special edition of their 1996 hit album "Moseley Shoals". It consisted of the full album, b-sides and live tracks. The band played a full UK tour in support of the re-release. December saw the limited edition release of a double CD/DVD release of the band's Moseley Shoals gig at O2 Academy Birmingham, which was filmed on 26 February 2011. They performed an acoustic set at Lanford Live in 2011 for the Teenage Cancer Trust.


title: Ocean Colour Scene

text: In December 2012, the band announced the forthcoming release of their tenth studio album, "Painting", which was released on 11 February 2013. They also played at V-festival where "Inbetweeners" actor James Buckley performed "The Circle" with them in Chelmsford and at The Electric Picnic Festival in Stradbally, Ireland.


title: Ocean Colour Scene

text: In 2014 a special edition of "Marchin' Already" was released on a 2 CD edition and a special deluxe 4 disc box set which included a DVD of their live performance at Stirling Castle in 1998. Early 2015 saw the band celebrate their 25th anniversary with some acoustic concerts around the UK. They released a double CD live album which was recorded at the Manchester concert on the tour.


title: Ocean Colour Scene

text: The following year, in 2016, the band announced several special concerts around the UK to celebrate the 20th anniversary of their 1996 hit album "Moseley Shoals". They also played several dates in Australia for the first time in their career.


title: Ocean Colour Scene

text: On 22 June 2016, the band officially announced that Scottish musician Raymond Meade would be joining the band permanently on bass, following the departures of both Dan Sealey and Andy Bennett. Meade had already played live with the band since the start of the year.


title: Ocean Colour Scene

text: In November 2018 the band unveiled their first new material in five years since the release of "Painting". The four track EP was released on 10" vinyl and available only at the band's Christmas shows. The EP received a 5 stars rating from Flick of the Finger, with the publication stating that 'Lushly textured, these four compelling and diverse new offerings are nothing short of brilliant.'


title: Ocean Colour Scene

text: Most band members have supported and collaborated with other artists during the group's existence. Simon Fowler, along with members of Echo & the Bunnymen, Space and The Spice Girls, was part of the supergroup England United who recorded the official song for the England national football team's World Cup campaign in the 1998 FIFA World Cup. "((How Does It Feel to Be) On Top of the World" reached number 9 in the UK Singles Chart. Steve Cradock plays regularly with Paul Weller, as well as with Amy MacDonald.


title: Ocean Colour Scene

text: During their peak (around the time of the "Moseley Shoals" release) OCS also regularly performed on stage with Noel and Liam Gallagher of Oasis, with whom they were on tour at the time. One particular performance of note with the Gallaghers was a rendition of The Beatles' "Day Tripper", which was included as a live B-side to "The Circle". The song was also included on the B-side compilation album, "B-sides, Seasides and Freerides". Noel Gallagher previewed an advance copy of the song during an interview on BBC Radio 1 with DJ Jo Whiley. The interview mainly focused on Oasis's then forthcoming gig in the grounds of Knebworth House, where Ocean Colour Scene were one of the supporting acts. Over 2.6 million people applied for tickets for the shows, making it the most in-demand concert in UK history. There was a combined audience of over 250,000 people.


title: Ocean Colour Scene

text: At a 2011 gig at the University of East Anglia, Ocean Colour Scene were joined on stage by former footballer Dion Dublin, an amateur percussionist, who accompanied them on The Dube, an instrument he invented.


title: Mark Patton

text: Mark Patton (born September 22, 1959) is an American interior designer and actor. Beginning his professional acting career in 1982, Patton is perhaps best known for his feature film roles as Joe Qualley in the dramatic film "Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean" and as Jesse Walsh in the 1985 horror film "", a role for which he is touted as the first male scream queen in modern cinema.


title: Mark Patton

text: Patton grew up in Riverside, Missouri, and, after graduating high school, moved to New York City to pursue an acting career. Within a few years, he landed the role of Joe Qualley in the 1982 Broadway production of "Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean". Patton reprised the role in the 1982 film of the same name. His character in the play and film was a pre-transition teen transgender woman. However, Patton was not allowed to do an interview with the LGBT-interest magazine "The Advocate". Patton identified this as an early indicator of the homophobia in Hollywood at that time.


title: Mark Patton

text: In 1985, Patton landed the lead role in the horror film "", portraying Jesse Walsh, a teen whose body becomes possessed by Freddy Krueger. Critics and audiences noted the gay subtext of the film, something screenwriter David Chaskin initially attributed to Patton's portrayal of Jesse. However, in the 2010 documentary "", Chaskin acknowledged that he, himself, was responsible for the film's deliberate gay subtext.


title: Mark Patton

text: Patton had a guest appearance on the television series "Hotel" and had scenes alongside George Clooney and Maud Adams. He also starred in a television pilot with Chuck Connors entitled "Kelsey's Son", which was never picked up. Other roles include "General Hospital" as Greg Collier, "Misplaced" with John Cameron Mitchell, "Anna to the Infinite Power" with Dina Merrill and Martha Byrne, and "Have You Tried Talking to Patty" with Heather Langenkamp.


title: Mark Patton

text: Patton says he gave up on his acting career following being cast in a planned CBS series in which he would have played a gay character. "They began to ask me if I would be comfortable playing a gay character and telling people I was straight if they began to question my sexuality? [...] All I could think about was how everyone I knew was dying from AIDS and we were having this bullshit conversation. My heart just broke and that was the line for me. I knew I would never be able to do what they were asking, so I walked away from Hollywood and decided to move on to a place where it was totally acceptable to be gay."


title: Mark Patton

text: Patton returned to acting for the first time since "" with his appearance in the 2016 horror film "Family Possessions".


title: Mark Patton

text: Patton was diagnosed with HIV in 1999, on his 40th birthday, after falling ill and initially being tested for bronchitis; he was subsequently hospitalized for pneumonia, thrush, and tuberculosis. In a 2013 interview, Patton said, "I almost died [in the hospital], but thankfully my friends took me to an AIDS health clinic, which saved my life." Upon recovering, he moved to Mexico, where he met and later married Hector Morales Mondragon. The couple own and operate an art store in Puerto Vallarta.


title: Mark Patton

text: Patton appears in the "A Nightmare on Elm Street" documentary "", directed by Dan Farrands. Following his appearance in the documentary, Patton began touring horror conventions, where he is lauded as mainstream cinema's first male "scream queen". He donates most of his appearance fees to HIV treatment groups and charities benefiting LGBT youth such as The Trevor Project.


title: Minor planet

text: According to the International Astronomical Union (IAU), a minor planet is an astronomical object in direct orbit around the Sun that is exclusively classified as neither a planet nor a comet. Before 2006, the IAU officially used the term "minor planet", but that year's meeting reclassified minor planets and comets into dwarf planets and small Solar System bodies (SSSBs).


title: Minor planet

text: Minor planets include asteroids (near-Earth objects, Mars-crossers, main-belt asteroids and Jupiter trojans), as well as distant minor planets (centaurs and trans-Neptunian objects), most of which reside in the Kuiper belt and the scattered disc. , there are known objects, divided into 611,678 numbered (secured discoveries) and 519,523 unnumbered minor planets, with only five of those officially recognized as a dwarf planet.


title: Minor planet

text: The first minor planet to be discovered was Ceres in 1801. The term "minor planet" has been used since the 19th century to describe these objects. The term planetoid has also been used, especially for larger, planetary objects such as those the IAU has called dwarf planets since 2006. Historically, the terms "asteroid", "minor planet", and "planetoid" have been more or less synonymous. This terminology has become more complicated by the discovery of numerous minor planets beyond the orbit of Jupiter, especially trans-Neptunian objects that are generally not considered asteroids. A minor planet seen releasing gas may be dually classified as a comet.


title: Minor planet

text: Objects are called dwarf planets if their own gravity is sufficient to achieve hydrostatic equilibrium and form an ellipsoidal shape. All other minor planets and comets are called "small Solar System bodies". The IAU stated that the term "minor planet" may still be used, but the term "small Solar System body" will be preferred. However, for purposes of numbering and naming, the traditional distinction between minor planet and comet is still used.


title: Minor planet

text: Hundreds of thousands of minor planets have been discovered within the Solar System and thousands more are discovered each month. The Minor Planet Center has documented over 213 million observations and 794,832 minor planets, of which 541,128 have orbits known well enough to be assigned permanent official numbers. Of these, 21,922 have official names. , the lowest-numbered unnamed minor planet is , and the highest-numbered named minor planet is 594913 ꞌAylóꞌchaxnim.


title: Minor planet

text: All astronomical bodies in the Solar System need a distinct designation. The naming of minor planets runs through a three-step process. First, a provisional designation is given upon discovery—because the object still may turn out to be a false positive or become lost later on—called a "provisionally designated minor planet". After the observation arc is accurate enough to predict its future location, a minor planet is formally designated and receives a number. It is then a "numbered minor planet". Finally, in the third step, it may be named by its discoverers. However, only a small fraction of all minor planets have been named. The vast majority are either numbered or have still only a provisional designation. Example of the naming process:


title: Minor planet

text: A newly discovered minor planet is given a provisional designation. For example, the provisional designation consists of the year of discovery (2002) and an alphanumeric code indicating the half-month of discovery and the sequence within that half-month. Once an asteroid's orbit has been confirmed, it is given a number, and later may also be given a name (e.g. 433 Eros). The formal naming convention uses parentheses around the number, but dropping the parentheses is quite common. Informally, it is common to drop the number altogether or to drop it after the first mention when a name is repeated in running text.


title: Minor planet

text: Minor planets that have been given a number but not a name keep their provisional designation, e.g. (29075) 1950 DA. Because modern discovery techniques are finding vast numbers of new asteroids, they are increasingly being left unnamed. The earliest discovered to be left unnamed was for a long time (3360) 1981 VA, now 3360 Syrinx. In November 2006 its position as the lowest-numbered unnamed asteroid passed to (now 3708 Socus), and in May 2021 to . On rare occasions, a small object's provisional designation may become used as a name in itself: the then-unnamed gave its "name" to a group of objects that became known as classical Kuiper belt objects ("cubewanos") before it was finally named 15760 Albion in January 2018.


title: Minor planet

text: A few objects are cross-listed as both comets and asteroids, such as 4015 Wilson–Harrington, which is also listed as 107P/Wilson–Harrington.


title: Minor planet

text: Minor planets are awarded an official number once their orbits are confirmed. With the increasing rapidity of discovery, these are now six-figure numbers. The switch from five figures to six figures arrived with the publication of the Minor Planet Circular (MPC) of October 19, 2005, which saw the highest-numbered minor planet jump from 99947 to 118161.


title: Minor planet

text: The first few asteroids were named after figures from Greek and Roman mythology, but as such names started to dwindle the names of famous people, literary characters, discoverers' spouses, children, colleagues, and even television characters were used.


title: Minor planet

text: Commission 15 of the International Astronomical Union is dedicated to the Physical Study of Comets & Minor Planets.


title: Minor planet

text: Archival data on the physical properties of comets and minor planets are found in the PDS Asteroid/Dust Archive.<ref name="PDS Asteroid/Dust Archive"></ref> This includes standard asteroid physical characteristics such as the properties of binary systems, occultation timings and diameters, masses, densities, rotation periods, surface temperatures, albedoes, spin vectors, taxonomy, and absolute magnitudes and slopes. In addition, European Asteroid Research Node (E.A.R.N.), an association of asteroid research groups, maintains a Data Base of Physical and Dynamical Properties of Near Earth Asteroids.


title: Minor planet

text: Environmental characteristics have three aspects: space environment, surface environment and internal environment, including geological, optical, thermal and radiological environmental properties, etc., which are the basis for understanding the basic properties of minor planets, carrying out scientific research, and are also an important reference basis for designing the payload of exploration missions


title: Minor planet

text: Without the protection of an atmosphere and its own strong magnetic field, the minor planet's surface is directly exposed to the surrounding radiation environment. In the cosmic space where minor planets are located, the radiation on the surface of the planets can be divided into two categories according to their sources: one comes from the sun, including electromagnetic radiation from the sun, and ionizing radiation from the solar wind and solar energy particles; the other comes from the sun outside the solar system, that is, galactic cosmic rays, etc.


title: Minor planet

text: Usually during one rotation period of a minor planet, the albedo of a minor planet will change slightly due to its irregular shape and uneven distribution of material composition. This small change will be reflected in the periodic change of the planet's light curve, which can be observed by ground-based equipment, so as to obtain the planet's magnitude, rotation period, rotation axis orientation, shape, albedo distribution, and scattering properties. Generally speaking, the albedo of minor planets is usually low, and the overall statistical distribution is bimodal, corresponding to C-type (average 0.035) and S-type (average 0.15) minor planets. In the minor planet exploration mission, measuring the albedo and color changes of the planet surface is also the most basic method to directly know the difference in the material composition of the planet surface.


title: Minor planet

text: The geological environment on the surface of minor planets is similar to that of other unprotected celestial bodies, with the most widespread geomorphological feature present being impact craters: however, the fact that most minor planets are rubble pile structures, which are loose and porous, gives the impact action on the surface of minor planets its unique characteristics. On highly porous minor planets, small impact events produce spatter blankets similar to common impact events: whereas large impact events are dominated by compaction and spatter blankets are difficult to form, and the longer the planets receive such large impacts, the greater the overall density. In addition, statistical analysis of impact craters is an important means of obtaining information on the age of a planet surface. Although the Crater Size-Frequency Distribution (CSFD) method of dating commonly used on minor planet surfaces does not allow absolute ages to be obtained, it can be used to determine the relative ages of different geological bodies for comparison. In addition to impact, there are a variety of other rich geological effects on the surface of minor planets, such as mass wasting on slopes and impact crater walls, large-scale linear features associated with graben, and electrostatic transport of dust. By analysing the various geological processes on the surface of minor planets, it is possible to learn about the possible internal activity at this stage and some of the key evolutionary information about the long-term interaction with the external environment, which may lead to some indication of the nature of the parent body's origin. Many of the larger planets are often covered by a layer of soil (regolith) of unknown thickness. Compared to other atmosphere-free bodies in the solar system (e.g. the Moon), minor planets have weaker gravity fields and are less capable of retaining fine-grained material, resulting in a somewhat larger surface soil layer size. Soil layers are inevitably subject to intense space weathering that alters their physical and chemical properties due to direct exposure to the surrounding space environment. In silicate-rich soils, the outer layers of Fe are reduced to nano-phase Fe (np-Fe), which is the main product of space weathering. For some small planets, their surfaces are more exposed as boulders of varying sizes, up to 100 metres in diameter, due to their weaker gravitational pull. These boulders are of high scientific interest, as they may be either deeply buried material excavated by impact action or fragments of the planet's parent body that have survived. The rocks provide more direct and primitive information about the material inside the minor planet and the nature of its parent body than the soil layer, and the different colours and forms of the rocks indicate different sources of material on the surface of the minor planet or different evolutionary processes.


title: Minor planet

text: Usually in the interior of the planet, the convection of the conductive fluid will generate a large and strong magnetic field. However, the size of a minor planet is generally small and most of the minor planets have a "crushed stone pile" structure, and there is basically no "dynamo" structure inside, so it will not generate a self-generated dipole magnetic field like the Earth. But some minor planets do have magnetic fields, because——On the one hand, some minor planets have remanent Magnetism: if the parent body had a magnetic field or if the nearby planetary body has a strong magnetic field, the rocks on the parent body will be magnetised during the cooling process and the planet formed by the fission of the parent body will still retain remanence, which can also be detected in extraterrestrial meteorites from the minor planets; on the other hand, if the minor planets are composed of electrically conductive material and their internal conductivity is similar to that of carbon or iron-bearing meteorites, the interaction between the minor planets and the solar wind is likely to be unipolar induction, resulting in an external magnetic field for the minor planet. In addition, the magnetic fields of minor planets are not static; impact events, weathering in space and changes in the thermal environment can alter the existing magnetic fields of minor planets. At present, there are not many direct observations of minor planet magnetic fields, and the few existing planets detection projects generally carry magnetometers, with some targets such as Gaspra and Braille measured to have strong magnetic fields nearby, while others such as Lutetia have no magnetic field.


title: Requiem (Verdi)

text: The Messa da Requiem is a musical setting of the Catholic funeral mass (Requiem) for four soloists, double choir and orchestra by Giuseppe Verdi. It was composed in memory of Alessandro Manzoni, whom Verdi admired. The first performance, at the San Marco church in Milan on 22 May 1874, marked the first anniversary of Manzoni's death. The work was at one time referred to as the Manzoni Requiem. Considered too operatic to be performed in a liturgical setting, it is usually given in concert form of around 90 minutes in length. Musicologist David Rosen calls it "probably the most frequently performed major choral work composed since the compilation of Mozart's Requiem".


title: Requiem (Verdi)

text: After Gioachino Rossini's death in 1868, Verdi suggested that a number of Italian composers collaborate on a "Requiem" in Rossini's honor. He began the effort by submitting the concluding movement, the "Libera me". During the next year a "Messa per Rossini" was compiled by Verdi and twelve other famous Italian composers of the time. The premiere was scheduled for 13 November 1869, the first anniversary of Rossini's death.


title: Requiem (Verdi)

text: However, on 4 November, nine days before the premiere, the organising committee abandoned it. Verdi blamed this on the scheduled conductor, Angelo Mariani. He pointed to Mariani's lack of enthusiasm for the project, even though he had been part of the organising committee from the start, and it marked the beginning of the end of their friendship. The composition remained unperformed until 1988, when Helmuth Rilling premiered the complete "Messa per Rossini" in Stuttgart, Germany.


title: Requiem (Verdi)

text: In the meantime, Verdi kept toying with his "Libera me", frustrated that the combined commemoration of Rossini's life would not be performed in his lifetime.


title: Requiem (Verdi)

text: On 22 May 1873, the Italian writer and humanist Alessandro Manzoni, whom Verdi had admired all his adult life and met in 1868, died. Upon hearing of his death, Verdi resolved to complete a Requiem—this time entirely of his own writing—for Manzoni. Verdi traveled to Paris in June, where he commenced work on the "Requiem", giving it the form we know today. It included a revised version of the "Libera me" originally composed for Rossini.


title: Requiem (Verdi)

text: The "Requiem" was first performed in the church of San Marco in Milan on 22 May 1874, the first anniversary of Manzoni's death. Verdi himself conducted, and the four soloists were Teresa Stolz (soprano), Maria Waldmann (mezzo-soprano), Giuseppe Capponi (tenor) and (bass).


title: Requiem (Verdi)

text: As Aida, Amneris and Ramfis respectively, Stolz, Waldmann, and Maini had all sung in the European premiere of "Aida" in 1872, and Capponi was also intended to sing the role of Radames at that premiere but was replaced due to illness. Teresa Stolz went on to a brilliant career, Waldmann retired very young in 1875, but the male singers appear to have faded into obscurity. Also, Teresa Stolz was engaged to Angelo Mariani in 1869, but she later left him.


title: Requiem (Verdi)

text: The Requiem was repeated at La Scala three days later on 25 May with the same soloists and Verdi again conducting. It won immediate contemporary success, although not everywhere. It received seven performances at the Opéra-Comique in Paris, but the new Royal Albert Hall in London could not be filled for such a Catholic occasion. In Venice, impressive Byzantine ecclesiastical decor was designed for the occasion of the performance.


title: Requiem (Verdi)

text: It later disappeared from the standard choral repertoire, but made a reappearance in the 1930s and is now regularly performed and a staple of many choral societies.


title: Requiem (Verdi)

text: The Requiem was reportedly performed approximately 16 times between 1943 and 1944 by prisoners in the concentration camp of Theresienstadt (also known as Terezín) under the direction of Rafael Schächter. The performances were presented under the auspices of the , a cultural organization in the Ghetto.


title: Requiem (Verdi)

text: Since the 1990s, commemorations in the US and Europe have included memorial performances of the Requiem in honor of the Terezín performances. On the heels of previous performances held at the Terezín Memorial, Murry Sidlin performed the Requiem in Terezin in 2006 and rehearsed the choir in the same basement where the original inmates reportedly rehearsed. Part of the Prague Spring Festival, two children of survivors sang in the choir with their parents sitting in the audience.


title: Requiem (Verdi)

text: The Requiem has been staged in a variety of ways several times in recent years. Achim Freyer created a production for the Deutsche Oper Berlin in 2006 that was revived in 2007, 2011 and 2013. In Freyer's staging, the four sung roles, "Der Weiße Engel" (The White Angel), "Der Tod-ist-die-Frau" (Death is the Woman), "Einsam" (Solitude), and "Der Beladene" (The Load Bearer) are complemented by choreographed allegorical characters.


title: Requiem (Verdi)

text: In 2011, Oper Köln premiered a full staging by Clemens Bechtel where the four main characters were shown in different life and death situations: the Fukushima nuclear disaster, a Turkish writer in prison, a young woman with bulimia, and an aid worker in Africa.


title: Requiem (Verdi)

text: In 2021, the New York Metropolitan Opera performed the Requiem for the 20th anniversary of the September 11 attacks.


title: Requiem (Verdi)

text: For a Paris performance, Verdi revised the "Liber scriptus" to allow Maria Waldmann a further solo for future performances. Previously, the movement had been set for a choral fugue in a classical Baroque style. With its premiere at the Royal Albert Hall performance in May 1875, this revision became the definitive edition that has been most performed since, although the original version is included in critical editions of the work published by Bärenreiter and University of Chicago Press.


title: Requiem (Verdi)

text: Franz Liszt transcribed the "Agnus Dei" for solo piano (S. 437). It has been recorded by Leslie Howard.


title: Requiem (Verdi)

text: Throughout the work, Verdi uses vigorous rhythms, sublime melodies, and dramatic contrasts—much as he did in his operas—to express the powerful emotions engendered by the text. The terrifying (and instantly recognizable) "Dies irae" that introduces the traditional sequence of the Latin funeral rite is repeated throughout. Trumpets surround the stage to produce a call to judgement in the "Tuba mirum", and the almost oppressive atmosphere of the "Rex tremendae" creates a sense of unworthiness before the King of Tremendous Majesty. Yet the well-known tenor solo "Ingemisco" radiates hope for the sinner who asks for the Lord's mercy.


title: Requiem (Verdi)

text: The "Sanctus" (a complicated eight-part fugue scored for double chorus) begins with a brassy fanfare to announce him "who comes in the name of the Lord". Finally the "Libera me", the oldest music by Verdi in the "Requiem", interrupts. Here the soprano cries out, begging, "Deliver me, Lord, from eternal death ... when you will come to judge the world by fire."


title: Requiem (Verdi)

text: When the Requiem was composed, female singers were not permitted to perform in Catholic Church rituals (such as a requiem mass). However, from the beginning Verdi intended to use female singers in the work. In his open letter proposing the "Requiem" project (when it was still conceived as a multi-author "Requiem" for Rossini), Verdi wrote: "If I were in the good graces of the Holy FatherPope Pius IXI would beg him to permit—if only for this one time—that women take part in the performance of this music; but since I am not, it will fall to someone else better suited to obtain this decree." In the event, when Verdi composed the "Requiem" alone, two of the four soloists were sopranos, and the chorus included female voices. This may have slowed the work's acceptance in Italy.


title: Requiem (Verdi)

text: At the time of its premiere, the "Requiem" was criticized by some as being too operatic in style for the religious subject matter. According to Gundula Kreuzer, "Most critics did perceive a schism between the religious text (with all its musical implications) and Verdi's setting." Some viewed it negatively as "an opera in ecclesiastical robes", or alternatively, as a religious work, but one in "dubious musical costume". While the majority of critics agreed that the music was "dramatic", some felt that such treatment of the text was appropriate, or at least permissible. As to the quality of the music, the critical consensus agreed that the work displayed "fluent invention, beautiful sound effects and charming vocal writing". Critics were divided between praise and condemnation with respect to Verdi's willingness to break standard compositional rules for musical effect, such as his use of consecutive fifths.


title: Wallace (The Wire)

text: Wallace (April 4, 1987 - September 1, 2002) is a fictional character on the HBO drama "The Wire", played by actor Michael B. Jordan. Wallace is a 15-year-old drug dealer for the Barksdale Organization, who works in the low-rise projects crew known as "The Pit" with his friends and fellow dealers Bodie and Poot. When information he provides leads to the brutal death of Brandon Wright, the boyfriend of stick-up artist Omar Little, Wallace feels guilty and tries to leave the drug trade. He informs on the Barksdale Organization to the police, and as a result he is killed by Bodie and Poot under orders from drug kingpin Stringer Bell.


title: Wallace (The Wire)

text: Wallace, born on April 4, 1987, is the son of Darcia Wallace. He is a 15-year-old drug dealer in the Barksdale crew's low rise projects organization (called "The Pit"). He serves with Poot and Bodie Broadus under D'Angelo Barksdale, through the entirety of season 1.


title: Wallace (The Wire)

text: He shows the signs of a half-finished education: he can identify famous people on currency better than the rest of his crew (including D'Angelo, who objects when Wallace correctly points out that Alexander Hamilton was never president) but sometimes struggles with the math involved with drug dealing. He also takes responsibility for numerous younger kids in the projects, housing them in a squatter's apartment, packing their lunches, seeing them off to school, and helping them with their homework. He betrays his age when he is found playing with toys while supposed to be on lookout duty.


title: Wallace (The Wire)

text: After Omar Little robs the pit crew's stash of drugs, Wallace spots Omar's accomplice Brandon playing pinball and calls this information in. Stringer Bell grabs Brandon and tortures him to death. His body is left on display, coincidentally outside of Wallace's home.


title: Wallace (The Wire)

text: Wallace receives a quarter of the $2000 bounty on Brandon's head but is so sickened by the event that he decides he wants out of "the game". He approaches D'Angelo and tells him he wants to go back to school. D'Angelo gives Wallace his blessing and some cash. Poot discovers that Wallace has spent the money on drugs and is spending most of his time at home getting high, to help with his PTSD from the murder.


title: Wallace (The Wire)

text: Wallace is picked up by the police and agrees to cooperate with the Barksdale detail. He reveals Stringer's involvement in the killing of Omar's boyfriend Brandon.


title: Wallace (The Wire)

text: In order to keep Wallace safe until the trial, the detail sends him to live with his grandmother in rural Cambridge, Maryland. After detective Kima Greggs is shot in an undercover operation, the detail becomes so preoccupied with her condition that Wallace is temporarily forgotten. Bored with life away from Baltimore, he returns to the low-rise projects and asks to get involved in the trade again.


title: Wallace (The Wire)

text: Stringer Bell becomes suspicious of Wallace's return. D'Angelo tries to reassure Stringer of Wallace's loyalty, but Stringer is not convinced and assigns Bodie to kill Wallace. Cornered at gunpoint by Poot and Bodie, Wallace begs for mercy, reminding Bodie of their friendship. Bodie first taunts Wallace, then hesitates, unable to bring himself to pull the trigger. Poot urges him on, and Bodie finally shoots Wallace, only to leave him wounded and dying. Poot takes the gun and finishes him off.


title: Wallace (The Wire)

text: D'Angelo is outraged when he learns of Wallace's death. It is one of the main factors that leads D'Angelo to want to leave "the game" himself, and it drives a permanent wedge between him and Stringer, which culminates in Stringer ordering D'Angelo to be murdered in prison - which in turn leads to Stringer and Avon Barksdale turning on each other when the former confesses his role.


title: Wallace (The Wire)

text: In season 3, McNulty finds the crime scene photo from Wallace's murder, and he and Roland Pryzbylewski share a look.


title: Wallace (The Wire)

text: Michael B. Jordan auditioned before "The Wire" casting director Alexa Fogel in New York City for the role of Bodie. He was called back twice and the auditions went well, but he was turned down for the part because Fogel thought he was too young. The part went to Jordan's friend J. D. Williams, who grew up in the same hometown of Newark, New Jersey. Jordan was asked instead to audition for the younger character Wallace, and was cast in the part.


title: Wallace (The Wire)

text: Jordan did little preparation for the part, but used his experiences growing up on the streets of Newark as a way to prepare for the role. Jordan said, "I live in an area where there are lots of drug dealers and I know some people who may or may not sell drugs, so this is not new to me." The actor found out his character was going to be killed one week before it was filmed.


title: Wallace (The Wire)

text: Series creator David Simon has described Wallace as an emotional center to the show's first season and praised Jordan's performance, saying that he was sorry the character had to leave but that the story comes first. Simon sees the character as an illustration of the adage "a 16-year-old drug dealer is still 16."


title: Wallace (The Wire)

text: Amos Barshad of "New York" magazine called Wallace's death "one of an overwhelmingly bleak show's bleakest moments". MSNBC reporter Michael Ventre described it as "perhaps the most memorable (scene), and one that illustrates "The Wire" in microcosm."


title: Wallace (The Wire)

text: The character remained memorable years after his departure from the show. During a January 2008 premiere party for the fifth season of "The Wire", Simon read the names of every notable cast member in the show, and media outlets reported the loudest cheers came for Jordan and the recognition for his portrayal as Wallace.


title: Nabu

text: Nabu ( Nāvū or Nvō or Nāvō) is the ancient Mesopotamian patron god of literacy, the rational arts, scribes, and wisdom.


title: Nabu

text: The Akkadian "nabû" means 'announcer/authorised person', derived from the Semitic root . It is cognate with the Syriac (), Arabic (), and the Hebrew (), all meaning 'prophet'.


title: Nabu

text: Nabu was worshiped by the Babylonians and the Assyrians. Nabu gained prominence among the Babylonians in the 1st millennium BC when he was identified as the son of the god Marduk.


title: Nabu

text: Nabu was worshipped in Babylon's sister city Borsippa, from where his statue was taken to Babylon each New Year so that he could pay his respects to his father. Nabu's symbols included a stylus resting on a tablet as well as a simple wedge shape; King Nabonidus, whose name references Nabu, had a royal sceptre topped with Nabu's wedge. Clay tablets with especial calligraphic skill were used as offerings at Nabu's temple. His wife was the Akkadian goddess Tashmet.


title: Nabu

text: Nabu was the patron god of scribes, literacy, and wisdom. He was also the inventor of writing, a divine scribe, the patron god of the rational arts, and a god of vegetation. As the god of writing, Nabu inscribed the fates assigned to men and he was equated with the scribe god Ninurta. As an oracle he was associated with the Mesopotamian moon god Sin. Originally the planet Mercury was connected with Ninurta (as well as Saturn); because in the MUL.APIN Ninurta is consistently identified with Mercury, and it is read that: "Mercury whose name is Ninurta travels the (same) path the Moon travels." As Marduk took over the role of King of the gods from Enlil and inherited both his cultic roles and epithets as well as his position within the pantheon – the role of the most important son of the father of the gods that had previously belonged to Ninurta as son of Enlil (now replaced by Marduk); was thus taken over by Nabu, and Nabu became associated with the planet Mercury as well as being given connections with the moon god Sin, because as addressed in the MUL.APIN – even when Mercury was considered the planet of Ninurta, it still retained some moon-like aspects since it traveled the same path of the moon.


title: Nabu

text: Nabu wore a horned cap, and stood with his hands clasped in the ancient gesture of priesthood. He rode on a winged dragon known as Sirrush that originally belonged to his father Marduk. In Babylonian astrology, Nabu was identified with the planet Mercury.


title: Nabu

text: Nabu's cult spread to ancient Egypt. Nabu was one of five non-Egyptian deities worshipped in Elephantine.


title: Nabu

text: In Hellenistic times, Nabu was sometimes identified with the Greek Apollo as a giver of prophesies. As the god of wisdom and a divine messenger, Nabu was linked with the Greek Hermes, the Roman Mercury, and the Egyptian Thoth.


title: Henriad

text: In Shakespearean scholarship, Henriad refers to a group of William Shakespeare's history plays. It is sometimes used to refer to a group of four plays (a tetralogy), but some sources and scholars use the term to refer to eight plays. In the 19th century, Algernon Charles Swinburne used the term to refer to three plays, but that use is not current.


title: Henriad

text: In one sense, Henriad refers to: "Richard II; Henry IV, Part 1; Henry IV, Part 2;" and "Henry V" — with the implication that these four plays are Shakespeare's epic, and that Prince Harry, who later becomes Henry V, is the epic hero. (This group may also be referred to as the "second tetralogy" or "second Henriad".)


title: Henriad

text: In a more inclusive meaning, Henriad refers to eight plays: the tetralogy mentioned above ("Richard II, Henry IV, Part 1, Henry IV, Part 2," and "Henry V"), plus four plays that were written earlier, and are based on the civil wars known as The Wars of the Roses — "Henry VI, Part 1, Henry VI, Part 2, Henry VI, Part 3" and "Richard III".


title: Henriad

text: The term Henriad was popularized by Alvin Kernan in his 1969 article, "The Henriad: Shakespeare’s Major History Plays" to suggest that the four plays of the second tetralogy ("Richard II; Henry IV, Part 1; Henry IV, Part 2;" and "Henry V"), when considered together as a group, or a dramatic tetralogy, have coherence and characteristics that are the primary qualities associated with literary epic: "large-scale heroic action involving many men and many activities tracing the movement of a nation or people through violent change from one condition to another." In this context he sees the four plays as analogous to Homer's "Illiad", Virgil's "Aeneid", Voltaire's "Henriad", and Milton's "Paradise Lost". The action of the Henriad follows the dynastic, cultural and psychological journey that England traveled as it left the medieval world with Richard II and moved on to Henry V and the Renaissance. Politically and socially the Henriad represents a "movement from feudalism and hierarchy to the national state and individualism". Kernan similarly discusses the Henriad in psychological, spatial, temporal, and mythical terms. "In mythical terms," he says, "the passage is from a garden world to a fallen world." This group of plays has recurring characters and settings. However, there is no evidence that these plays were written with the intention that they be considered as a group.


title: Henriad

text: The character Falstaff is introduced in "Henry IV, pt. 1," he returns in "Henry IV, pt. 2," and he dies early in "Henry V." Falstaff represents the tavern world, a world which Prince Hal will leave behind. (This group of three plays is occasionally dubbed the "Falstaffiad" by Harold Bloom and others.)


title: Henriad

text: The term Henriad, following after Kernan, acquired an expanded second meaning, which refers to two groups of Shakespearean plays: The tetralogy mentioned above ("Richard II; Henry IV, Part 1; Henry IV, Part 2;" and "Henry V"), and also four plays that were written earlier and are based on the historic events and civil wars known as The War of the Roses; "Henry VI, Part 1, Henry VI, Part 2, Henry VI, Part 3," and "Richard III". In this sense, the eight Henry plays are known as the Henriad, and when divided in two, the group written earlier may be known as the "first Henriad" with the group that was written later known as the "second Henriad".


title: Henriad

text: The two Shakespearean tetralogies share the name Henriad, but only the "second Henriad" has the epic qualities that Kernan had in mind in his use of the term. In this way the two definitions are somewhat contradictory and overlapping. Which meaning is intended can usually be derived by the context.


title: Henriad

text: The eight plays, when considered together, are said to tell a unified story of a significant arc of British history from Richard II to Richard III. These plays cover this history, while going beyond the English chronicle play; they include some of Shakespeare's greatest writing. They are not tragedies, but as history plays they are comparable in terms of dramatic or literary quality and meaning. When considered as a group they contain a narrative pattern: disaster, followed by chaos and a battle of contending forces, followed by the happy ending—the restitution of order. This pattern is repeated in every play, as Britain leaves the medieval world and moves towards the British Renaissance. These plays further express the "Elizabethan world order", or mankind's striving in a world of unity battling chaos, based on the Elizabethan era's philosophies, sense of history, and religion.


title: Henriad

text: The eight-play Henriad is also known as The First Tetralogy and The Second Tetralogy; a terminology that had been in use, but was made popular by the influential Shakespearean scholar E.M.W. Tillyard in his 1944 book, "Shakespeare’s History Plays". The word "tetralogy" is derived from the performance tradition of the Dionysian Festival of ancient Athens, in which a poet was to compose a tetralogy (τετραλογία): three tragedies and one comedic satyr play. Tillyard studied these Shakespearean history plays as combined in a dramatic serial form, and analyzed how, when combined, the stories, characters, historic chronology, and themes are linked and portrayed. After Tillyard's book, these plays have often been combined in performance, and it would be a very rare occurrence for "Henry VI, part 2" or "3", for example, to be performed individually. Tillyard considered each tetralogy linked, and that the characters themselves link the stories together when they tell their own history or explain their titles.


title: Henriad

text: The theories that consider the eight plays as a group dominated scholarship in the mid 20th century, when the idea was introduced, and have since engendered a great deal of discussion.


title: Henriad

text: "King John" is not included in the Henriad because it is said to have a style that is of a different order than the other history plays. "King John" has great qualities of poetry, freedom and imagination, and is appreciated as a new direction taken by the author. "Henry VIII" is not included due to unresolved questions regarding how much of it is coauthored, and what of it is written by Shakespeare.


title: Henriad

text: In Algernon Charles Swinburne's book "A Study of Shakespeare" (1880), he refers to three plays, "Henry IV pt. 1, Henry IV pt. 2", and "Henry V", as "our English Henriade", and says the "ripest fruit of historic or national drama, the consummation and the crown of Shakespeare’s labours in that line, must of course be recognised and saluted by all students in the supreme and sovereign trilogy of "King Henry IV" and "King Henry V"." They are, according to Swinburne, England's "great national trilogy", and Shakespeare's "perfect triumph in the field of patriotic drama."


title: Henriad

text: H. A. Kennedy writing in 1896 refers to "Henry IV pt. 1, Henry IV pt. 2", and "Henry V", saying "taken together the three plays form a Henriade, a trilogy, whose central figure is the hero of Agincourt, whose subject is his development from the madcap prince to the conqueror of France".


title: Henriad

text: Shakespeare is well established as the sole author of the plays of the second Henriad, but there has been speculation regarding possible co-authors of the "Henry VI" plays of the first Henriad. Since then, the 16th century playwright Christopher Marlowe has been suggested as a possible contributor. Then in 2016 the editors of the New Oxford Shakespeare, led by Gary Taylor, announced that Marlowe and "anonymous" would be listed on their title pages of "Henry VI, Parts 2, and 3" as co-author side-by-side with Shakespeare, and that Marlowe, Thomas Nashe and “anonymous" would be listed as the authors of "Henry VI, Part 1", with Shakespeare listed only as the adaptor. This is not universally accepted, but it is the first time a major critical edition of Shakespeare's works has listed Marlowe as a co-author.


title: Henriad

text: The plays that may have influenced, inspired, or provided a tradition for Shakespeare's Henriad plays would include popular morality plays, which contributed to the evolution of British drama. Notable morality plays that focus on British history include John Skelton's "Magnificence" (1533), David Lyndsay's "A Satire of the Three Estates" (1552), and John Bale's play "King John" (c. 1538). "Gorboduc" (1561) is considered the first Senecan tragedy in the English language, though it is a chronicle play written in blank verse; it has numerous serious speeches, a unified dramatic action, and its violence is kept off-stage.


title: Henriad

text: Out of this tradition the English chronicle play developed to carry on the tradition of the medieval moralities, to provide historic stories and memorials of historic figures, and to teach morality. When "King Lear" was published as a quarto in 1608 it was called a "true English Chronicle". Some notable examples of the English chronicle include George Peele's "Edward I", John Lyly’s "Midas" (1591), Robert Greene's "Orlando Furioso", Thomas Heywood’s "Edward IV", and Robert Wilson's "Three Lords and Three Ladies of London" (1590). "Holinshed's Chronicles" (1587) contributed greatly to the plays of Shakespeare's Henriad, and also advanced the development of the English chronicle play.


title: Henriad

text: In his book, "Shakespeare’s History Plays", E. M. W. Tillyard's mid-20th century theories regarding the eight-play Henriad, have been extremely influential. Tillyard supports the idea of the Tudor myth, which considers England's 15th century to be a dark time of lawlessness and warfare, that after many battles eventually led to a golden age of the Tudor Period. This theory suggests that Shakespeare believed this orthodoxy and promoted it with his Henriad. The Tudor myth is a theory that suggests that Shakespeare, with his history plays, contributes to the idea that the civil wars of the Henriad were all part of a divine plan that would ultimately lead to the Tudors — which in turn would support Shakespeare's monarch, Elizabeth. The argument against Tillyard's theory is that when these plays were written Elizabeth was approaching the end of her life and reign, and how her successor would be determined was causing the idea of a civil war to be a source of concern, not glorification. Plus the lack of an heir to Elizabeth tended to outmode the idea that the Tudors were a divine solution. Critics including Paul Murray Kendall and Jan Kott, challenged the idea of the Tudor myth, and these newer ideas caused the image of Shakespeare to change so much he now seemed to become instead a prophetic voice in the wilderness who saw the existential meaninglessness of this history of warfare.


title: Henriad

text: Some critics consider that the plays of the Henriad do not cohere well together. In performance the plays can seem jumbled and tonally mismatched, and narratives are at times oddly dropped and resumed.


title: Henriad

text: Numerous inconsistencies exist between the individual plays of the first tetralogy, which is typical of serialized drama in the early modern playhouses. James Marino suggests, "It is more remarkable that any coherency appears at all in a 'series' cobbled together from elements of three different repertories". The four plays (of the first tetralogy) variously originated from three different theatre companies: The Queen's Men, Pembroke's Men and Chamberlain's Men.


title: Henriad

text: An earlier use of the word "Henriad" to refer to a group of Shakespeare's plays occurs in a book published in 1876 titled "Shakespeare’s Diversions; A Medley of Motley Wear". The author doesn't define the word, but indicates that the plays in which the character, Mistress Quickly, hostess of the Boar's Head Tavern, appears include "The English Henriad" as well as "The Merry Wives of Windsor". The source also indicates that the number of plays she appears in is four — "one more than is granted to Falstaff". The four plays that Mistress Quickly appears in are "The Merry Wives of Windsor", the two parts of "Henry IV", and "Henry V".


title: Henriad

text: The French critic and playwright, Voltaire, is known for making extreme criticisms of Shakespeare that he would then balance with more positive comments. For example, Voltaire called Shakespeare a "barbarian" and his works a "huge dunghill" that contains some pearls. Voltaire wrote an epic poem titled "La Henriade" (1723), which is sometimes translated as "Henriade." Voltaire's poem is based on Henry IV of France (1553 – 1610). Algernon Charles Swinburne points out how the two similarly titled works, Shakespeare's and Voltaire's, are dissimilar, in that Shakespeare's "differs from Voltaire’s as "Zaïre" [a tragedy written by Voltaire] differs from "Othello"."


title: Stelios Haji-Ioannou

text: Sir Stelios Haji-Ioannou (; born 14 February 1967) is a Greek Cypriot entrepreneur. Born into a wealthy ship-owning family, he is best known for founding the low-cost airline easyJet and the Stelmar shipping line with start-up funds provided by his father, Loucas. easyJet's foundation in 1995 marked the beginning of a series of ventures marketed under the "easy" brand, managed by easyGroup and chaired by Haji-Ioannou.


title: Stelios Haji-Ioannou

text: Stelios Haji-Ioannou was born in Athens on 14 February 1967, the second of three children of Nedi (née Potsos) and Loucas Haji-Ioannou. He has an elder brother, Polys, and a younger sister, Clelia. Both of his siblings have a large stake in easyJet. His father's family originates from the village of Pedoulas high in the Troodos Mountains of Cyprus, while his mother is from the village of Laneia at the foot of the mountains. After his secondary education in Athens, he studied economics at the London School of Economics, graduating with a BSc in 1987. He went on to obtain an MSc in Shipping, Trade & Finance from Bayes Business School. He was later awarded four honorary doctorates from Bayes Business School, Liverpool John Moores University, Newcastle Business School, and Cranfield University.


title: Stelios Haji-Ioannou

text: A self-labelled "serial entrepreneur", Haji-Ioannou started working in 1988 for his father's already successful shipping business, Troodos Shipping Co Ltd. At 25, Haji-Ioannou received £30 million from his father, that he used to set up his own shipping company, Stelmar Shipping. Haji-Ioannou floated the company on the New York Stock Exchange in 2001. In 2005, Stelmar Shipping was sold to the OSG Group for approximately $1.3 billion.


title: Stelios Haji-Ioannou

text: In April 1991, a Troodos-owned VLCC oil tanker suffered a disaster that resulted in six deaths and spilt about 50,000 tons of crude oil into the sea, becoming arguably the Mediterranean's worst-ever ecological disaster. The tanker, M/T "Haven", was an elderly vessel, formerly the "Amoco Haven", sister ship of the ill-starred "Amoco Cadiz" that had foundered in 1978. Haji-Ioannou was accused of poor maintenance and charged in Italy with manslaughter, in addition to intimidating and attempting to bribe witnesses. Haji-Ioannou blamed the accident on an error by one of the surviving crew members. He and his father were acquitted by the jury. Subsequent civil demands for compensation were also dismissed by the courts.


title: Stelios Haji-Ioannou

text: Haji-Ioannou started easyJet in 1995 when he was 28 years old, running a service between Luton and Scotland. In 2000, easyJet PLC was partially floated on the London Stock Exchange. He and his family remain its largest single shareholders (34%) in the airline, capitalised at £4.17bn as of 9 May 2019.


title: Stelios Haji-Ioannou

text: Haji-Ioannou conducts business via his private investment vehicle, the easyGroup, which owns the 'easy' brand and licenses it to the various 'easy'-branded ventures, including the airline. Haji-Ioannou continues to extend his business interests, mainly in the field of travel and leisure by encouraging entrepreneurs to adopt the "easy" brand for their companies.


title: Stelios Haji-Ioannou

text: easyJet PLC is one of Europe's largest airlines with a fleet of 323 aircraft carrying over 88.5m passengers annually (2018 figures).


title: Stelios Haji-Ioannou

text: In September 2011 it was reported that Haji-Ioannou was working on Fastjet, a new low-cost airline serving routes within Africa, as part of a joint venture with Lonrho plc. The airline started operations on 29 November 2012 with Airbus A319 aircraft.


title: Stelios Haji-Ioannou

text: In 2009, Haji-Ioannou brought proceedings in London's High Court over Ryanair adverts which appeared in "The Guardian", the "Daily Telegraph" and on Ryanair's website in January and February. The adverts featured a picture of Haji-Ioannou in the style of Pinocchio and referred to him as "easyJet's Mr Late Again". The case was eventually settled out of court, with Haji-Ioannou receiving an official apology from the airline and the sum of £50,100, which Haji-Ioannou announced he would donate to his philanthropic foundation.


title: Stelios Haji-Ioannou

text: In 2010, Haji-Ioannou quit the board of EasyJet, in order to attempt to force the management of the company to abort their expansion plans.


title: Stelios Haji-Ioannou

text: In an interview with "Management Today", he said: 'EasyJet is seen as a huge success, which I'm happy about, because I own the brand. But easyJet is a publicly listed company. The share price has gone up and down as it's got bigger and things have happened – but overall, really it's gone sideways.'