text: When the Judiciary Committee convened on September 28, 2018, to deliberate on whether to send Kavanaugh's nomination to the full Senate for final approval, Richard Blumenthal made a motion to subpoena Mark Judge to testify about Christine Blasey Ford's alleged sexual assault, Saying, "He [Judge] has never been interviewed by the FBI. He has never been questioned by any member of our committee." The motion was defeated, as every Republican on the committee voted against it in a party-line vote. Following the vote, Blumenthal, along with fellow Democrats Mazie Hirono, Kamala Harris, and Sheldon Whitehouse, staged a brief walkout in protest.


title: Brett Kavanaugh Supreme Court nomination

text: Later that day, after extensive debate, the committee voted 11-10 to send the Kavanaugh nomination to the full Senate with a favorable recommendationall Republican members voted in favor of the motion and all Democratic members voting against it. The Judiciary Committee also announced that the Senate vote on Kavanaugh's confirmation would be delayed for one week to allow for a "supplemental FBI background investigation" into the "credible allegations [of sexual misconduct] against the nominee" raised during the hearings.


text: Kavanaugh needed to win a simple majority vote of the full Senate to be confirmed. Republicans held 51 seats in the 100-seat Senate at the time, and, if needed, could count on the tie-breaking vote of Vice President Pence, acting in his Constitutional capacity as President of the Senate.


text: On October 5, the Senate voted 51–49 for cloture; a procedural vote that brought debate to end and allowed the Senate to move forward on the Kavanaugh nomination. The vote was almost entirely along party lines, with the exception of Democrat Joe Manchin, who voted yes, and Republican Lisa Murkowski, who voted no.


text: For many years, in order for a cloture motion on a Supreme Court nomination to pass in the Senate a three-fifths super-majority vote (60 senators) was required. However, in 2017, during the Neil Gorsuch confirmation process, Senate Majority Leader Mitch McConnell invoked the so-called nuclear option, which changed the 60 votes needed for cloture to 51.


text: On the eve of the cloture vote, Kavanaugh published an op-ed in the "Wall Street Journal" saying that he might have been too emotional at times in part due to his overwhelming frustration at being wrongly accused and that there were a few things he should not have said, but that going forward he would be an independent, impartial judge.


text: The Senate confirmed Brett Kavanaugh to the Supreme Court as an associate justice on October 6, by a vote of 50–48. One senator, Republican Steve Daines, who supported the nomination, was absent during the vote due to his attendance that day at his daughter's wedding in Montana. Republican Lisa Murkowski, who opposed the nomination, agreed to pair her vote with Daines' by voting "present" on the nomination, so that their two votes would be cancelled out and the balance of the vote would be retained, while registering her opposition in the "Congressional Record". All other Republicans voted to approve the nomination, and all Democrats voted in opposition, except Joe Manchin who voted to approve the nomination.


text: Kavanaugh's confirmation vote was historically close. In terms of actual votes, the only Supreme Court confirmation vote that was closer was the vote on Thomas Stanley Matthews, nominated by President James A. Garfield in 1881. Matthews was confirmed by the margin of a single vote, 24–23; no other justice has been confirmed by a single vote. However, in "percentage" terms, Kavanaugh's vote was even closer than Matthews'. Matthews was supported by 51.06% of the senators voting, but Kavanaugh only got 51.02% of the vote.


text: Following Kavanaugh's confirmation, protesters began singing, "We Shall Not Be Moved," outside the capitol. Also, a throng of protesters pushed past a police line, storming up steps to pound on the doors of the U.S. Supreme Court.


text: Hours after his Senate confirmation, Kavanaugh was sworn in at a private ceremony, followed by a public ceremony in the White House on October 7. Chief Justice John Roberts administered the constitutional oath and retired Justice Anthony Kennedy administered the judicial oath. Also in attendance were officials that had supported Kavanaugh's nomination, the justice's wife, children and parents and four of the sitting Judges, while three were unable to attend due to previous engagements. In the past public swearing-in ceremonies have taken place once the newly placed justice's work is well underway rather than before their first official day on the bench.


text: President Trump spoke thanking those in attendance and then apologized to Kavanaugh and his family for "the terrible pain and suffering you have been forced to endure", calling the Senate hearing "a campaign of political and personal destruction based on lies and deception."


text: Justice Kavanaugh spoke thanking his family, friends, and those that had supported his nomination. He thanked President Trump for his "steadfast and unwavering support" and several Republican senators, including Majority Leader Mitch McConnell and Senator Susan Collins, who cast what was considered the deciding vote in his favor. He also thanked the only Democrat who voted for him, Sen. Joe Manchin III of West Virginia. He closed saying, "As a Justice on the Supreme Court, I will always strive to preserve the Constitution of the United States and the American rule of law."


text: Multiple ethics complaints were filed against Kavanaugh during his confirmation hearings, 83 in all. The first two were filed in the U.S. Court of Appeals for the D.C. Circuit Court during the hearings by the Super PAC Democratic Coalition. The first on September 10, accused Kavanaugh of lying when he told the Senate Judiciary Committee he was unaware that he received information stolen from Senate Democrats when he was working in the Bush White House in the early 2000s; the second on September 27, alleging that Kavanaugh violated the judiciary's code of conduct by 'engaging in a public and partisan campaign of lies to cover-up and conceal sexual misconduct and crimes he committed in the past.'


text: On October 10, Chief Justice John Roberts appointed judges from the 10th Circuit Court of Appeals to address the complaints. In December 2018, the judicial panel dismissed all 83 ethics complaints, concluding that while the complaints "are serious," there is no existing authority that allows lower court judges to investigate or discipline Supreme Court justices.


title: Remix

text: A remix (or reorchestration) is a piece of media which has been altered or contorted from its original state by adding, removing, or changing pieces of the item. A song, piece of artwork, book, video, poem, or photograph can all be remixes. The only characteristic of a remix is that it appropriates and changes other materials to create something new.


title: Remix

text: Most commonly, remixes are a subset of audio mixing in music and song recordings. Songs may be remixed for a large variety of reasons:


title: Remix

text: Remixes should not be confused with edits, which usually involve shortening a final stereo master for marketing or broadcasting purposes. Another distinction should be made between a remix, which recombines audio pieces from a recording to create an altered version of a song, and a cover: a re-recording of someone else's song.


title: Remix

text: While audio mixing is one of the most popular and recognized forms of remixing, this is not the only media form which is remixed in numerous examples. Literature, film, technology, and social systems can all be argued as a form of remix.


title: Remix

text: Since the beginnings of recorded sound in the late 19th century, technology has enabled people to rearrange the normal listening experience. With the advent of easily editable magnetic tape in the 1940s and 1950s and the subsequent development of multitrack recording, such alterations became more common. In those decades the experimental genre of musique concrète used tape manipulation to create sound compositions. Less artistically lofty edits produced medleys or novelty recordings of various types.


title: Remix

text: Modern remixing had its roots in the dance hall culture of late-1960s/early-1970s Jamaica. The fluid evolution of music that encompassed ska, rocksteady, reggae and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience. Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes (which they called "versions") of reggae tunes. At first, they simply dropped the vocal tracks, but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix, isolating and repeating hooks, and adding various effects like echo, reverberation and delay. The German krautrock band Neu! also used other effects on side two of their album Neu! 2 by manipulating their previously released single "Super/Neuschnee" multiple ways, utilizing playback at different turntable speeds or mangling by using a cassette recorder.


title: Remix

text: From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs (using loops and tape edits) to get dancers on the floor and keep them there. One noteworthy figure was Tom Moulton who invented the dance remix as we now know it. Though not a DJ (a popular misconception), Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s. His tapes eventually became popular and he came to the attention of the music industry in New York City. At first, Moulton was simply called upon to improve the aesthetics of dance-oriented recordings before release ("I didn't do the remix, I did the mix"—Tom Moulton). Eventually, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the breakdown section and the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single ("Ten Percent", by Double Exposure). Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton, Gibbons and their contemporaries (Jim Burgess, Tee Scott, and later Larry Levan and Shep Pettibone) at Salsoul Records proved to be the most influential group of remixers for the disco era. The Salsoul catalog is seen (especially in the UK and Europe) as being the "canon" for the disco mixer's art form. Pettibone is among a very small number of remixers whose work successfully transitioned from the disco to the House era. (He is certainly the most high-profile remixer to do so.) His contemporaries included Arthur Baker and François Kevorkian.


title: Remix

text: Contemporaneously to disco in the mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx, energizing both and helping to create hip-hop music. Key figures included DJ Kool Herc and Grandmaster Flash. Cutting (alternating between duplicate copies of the same record) and scratching (manually moving the vinyl record beneath the turntable needle) became part of the culture, creating what "Slate" magazine called "real-time, live-action collage." One of the first mainstream successes of this style of remix was the 1983 track "Rockit" by Herbie Hancock, as remixed by Grand Mixer D.ST. Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as "Duck Rock". English duo Coldcut's remix of Eric B. & Rakim's "Paid in Full" Released in October 1987 is said to have "laid the groundwork for hip hop's entry into the UK mainstream". Dorian Lynskey of The Guardian named it a "benchmark remix" and placed it in his top ten list of remixes. The Coldcut remix "Seven Minutes of Madness" became one of the first commercially successful remixes, becoming a top fifteen hit in countries such as Germany, the Netherlands and the United Kingdom.


title: Remix

text: Early pop remixes were fairly simple; in the 1980s, "extended mixes" of songs were released to clubs and commercial outlets on vinyl 12-inch singles. These typically had a duration of six to seven minutes, and often consisted of the original song with 8 or 16 bars of instruments inserted, often after the second chorus; some were as simplistic as two copies of the song stitched end to end. As the cost and availability of new technologies allowed, many of the bands who were involved in their own production (such as Yellow Magic Orchestra, Depeche Mode, New Order, Erasure, and Duran Duran) experimented with more intricate versions of the extended mix. Madonna began her career writing music for dance clubs and used remixes extensively to propel her career; one of her early boyfriends was noted DJ John Jellybean Benitez, who created several mixes of her work.


title: Remix

text: Art of Noise took the remix styles to an extreme—creating music entirely of samples. They were among the first popular groups to truly harness the potential that had been unleashed by the synthesizer-based compositions of electronic musicians such as Kraftwerk, Yellow Magic Orchestra, Giorgio Moroder, and Jean Michel Jarre. Contemporaneous to Art of Noise was the seminal body of work by Yello (composed, arranged and mixed by Boris Blank). Primarily because they featured sampled and synthesized sounds, Yello and Art of Noise would produce a great deal of influential work for the next phase. Others such as Cabaret Voltaire and the aforementioned Jarre (whose "Zoolook" was an epic usage of sampling and sequencing) were equally influential in this era.


title: Remix

text: After the rise of dance music in the late 1980s, a new form of remix was popularised, where the vocals would be kept and the instruments would be replaced, often with matching backing in the house music idiom. Jesse Saunders, known as The Originator of House Music, was the first producer to change the art of remixing by creating his own original music, entirely replacing the earlier track, then mixing back in the artist's original lyrics to make his remix. He introduced this technique for the first time with the Club Nouveau song "It's a Cold, Cold World", in May 1988. Another clear example of this approach is Roberta Flack's 1989 ballad "Uh-Uh Ooh-Ooh Look Out (Here It Comes)", which Chicago House great Steve "Silk" Hurley dramatically reworked into a boisterous floor-filler by stripping away all the instrumental tracks and substituting a minimalist, sequenced "track" to underpin her vocal delivery, remixed for the UK release which reached No1 pop by Simon Harris. The art of the remix gradually evolved, and soon more avant-garde artists such as Aphex Twin were creating more experimental remixes of songs (relying on the groundwork of Cabaret Voltaire and the others), which varied radically from their original sound and were not guided by pragmatic considerations such as sales or "danceability", but were created for "art's sake".


title: Remix

text: In the 1990s, with the rise of powerful home computers with audio capabilities came the mash-up, an unsolicited, unofficial (and often legally dubious) remix created by "underground remixers" who edit two or more recordings (often of wildly different songs) together. Girl Talk is perhaps the most famous of this movement, creating albums using sounds entirely from other music and cutting it into his own. Underground mixing is more difficult than the typical official remix because clean copies of separated tracks such as vocals or individual instruments are usually not available to the public. Some artists (such as Björk, Nine Inch Nails, and Public Enemy) embraced this trend and outspokenly sanctioned fan remixing of their work; there was once a web site which hosted hundreds of unofficial remixes of Björk's songs, all made using only various officially sanctioned mixes. Other artists, such as Erasure, have included remix software in their officially released singles, enabling almost infinite permutations of remixes by users. The band has also presided over remix competitions for their releases, selecting their favourite fan-created remix to appear on later official releases.


title: Remix

text: Remixing has become prevalent in heavily synthesized electronic and experimental music circles. Many of the people who create cutting-edge music in such genres as synthpop and aggrotech are solo artists or pairs. They will often use remixers to help them with skills or equipment that they do not have. Artists such as Chicago-based Delobbo, Dallas-based LehtMoJoe, and Russian DJ Ram, who has worked with t.A.T.u., are sought out for their remixing skill and have impressive lists of contributions. It is not uncommon for industrial bands to release albums that have remixes as half of the songs. Indeed, there have been popular singles that have been expanded to an entire album of remixes by other well-known artists.


title: Remix

text: Some industrial groups allow, and often encourage, their fans to remix their music, notably Nine Inch Nails, whose website contains a list of downloadable songs that can be remixed using Apple's GarageBand software. Some artists have started releasing their songs in the U-MYX format, which allows buyers to mix songs and share them on the U-MYX website.


title: Remix

text: Some radio stations, such as the UK's make extensive use of Remixes in their formats to create a hotter, more up-beat sound than their market rivals.


title: Remix

text: Recent technology allows for easier remixing, leading to a rise in its use in the music industry. It can be done legally, but there have been numerous disputes over rights to samples used in remixed songs. Many famous artists have been involved in remix disputes. In 2015, Jay-Z went to trial over a dispute about his use of a sample from "Khosara Khosara", a composition by Egyptian composer Baligh Hamdy in his song "Big Pimpin'". Osama Fahmy, a nephew of Hamdy, argued that while Jay-Z had the “economic rights” to use the song, he did not have the “moral rights”.


title: Remix

text: In 1988, Sinéad O'Connor's art-rock song "I Want Your (Hands On Me)" was remixed to emphasize the urban appeal of the composition (the original contains a tight, grinding bassline and a rhythm guitar not entirely unlike Chic's work). In 1989, the Cure's "Pictures of You" was remixed turning "the music on its head, twisted the beat completely, but at the same time left the essential heart of the song intact."


title: Remix

text: Remixes have become the norm in contemporary dance music, giving one song the ability to appeal across many different musical genres or dance venues. Such remixes often include "featured" artists, adding new vocalists or musicians to the original mix. The remix is also widely used in hip hop and rap music. An R&B remix usually has the same music as the original song but has added or altered verses that are rapped or sung by the featured artists. It usually contains some if not all of the original verses of the song however they may be arranged in a different order than they originally were.


title: Remix

text: In the early 1990s, Mariah Carey became one of the first mainstream artists who re-recorded vocals for a dancefloor version, and by 1993 most of her major dance and urban-targeted versions had been re-sung, e.g. "Dreamlover". Some artists would contribute new or additional vocals for the different versions of their songs. These versions were not technically remixes, as entirely new productions of the material were undertaken (the songs were "re-cut", usually from the ground up). Carey worked with producer Puff Daddy to create the official Bad Boy remix of "Fantasy". The Bad Boy remix features background vocals by Puff Daddy and rapping by Ol' Dirty Bastard, the latter being of concern to Columbia who feared the sudden change in style would affect sales negatively. Some of the song's R&B elements were removed for the remix, while the bassline and "Genius of Love" sample were emphasized and the bridge from the original version was used as the chorus. There is a version omitting Ol' Dirty Bastard's verses. The "Bad Boy Fantasy Remix", combines the chorus from the original version and the chorus of the Bad Boy Remix together, removing Ol' Dirty Bastard's vocals from his second verse. Carey re-recorded vocals for club remixes of the song by David Morales, titled "Daydream Interlude (Fantasy Sweet Dub Mix)".


title: Remix

text: The Bad Boy remix garnered positive reviews from music critics. "Fantasy" exemplified how a music sample could be transformed "into a fully realized pop masterpiece". The song and its remix arguably remains as one of Carey's most important singles to date. Due to the song's commercial success, Carey helped popularize rapper as a featured act through her post-1995 songs. Sasha Frere-Jones, editor of "The New Yorker" commented in referencing to the song's remix: "It became standard for R&B/hip-hop stars like Missy Elliott and Beyoncé, to combine melodies with rapped verses. And young white pop stars—including Britney Spears, 'N Sync, and Christina Aguilera—have spent much of the past ten years making pop music that is unmistakably R&B." Moreover, Jones concludes that "Her idea of pairing a female songbird with the leading male MCs of hip-hop changed R&B and, eventually, all of pop. Although now anyone is free to use this idea, the success of "Mimi" [ref. to "The Emancipation of Mimi", her tenth studio album released almost a decade after "Fantasy"] suggests that it still belongs to Carey." John Norris of MTV News has stated that the remix was "responsible for, I would argue, an entire wave of music that we've seen since and that is the R&B-hip-hop collaboration. You could argue that the 'Fantasy' remix was the single most important recording that she's ever made." Norris echoed the sentiments of TLC's Lisa Lopes, who told MTV that it's because of Mariah that we have "hip-pop." Judnick Mayard, writer of "TheFader", wrote that in regarding of R&B and hip hop collaboration, "The champion of this movement is Mariah Carey." Mayard also expressed that "To this day ODB and Mariah may still be the best and most random hip hop collaboration of all time", citing that due to the record "Fantasy", "R&B and Hip Hop were the best of step siblings." In the 1998 film "Rush Hour", Soo Yong is singing the song while it plays on the car radio, shortly before her kidnapping. In 2011, the experimental metal band Iwrestledabearonce used the song at the beginning and end of the video "You Know That Ain't Them Dogs' Real Voices".


title: Remix

text: Indie artist Grimes has called "Fantasy" one of her favorite songs of all-time and has said Mariah is the reason there is a Grimes.


title: Remix

text: M.C. Lyte was asked to provide a "guest rap", and a new tradition was born in pop music. George Michael would feature three artistically differentiated arrangements of "I Want Your Sex" in 1987, highlighting the potential of "serial productions" of a piece to find markets and expand the tastes of listeners. In 1995, after doing "California Love", which proved to be his best selling single ever, Tupac Shakur would do its remix with Dr. Dre again featured, who originally wanted it for his next album, but relented to let it be on the album "All Eyez on Me" instead. This also included the reappearance of Roger Troutman, also from the original, but he ended the remix with an ad-lib on the outro. Mariah Carey's song "Heartbreaker" was remixed, containing lyrical interpolations and an instrumental sample from "Ain't No Fun (If the Homies Can't Have None)" by Snoop Dogg. A separate music video was filmed for the remix, shot in black and white and featuring a cameo appearance by Snoop. In 2001, Jessica Simpson released an urban remix of her song "Irresistible", featuring rappers Lil' Bow Wow and Jermaine Dupri, who also produced the track. It samples the Kool & the Gang's song "Jungle Boogie" (1973) and "Why You Treat Me So Bad" by Club Nouveau (1987).


title: Remix

text: Released on July 12, 1999, "Always You" remix by Jennifer Paige, reached number six on the "Billboard" Dance/Club Play chart.


title: Remix

text: The main single of "I Turn to You" by Melanie C, was released as the "Hex Hector Radio Mix", for which Hex Hector won the 2001 Grammy as Remixer of the Year.


title: Remix

text: Another well-known example is R. Kelly, who recorded two different versions of "Ignition" for his 2003 album "Chocolate Factory". The song is unique in that it segues from the end of the original to the beginning of the remixed version (accompanied by the line "Now usually I don't do this, but uh, go ahead on, break em' off with a little preview of the remix."). In addition, the original version's beginning line "You remind me of something/I just can't think of what it is" is actually sampled from an older Kelly song, "You Remind Me of Something". Kelly later revealed that he actually wrote "Ignition (remix)" before the purported original version of "Ignition", and created the purported original so that the chorus lyric in his alleged remix would make sense. Madonna's "I'm Breathless" featured a remix of "Now I'm Following You" that was used to segue from the original to "Vogue" so that the latter could be added to the set without jarring the listener.


title: Remix

text: In 2015, EDM artist Deadmau5, who worked with Jay-Z's Roc Nation, tried to sue his former manager for remixing his songs without permission, claiming that he gave his manager the go-ahead to use his work for some remixes, but not others. Deadmau5 wanted reimbursement for the remixes his manager made after they had severed ties, because he claimed it was his “moral right” to turn these future remixing opportunities away if he had wanted to. The two parties reached an agreement in 2016 that kept Play Records from making any new remixes.


title: Remix

text: 50 Cent tried to sue rapper Rick Ross in October 2018 for remixing his "In da Club" beat, due to their publicized feud. However, a judge threw out the lawsuit claiming that 50 Cent did not have copyright on the beat, but rather it belonged to Shady/Aftermath Records.


title: Remix

text: Many hip-hop remixes arose either from the need for a pop/R&B singer to add more of an urban, rap edge to one of their slower songs, or from a rapper's desire to gain more pop appeal by collaborating with an R&B singer. Remixes can boost popularity of the original versions of songs.


title: Remix

text: Thanks to a combination of guest raps, re-sung or altered lyrics and alternative backing tracks, some hip-hop remixes can end up being almost entirely different songs from the originals. An example is the remix of "Ain't It Funny" by Jennifer Lopez, which has little in common with the original recording apart from the title.


title: Remix

text: Slow ballads and R&B songs can be remixed by techno producers and DJs in order to give the song appeal to the club scene and to urban radio. Conversely, a more uptempo number can be mellowed to give it "quiet storm" appeal. Frankie Knuckles saddled both markets with his Def Classic Mixes, often slowing the tempo slightly as he removed ornamental elements to soften the "attack" of a dancefloor filler. These remixes proved hugely influential, notably Lisa Stansfield's classic single "Change" would be aired by urban radio in the Knuckles version, which had been provided as an alternative to the original mix by Ian Devaney and Andy Morris, the record's producers.


title: Remix

text: In the age of social media, anybody can make and upload a remix. The most popular apps for doing this are Instagram and YouTube.


title: Remix

text: A remix may also refer to a non-linear re-interpretation of a given work or media other than audio such as a hybridizing process combining fragments of various works. The process of combining and re-contextualizing will often produce unique results independent of the intentions and vision of the original designer/artist. Thus the concept of a remix can be applied to visual or video arts, and even things farther afield. Mark Z. Danielewski's disjointed novel "House of Leaves" has been compared by some to the remix concept.


title: Remix

text: A remix in literature is an alternative version of a text. William Burroughs used the cut-up technique developed by Brion Gysin to remix language in the 1960s. Various textual sources (including his own) would be cut literally into pieces with scissors, rearranged on a page, and pasted to form new sentences, new ideas, new stories, and new ways of thinking about words.


title: Remix

text: "The Soft Machine" (1961) is a famous example of an early novel by Burroughs based on the cut-up technique. Remixing of literature and language is also apparent in "Pixel Juice" (2000) by Jeff Noon who later explained using different methods for this process with "Cobralingus" (2001).


title: Remix

text: A remix in art often takes multiple perspectives upon the same theme. An artist takes an original work of art and adds their own take on the piece creating something completely different while still leaving traces of the original work. It is essentially a reworked abstraction of the original work while still holding remnants of the original piece while still letting the true meanings of the original piece shine through. Famous examples include "The Marilyn Diptych" by Andy Warhol (modifies colors and styles of one image), and "The Weeping Woman" by Pablo Picasso, (merges various angles of perspective into one view). Some of Picasso's other famous paintings also incorporate parts of his life, such as his love affairs, into his paintings. For example, his painting "Les Trois Danseuses", or "The Three Dancers", is about a love triangle.


title: Remix

text: Other types of remixes in art are parodies. A parody in contemporary usage, is a work created to mock, comment on, or make fun at an original work, its subject, author, style, or some other target, by means of humorous, satiric or ironic imitation. They can be found all throughout art and culture from literature to animation. Famous song parody artists include ""Weird Al" Yankovic" and "Allan Sherman". Several current television shows are filled with parodies, such as South Park, Family Guy, and The Simpsons.


title: Remix

text: The internet has allowed for art to be remixed quite easily, as evidenced by sites like memgenerator.net (provides pictorial template upon which any words may be written by various anonymous users), and Dan Walsh's Garfieldminusgarfield.net(removes the main character from various original strips by Garfield creator Jim Davis).


title: Remix

text: "A feminist remix is a creative resistance and cultural production that talks back to patriarchy by reworking patriarchal hierarchical systems privileging men.


title: Remix

text: Examples include Barbara Kruger's "You are not yourself" (1982), "We are not what we seem" (1988), and "Your body is a battleground" (1989)


title: Remix

text: Barbara Kruger, Orlan's (1994) "Self-Hybridizations" Orlan, Evelin Stermitz's remix, "Women at War" (2010), and "Distaff" [Ain’t I Redux] (2008) by artist Sian Amoy.


title: Remix

text: In recent years the concept of the remix has been applied analogously to other media and products. In 2001, the British Channel 4 television program "Jaaaaam" was produced as a remix of the sketches from the comedy show "Jam". In 2003 The Coca-Cola Company released a new version of their soft drink Sprite with tropical flavors under the name Sprite Remix.


title: Remix

text: In 1995, Sega released "Virtua Fighter Remix" (バーチャファイター　リミックス/Bāchafaitā rimikkusu) as an update to, just months after the "Virtua Fighter" release on the Sega Saturn.


title: Remix

text: "Virtua Fighter" had been released on the Saturn in a less-than-impressive state. Sega had attempted to make an accurate port of the Sega Model 1 arcade version, and therefore chose to use untextured models and the soundtrack from the arcade machine. However, as the Saturn was incapable of rendering as many polygons on screen as Model 1 hardware, characters looked noticeably worse. Many claim it to be even worse than the Sega 32X version, thanks to the added CD loading time.


title: Remix

text: "Virtua Fighter Remix" was created to address many of these flaws. Models have a slightly higher polygon count (though still less than the Model 1 version); they are also texture-mapped, leading to a much more modern-looking game that could effectively compete with the PlayStation. The game also allows players to use the original flat-shaded models.


title: Remix

text: In the west, a CG Portrait Collection Disc was also included in the Saturn bundle. North American owners would get "Virtua Fighter Remix" for free if they registered their Saturns, while Japanese customers would later receive a SegaNet compatible version. Sega would also bring Virtua Fighter Remix to Sega Titan Video arcade hardware.


title: Remix

text: Because remixes may borrow heavily from an existing piece of music (possibly more than one), the issue of intellectual property becomes a concern. The most important question is whether a remixer is free to redistribute his or her work, or whether the remix falls under the category of a derivative work according to, for example, United States copyright law. Of note are open questions concerning the legality of visual works, like the art form of collage, which can be plagued with licensing issues.


title: Remix

text: There are two obvious extremes with regard to derivative works. If the song is substantively dissimilar in form (for example, it might only borrow a motif which is modified, and be completely different in all other respects), then it may not necessarily be a derivative work (depending on how heavily modified the melody and chord progressions were). On the other hand, if the remixer only changes a few things (for example, the instrument and tempo), then it is clearly a derivative work and subject to the copyrights of the original work's copyright holder.


title: Remix

text: The Creative Commons is a non-profit organization that allows the sharing and use of creativity and knowledge through free legal tools and explicitly aims for enabling a Remix culture. They created a website that allows artists to share their work with other users, giving them the ability to share, use, or build upon their work, under the Creative Commons license. The artist can limit the copyright to specific users for specific purposes, while protecting the users and the artist.


title: Remix

text: The exclusive rights of the copyright owner over acts such as reproduction/copying, communication, adaptation and performance – unless licensed openly – by their very nature reduce the ability to negotiate copyright material without permission.


title: Remix

text: Remixes will inevitably encounter legal problems when the whole or a substantial part of the original material has been reproduced, copied, communicated, adapted or performed – unless a permission has been given in advance through a voluntary open content license like a Creative Commons license, there is fair dealing involved (the scope of which is extraordinarily narrow), a statutory license exists, or permission has been sought and obtained from the copyright owner. Generally, the courts consider what will amount to a substantial part by reference to its quality, as opposed to quantity and the importance the part taken bears in relation to the work as whole.


title: Remix

text: There are proposed theories of reform regarding the copyright law and remixes. Nicolas Suzor believes that copyright law should be reformed in such a manner as to allow certain reuses of copyright material without the permission of the copyright owner where those derivatives are highly transformative and do not impact upon the primary market of the copyright owner. There certainly appears to be a strong argument that non commercial derivatives, which do not compete with the market for the original material, should be afforded some defense to copyright actions.


title: Remix

text: Stanford Law professor Lawrence Lessig believes that for the first time in history creativity by default is subject to regulation because of two architectural features. First, cultural objects or products created digitally can be easily copied, and secondly, the default copyright law requires the permission of the owner. The result is that one needs the permission of the copyright owner to engage in mashups or acts of remixing. Lessig believes that the key to mashups and remix is "education – not about framing or law – but rather what you can do with technology, and then the law will catch up".


title: Remix

text: He believes that trade associations – like mashup guilds – that survey practices and publish reports to establish norm or reasonable behaviours in the context of the community would be useful in establishing fair use parameters. Lessig also


title: Remix

text: believes that Creative Commons and other licences, such as the GNU General Public Licence are important mechanisms which mashup and remix artists can use to mitigate the impact of copyright law. Lessig laid out his ideas in a book called "Remix" which is itself free to remix under a CC BY-NC license.


title: Remix

text: The Fair Use agreement allows users to use copyrighted materials without asking the permission of the original creator (section 107 of the federal copyright law). Within this agreement, the copyrighted material that is borrowed must be used under specific government regulations. Material borrowed falls under fair use depending on the amount of original content used, the nature of the content, the purpose of the borrowed content, and the effect the borrowed content has on an audience. Unfortunately, there are no distinct lines between copyright infringement and abiding by fair use regulations while producing a remix. However, if the work that is distributed by the remixer is an entirely new and transformative work that is not for profit, copyright laws are not breached. The key word in such considerations is transformative, as the remix product must have been either sufficiently altered or clearly used for a sufficiently different purpose for it to be safe from copyright violation.


title: Remix

text: In 2012, Canada's Copyright Modernization Act explicitly added a new exemption which allows non-commercial remixing.


title: Remix

text: In 2013, the US court ruling "Lenz v. Universal Music Corp." acknowledged that amateur remixing might fall under fair use and copyright holders are requested to check and respect fair use before doing DMCA take down notices.


title: Remix

text: In June 2015, a WIPO article named ""Remix Culture and Amateur Creativity: A Copyright Dilemma"" acknowledged the "age of remixing" and the need for a copyright reform.


title: Raj Tarun

text: Raj Tarun (born 11 May 1992) is an Indian actor who works in Telugu films. Tarun debuted with the 2013 film "Uyyala Jampala" for which won SIIMA Award for Best Male Debut (Telugu) for the film.


title: Raj Tarun

text: He has appeared in many successful films including "Cinema Choopistha Mava", "Kumari 21F", "Eedo Rakam Aado Rakam", "Andhhagadu", "Lover", "Kittu Unnadu Jagratha" and "Iddari Lokam Okate".


title: Raj Tarun

text: Raj Tarun has acted in 52 short films, and dreamt of becoming a film director. He also worked on the screenplay and dialogues for his first film "Uyyala Jampala". He won the Best Debutant Actor award at the South Indian International Movie Awards in 2014, for "Uyyala Jampala".


title: Raj Tarun

text: In 2015, he acted in "Cinema Choopistha Mava" and "Kumari 21F", and received praises for his performance. He has appeared in many successful films including "Kumari 21F", "Eedo Rakam Aado Rakam", "Andhhagadu", "Lover", "Kittu Unnadu Jagratha" and "Iddari Lokam Okate".


title: Tissue plasminogen activator

text: Tissue plasminogen activator (abbreviated tPA or PLAT) is a protein involved in the breakdown of blood clots. It is a serine protease () found on endothelial cells, the cells that line the blood vessels. As an enzyme, it catalyzes the conversion of plasminogen to plasmin, the major enzyme responsible for clot breakdown. Human tPA has a molecular weight of ~70 kDa in the single-chain form.


title: Tissue plasminogen activator

text: tPA can be manufactured using recombinant biotechnology techniques; tPA produced by such means are referred to as recombinant tissue plasminogen activator (rtPA). Specific rtPAs include alteplase, reteplase, and tenecteplase. They are used in clinical medicine to treat embolic or thrombotic stroke. The use of this protein is contraindicated in hemorrhagic stroke and head trauma. The antidote for tPA in case of toxicity is aminocaproic acid.


title: Tissue plasminogen activator

text: tPA is used in some cases of diseases that feature blood clots, such as pulmonary embolism, myocardial infarction, and stroke, in a medical treatment called thrombolysis. The most common use is for ischemic stroke. It can either be administered systemically, in the case of acute myocardial infarction, acute ischemic stroke, and most cases of acute massive pulmonary embolism, or administered through an arterial catheter directly to the site of occlusion in the case of peripheral arterial thrombi and thrombi in the proximal deep veins of the leg.


title: Tissue plasminogen activator

text: There have been 12 large scale, high-quality trials of rtPA in acute ischemic stroke. A meta-analysis of these trials concluded that rtPA given within 6 hours of a stroke significantly increased the odds of being alive and independent at final follow-up, particularly in patients treated within 3 hours. However a significant mortality rate was noted, mostly from intracranial haemorrhage at 7 days, but later mortality was not significant amongst treated and non-treated patients.


title: Tissue plasminogen activator

text: It has been suggested that if tPA is effective in ischemic stroke, it must be administered as early as possible after the onset of stroke symptoms, given that patients present to an ED in a timely manner. Many national guidelines including the AHA have interpreted this cohort of studies as suggesting that there are specific subgroups who may benefit from tPA and thus recommend its use within a limited time window after the event. Protocol guidelines require its use intravenously within the first three hours of the event, after which its detriments may outweigh its benefits.


title: Tissue plasminogen activator

text: For example, the Canadian Stroke Network guideline states "All patients with "disabling" acute ischemic stroke who can be treated within 4.5 hours of symptom onset should be evaluated without delay to determine their eligibility for treatment" with tPA. Delayed presentation to the ED leads to decreased eligibility; as few as 3% of people qualify for this treatment. Similarly in the United States, the window of administration used to be 3 hours from onset of symptoms, but the newer guidelines also recommend use up to 4.5 hours after symptom onset, depending on the patient's presentation, past medical history, current comorbidities and medication usage. tPA appears to show benefit not only for large artery occlusions but also for lacunar strokes. Since tPA dissolves blood clots, there is risk of hemorrhage with its use.


title: Tissue plasminogen activator

text: Use of tPA in the United States in treatment of patients who are eligible for its use, have no contraindications, and arrival at the treating facility less than 3 hours after onset of symptoms, is reported to have doubled from 2003 to 2011. Use on patients with mild deficits, of nonwhite race/ethnicity, and oldest old age increased. However, many patients who were eligible for treatment were not treated.


title: Tissue plasminogen activator

text: tPA has also been given to patients with acute ischemic stroke above age 90 years old. Although a small fraction of patients 90 years and above treated with tPA for acute ischemic stroke recover, most patients have a poor 30-day functional outcome or die. Nonagenarians may do as well as octogenarians following treatment with IV-tPA for acute ischemic stroke. In addition, people with frostbite treated with tPA had fewer amputations than those not treated with tPA.


title: Tissue plasminogen activator

text: There is consensus amongst stroke specialists that tPA is the standard of care for eligible stroke patients, and benefits outweigh the risks. There is significant debate mainly in the emergency medicine community regarding recombinant tPA's effectiveness in ischemic stroke. The NNT Group on evidence-based medicine concluded that it was inappropriate to combine these twelve trials into a single analysis, because of substantial clinical heterogeneity (i.e., variations in study design, setting, and population characteristics). Examining each study individually, the NNT group noted that two of these studies showed benefit to patients given tPA (and that, using analytical methods that they think flawed); four studies showed harm and had to be stopped before completion; and the remaining studies showed neither benefit nor harm. On the basis of this evidence, the NNT Group recommended against the use of tPA in acute ischaemic stroke. The NNT Group notes that the case for the 3-hour time window arises largely from analysis of two trials: NINDS-2 and subgroup results from IST-3. "However, presuming that early (0-3h) administration is better than later administration (3-4.5h or 4.5-6h) the subgroup results of IST-3 suggest an implausible biological effect in which early administration is beneficial, 3-4.5h administration is harmful, and 4.5-6h administration is again beneficial." Indeed, even the original publication of the IST-3 trial found that time-window effects were not significant predictors of outcome (p=0.61). In the UK, concerns by stroke specialists have led to a review by the Medicines and Healthcare products Regulatory Agency.


title: Tissue plasminogen activator

text: Pulmonary embolism (blood clots that have moved to the lung arteries) is usually treated with heparin generally followed by warfarin. If pulmonary embolism causes severe instability due to high pressure on the heart ("massive PE") and leads to low blood pressure, recombinant tPA is recommended.


title: Tissue plasminogen activator

text: Tissue-type plasminogen activators were initially identified and isolated from mammalian tissues after which a cDNA library was established with the use of reverse transcriptase and mRNA from human melanoma cells. The aforementioned mRNA was isolated using antibody based immunoprecipitation. The resulting cDNA library was subsequently screened via sequence analysis and compared to a whole genome library for confirmation of specific protein isolation and accuracy. cDNA was cloned into a synthetic plasmid and initially expressed in "E. coli" cells, followed by yeast cells with successful results confirmed via sequencing before attempting in mammalian cells. The transformants were selected with the use of Methotrexate. Methotrexate strengthens selection by inhibiting DHFR activity which then compels the cells to express more DHFR (exogenous) and consequently more recombinant protein to survive. The highly active transformants were subsequently placed in an industrial fermenter. The tPA which was then secreted into the culture medium was isolated and collected for therapeutic use. For pharmaceutical purposes, tPA was the first pharmaceutical drug produced synthetically with the use of mammalian cells, specifically Chinese hamster ovarian cells (CHO). Recombinant tPA is commonly referred to as r-tPA and sold under multiple brand names.


title: Tissue plasminogen activator

text: tPA and plasmin are the key enzymes of the fibrinolytic pathway in which tPA-mediated plasmin generation occurs.


title: Tissue plasminogen activator

text: To be specific, tPA cleaves the zymogen plasminogen at its Arg561 - Val562 peptide bond, into the serine protease plasmin.


title: Tissue plasminogen activator

text: Increased enzymatic activity causes hyperfibrinolysis, which manifests as excessive bleeding and/or an increase of the vascular permeability. Decreased activity leads to hypofibrinolysis, which can result in thrombosis or embolism.


title: Tissue plasminogen activator

text: In ischemic stroke patients, decreased tPA activity was reported to be associated with an increase in plasma P-selectin concentration.


title: Tissue plasminogen activator

text: Once in the body, tPA has three main routes it can take, with one resulting in desired thrombolytic activity (see figure). For starters, following administration and release, tPA can be absorbed by the liver and cleared from the body through receptors present therein. One of the specific receptors responsible for this processes is a scavenger protein, specifically the LDL Receptor-Related Protein (LRP1). tPA additionally can be bound by a plasminogen activator inhibitor (PAI), resulting in inactivation of its activity, and following clearing from the body by the liver. Lastly, tPA can bind plasminogen, cleaving off the bound plasmin from it. Plasmin, another type of protease, can either be bound by a plasmin inhibitor, or work to degrade fibrin clots, which is the highest utilized and desired pathway.


title: Tissue plasminogen activator

text: tPA is known to participate in some forms of synaptic plasticity, in particular long-term depression and consequently mediate some aspects of memory.


title: Tissue plasminogen activator

text: Tissue plasminogen activator is a protein encoded by the "PLAT" gene, which is located on chromosome 8. The primary transcript produced by this gene undergoes alternative splicing, producing three distinct messenger RNAs.


title: Howard Webb

text: Howard Melton Webb MBE (born 14 July 1971) is an English former professional football referee who officiated primarily in the Premier League from 2003 to 2014, as well as for FIFA as a FIFA international referee from 2005 to 2014.


title: Howard Webb

text: Webb is counted amongst the all-time top referees by the International Federation of Football History and Statistics and refereed a number of notable matches in England including the FA Cup final, the FA Community Shield and the final of the League Cup. In 2010, he became the first person to referee the finals of both the UEFA Champions League and FIFA World Cup in the same year.


title: Howard Webb

text: Throughout his professional career, Webb drew praise for his authoritative and respected approach to refereeing from football bodies, pundits, colleagues, players and managers. He announced his retirement in August 2014 to become the technical director of the Professional Game Match Officials Board.


title: Howard Webb

text: Webb was born to Sylvia and Billy Webb and grew up in Rotherham, West Riding of Yorkshire. His father was a referee for 35 years. He went to Brinsworth Comprehensive School.


title: Howard Webb

text: Webb first took up refereeing in local leagues in 1989. In 1993, he progressed to the Northern Counties East League as an assistant referee, becoming a referee for that league two years later.


title: Howard Webb

text: In 1996, he was appointed as a Football League assistant referee and, in 1998, fulfilled the same function in the Premier League, as well as being promoted to the Football Conference as a full referee. He was a police officer with South Yorkshire Police but took sabbatical leave to concentrate on his refereeing.


title: Howard Webb

text: In 2000, Webb was included on the National List of Football League referees and three years later was promoted to the Select Group of professional referees who can take charge of Premier League games. His first game in the top tier of English football was on 18 October 2003 when he took charge of a 0–0 draw between Fulham and Wolverhampton Wanderers. He was appointed to FIFA's international referees' list in 2005.


title: Howard Webb

text: Since then, Webb has been appointed to referee some of world football's highest-profile matches, including a UEFA Champions League final and a FIFA World Cup final.


title: Howard Webb

text: Webb officiated the 2005 Community Shield at Cardiff's Millennium Stadium, the annual match between the Premier League winners and the FA Cup winners of the previous season. League winners Chelsea went 2–0 up through two Didier Drogba goals, but Cesc Fàbregas netted a goal for FA Cup winners Arsenal 25 minutes before the end. It was a tense finale, but Chelsea held on to secure a 2–1 victory. Webb issued three yellow cards (to Frank Lampard, Claude Makélélé and Fàbregas) in a game that saw 11 substitutions.


title: Howard Webb

text: In May 2006, Webb took charge of the FA Trophy final at Upton Park in London. Grays Athletic beat Woking 2–0 through goals from Dennis Oli and Glenn Poole, both just before half-time. No players found their way into the book.


title: Howard Webb

text: The 2007 Football League Cup final at the Millennium Stadium in Cardiff was an incident-filled match. The match ended with a brawl, with most of the players on the pitch becoming involved. Managers José Mourinho and Arsène Wenger both entered the pitch in an attempt to calm the situation. As a result of the mêlée, Webb sent off Mikel John Obi of Chelsea and Kolo Touré and Emmanuel Adebayor of Arsenal, and showed yellow cards to Frank Lampard and Cesc Fàbregas. This was the first time that three red cards had been shown in a League Cup final. Indeed, before this game, only three red cards had been shown in all of the previous finals.


title: Howard Webb

text: Webb took charge of the 2009 FA Cup final, the 128th final of the world's oldest domestic football cup competition. It was played at Wembley Stadium in London and was the third time that an FA Cup final had been staged at the stadium since it was rebuilt. The match was contested by Chelsea and Everton, with Chelsea coming out on top to record their fifth FA Cup success. Webb cautioned Mikel John Obi and Frank Lampard of Chelsea and Tony Hibbert, Phil Neville and Leighton Baines of Everton.


title: Howard Webb

text: Webb's first international game was at Windsor Park, Belfast, in November 2005 when Northern Ireland hosted Portugal in a friendly match. It ended 1–1 with the home side scoring both goals: Northern Ireland went 1–0 down just before half-time through a Stephen Craigan own goal but Warren Feeney salvaged a draw by netting in the second half. Tony Capaldi, Keith Gillespie and James Quinn were booked for Northern Ireland.


title: Howard Webb

text: The 2006 European Under-21 Championship qualifying rounds began in August 2004, with the finals taking place in Portugal in May and June 2006. Webb officiated a group A match between France and Portugal, which the former won 1–0, and a Group B match between Italy and Ukraine, which the Italians won. Webb also took charge of one of the two semi-finals, which saw Ukraine beat Serbia and Montenegro 5–4 on penalties after a 0–0 draw. He was also appointed fourth official for the final in Porto, where the Netherlands beat Ukraine 3–0.


title: Howard Webb

text: A UEFA Champions League group match on 26 September 2006 between Steaua București and Lyon was Webb's first European appointment. The match, played at the Ghencea Stadium in Bucharest, finished 3–0 to Lyon, with Webb issuing four yellow cards during the course of the match.


title: Howard Webb

text: Webb was selected to officiate at the 2007 U-20 World Cup in Canada and his first appointment was a Group D match between Poland and Brazil at Montreal's Olympic Stadium. He then took charge of a group C game between Mexico and Portugal at the National Soccer Stadium in Toronto and a group A match between Canada and Congo at the Commonwealth Stadium in Edmonton. Webb was retained for the knock-out stage of the tournament, and refereed a quarter-final in Montreal where Chile defeated Nigeria 4–0 with all four goals being scored in extra time.


title: Howard Webb

text: In December 2007, Webb was selected as England's representative to referee at UEFA Euro 2008, with Darren Cann and Michael Mullarkey as his assistants. Whilst refereeing his first match of the tournament, a Group B match between Austria and Poland, and with less than one minute left in stoppage time, he awarded Austria a penalty kick after he adjudged Poland's Mariusz Lewandowski to have pulled the shirt of Sebastian Prödl. The penalty was converted and the match finished 1–1. UEFA official William Gaillard said the decision was not controversial and was correct. Webb said that "the penalty was clear and I hope that people later will look at it and realise it was the only decision that could be taken". Webb refereed his second game of Euro 2008 when he took charge of a Group D match in which Greece lost 2–1 to Spain. UEFA stated on 19 June that Webb had not been selected to referee matches in the knock-out phase of the tournament.


title: Howard Webb

text: Webb was handed a one-week demotion to the Football League Championship from officiating in the Premier League in April 2009 after he awarded Manchester United a penalty kick while they trailed 2–0 to Tottenham Hotspur. The penalty was converted and United went on to win the match 5–2. Webb later admitted he had made "a mistake" but had awarded the penalty "honestly".


title: Howard Webb

text: In June 2009, Webb was one of the referees at the 2009 FIFA Confederations Cup in South Africa, where he took charge of two games: A 4–3 win for Brazil over Egypt, and a 0–0 draw between Iraq and New Zealand. Throughout the tournament, Webb wrote a regular blog detailing his experiences as a referee while at the tournament.


title: Howard Webb

text: In May 2010, Webb was announced as the referee for the 2010 Champions League final at the Santiago Bernabéu Stadium in Madrid. He showed yellow cards to Martín Demichelis and Mark van Bommel of Bayern Munich and cautioned Cristian Chivu of Inter Milan. Inter won the match 2–0 through two goals by striker Diego Milito.


title: Howard Webb

text: In December 2011, Webb was named one of the 12 referees selected by UEFA to take charge of games at Euro 2012. He was in charge of a Group A fixture between Russia and Czech Republic on the opening day in Wrocław, a Group C fixture between Italy and Croatia in Poznań, and a quarter-final between the Czech Republic and Portugal in Warsaw.


title: Howard Webb

text: Webb was selected as a referee for the 2013 Confederations Cup in Brazil. He refereed a Group A match in Fortaleza between Mexico and Brazil, which ended in a 2–0 win for the home nation; Webb issued five cautions.


title: Howard Webb

text: On 24 October 2008, FIFA announced that Webb was on the provisional list of referees for the 2010 World Cup in South Africa and later confirmed that Webb had been selected as a referee for the finals. Webb took charge of a Group H match between Spain and Switzerland in Durban, where Switzerland stunned Spain with a 1–0 win; a Group F match between Italy and Slovakia in Johannesburg, which also resulted in an upset as Slovakia won and ended Italy's chances of progression; and a round of 16 knockout match between Brazil and Chile, also in Johannesburg.


title: Howard Webb

text: Webb refereed the World Cup final between the Netherlands and Spain. He was assisted by Darren Cann and Michael Mullarkey in Johannesburg's Soccer City stadium. Webb was the first English referee to take charge of a World Cup final since Jack Taylor in 1974 – a game in which the Netherlands lost to West Germany. Webb issued 14 yellow cards, including two to the Netherlands' John Heitinga who was subsequently sent off, more than doubling the former record of six yellows for a World Cup final, set in 1986.


title: Howard Webb

text: The match was seen as a very difficult one to referee. The Dutch were criticised for their rough play, and some thought Webb was generous for not showing any red cards to the Dutch players until ten minutes before the end of extra time. Webb later conceded that had he had a better viewing angle of a high challenge from Nigel de Jong he would have sent him off, and De Jong later admitted he was "lucky" to only receive a yellow card. FIFA president Sepp Blatter defended Webb, noting that it was "not easy" to control such a match. Former Premier League referee Jeff Winter said Webb "had a superb game" while Scotland's Alan Hansen condemned the Dutch, saying that, "Webb tried to make the game flow but on this occasion he was left with no choice." The British Referees' Association said "it would be almost impossible to disagree with any of the bookings he issued", while former FA Cup final referee Keith Hackett noted that "anyone who criticises the officials lacks the knowledge and experience of someone who has refereed" and called on FIFA to punish the Dutch players who castigated Webb to the press.


title: Howard Webb

text: Webb took charge of three qualifiers for the 2014 World Cup. He refereed the UEFA qualification group D match between Turkey and Romania in October 2012 in Istanbul, the Group E match between Norway and Switzerland in September 2013 in Oslo and the Group A match between Croatia and Belgium in October 2013 in Zagreb. In January 2014, it was announced that Webb had been included on the referees' list for the finals in Brazil.


title: Howard Webb

text: On 19 June, he officiated the Group C match between Colombia and the Ivory Coast in Brasília. Webb also refereed the first knockout match on 28 June between Brazil and Chile in Belo Horizonte. Host nation Brazil won a penalty shootout 3–2 after the game finished 1–1 after extra-time.


title: Howard Webb

text: On 6 August 2014, the Premier League announced that Webb had retired from active refereeing in order to take up the role of technical director of the Professional Game Match Officials Board. Webb said, "Refereeing has given me so much and I think it's important that match officials who have had the rewards remain in the game to pass on their knowledge."


title: Howard Webb

text: Webb then became director of referees for the Saudi Arabian Football Federation, while also joining BT Sport as an analyst. After resigning his position with SAFF in January 2017 – to be replaced by Mark Clattenburg – it was announced that from March 2017 he would become the Manager of Video Assistant Referee Operations for Major League Soccer's Professional Referee Organization.


title: Howard Webb

text: In August 2022 it was announced that Webb would return to the Professional Game Match Officials Limited as chief refereeing officer.


title: Howard Webb

text: Webb refereed 296 Premier League matches, 43 in the FA Cup, 36 in the Champions League, 19 in the EFL Cup, 6 in World Cups, 5 in European Championships, and 4 in Confederations Cups.


title: Howard Webb

text: Webb issued at least one card in every game he refereed in the 2002–03 and 2004–05 seasons. The first red card he showed in the Premier League was to Michael Svensson of Southampton for a second bookable offence in a 0–0 draw at Bolton Wanderers on 8 November 2003. The 2003–04 season saw Webb issue his highest proportion of red cards yet: nine in 34 games. Between 17 February and 17 March 2007, he showed five red cards all in the 90th minute of matches.


title: Howard Webb

text: In four fixtures since the 2000–01 season he has issued two red cards in the same game, three times dismissing one player from either side, and once reducing one team (Wimbledon in December 2001) to nine men. He has once shown three red cards in the same match: the 2007 Football League Cup Final.


title: Howard Webb

text: Webb has sent off two goalkeepers since 2000–01: Kelvin Davis of Wimbledon in December 2001 and John Filan of Wigan Athletic in March 2004.


title: Howard Webb

text: Webb was married and has three children. He and his wife separated in 2016. He is in a relationship with Bibiana Steinhaus, a German Bundesliga referee, whom he married in March 2021.


title: Howard Webb

text: He was a sergeant in the South Yorkshire Police before turning professional as a referee. He was appointed a Member of the Order of the British Empire (MBE) in the 2011 New Year Honours for services to football.


title: Howard Webb

text: In June 2011, Webb was made president of the Baris Northern Counties East Football League, a league in which he had once officiated. In July 2011 he received an Honorary Doctor of Science degree from the University of Bedfordshire. In November 2011 he also gained an honorary degree from York St John University as a Doctor of Health Sciences.


title: Howard Webb

text: He began his career in policing in 1993 and took a five-year career break in 2008 to focus on refereeing. He returned to the South Yorkshire Police in April 2013.


title: Tian

text: Tiān () is one of the oldest Chinese terms for heaven and a key concept in Chinese mythology, philosophy, and religion. During the Shang dynasty (17th―11th century BCE), the Chinese referred to their supreme god as "Shàngdì" (, "Lord on High") or "Dì" (,"Lord"). During the following Zhou dynasty, "Tiān" became synonymous with this figure. Before the 20th century Heaven worship was an orthodox state religion of China.


title: Tian

text: In Taoism and Confucianism, "Tiān" (the celestial aspect of the cosmos, often translated as "Heaven") is mentioned in relationship to its complementary aspect of "Dì" (, often translated as "Earth"). They are thought to maintain the two poles of the Three Realms () of reality, with the middle realm occupied by Humanity (, "Rén"), and the lower world occupied by demons (specifically sorcery); (, "Guǐ") and "ghosts," the damned, specifically (, "Mó").


title: Tian

text: The modern Chinese character and early seal script both combine "dà" "great; large" and "yī" "one", but some of the original characters in Shāng oracle bone script and Zhōu bronzeware script anthropomorphically portray a large head on a great person. The ancient oracle and bronze ideograms for "dà" depict a stick figure person with arms stretched out denoting "great; large". The oracle and bronze characters for "tiān" emphasize the cranium of this "great (person)", either with a square or round head, or head marked with one or two lines. Schuessler notes the bronze graphs for "tiān", showing a person with a round head, resemble those for "dīng" "4th Celestial stem", and suggests "The anthropomorphic graph may or may not indicate that the original meaning was 'deity', rather than 'sky'."


title: Tian

text: Two variant Chinese characters for "tiān" "heaven" are (written with "er" "two" and "ren" "human") and the Daoist coinage (with "qīng" "blue" and "qì", i.e., "blue sky").


title: Tian

text: The Modern Standard Chinese pronunciation of "sky, heaven; heavenly deity, god" is "tiān" in level first tone. The character is read as Cantonese "tin1"; Taiwanese "thiN1" or "thian1"; Vietnamese "thiên"; Korean "cheon" or "ch'ŏn" (천); and Japanese "ten" in "On'yomi" (borrowed Chinese reading) and "ama-" (bound), "ame" (free), or "sora" in "Kun'yomi" (native Japanese reading).


title: Tian

text: "Tiān" reconstructions in Middle Chinese (ca. 6th–10th centuries CE) include "t'ien", "t'iɛn", "tʰɛn" > "tʰian", and "then". Reconstructions in Old Chinese (ca. 6th–3rd centuries BCE) include *"t'ien", *"t'en", *"hlin", *"thîn", and *"l̥ˤin".


title: Tian

text: For the etymology of "tiān", Schuessler links it with the Mongolian word "tengri" "sky, heaven, heavenly deity" or the Tibeto-Burman words "taleŋ" (Adi) and "tǎ-lyaŋ" (Lepcha), both meaning "sky". He also suggests a likely connection between Chinese "tiān" , "diān" "summit, mountaintop", and "diān" "summit, top of the head, forehead", which have cognates such as Zemeic Naga "tiŋ" "sky". However, other reconstructions of 天's OC pronunciation *"qʰl'iːn" or *"l̥ˤi[n]" reconstructed a voiceless lateral onset, either a cluster or a single consonant, respectively. Baxter & Sagart pointed to attested dialectal differences in Eastern Han Chinese, the use of 天 as a phonetic component in phono-semantic compound Chinese characters, and the choice of 天 to transcribe foreign syllables, all of which prompted them to conclude that, around 200 CE, 天's onset had two pronunciations: coronal *"tʰ" & dorsal *"x", both of which likely originated from an earlier voiceless lateral *"l̥ˤ".


title: Tian

text: The concept of Heaven (Tian, ) is pervasive in Confucianism. Confucius had a deep trust in Heaven and believed that Heaven overruled human efforts. He also believed that he was carrying out the will of Heaven, and that Heaven would not allow its servant, Confucius, to be killed until his work was done. Many attributes of Heaven were delineated in his "Analects".


title: Tian

text: The Master said, "Great indeed was Yao as a sovereign! How majestic was he! It is only Heaven that is grand, and only Yao corresponded to it. How vast was his virtue! The people could find no name for it. How majestic was he in the works which he accomplished! How glorious in the elegant regulations which he instituted!"


title: Tian

text: Confucius felt himself personally dependent upon Heaven: "Wherein I have done improperly, may Heaven reject me! may Heaven reject me!"


title: Tian

text: The Master said, "At fifteen, I had my mind bent on learning. At thirty, I stood firm. At forty, I had no doubts. At fifty, I knew the decrees of Heaven. At sixty, my ear was an obedient organ for the reception of truth. At seventy, I could follow what my heart desired, without transgressing what was right."


title: Tian

text: He believed that Heaven knew what he was doing and approved of him, even though none of the rulers on earth might want him as a guide:


title: Tian

text: The Master said, "Alas! there is no one that knows me." Zi Gong said, "What do you mean by thus saying - that no one knows you?" The Master replied, "I do not murmur against Heaven. I do not grumble against men. My studies lie low, and my penetration rises high. But there is Heaven - that knows me!"


title: Tian

text: Perhaps the most remarkable saying, recorded twice, is one in which Confucius expresses complete trust in the overruling providence of Heaven:


title: Tian

text: The Master was put in fear in Kuang. He said, "After the death of King Wen, was not the cause of truth lodged here in me? If Heaven had wished to let this cause of truth perish, then I, a future mortal, should not have got such a relation to that cause. While Heaven does not let the cause of truth perish, what can the people of Kuang do to me?"


title: Tian

text: For Mozi, Heaven is the divine ruler, just as the Son of Heaven is the earthly ruler. Mozi believed that spirits and minor demons exist or at least rituals should be performed as if they did for social reasons, but their function is to carry out the will of Heaven, watching for evil-doers and punishing them. Mozi taught that Heaven loves all people equally and that each person should similarly love all human beings without distinguishing between his own relatives and those of others. Mozi criticized the Confucians of his own time for not following the teachings of Confucius. In Mozi's "Will of Heaven" (), he writes:


title: Tian

text: Moreover, I know Heaven loves men dearly not without reason. Heaven ordered the sun, the moon, and the stars to enlighten and guide them. Heaven ordained the four seasons, Spring, Autumn, Winter, and Summer, to regulate them. Heaven sent down snow, frost, rain, and dew to grow the five grains and flax and silk that so the people could use and enjoy them. Heaven established the hills and rivers, ravines and valleys, and arranged many things to minister to man's good or bring him evil. He appointed the dukes and lords to reward the virtuous and punish the wicked, and to gather metal and wood, birds and beasts, and to engage in cultivating the five grains and flax and silk to provide for the people's food and clothing. This has been so from antiquity to the present."


title: Tian

text: Sometimes the sky is divided into "Jiutian" () "the nine sky divisions", the middle sky and the eight directions.


title: Tian

text: The Tian are the heaven worlds and pure lands in Buddhist cosmology. Some devas are also called Tian.


title: Tian

text: The number of vertical heaven layers in Taoism is different, the most common saying is the 36 Tian developed from Durenjing ().


title: Tian

text: In I-Kuan Tao, Tian is divided into three vertical worlds. "Li Tian" () "heaven of truth", "Qi Tian" () "heaven of spirit" and "Xiang Tian" () "heaven of matter".


title: Tian

text: The semantics of "tian" developed diachronically. The "Hanyu dazidian", an historical dictionary of Chinese characters, lists 17 meanings of "tian" 天, translated below.


title: Tian

text: The Chinese philosopher Feng Youlan differentiates five different meanings of "tian" in early Chinese writings:


title: Tian

text: (1) A material or physical "T'ien" or sky, that is, the "T'ien" often spoken of in apposition to earth, as in the common phrase which refers to the physical universe as 'Heaven and Earth' ("T'ien Ti" ). <br>


title: Tian

text: (2) A ruling or presiding "T'ien", that is, one such as is meant in the phrase, 'Imperial Heaven Supreme Emperor' ("Huang T'ien Shang Ti"), in which anthropomorphic "T'ien" and "Ti" are signified. <br>


title: Tian

text: (3) A fatalistic "T'ien", equivalent to the concept of Fate ("ming" ), a term applied to all those events in human life over which man himself has no control. This is the "T'ien" Mencius refers to when he says: "As to the accomplishment of a great deed, that is with "T'ien"" (["Mencius"], Ib, 14). <br>


title: Tian

text: (4) A naturalistic "T'ien", that is, one equivalent to the English word Nature. This is the sort of "T'ien" described in the 'Discussion on "T'ien"' in the ["Hsün Tzǔ"] (ch. 17). <br>


title: Tian

text: (5) An ethical "T'ien", that is, one having a moral principle and which is the highest primordial principle of the universe. This is the sort of "T'ien" which the ["Chung Yung"] (Doctrine of the Mean) refers to in its opening sentence when it says: "What "T'ien" confers (on man) is called his nature."


title: Tian

text: The "Oxford English Dictionary" enters the English loanword "t'ien" (also "tayn", "tyen", "tien", and "tiān") "Chinese thought: Heaven; the Deity." The earliest recorded usages for these spelling variants are: 1613 "Tayn", 1710 "Tien", 1747 "Tyen", and 1878 "T'ien".


title: Tian

text: The sinologist Herrlee Creel, who wrote a comprehensive study called "The Origin of the Deity T'ien", gives this overview.


title: Tian

text: Creel refers to the historical shift in ancient Chinese names for "god"; from Shang oracles that frequently used "di" and "shangdi" and rarely used "tian" to Zhou bronzes and texts that used "tian" more frequently than its synonym "shangdi".


title: Tian

text: First, Creel analyzes all the "tian" and "di" occurrences meaning "god; gods" in Western Zhou era Chinese classic texts and bronze inscriptions. The "Yi Jing" "Classic of Changes" has 2 "tian" and 1 "di"; the "Shi Jing" "Classic of Poetry" has 140 "tian" and 43 "di" or "shangdi"; and the authentic portions of the "Shu Jing" "Classic of Documents" have 116 "tian" and 25 "di" or "shangdi". His corpus of authenticated Western Zhou bronzes mention "tian" 91 times and "di" or "shangdi" only 4 times. Second, Creel contrasts the disparity between 175 occurrences of "di" or "shangdi" on Shang era oracle inscriptions with "at least" 26 occurrences of "tian". Upon examining these 26 oracle scripts that scholars (like Guo Moruo) have identified as "tian" "heaven; god", he rules out 8 cases in fragments where the contextual meaning is unclear. Of the remaining 18, Creel interprets 11 cases as graphic variants for "da" "great; large; big" (e.g., "tian i shang" for "da i shang" "great settlement Shang"), 3 as a place name, and 4 cases of oracles recording sacrifices "yu tian" "to/at Tian" (which could mean "to Heaven/God" or "at a place called Tian".)


title: Tian

text: The "Shu Jing" chapter ""Tang Shi"" ( "Tang's Speech") illustrates how early Zhou texts used "tian" "heaven; god" in contexts with "shangdi" "god". According to tradition, Tang of Shang assembled his subjects to overthrow King Jie of Xia, the infamous last ruler of the Xia Dynasty, but they were reluctant to attack.


title: Tian

text: Having established that "Tian" was not a deity of the Shang people, Creel proposes a hypothesis for how it originated. Both the Shang and Zhou peoples pictographically represented "da" as "a large or great man". The Zhou subsequently added a head on him to denote "tian" meaning "king, kings" (cf. "wang" "king; ruler", which had oracle graphs picturing a line under a "great person" and bronze graphs that added the top line). From "kings", "tian" was semantically extended to mean "dead kings; ancestral kings", who controlled "fate; providence", and ultimately a single omnipotent deity "Tian" "Heaven". In addition, "tian" named both "the heavens" (where ancestral kings and gods supposedly lived) and the visible "sky".


title: Tian

text: Another possibility is that "Tian" may be related to "Tengri" and possibly was a loan word from a prehistoric Central Asian language.


title: BHIM

text: BHIM (Bharat Interface for Money) is an Indian mobile payment app developed by the National Payments Corporation of India (NPCI), based on the Unified Payments Interface (UPI). Launched on 30 December 2016, it is intended to facilitate e-payments directly through banks and encourage cashless transactions. It was named after the dalit leader Dr Bhimrao Ambedkar.


title: BHIM

text: The application supports all Indian banks which use UPI, which is built over the Immediate Payment Service (IMPS) infrastructure and allows the user to instantly transfer money between 170 member banks of any two parties. It can be used on all mobile devices.


title: BHIM

text: BHIM allows users to send or receive money to or from UPI payment addresses, or to non-UPI based accounts (by scanning a QR code with account number and IFS code or MMID code).


title: BHIM

text: Unlike mobile wallets (Paytm, MobiKwik, mPesa, Airtel Money, etc.) which hold money, the BHIM app is only a mechanism which transfers money between different bank accounts. Transactions on BHIM are nearly instantaneous and can be done at any time, including weekends and bank holidays.


title: BHIM

text: On September 20, RBI governor Shaktikanta Das officially launched on-device wallet called UPI Lite at Global Fintech Fest 2022. As per NPCI, some of the early use cases involve FASTag recharges, insurance payments, and EMI collections offline. Canara Bank, HDFC Bank, Indian Bank, Kotak Mahindra Bank, Punjab National Bank, State Bank of India, Union Bank of India and Utkarsh Small Finance Bank enabled UPI Lite feature on BHIM.


title: BHIM

text: Currently, there is no charge for transactions from ₹1 to ₹100,000. Some banks might, however, levy a fee for UPI or IMPS transfers.


title: BHIM

text: In 2017 Indian banks have proposed transaction charges on UPI transactions, but there is no information on whether transactions through BHIM will also be charged.


title: BHIM

text: The app currently supports 20 languages (including English), and is expected to support all 22 recognised languages of India.


title: BHIM

text: NPCI on 9 November 2022 announced that BHIM app will use an open source license model. All regulated financial entities can now use the source code and in future release the same functionalities that BHIM app uses.


title: BHIM

text: During the 2017 Union budget of India, Finance Minister Arun Jaitley said that the app is currently being used by over 12.5 million Indian citizens, and that the government will launch two new schemes to promote its use. One will be referral payments for individuals, and the other will be cashback for merchants who accept payments. In October 2021, the BHIM UPI platform surpassed a record of $100 billion in value (₹7.71 trillion, or 7.71 lakh crore) with over 4.2 billion digital transactions. Earlier in 2021, Bhutan became the first country to adopt the BHIM UPI for their digital transactions after the approval of the Royal Monetary Authority of Bhutan.


title: BHIM

text: In May 2020, VPNMentor, a cyber security firm, disclosed that the BHIM app suffered a huge data breach leaking approximately 7.26 million Indian users' personal and financial data, such as name, contact details, Aadhaar card, PAN card, caste certificate, fingerprint scans, educational certificates and more. The 4.09 GB files were leaked from a CSC operated website because of a misconfigured AWS S3 bucket, and not the official BHIM website. CSC explicitly mentioned, however, that it is working with BHIM and NCPI in partnership. VPNMentor and other cybersecurity experts confirm the data to be authentic, but BHIM and NCPI claim that the breach never took place. The issue has now been fixed.


title: Fomite

text: A fomite () or fomes () is any inanimate object that, when contaminated with or exposed to infectious agents (such as pathogenic bacteria, viruses or fungi), can transfer disease to a new host.


title: Fomite

text: A fomite is any inanimate object (also called passive vector) that, when contaminated with or exposed to infectious agents (such as pathogenic bacteria, viruses or fungi), can transfer disease to a new host. Contamination can occur when one of these objects comes into contact with bodily secretions, like nasal fluid, vomit, or feces. Many common objects can sustain a pathogen until a person comes in contact with the pathogen, increasing the chance of infection. The likely objects are different in a hospital environment than at home or in a workplace. Fomites such as splinters, barbed wire or farmyard surfaces, including soil, feeding troughs or barn beams, have been implicated as sources of virus.


title: Fomite

text: Fomites are associated particularly with hospital-acquired infections (HAIs), as they are possible routes to pass pathogens between patients. Stethoscopes and neckties are common fomites associated with health care providers. It worries epidemiologists and hospital practitioners because of the growing selection of microbes resistant to disinfectants or antibiotics (so-called antimicrobial resistance phenomenon).


title: Fomite

text: Basic hospital equipment, such as IV drip tubes, catheters, and life support equipment, can also be carriers, when the pathogens form biofilms on the surfaces. Careful sterilization of such objects prevents cross-infection. Used syringes, if improperly handled, are particularly dangerous fomites.


title: Fomite

text: In addition to objects in hospital settings, other common fomites for humans are cups, spoons, pencils, bath faucet handles, toilet flush levers, door knobs, light switches, handrails, elevator buttons, television remote controls, pens, touch screens, common-use phones, keyboards and computer mice, coffeepot handles, countertops, drinking fountains, and any other items that may be frequently touched by different people and infrequently cleaned.


title: Fomite

text: Cold sores, hand–foot–mouth disease, and diarrhea are some examples of illnesses easily spread by contaminated fomites. The risk of infection by these diseases and others through fomites can be greatly reduced by simply washing one's hands. When two children in one household have influenza, more than 50% of shared items are contaminated with virus. In 40–90% cases, adults infected with rhinovirus have it on their hands.


title: Fomite

text: Researchers have discovered that smooth (non-porous) surfaces like door knobs transmit bacteria and viruses better than porous materials like paper money because porous, especially fibrous, materials absorb and trap the contagion, making it harder to contract through simple touch. Nonetheless, fomites may include soiled clothes, towels, linens, handkerchiefs, and surgical dressings.


title: Fomite

text: SARS-CoV-2 was found to be viable on various surfaces from 4 to 72 hours under laboratory conditions. On porous surfaces, studies report inability to detect viable virus within minutes to hours; on non-porous surfaces, viable virus can be detected for days to weeks. However, further research called into question the accuracy of such tests, instead finding fomite transmission of SARS-Cov-2 in real world settings is extremely rare if not impossible.


title: Fomite

text: Contact with aerosolized virus (large droplet spread) generated via talking, sneezing, coughing, or vomiting, or contact with airborne virus that settles after disturbance of a contaminated fomite (e.g. shaking a contaminated blanket). During the first 24 hours, the risk can be reduced by increasing ventilation and waiting as long as possible before entering the space (at least several hours, based on documented airborne transmission cases), and using personal protective equipment (including any protection needed for the cleaning and disinfection products) to reduce risk.


title: Fomite

text: The 2007 research showed that the influenza virus was still active on stainless steel 24 hours after contamination. Though on hands it survives only for five minutes, the constant contact with a fomite almost certainly means catching the infection. Transfer efficiency depends not only on surface, but mainly on pathogen type. For example, avian influenza survives on both porous and non-porous materials for 144 hours.


title: Fomite

text: Contaminated needles are the most common fomite that transmits HIV. Fomites from dirty needles also easily spread Hepatitis B.


title: Fomite

text: The Italian scholar and physician Girolamo Fracastoro appears to have first used the Latin word "fomes", meaning "tinder", in this sense in his essay on contagion, "De Contagione et Contagiosis Morbis", published in 1546: "By "fomes" I mean clothes, wooden objects, and things of that sort, which though not themselves corrupted can, nevertheless, preserve the original germs of the contagion and infect by means of these".


title: Fomite

text: English usage of "fomes", pronounced , is documented since 1658. The English word "fomite", which has been in use since 1859, is a back-formation from the plural "fomites" (originally borrowed from the Latin plural "fōmĭtēs" of "fōmĕs" ). Over time, the English-language pronunciation of the plural "fomites" changed from ) to , which led to the creation of a new singular "fomite", pronounced . The French "fomite", Italian "fomite", Spanish "fómite" and Portuguese "fómite" or "fômite", however, are derived directly from the Latin accusative singular "fōmĭtĕm", as usually happens with Latin common nouns.


title: Grant Tinker

text: Grant Almerin Tinker (January 11, 1926 – November 28, 2016) was an American television executive who served as chairman and CEO of NBC from 1981 to 1986. Additionally, he was a co-founder of MTM Enterprises and a television producer.


title: Grant Tinker

text: Tinker was born in Stamford, Connecticut, the son of Margaret (née Hessin) and Arthur Almerin Tinker. He had a younger sister, Joan.


title: Grant Tinker

text: During World War II, Tinker served in the United States Army Air Forces Reserve. He graduated from Dartmouth College. His sons, Mark and John, are also television producers.


title: Grant Tinker

text: In 1961, Tinker rejoined NBC and was the head of West Coast programming, where he was involved in developing "I Spy", "Dr. Kildare", and "The Man from U.N.C.L.E.", the original "", and "Get Smart".


title: Grant Tinker

text: Tinker married Mary Tyler Moore in 1962. He left NBC in 1967 to join Universal Television, only to quit after two years in order to join 20th Century Fox Television in early 1969. In late 1969, they formed the television production company MTM Enterprises. Tinker hired "Room 222" writers James L. Brooks and Allan Burns to create and produce the company's first television series, "The Mary Tyler Moore Show". Due to conflicts with running MTM, he left Fox in 1971. MTM produced such American sitcoms and drama television series as "Rhoda", "The Bob Newhart Show", "WKRP in Cincinnati", "Hill Street Blues", and "St. Elsewhere". After his divorce from Moore in 1981, Tinker left MTM to become the chairman and CEO of NBC, then the perennial last-place American television network (in terms of Nielsen ratings and profits). During Tinker's tenure in NBC's top position, the network regained ratings and commissioned "The Cosby Show", "Family Ties", "The Golden Girls", "Cheers", "Night Court", and "Hill Street Blues". Tinker left the network in 1986, shortly after its parent company RCA was bought by General Electric.


title: Grant Tinker

text: After leaving NBC, Tinker tried to repeat his success with MTM by forming GTG (Grant Tinker-Gannett) Entertainment (formerly T/G Productions), but the business venture failed and the company closed in 1990. The company then partnered with CBS to create a long-term agreement to provide access to the output provided by GTG Entertainment, and it was an exclusive agreement handled between CBS and GTG. The company had also set up subsidiaries like the syndicated television branch GTG Marketing, its East Coast production arm GTG East and the West Coast production arm GTG West, with the first production being produced by the GTG East branch was a syndicated version of the popular "USA Today" magazine, "USA Today on TV", which was distributed to syndicated markets by the GTG Marketing division.


title: Grant Tinker

text: Tinker was married three times. In 1950, he married Ruth Byerly, with whom he had three sons and a daughter: Mark (b. 1951), Mike (b. 1952), Jodie (b. 1954) and John (b. 1958). Mark and John are successful producers. Tinker's marriage to Byerly ended in divorce in 1962. Later that same year, Tinker married actress Mary Tyler Moore. This marriage also ended in divorce in 1981, though they had separated in 1979, following a 1973 breakup and patch-up. Tinker's third marriage was in 2004 to aviator Brooke Knapp, to whom he remained married until his death in 2016.


title: Adam Pålsson

text: Adam Gustav Justus Pålsson is a Swedish actor and musician. He has worked at the Royal Dramatic Theatre in Stockholm and is known for his portrayal of Kurt Wallander in the Netflix series "Young Wallander", as a lead [Christian] in the series "Before We Die" and as the lead character, Tom Blixen, in the series "Moscow Noir".


title: Adam Pålsson

text: Pålsson was educated at the Swedish National Academy of Mime and Acting in Stockholm between 2008 and 2011. In 2012, he had his own play "Frida är gravid!" performed at Teater Galeasen. He has also written and performed his own version of "Hamlet", inspired by William Shakespeare and Heiner Müller at Stockholm's Stadsteater in 2010.


title: Adam Pålsson

text: Pålsson is perhaps best known for his role in Jonas Gardell's series "Don't Ever Wipe Tears Without Gloves" which was broadcast on Swedish Television, and for playing the lead role in "", a 2018 biopic about the Swedish singer/songwriter Ted Gärdestad. He also played a major role, as Emil, in the third series of "The Bridge".


title: Adam Pålsson

text: He played Mads in Armando Iannucci’s space sitcom "Avenue 5" who was a gormless but good-looking crew-member. Initially he was supposed to be an extra, but was given a part and a name. Pålsson went for the role as he admires Iannucci so much.


title: Adam Pålsson

text: He plays Kurt Wallander in the 2020 Netflix/Yellow Bird production "Young Wallander". In an interview in "The Guardian" he explained he was able to connect with the character of Wallander as his family are from the same area of Sweden. He is also the only Swedish actor in the series.


title: Degrees of glory

text: In the Mormon theology and cosmology there are three degrees of glory (alternatively, kingdoms of glory) which are the ultimate, eternal dwelling place for nearly all who lived on earth after they are resurrected from the spirit world.


title: Degrees of glory

text: Members of the largest denomination in the Latter Day Saint movement, The Church of Jesus Christ of Latter-day Saints (LDS Church) believe that the apostle Paul briefly described these degrees of glory in 1 Corinthians 15:40-42, and in 2 Corinthians 12:2. Joseph Smith elaborated on Paul's descriptions based primarily upon a vision he received with Sidney Rigdon in 1832 and recorded in Doctrine and Covenants (D&C) . According to this vision, all people will be resurrected and, at the Final Judgment, will be assigned to one of three degrees of glory, called the celestial, terrestrial, and telestial kingdoms. A small number of individuals who commit the unpardonable sin will not receive a kingdom of glory, but will be banished to outer darkness with Satan where they will be "sons of Perdition".


title: Degrees of glory

text: In April 1830, the Church of Christ was organized in upstate New York. By October of that year, the church had grown to between seventy and eighty disciples. That fall missionaries were sent west to convert the Native Americans in Missouri. They passed through Kirtland, Ohio, where they encountered widespread success among the congregations of Sidney Rigdon, adding hundreds of additional converts. Many of these members, including Rigdon, had formerly been members of the Disciples of Christ led by Alexander Campbell.


title: Degrees of glory

text: The doctrines of the new Church of Christ had not been completely developed or understood yet in Kirtland, especially with Joseph Smith in New York and missionaries having moved on to Missouri. As such, many early Kirtland converts retained Disciple of Christ doctrines and practices. Regarding the afterlife, Disciple of Christ leader Alexander Campbell published in 1828 a vision he had received of "three kingdoms" where he wrote, "While musing upon the three kingdoms, I fancied myself in the kingdom of glory after the final judgment." He went on to explain that heaven was divided into "the Kingdom of Law, the Kingdom of Favor, and the Kingdom of Glory" where the deceased would enter based on levels of faith, works, and Abrahamic lineage. Disciples of Christ also believed that most people would be numbered among the sinners sent to a "lake of fire and brimstone" outside of heaven.


title: Degrees of glory

text: In 1831 Smith and the Latter Day Saints in upstate New York migrated to what had become the center of Church membership in Kirtland. Smith and Rigdon studied and prayed intensively together, and after comparing the Book of Mormon, the Bible and Smith's earlier revelations, they concluded that "God rewarded everyone according to the deeds done in the body" and "the term 'Heaven,' as intended for the Saints' eternal home must include more kingdoms than one."


title: Degrees of glory

text: On February 16, 1832, while working on translation of the New Testament passage in the upstairs bedroom of the John Johnson home, Smith and Rigdon received what was known to early Latter Day Saints as "the Vision." It detailed a heaven divided into three degrees of glory, the Celestial, Terrestrial, and Telestial Kingdoms, where resurrected beings would go after the final judgement.


title: Degrees of glory

text: Assignment to a particular kingdom in the resurrection is contingent upon the desires and actions exhibited during mortal and post-mortal life. Critically different from Disciple of Christ beliefs was that in Latter Day Saint theology, virtually all would be saved, to include sinners, a distinction that caused some to apostatize from the young church. The LDS Church teaches that these different kingdoms are what Jesus was referring to when he said "[i]n my Father's house are many mansions" (). Additionally, that 1 Corinthians speaks of these three degrees of glory, comparing them with the glory of the sun, moon, and stars.


title: Degrees of glory

text: Christian universalism, or the idea that God would save all of humanity, was a prominent and polarizing religious belief in the 1830s. Many converts to the early church disagreed with Universalism and felt the Book of Mormon justified their views. When news of "the Vision" reached the branches of the church, it was not well received by all and seen by many as a major shift in theology towards Universalism. An antagonistic newspaper wrote that with "the Vision" Joseph Smith had tried to ""disgrace" Universalism by professing ... the salvation of all men."


title: Degrees of glory

text: The branch in Geneseo, New York was particularly apprehensive. Ezra Landon, a leader of the Geneseo branch who had convinced a number of others against the Vision, told visiting missionaries that "the vision was of the Devil & he believed it no more than he believed the devil was crucified ... & that he Br Landing would not have the vision taught in the church for $1000." Joseph Smith sent a letter to the branch making clear that disbelief in the Vision was an excommunicable offense, and after refusing to change his position Landon was excommunicated.


title: Degrees of glory

text: It was a great trial to many, and some apostatized because God was not going to send to everlasting punishment heathens and infants, but had a place of salvation, in due time, for all, and would bless the honest and virtuous and truthful, whether they ever belonged to any church or not. It was a new doctrine to this generation, and many stumbled at it. ... My traditions were such, that when the Vision came first to me, it was directly contrary and opposed to my former education. I said, Wait a little. I did not reject it; but I could not understand it. Joseph Young, Brigham's brother, said, "I could not believe it at first. Why the Lord was going to save every body."


title: Degrees of glory

text: "The Vision" was not published until five months after it was received, and after the first two years was rarely mentioned in the 1830s or early 1840s. After the tepid reception of "the Vision", Joseph Smith gave instruction to missionaries to "remain silent" about it, until prospective converts had first believed the basic principles.


title: Degrees of glory

text: The celestial kingdom is the highest of the three degrees of glory. It is thought by the LDS Church to be the "third heaven" referred to by the apostle Paul in the King James Version of 2 Corinthians and it is said to correspond to the "celestial bodies" and "glory of the sun" mentioned in 1 Corinthians .