title: Garamond

text: A trademark associated with the Garalde style in modern times is the four-terminal 'W', although sixteenth-century French typefaces generally do not include the character as it is not normal in French. Many French renaissance typefaces used abroad had the character added later, along with the 'J' and 'U': these were often very visibly added by lesser craftsmen, producing an obvious mismatch. Granjon added a 'W' and 'w', both with three upper terminals, to Garamond's Breviare roman in 1565 for Plantin.


title: Garamond

text: The foundry of Guillaume Le Bé I which held many of Garamond's punches and matrices passed to Guillaume Le Bé II, and came to be managed by Jean-Claude Fournier, whose son Jean-Pierre in 1730 purchased it. (His younger brother, Simon-Pierre Fournier, rapidly left the family business and became a major exponent of modern ideas in printing, including standardised point sizes and crisp types influenced by contemporary calligraphy.)


title: Garamond

text: In 1756, Jean-Pierre Fournier wrote of his collection of vintage equipment that "I am the owner of the foundry of Garamond, the Le Bé family and Granjon. I shall be happy to display my punches and matrices to all those who are lovers of true beauty ... these are the types that made the reputations of the Estiennes, Plantin and the Elzevirs," and referred to an inventory that he said was in his possession that had been drawn up after Garamond's death in 1561. (The comment was made in a journal during a public dispute with a printer of more modern tastes who preferred to remain anonymous and may have been his younger brother.) The 1561 inventory does not survive, although some later inventories do; by this point Fournier's foundry may have become rather inactive.


title: Garamond

text: Old-style serif typefaces by Garamond and his contemporaries finally fell out of use altogether with the arrival of what is now called the Didone, or modern-face, style of printing in the eighteenth and early nineteenth centuries, promoted by the Didot family in France and others. This favoured a much more geometric, constructed style of letter which could show off the increasingly refined paper and printing technologies of the period. Lane suggests Fournier's type foundry may have finally disposed of its materials around 1805; in contrast, the collections of the Plantin-Moretus Museum survive almost intact. Mosley comments: The upheavals of the Revolution coincided with the major shift in the style of printing types that is associated with the family of Didot, and the stock of old materials abruptly lost its value, except as scrap. Punches rust, and the copper of matrices is recyclable. All traces of the early types that had been in the hands of the trade typefounders like Le Bé, Sanlecque and Lamesle in Paris vanished completely. No relics of them were saved anywhere, except in commercial centres that had become relative backwaters, like Antwerp, where the Plantin-Moretus printing office piously preserved the collection of its founder ... the term caractères de l'Université became attached by default to the set of apparently early matrices that had survived, its provenance forgotten, in the mixed stock of materials of the national printing-office.


title: Garamond

text: Garamond's reputation remained respected, even by members of the Didot family whose type designs came to dominate French printing.


title: Garamond

text: A revival of interest in 'old-style' serif typefaces took place in the late nineteenth and early twentieth century. This saw a revival of the Imprimerie royale typefaces (the office was now called the Imprimerie nationale following the end of the French monarchy), which, unlike Garamond's own work, had survived in Paris. The attribution came to be considered certain by the Imprimerie's director Arthur Christian, who commissioned the cutting of additional sizes in a matching style.


title: Garamond

text: Early revivals were often based directly on the Imprimerie nationale types, one of the first by Peignot and then by American Type Founders (ATF).


title: Garamond

text: These revivals could be made using pantograph machine engraving systems, which gave a cleaner result than historic typefaces whose master punches had been hand-carved, and allowed rapid development of a family in a large range of sizes. In addition, the new hot metal typesetting technology of the period created increasing availability and demand for new fonts. Among hot metal typesetting companies, Monotype's branches in Britain and the United States brought out separate versions, and the American branch of Linotype licensed that of ATF.


title: Garamond

text: A number of historians began in the early twentieth century to question if the Imprimerie nationale Latin-alphabet type was really the work of Garamond, as the "Grecs du Roi" undoubtedly were. Doubt was raised by French historian Jean Paillard, but he died during the First World War soon after publishing his conclusions in 1914 and his work remained little-read. ATF's historian Henry Lewis Bullen secretly doubted that the 'Garamond' his company was reviving was really Garamond's work, noting that he had never seen it in a sixteenth-century book. He discussed his concerns with ATF junior librarian Beatrice Warde, who would later move to Europe and become a prominent writer on printing advising the British branch of Monotype.


title: Garamond

text: In a 1926 paper published on the British typography journal "The Fleuron", Beatrice Warde revealed her discovery that the Imprimerie nationale type had been created by Jean Jannon, something she had discovered by examining printing credited to him in London and Paris and through reading the work of Paillard, and perhaps with advice from French bibliographer Marius Audin. (Warde's article was originally published pseudonymously as the work of 'Paul Beaujon', a persona Warde later said she imagined to have a "long grey beard, four grandchildren, a great interest in antique furniture and a rather vague address in Montparesse." Typifying her sense of humour, she reported her conclusions to Morison, a convert to Catholicism, with a telegram beginning "JANNON SPECIMEN SIMPLY GORGEOUS SHOWS ALL SIZES HIS TYPES WERE APPROPRIATED BY RAPACIOUS PAPIST GOVERNMENT ..." She also noted in later life that some of her readers were surprised to see an article supposedly by a Frenchman quoting "The Hunting of the Snark".)


title: Garamond

text: By the time Warde's article was published some revivals had been released that were more authentic revivals of Garamond's work, based on period books and printing specimens. The German company Stempel brought out a crisp revival of the original Garamond typefaces in the 1920s, inspired by a rediscovered specimen from the Egenolff-Berner foundry in Frankfurt, as did Linotype in Britain.


title: Garamond

text: A 1920s adaptation created by the Stempel Type Foundry and released for hot metal typesetting by Linotype, that has remained popular. Its lower case 'a' has a sharp and somewhat angular look with a crisp hook at the top left, in contrast to a teardrop design that is common in many other serif typefaces. Stempel Garamond has relatively short descenders, allowing it to be particularly tightly linespaced. An unusual feature is the digit 0, which has reversed contrast, with the thickest points of the number on the top and bottom of the digit to make it more distinguishable from an 'o'. The Klingspor Museum credits it to Stempel's head of typeface development Dr. Rudolf Wolf.


title: Garamond

text: Garamond No. 1 and Garamond No. 2 are both based on Stempel Garamond, with various differences. Another typeface known as Original Garamond is a clone of Stempel Garamond.


title: Garamond

text: Garamond No. 8 is a freeware version of Stempel Garamond contributed by URW++ to the Ghostscript project; it was included in GhostScript since Stempel Garamond is included as a system font in some implementations of the PostScript standard. It is distributed under the AFP license, which allows it to be copied freely but not sold. It is understood that its license does not place any restriction on whether the typeface is "used" in commercial settings (as long as the typeface is not distributed in situations where a fee is involved), nor whether printed contents created with it are sold. Garamond No. 8 hence does not have a fully open-source license, but its license does not restrict usage for personal purposes or commercial printing.


title: Garamond

text: Featuring a bold weight, small capitals, optional text figures and automatic ligature insertion, it is particularly popular in the TeX community and is also included on some Linux distributions. Originally released as a PostScript Type 1, it has been converted into the TrueType format, usable by most current software.


title: Garamond

text: Garamond No. 8 is often packaged as "urw-garamond" in the open source communities, but is actually different from another typeface that is simply known as URW Garamond.


title: Garamond

text: Granjon was a 1920s revival designed by George W. Jones for the British branch of Linotype, using a 1582 history textbook as a model and also influenced by Caslon. It was the favourite Garalde of many in the twentieth century, including Warde and Walter Tracy.


title: Garamond

text: Jones also created for Linotype Estienne, a delicate revival based on Robert Estienne's fonts of the 1530s discussed above, with very long ascenders and descenders. It was less popular and it has not been officially digitised by Linotype. Williamson suggested that in body text it failed to adapt the style of a large letter effectively down to body text size, giving a design with an extremely small x-height.


title: Garamond

text: Sabon is a Garamond revival designed by Jan Tschichold in 1964, jointly released by Linotype, Monotype and Stempel in 1967. It is named after Jacques Sabon, a Frankfurt-based printer, who introduced the typefaces of Garamond and his contemporaries to German printing. An unusual feature of many releases of Sabon is that the italic, based on Granjon's work, is wider than most normal italics, at the same width as the roman style. This suited Linotype's hot metal typesetting system. Later Sabon versions, such as Jean François Porchez's Sabon Next, have not always maintained this principle.


title: Garamond

text: Tschichold stated that Sabon was designed based on the Egenolff-Berner specimen, although there are different accounts on whether it was drawn using the Saint Augusin (around 13pt) or the Parangon (around 18.5pt) models. Porchez and Christopher Burke later researched into Sabon during the development of Sabon Next. They suggested that aspects of Sabon's design may have been copied from a font by Guillaume Le Bé, a large-size specimen of which he had previously reproduced in a textbook. Sabon Next was based on the version of Sabon that was developed for the Stempel metal handsetting system, along with designs of other unspecified Garamond models.


title: Garamond

text: URW Garamond (which is different from URW Garamond No. 8 mentioned above, despite the latter is often packaged as "urw-garamond" in open source software) is a clone of Berthold Garamond.


title: Garamond

text: Released in 1989, Adobe Garamond is designed by Robert Slimbach for Adobe Systems following a research visit to the Plantin-Moretus Museum, based on a Roman type by Garamond and an italic type by Robert Granjon. The font family has 3 weights (Regular, Semibold, and Bold), each with its respective italic, totalling 6 styles. Its quite even, mature design attracted attention on release for its authenticity, in contrast to the much more aggressive ITC Garamond popular at the time. It is one of the most popular versions of Garamond in books and fine printing. Slimbach decided not to base the design directly on Garamond types in the 9–15pt sizes normally used for book text, but on a larger type called "parangonne" or "vraye parangonne", which he felt was Garamond's "most attractive work". It was reviewed by Hugh Williamson for the Printing Historical Society as "well-suited to photocomposition and to offset printing". It also received two detailed reviews in the same issue of "Printing History", both a favourable one by Jery Kelly and a more critical one by book designer Mark Argetsinger. Argetsinger felt that while the "parangonne" type was "a very beautiful design", the choice to base a text type on it produced a type of "relative pallidness" when printed by lithography. He recommended that Adobe add more optical sizes.


title: Garamond

text: During the production of Adobe Garamond, its designer Robert Slimbach started planning for a second interpretation of Garamond after visiting the Plantin-Moretus Museum in 1988. He concluded that a digital revival of Garamond's work would not be definitive unless it offered optical sizes, with different fonts designed for different sizes of text. Unable to create such a large range of styles practically with the technology and business requirements of the 1980s, he completed the project in 2005. Adobe states that Garamond Premier was developed based on multiple specimens at the Plantin-Moretus Museum.


title: Garamond

text: Garamond Premier has 4 optical sizes (Regular, Caption, Subhead, and Display) and at least 4 weights (Regular, Medium, Semibold, and Bold, with an additional Light weight for Display), each with its respective italic, totalling 34 styles in the OpenType font format. Garamond Premier and its predecessor Adobe Garamond have the same x-heights, but they have many subtle differences in their designs. At the same weights and x-heights (hence font sizes), Garamond Premier is slightly darker and has tighter spacing than Adobe Garamond. Some other notable differences include (but are not limited to) the designs of the lowercase "t", lowercase "r", and uppercase "Q".


title: Garamond

text: It features glyph coverage for Central European, Cyrillic and Greek characters including polytonics. Professor Gerry Leonidas, an expert in Greek-language printing, described it in 2005 as "bar none, the most accomplished typeface you can get for complex Greek texts". Adobe executive Thomas Phinney characterized Garamond Premier as a "more directly authentic revival" than their earlier Garamond, which he described as "a more restrained and modernized interpretation".


title: Garamond

text: The "EB Garamond" (»Egenolff-Berner-Garamond«), released by Georg Duffner in 2011 under the Open Font License, is a free software implementation of Garamond. Duffner based the design on the 1592 Berner specimen, with italic and Greek characters based on Robert Granjon's work, as well as the addition of Cyrillic characters and OpenType features such as swash italic capitals and schoolbook alternates. , it was intended to include multiple optical sizes, including fonts based on the 8 and 12 point sizes. It has been described as "one of the best open source fonts" by prominent typeface designer Erik Spiekermann. As Georg Duffner was unable to complete the bold weights for personal reasons, the project was continued by Octavio Pardo.


title: Garamond

text: American Type Founders created a revival of the Imprimerie Nationale fonts from around 1917, which was designed in-house by its design department led by Morris Fuller Benton under the influence of its historian and advisor Henry Lewis Bullen. It received a sumptuous showing, marketed especially towards advertisers, in ATF's 1923 specimen book. Also involved in the design's development was book and advertising designer T.M. Cleland, who created a set of matching borders and ornaments and according to Warde and Garnett also advised on the design and designed the swash characters.


title: Garamond

text: While ATF's handset foundry type release was initially popular, the design became particularly known to later users under the name of "Garamond No. 3”, as a hot metal adaptation that was licensed to Linotype's American branch and sold from around 1936. More practical to use than ATF's handset foundry type, the number distinguished it from two versions of Stempel Garamond which Linotype also sold. It was the preferred Garalde font of prominent designer Massimo Vignelli.


title: Garamond

text: Several digitisations have been made of both ATF's Garamond and the Linotype adaptation, most notably a 2015 digitisation by van Bronkhorst with optical sizes and the original swash characters. A loose adaptation with sans-serif companion by Christian Schwartz is the corporate font of Deutsche Bahn.


title: Garamond

text: Monotype's 1922–1923 design, based on Jannon's work in the Imprimerie Nationale, is bundled with Microsoft Office. Its italic, faithful to Jannon's, is extremely calligraphic, with a variable angle of slant and flourishes on several lower-case letters. Its commercial release is more extensive than the basic Microsoft release, including additional features such as swash capitals and small capitals, although like many pre-digital fonts these are only included in the regular weight. Popular in the metal type era, its digitisation has been criticised for having too light a colour on the page for body text if printed with many common printing systems, a problem with several Monotype digitisations of the period. Monotype's 1933 guide to identifying their typefaces noted the asymmetrical T, the sharp triangular serif at top left of m, n, p and r, and a q unlike the p, with a point at top right rather than a full serif.


title: Garamond

text: Monotype's artistic advisor Stanley Morison wrote in his memoir that the italic was based on Granjon's work, but as Carter's commentary on it notes, this seems generally to be a mistake. The swash capitals, however, at least, probably are based on the work of Granjon. A 1959 publicity design promoting it was created by a young Rodney Peppé.


title: Garamond

text: A revival by Frederic Goudy for the American branch of Monotype, the name chosen to differ from other revivals. An elegant sample created by Bruce Rogers was shown in a spring 1923 issue of Monotype's magazine. It, like Monotype Garamond, features a large range of swash characters, based on Imprimerie Nationale specimen sheets.


title: Garamond

text: Mosley has described it as "a lively type, underappreciated I think." LTC's digitisation deliberately maintained its eccentricity and irregularity true to period printing, avoiding perfect verticals. In 1923, Morison at the British branch of Monotype thought it somewhat florid in comparison to the version of his branch which he considered a personal project, noting in a 1923 letter to American printer Daniel Berkeley Updike that "I entertain very decided opinions about this latest of Mr. Goudy's achievements ... a comparison leaves me with a preference for our version."


title: Garamond

text: A 1950s version following Jannon by the Simoncini company of Italy, owned by Francesco Simoncini, which sold matrices for Linotype machines. It is particularly popular in Italian printing.


title: Garamond

text: František Štorm's 2010 revival with optical sizes is one of the few modern revivals of Jannon's work. Štorm also created a matching sans-serif companion design, Jannon Sans.


title: Garamond

text: As one of the most popular typefaces in history, a number of designs have been created that are influenced by Garamond's design but follow different design paths.


title: Garamond

text: ITC Garamond was created by Tony Stan in 1975, and follows ITC's house style of unusually high x-height. It was initially intended to serve as a display version but has been used for text, in which its tight spacing and high x-height gives it a somewhat hectoring appearance. As a result, it has proven somewhat controversial among designers; it is generally considered poorly proportioned for body text. It remains the corporate font of the California State University system in printed text. As seen below, it was also modified into Apple Garamond which served as Apple's corporate font from 1984 until replacement starting in 2002 with Myriad. Publishers using it included O'Reilly Media and French publisher Actes Sud.


title: Garamond

text: An open-source adaptation of Garamond intended for display sizes, designed by Christian Thalmann and co-released with Google Fonts. It features a delicate style suitable for printing at larger sizes, and considerable contrast in stroke weight in its larger sizes. Thalmann added several unusual alternate designs such as an upright italic and unicase styles, as well as exaggerated, highly slanting accents.


title: Garamond

text: Several sans-serif typefaces have been published that are based on the proportions of Garamond-style fonts, both as standalone designs or as part of a font superfamily with matching serif and sans-serif fonts. One example is Claude Sans, a humanist sans-serif based on the letterforms of Jannon's type, created by Alan Meeks and published by Letraset and later ITC.


title: Garamond

text: It has been claimed that Garamond uses much less ink than Times New Roman at a similar point size, so changing to Garamond could be a cost-saver for large organizations that print large numbers of documents, especially if using inkjet printers. Garamond, along with Times New Roman and Century Gothic, has been identified by the GSA as a "toner-efficient" font.


title: Garamond

text: This claim has been criticised as a misinterpretation of how typefaces are actually measured and what printing methods are desirable. Monotype Garamond, the version bundled with Microsoft Office, has a generally smaller design at the same nominal point size compared to Times New Roman and quite spindly strokes, giving it a more elegant but less readable appearance. In order to increase the legibility of Garamond, a common approach in typography is to increase text size such that the height of its lower-case characters (i.e., the absolute x-height of the font) matches that of Times New Roman, which counterbalances cost savings. Thomas Phinney, an expert on digital fonts, noted that the effect of simply swapping Garamond in would be compromised legibility: "any of those changes, swapping to a font that sets smaller at the same nominal point size, or actually reducing the point size, or picking a thinner typeface, will reduce the legibility of the text. That seems like a bad idea, as the percentage of Americans with poor eyesight is skyrocketing." Professional type designer Jackson Cavanaugh commented "If we're actually interested in reducing waste, just printing less – using less paper – is obviously more efficient."


title: Mike Douglas

text: Michael Delaney Dowd Jr. (August 11, 1920 – August 11, 2006), known as Mike Douglas, was an American "Big Band" era singer, entertainer, television talk show host of "The Mike Douglas Show", and actor.


title: Mike Douglas

text: Dowd was born in Chicago, Illinois. His family later moved to Forest Park, Illinois. There, he attended Proviso Township High School, but left the school after his second year. After that, he began singing as a choirboy.


title: Mike Douglas

text: By his teens Dowd was working as a singer at nightclubs and on a Lake Michigan dinner cruise ship. He was a "staff singer" at the Oklahoma City radio station WKY. After serving in the United States Navy in World War II on a munitions ship, he resumed his performing career as a staff singer for WMAQ-TV in Chicago. He moved to Los Angeles, California. He was on the Ginny Simms radio show. After that, Douglas joined the big band of Kay Kyser as a singer.


title: Mike Douglas

text: Although big band swing faded from popularity, Kyser had to continue performing due to contractual obligations, and continued to log a few hits with Douglas, including two notable hits, "Ole <nowiki>[or Old]</nowiki> Buttermilk Sky" in 1946 and "The Old Lamp-Lighter" the following year. Kyser was responsible for giving him his show business name, and he continued to perform with the band until Kyser retired in 1951 due to health problems. In 1950, he provided the singing voice of Prince Charming in Walt Disney's "Cinderella".


title: Mike Douglas

text: In 1953, Douglas was host of "Showcase", a weekly program on WGN-TV in Chicago, and he sang on "The Music Show" on the DuMont Television Network.


title: Mike Douglas

text: Then living in Burbank, California, Douglas tried to keep his singing career going in the 1950s working as house singer for a nightclub and traveling to perform elsewhere. By the middle of the decade, rock and roll and doo wop had taken over the charts, which left many older performers in the musical dustbin. In the leanest years, Douglas and his wife survived by successfully "flipping" their Los Angeles homes.


title: Mike Douglas

text: Douglas next surfaced in 1961 in Cleveland, where a onetime Chicago colleague hired him for $400 a week as an afternoon television talk-show host at KYW-TV. "The Mike Douglas Show" rapidly gained popularity, and ultimately, national syndication in August 1963 on other stations owned by KYW-TV's parent company Westinghouse Broadcasting. The show was broadcast live on KYW-TV in its city of origination, but this practice ended in 1965 after guest Zsa Zsa Gabor used the phrase "son of a bitch" when referring to stand-up comedian and comic actor Morey Amsterdam of the "Dick Van Dyke Show".


title: Mike Douglas

text: Both Douglas and his program relocated to Philadelphia in 1965 after Westinghouse Broadcasting moved KYW-TV's operations to that city, the result of a Federal Communications Commission-ordered reversal of Westinghouse's 1956 station ownership swap with NBC. "The Mike Douglas Show" aired its first Philadelphia-based show on August 30, 1965; the former KYW-TV in Cleveland—now NBC-owned WKYC—continued to carry the program for many years afterward. Guests ranged from Truman Capote and Richard Nixon to The Rolling Stones, Herman's Hermits and Kiss, with an occasional on-camera appearance by Tim Conway (who would later be discovered at WJW-TV, also in Cleveland). Moe Howard of "Three Stooges" fame was a guest several times, with a pie-fight inevitably happening at the end of the interview, and platform speaker on nonverbal communication (body language) Dr. Cody Sweet.


title: Mike Douglas

text: The show helped introduce entertainers such as Barbra Streisand and Aretha Franklin. After the move to Philadelphia, Douglas also attempted to revive his own singing career, logging his lone Top 40 single as a solo artist, "The Men in My Little Girl's Life" in 1966. By 1967, "The Mike Douglas Show" was broadcast to 171 markets and 6,000,000 viewers each day, mostly women at home. It earned $10.5 million annually from advertisers, while its host was paid more than $500,000. In 1967, the program received the first Emmy Award for Individual Achievement in Daytime Television from the National Academy of Television Arts & Sciences. At the peak of his career, he was earning $2 million a year.


title: Mike Douglas

text: The afternoon show was usually quiet with an eclectic mix and such an approach would occasionally lead to confrontation, such as when Soul Singer James Brown took offense at racially -charged comments from talk show host / producer David Susskind who wondered on-air why Black students often did not mix with White students, even after Civil Rights legislation and advances in integration. It got heated when Brown defended those who chose to learn first about themselves, having been systematically denied to do so, for centuries.


title: Mike Douglas

text: Douglas never “muzzled“ his guests, as flamboyant as many were. Pop-Soul Co - host Sly Stone's hyperactive behavior clashed with the comportment of Muhammad Ali, in a 1974 show.


title: Mike Douglas

text: Little Richard, 1950's Rock and Roll originator, by 1969 was on a serious comeback bid and his many appearances with Douglas gave him a boost.


title: Mike Douglas

text: In 1970, Douglas hired rocker Bobby Darin as co-host, just after the latter radically changed his image from lounge entertainer to folk artist, Bob Darin. It appears, he would only sing his greatest hit “Mack the Knife”, if he could rewrite a verse to fit his changes. So Douglas was partially successful in expressing the wishes of fans, who demanded the original Bobby Darin.


title: Mike Douglas

text: Douglas had John Lennon and Yoko Ono on the show for a full week in 1972, and there were some awkward moments with Yoko's avant-garde art displays and with radical guests, John and Yoko's friends.


title: Mike Douglas

text: In July 1978, the talk show's home base was transferred to Los Angeles, where it remained until finally going off the air in 1981. Near the end of its run, the series switched to a traveling roadshow format and became "The Mike Douglas Entertainment Hour", but this change failed to boost falling ratings. After his series was cancelled, Douglas hosted CNN's Los Angeles-based celebrity interview show, "People Now", taking over the hosting duties from Lee Leonard. He was replaced in January 1983 by WTBS personality Bill Tush.


title: Mike Douglas

text: Douglas became a local cultural icon in Philadelphia, often inviting prominent players from the city's professional sports teams to be guests on his show (he had a particular affinity for the city's pro football team, the Philadelphia Eagles, constantly referring to the team as "Our Eagles", and he could often be seen in attendance at Eagles' home games, especially whenever they appeared on "Monday Night Football"). He also assisted in mayor Frank Rizzo's campaign against derisive jokes often told by outsiders about the city, acting as chief spokesperson for the "Anti-Defamation Agency" Rizzo had set up for this purpose. He also held a landmark interview with Dr. Martin Luther King that revealed his wisdom around civil rights and his prophetic stance on the Vietnam war.


title: Mike Douglas

text: In February 1976 Hollywood recognized Douglas' contribution to television, honoring him with a star on the Hollywood Walk of Fame located on Hollywood Boulevard.


title: Mike Douglas

text: Douglas sang "The Star-Spangled Banner" before the first Philadelphia Phillies game at Veterans Stadium on April 10, 1971, and also sang the national anthem prior to a Cincinnati Bengals–Miami Dolphins playoff game on December 23, 1973. He wrote two memoirs: "My Story" (1979) and "I'll Be Right Back: Memories of TV's Greatest Talk Show" (1999). He also wrote a cookbook, "The Mike Douglas Cookbook" (1969), featuring recipes from him, his family, and the show's guests. 40 years after Douglas began his talk show at KYW-TV, his granddaughter Debbie Voinovich Donley designed successor WKYC's new broadcast facility on Lakeside Avenue, completed in 2002. In 2007, a new documentary film "Mike Douglas: Moments and Memories" was shown on PBS stations. The Lily Tomlin comedy "The Incredible Shrinking Woman" shows the dwindling Pat Kramer appearing on Douglas' show, where he sings "Little Things Mean a Lot" in her honor.


title: Mike Douglas

text: Douglas married Genevieve, the marriage producing three daughters: Kelly and twins Michele and Christine, and he had several grandchildren and great-grandchildren.


title: Mike Douglas

text: Douglas developed prostate cancer in 1990, but after surgery he was cancer-free and remained in good health until almost the end of his life. He died unexpectedly on August 11, 2006, his 86th birthday, at Palm Beach Gardens Medical Center in Palm Beach Gardens, Florida. In media reports, he was sometimes claimed to be five years younger than his true age. He claimed to be 36 years old, instead of 41, when he got his show.


title: Mike Douglas

text: Although the exact cause of his death was not revealed, his widow, Genevieve, told the Associated Press that he became dehydrated while golfing a few weeks earlier on a hot Florida summer day. Douglas was treated at a hospital following this episode, but he was apparently unable to recover. His body was interred in Riverside Memorial Park cemetery in Martin County, Florida.


title: Mike Douglas

text: The Broadcast Pioneers of Philadelphia posthumously inducted Douglas into their Hall of Fame in 2006.


title: Uniform Code of Military Justice

text: The Uniform Code of Military Justice (UCMJ, , 10 U.S.C. §§ 801–946) is the foundation of military law in the United States. It was established by the United States Congress in accordance with the authority given by the United States Constitution in Article I, Section 8, which provides that "The Congress shall have Power...To make Rules for the Government and Regulation of the land and naval forces".


title: Uniform Code of Military Justice

text: On June 30, 1775, the Second Continental Congress established 69 Articles of War to govern the conduct of the Continental Army.


title: Uniform Code of Military Justice

text: Effective upon its ratification in 1788, Article I, Section 8 of the United States Constitution provided that Congress has the power to regulate the land and naval forces. On 10 April 1806, the United States Congress enacted 101 Articles of War, which were not significantly revised until over a century later. Discipline in the sea services was provided under the Articles for the Government of the United States Navy (commonly referred to as "Rocks and Shoals"). The Articles of War evolved during the first half of the twentieth century and were amended in 1916 and 1920. In 1948, Congress substantially reformed the Articles pursuant to the Selective Service Act of 1948, but its naval counterpart remained little changed. The military justice system continued to operate under the Articles of War and Articles for the Government of the Navy until May 31, 1951, when the Uniform Code of Military Justice came into effect.


title: Uniform Code of Military Justice

text: The UCMJ was passed by Congress on 5 May 1950, and signed into law by President Harry S. Truman the next day. It took effect on May 31, 1951. The word "uniform" in the Code's title refers to its consistent application to all the armed services in place of the earlier Articles of War, Articles of Government, and Disciplinary Laws of the individual services.


title: Uniform Code of Military Justice

text: The UCMJ, the Rules for Courts-Martial (the military analogue to the Federal Rules of Criminal Procedure), and the Military Rules of Evidence (the analogue to the Federal Rules of Evidence) have evolved since their implementation, often paralleling the development of the federal civilian criminal justice system. In some ways, the UCMJ has been ahead of changes in the civilian criminal justice system. For example, a rights-warning statement similar to the "Miranda" warnings (and required in more contexts than in the civilian world where it is applicable only to custodial interrogation) was required by Art. 31 () a decade and a half before the U.S. Supreme Court ruled in "Miranda v. Arizona"; Article 38(b) ((b)) continued the 1948 Articles of War guarantee that qualified defense counsel be provided to all accused without regard to indigence (and at earlier stages than required in civilian jurisdictions), whereas the U.S. Supreme Court only guaranteed the provision of counsel to indigents in "Gideon v. Wainwright". Additionally, the role of what was originally a court-martial's non-voting "law member" developed into the present office of military judge whose capacity is little different from that of an Article III judge in a U.S. district court. At the same time, the "court-martial" itself (the panel of officers hearing the case and weighing the evidence) has converted from being essentially a board of inquiry/review presiding over the trial, into a jury of military service-members. The current version of the UCMJ is printed in the latest edition of the "Manual for Courts-Martial" (2019), incorporating changes made by the President (executive orders) and National Defense Authorization Acts of 2006 and 2007.


title: Uniform Code of Military Justice

text: Courts-martial are conducted under the UCMJ and the "Manual for Courts-Martial" (MCM). If the trial results in a conviction, the case is reviewed by the convening authority – the commanding officer who referred the case for trial by court-martial. The convening authority has discretion to mitigate the findings and sentence, set aside convictions, and/or to remand convictions and/or sentences back to a court-martial for re-hearing.


title: Uniform Code of Military Justice

text: If the sentence, as approved by the convening authority, includes death, a bad conduct discharge, a dishonorable discharge, dismissal of an officer, or confinement for one year or more, the case is reviewed by an intermediate court. There are four such courts – the Army Court of Criminal Appeals, the Navy-Marine Corps Court of Criminal Appeals, the Air Force Court of Criminal Appeals, and the Coast Guard Court of Criminal Appeals.


title: Uniform Code of Military Justice

text: After review by any of these intermediate courts, the next level of appeal is the United States Court of Appeals for the Armed Forces (CAAF). The Supreme Court of the United States has discretion under to review cases under the UCMJ on direct appeal where the CAAF has conducted a mandatory review (death penalty and certified cases), granted discretionary review of a petition, or otherwise granted relief. If the CAAF denies a petition for review or a writ appeal, consideration by the Supreme Court may be obtained only through collateral review (e.g., a writ of habeas corpus). Since 2007, several bills have been introduced into Congress to expand the accessibility of service members to the Supreme Court. See also Equal Justice for United States Military Personnel legislation.


title: Uniform Code of Military Justice

text: Within the exceptions below, as codified in Article 2 of the UCMJ, personal jurisdiction attaches, regardless of the physical global location of the service member, over all members of the Uniformed Services of the United States: the Army, Marine Corps, Navy, Air Force, Space Force, Coast Guard, NOAA Commissioned Officer Corps, and Public Health Service Commissioned Corps. While the Coast Guard is administered under Title 14 of the United States Code when not operating as part of the U.S. Navy, individuals commissioned or enlisted in the Coast Guard are subject to the UCMJ as an armed force. However, commissioned members of the NOAA and PHS, as uniformed services, are only subject to the UCMJ when attached or detailed to a military unit by competent orders, or when militarized by Presidential executive order during a national emergency or declaration of war.


title: Uniform Code of Military Justice

text: Members of the military Reserve Components under Title 10 of the United States Code (Army Reserve, Marine Forces Reserve, Navy Reserve, and Air Force Reserve), or Title 14 of the United States Code, Coast Guard Reserve when not operating as part of the U.S. Navy, are subject to the UCMJ when they are:


title: Uniform Code of Military Justice

text: Soldiers and airmen in the National Guard of the United States are subject to the UCMJ only if activated (mobilized or recalled to active duty) in a federal capacity under Title 10 by an executive order issued by the President, or during their annual training periods, which are orders issued under Title 10, during which periods of duty they are federalized into the National Guard of the United States. Otherwise, members of the National Guard are usually exempt from the UCMJ. However, under Title 32 orders, or State Active Duty orders issued directly under State authority, individual members of the Army National Guard and Air National Guard are still subject to their respective state codes of military justice, which often resemble the UCMJ very closely, and/or their state civil and criminal laws.


title: Uniform Code of Military Justice

text: Several States also authorize either naval or military organized militia forces. These are collectively known as the State Guard. State Guard organizations are organized, trained, equipped, armed, disciplined, and administered under each State's own sovereign authority, and are not subject to a Federal recall to active duty, nor are the individual members subject to the UCMJ in their capacities as members of the State Guard. State Guard organizations typically are organized similarly to a military force, and usually report to the senior National Guard officer in each State, known as the Adjutant General. In this sense, the State Guard are auxiliaries to each State's Constitutionally authorized organized militia forces, the Army and Air National Guard. The State Guard is often specialized, based on each state's requirements, for missions such as wilderness search and rescue, light aviation, forest firefighting, law enforcement, or general emergency management roles. Under each state's own authorities, State Guard members may be ordered to State Active Duty (SAD), in a status similar to National Guard members in a Title 32 status but solely under state authority and discipline, and also may be provided with the training, equipment, and authority to act as law enforcement officers with powers of arrest. Each state sets the requirements to join, remain, be promoted or rewarded, and conditions of employment such as a minimum amount of duty performed in a year, and whether any duty is paid or unpaid, and whether the individuals are covered by various civil service or retirement pension plans. Most State Guard duty is performed without pay, in a volunteer status. While the State Guard organizations are subject to recall to SAD, or other workforce requirements as imposed by their state, they are not subject to either partial or full mobilization authorities under Title 10. However, the individual State Guard members often have dual-status as both State Guard "and" a federally recognized uniformed services member, such as a Texas State Guard officer who is also a retired U.S. military officer. Such an individual could be recalled to active duty under both SAD as a State Guard member, or under one of the various authorities to recall retired or reserve military members to active duty (10 USC 688, various 10 USC 123XX authorities, and others), but not both because a federal status trumps a state status. State Guard members could thus be subject to the UCMJ at all times under their federal status, and under specific state military and civil/criminal codes under their state status.


title: Uniform Code of Military Justice

text: Cadets and midshipmen at the United States Military Academy, United States Naval Academy, United States Air Force Academy, and United States Coast Guard Academy, are subject to the UCMJ at all times because they are in an active duty status as members of the regular component while serving at a Military Service Academy, per Article 2(a)(2) of UCMJ. Army and Air Force Reserve Officers' Training Corps (ROTC) cadets are not subject to the UCMJ, except while on inactive or active duty training. Midshipmen of the United States Merchant Marine Academy and Navy ROTC (including marine-option) midshipmen are also subject to the UCMJ when on inactive or active duty for training orders.


title: Uniform Code of Military Justice

text: Members of military auxiliaries such as the Civil Air Patrol and the Coast Guard Auxiliary are not subject to the UCMJ, even when participating in missions assigned by the military or other branches of government. However, members of the Coast Guard Auxiliary can be called by the Commandant of the Coast Guard into the Temporary Reserve of the Coast Guard, in which case they become subject to the UCMJ.


title: Uniform Code of Military Justice

text: Civilians are not subject to UCMJ. However, the federal government has exclusive jurisdiction over crimes committed on a military installation. A military investigation may be conducted to determine whether or not to prosecute a civilian who commits a crime on a military base. Civilians are not otherwise subject to military law, even when the crime is committed against a service member. When a civilian bus driver murdered an Army private off post in 1942, for example, the post commander was unable to investigate.


title: Uniform Code of Military Justice

text: Historically, the UCMJ applied to "persons serving with or accompanying an armed force in the field" and thus included military contractors "in time of war." In the John Warner National Defense Authorization Act for Fiscal Year 2007, which was enacted in 2006, Congress expanded the UCMJ's applicability to cover contractors during a "declared war or contingency operation." The change came following the Nisour Square massacre perpetrated by Blackwater Security personnel. In 2008, the first contractor was prosecuted under the new provision, marking the first time since 1968 that a contractor had been charged under military law. The civilian defendant, a dual Canadian-Iraqi citizen, was charged with stabbing a co-worker, another Iraqi civilian. The contractor ultimately pleaded guilty.


title: Uniform Code of Military Justice

text: Under Article 15 of the Code (Subchapter III), specified military commanders have the authority to exercise non-judicial punishment (NJP) over their subordinates for minor breaches of discipline. These punishments are carried out after a hearing before the commander but without a judge or jury. Punishments are limited to a reduction in rank for enlisted members, loss of pay, restriction of privileges, extra-duty, reprimands, and, aboard ships, confinement. Guidelines for the imposition of NJP are contained in Part V of the "Manual for Courts-Martial" and the various service regulations.


title: Uniform Code of Military Justice

text: Article 138 of the UCMJ provides that any service member may bring a "complaint of wrongs" against their commanding officer to the next senior officer exercising general court-martial authority over their commander. That officer will investigate the complaint of wrongs, and then report the findings of the investigation to the service Secretary (i.e., Secretary of the Army, Navy, Air Force) concerned.


title: Uniform Code of Military Justice

text: Article 139 (10 U.S.C. § 939) provides for the convening of an investigation board of from one to three commissioned officers to investigate and adjudicate claims of willful damage, destruction, or theft of personal property, only if both parties are subject to the Code.


title: Uniform Code of Military Justice

text: Article 1 (Definitions), defines the following terms used in the rest of the UCMJ: Judge Advocate General, the Navy, officer in charge, superior commissioned officer, cadet, midshipman, military, accuser, military judge, law specialist, legal officer, judge advocate, record, classified information, and national security. This article also provides that, "The Navy, the Marine Corps, and the Coast Guard when it is operating as a service in the Navy, shall be considered as one armed force" for the purposes of the UCMJ.


title: Uniform Code of Military Justice

text: Under Article 31, coercive self-incrimination is prohibited as a right under the Fifth Amendment. Apprehending officers utilize the Article 31 warning and waiver to prevent this self-incrimination, much like the "Miranda" warning. Article 31 was already well-established before "Miranda".


title: Uniform Code of Military Justice

text: Article 32 refers to the pre-trial investigation and hearing conducted before charges are referred to trial for court-martial. It may be conducted by a Judge Advocate General (JAG) officer or non-JAG officer.


title: Uniform Code of Military Justice

text: Subchapter X, "Punitive Articles", is the subchapter that details offenses under the uniform code. The 2019 MCM incorporates both major and minor changes to certain articles, and relocates many articles; careful examination of the source document is required to ensure full understanding, and previous "cheat sheets" and training materials may therefore be outdated. Those articles with a title annotated by "*" were changed from the 2016 MCM:


title: Uniform Code of Military Justice

text: The general article (Article 134) authorizes the prosecution of offenses not specifically detailed by any other article: "...all disorders and neglects to the prejudice of good order and discipline in the armed forces, all conduct of a nature to bring discredit upon the armed forces, and crimes and offenses not capital, of which persons subject to this chapter may be guilty." Clause 1 of the article involves disorders and neglect, "...to the prejudice of good order and discipline in the armed forces." Clause 2 involves, "...conduct of a nature to bring discredit upon the armed forces." Clause 3 deals with non-capital offenses violating other federal law; under this clause, any such offense created by federal statute may be prosecuted under Article 134. "United States v. Perkins", 47 C.M.R. 259 (Air Force Ct. of Military Review 1973).


title: Uniform Code of Military Justice

text: The most recent version of the "Manual for Courts-Martial" lists the following offenses commonly prosecuted under Article 134:


title: Escape character

text: In computing and telecommunication, an escape character is a character that invokes an alternative interpretation on the following characters in a character sequence. An escape character is a particular case of metacharacters. Generally, the judgement of whether something is an escape character or not depends on the context.


title: Escape character

text: In the telecommunications field, escape characters are used to indicate that the following characters are encoded differently. This is used to alter control characters that would otherwise be noticed and acted on by the underlying telecommunications hardware. In this context, the use of escape characters is often referred to as quoting.


title: Escape character

text: An escape character may not have its own meaning, so all escape sequences are of two or more characters.


title: Escape character

text: Escape characters are part of the syntax for many programming languages, data formats, and communication protocols. For a given alphabet an escape character's purpose is to start character sequences (so named escape sequences), which have to be interpreted differently from the same characters occurring without the prefixed escape character.


title: Escape character

text: Generally, an escape character is not a particular case of (device) control characters, nor vice versa. If we define control characters as non-graphic, or as having a special meaning for an output device (e.g. printer or text terminal) then any escape character for this device is a control one. But escape characters used in programming (such as the backslash, "\") are graphic, hence are not control characters. Conversely most (but not all) of the ASCII "control characters" have some control function in isolation, therefore they are not escape characters.


title: Escape character

text: In many programming languages, an escape character also forms some escape sequences which are referred to as control characters. For example, line break has an escape sequence of .


title: Escape character

text: console.log("Using \\r \rWill imitate a carriage return, which means shifting to the start of the row") // can be used to clear the screen on some terminals. Windows uses \r\n instead of \n alone


title: Escape character

text: The ASCII "escape" character (octal: , hexadecimal: , or , or, in decimal, ) is used in many output devices to start a series of characters called a control sequence or escape sequence. Typically, the escape character was sent first in such a sequence to alert the device that the following characters were to be interpreted as a control sequence rather than as plain characters, then one or more characters would follow to specify some detailed action, after which the device would go back to interpreting characters normally. For example, the sequence of , followed by the printable characters , would cause a DEC VT102 terminal to move its cursor to the 10th cell of the 2nd line of the screen. This was later developed to ANSI escape codes covered by the ANSI X3.64 standard. The escape character also starts each command sequence in the Hewlett Packard Printer Command Language.


title: Escape character

text: An early reference to the term "escape character" is found in Bob Bemer's IBM technical publications, who is credited with inventing this mechanism during his work on the ASCII character set.


title: Escape character

text: The Escape key is usually found on standard PC keyboards. However, it is commonly absent from keyboards for PDAs and other devices not designed primarily for ASCII communications. The DEC VT220 series was one of the few popular keyboards that did not have a dedicated Esc key, instead of using one of the keys above the main keypad. In user interfaces of the 1970s–1980s it was not uncommon to use this key as an escape character, but in modern desktop computers, such use is dropped. Sometimes the key was identified with AltMode (for alternative mode). Even with no dedicated key, the escape character code could be generated by typing while simultaneously holding down .


title: Escape character

text: Many modern programming languages specify the double-quote character () as a delimiter for a string literal. The backslash () escape character typically provides two ways to include double-quotes inside a string literal, either by modifying the meaning of the double-quote character embedded in the string ( becomes ), or by modifying the meaning of a sequence of characters including the hexadecimal value of a double-quote character ( becomes ).


title: Escape character

text: C, C++, Java, and Ruby all allow exactly the same two backslash escape styles. The PostScript language and Microsoft Rich Text Format also use backslash escapes. The quoted-printable encoding uses the equals sign as an escape character.


title: Escape character

text: URL and URI use %-escapes to quote characters with a special meaning, as for non-ASCII characters. The ampersand () character may be considered as an escape character in SGML and derived formats such as HTML and XML.


title: Escape character

text: Some programming languages also provide other ways to represent special characters in literals, without requiring an escape character (see e.g. delimiter collision).


title: Escape character

text: The Point-to-Point Protocol (PPP) uses the octet (, or ASCII: ) as an escape character. The octet immediately following should be XORed by before being passed to a higher level protocol. This is applied to both itself and the control character (which is used in PPP to mark the beginning and end of a frame) when those octets need to be transmitted by a higher level protocol encapsulated by PPP, as well as other octets negotiated when the link is established. That is, when a higher level protocol wishes to transmit , it is transmitted as the sequence , and is transmitted as .


title: Escape character

text: In Bourne shell (sh), the asterisk () and question mark () characters are wildcard characters expanded via globbing. Without a preceding escape character, an will expand to the names of all files in the working directory that do not start with a period if and only if there are such files, otherwise remains unexpanded. So to refer to a file literally called "*", the shell must be told not to interpret it in this way, by preceding it with a backslash (). This modifies the interpretation of the asterisk (). Compare:


title: Escape character

text: The Windows command-line interpreter uses a caret character () to escape reserved characters that have special meanings (in particular: , , , , , , ). The DOS command-line interpreter, though it has similar syntax, does not support this.


title: Escape character

text: In Windows, the backslash is used as a path separator; therefore, it generally cannot be used as an escape character. PowerShell uses backtick ( ` ) instead.


title: Ain Dubai

text: Ain Dubai () is the world's biggest and tallest Ferris wheel, located on Bluewaters Island, near the Dubai Marina in Dubai, United Arab Emirates.


title: Ain Dubai

text: "Ain Dubai" (previously named the Dubai Eye or Dubai-I), at Bluewaters Island in the United Arab Emirates, is the world's tallest and largest observation wheel, with a height of and was announced in February 2013. Hyundai Engineering & Construction and Starneth Engineering were appointed as the primary design and construction contractors, together with KCI, the engineers who designed and engineered the complete wheel structure including the installation engineering. Construction began in May 2015, anticipating completion in early to mid-2019. Further delays pushed the target opening to 20 October 2020, in order to coincide with Expo 2020, but this itself was postponed due to the COVID-19 pandemic. The wheel opened a year later on 21 October 2021.


title: Ain Dubai

text: Ain Dubai is taller than the previous world's tallest observation wheel, the High Roller, which opened in Las Vegas in March 2014.


title: Ain Dubai

text: The wheel carries up to 1,750 passengers in 48 cabins and provides views of Dubai Marina and landmarks such as Burj Al Arab, Palm Jumeirah, and Burj Khalifa.


title: Ain Dubai

text: Ain Dubai has not been operational since March 2022 for "periodic enhancements". A preliminary opening date has been set for the first quarter of 2023.


title: Rilo Kiley

text: Rilo Kiley ( ) was an American indie rock band based in Los Angeles, California. Formed in 1998, the band consisted of Jenny Lewis, Blake Sennett, Pierre de Reeder, and Dave Rock.


title: Rilo Kiley

text: The group released their debut album "Take-Offs and Landings" under Seattle-based independent label Barsuk Records in 2001. After that, they released three additional studio albums and several EPs. In 2007, they were signed with Warner Bros., and subsequently made their major-label debut with the album "Under the Blacklight".


title: Rilo Kiley

text: Rilo Kiley performed their first concert at Spaceland in Los Angeles in January 1998. Their debut EP, "Rilo Kiley" (later reissued as "The Initial Friend EP"), was released in 1999. The band signed with independent label Barsuk Records for its first full-length album, "Take-Offs and Landings", in 2001. The band later signed with Omaha's Saddle Creek Records and released "The Execution of All Things" in 2002. In 2004, it released "More Adventurous" on its own imprint, Brute/Beaute Records, which was distributed by major label Warner Bros. Records. The band later signed directly with Warner Bros.


title: Rilo Kiley

text: 2004 saw a great increase in recognition for the band, as Sennett and Boesel released an album with their band The Elected and Lewis sang backup on The Postal Service's "Give Up". Lewis toured with The Postal Service before heading out on two tours in support of Rilo Kiley's "More Adventurous" in the summer and fall of 2004. The album spent late 2004 high on "Billboard"'s Heatseekers Chart, and was promoted with appearances on "Late Night with Conan O'Brien" and "Jimmy Kimmel Live!". The band opened for Bright Eyes on the international leg of Conor Oberst's tour for 2005's "I'm Wide Awake, It's Morning" and was the opening act for the North American dates of Coldplay's Twisted Logic Tour in Fall 2005. "I Never" and "Ripchord" (from "More Adventurous)" have been featured in several feature films, including "Must Love Dogs", "Conversations with Other Women", and "John Tucker Must Die".


title: Rilo Kiley

text: The band's fourth album "Under the Blacklight" was released August 20, 2007 in the United Kingdom and the following day in the United States. Its first single is "The Moneymaker". For the video, the band cast "real-life porn stars", who Lewis says were told they were auditioning for "soft core porn". The second single is "Silver Lining".


title: Rilo Kiley

text: On September 6, 2007, the band began a North American tour in support of "Under the Blacklight". On this tour, it was joined by Orenda Fink (of Azure Ray) and Kristin Gundred (of Grand Ole Party and Dum Dum Girls).


title: Rilo Kiley

text: The group was also known for its charitable contributions, particularly to the Elliott Smith Memorial Fund, in honor of the late singer and friend of the band. Sennett and Lewis participated in a memorial concert for the singer shortly after his death in 2003. In 2007, the band contributed a t-shirt, which was designed by de Reeder for the Yellow Bird Project to benefit the Elliott Smith Memorial Fund.


title: Rilo Kiley

text: In a 2010 interview with "Paste", Jason Boesel said the band was taking a break but working on a compilation of unreleased songs. He also said there were no plans to release a new album in the near future.


title: Rilo Kiley

text: In an April 2011 interview, Blake Sennett said,"I would say that if Rilo Kiley were ... hmmm ... a human being ... hmmm ... he's probably laying on his back in a morgue with a tag on his toe. Now, I see movies where the dead get up and walk. And when they do that, rarely do good things happen."


title: Rilo Kiley

text: In June 2011, when asked about his "corpse" comment and whether Rilo Kiley was indeed dead, Sennett said "I never say never. I loved Rilo Kiley—I loved writing with Jenny. I think she's a great artist and great to write with. I think we're not there yet. Maybe one day we'll dust it off and give it a go; I'd be open to it. I think it was fun—for all of the pitfalls, it was great. I had a great time in Rilo Kiley. I always did."


title: Rilo Kiley

text: A month later Sennett told AOL Spinner: "I said, 'Fuck that, I can't do this anymore.' That being said, it was probably immature and that came from a place of ego. I think that stuff will rear its head in anything you do, depending on the personnel you surround yourself with; things change overtime and people change and relationships change."


title: Rilo Kiley

text: In February 2013, the band announced a collection of previously released rarities and unreleased material, titled "Rkives", to be released in April 2013 on DeReeder's own label the Little Record Company.


title: Rilo Kiley

text: In April 2015, Blake Sennett joined Jenny Lewis and her band on stage at Coachella for a performance of the Rilo Kiley song "Portions for Foxes".


title: Rilo Kiley

text: Since embarking on a solo career, Jenny Lewis has enlisted the help of drummer Jason Boesel for percussion on studio recordings. He was also part of Lewis' live band for her 2019 tour.


title: Rilo Kiley

text: The band's songs have frequently been used on television programs, such as "The O.C." and "Dawson's Creek". The apparent first use of Rilo Kiley music on a television show was also the last time that Blake Sennett and Jenny Lewis acted on television. In 2000, they played fictionalized versions of themselves (and the band performed "The Frug") on ABC's short-lived drama "Once & Again". Both "The Frug" and "85" were used during a third season episode of "Dawson's Creek" (#46, "Barefoot At Capefest"). "Pictures of Success" was used in episode No. 114 of "Buffy The Vampire Slayer", entitled "Older and Far Away". The song "Breakin' Up" was featured in a fourth season episode of "Grey's Anatomy". In 2005, "Portions For Foxes" was used in the pilot of "Grey's Anatomy" and in 2009, the song was used in the seventh episode of season one of "Dollhouse", "Echoes". "With Arms Outstretched" was used at the end of the pilot episode of "Weeds" in 2005 and to bring the show full circle, it was the final song played in the series finale in 2012. For a second-season episode of "Weeds", Lewis sang the theme song ("Little Boxes") with Johnathan Rice who was touring with the band. "Silver Lining" was featured in the pilot of "Women's Murder Club". The song was also used in the second season of "Girls". "The Moneymaker" was used on an episode of "Nip/Tuck" that aired on December 11, 2007 and on an episode of "Samantha Who?" that aired on April 16, 2009. "The Good That Won't Come Out" was featured in the background of the Season 4 Episode 4 episode of "Heroes" "Hysterical Blindness" on 10/12/2009. Their song "A Better Son/Daughter" was featured in the trailer for the Netflix original series "Orange is the New Black". It is also featured at the end of Hannah Gadsby's 2018 Netflix special Nanette. Rilo Kiley's song "The Execution Of All Things" also featured in Episode 4, Season 4 of "Six Feet Under". Their song "Go Ahead" was featured throughout the movie, "Very Good Girls".


title: Rilo Kiley

text: On the syndicated radio show "Loveline" in August 2005, Sennett explained that he had a dream in which he was being chased by a sports almanac: "when it got me, I leafed through it...and I came upon an Australian rules football player from the 19th century named Rilo Kiley. It's kind of embarrassing." When asked by co-host Drew Pinsky if he had ever seen this name in reality, Sennett said "I don't think so, I don't think that character exists...If you Google 'Rilo Kiley' you just come back with a lot of pictures of us." On how this imaginary name became the name for the band: "I wrote it down on a blotter, an office desk when I woke up, and, I don't know, I came back to it when we were trying to think of a name and we thought we'd use that for one show then change it, 'cause who'd want that name? Who can remember that anyway?"


title: Rilo Kiley

text: In 2005, Sennett told "Planet Sound Teletext Magazine" that the name came from a Scottish athlete. On a 2005 episode of the MSNBC entertainment show "MSNBC Entertainment Hot List", the female host stated that the name came from "old Scottish sports almanacs". In the interview segment that followed, Sennett stated "We just looked in there and the name of one of the star players from the turn of the century was Rilo Kiley."


title: Rilo Kiley

text: In an interview published in "Q" magazine in September 2007, Sennett stated that Rilo Kiley is named after a character he'd met in a dream who had predicted the date of Jenny Lewis' death.


title: Imperium

text: In ancient Rome, imperium was a form of authority held by a citizen to control a military or governmental entity. It is distinct from "auctoritas" and "potestas", different and generally inferior types of power in the Roman Republic and Empire. One's "imperium" could be over a specific military unit, or it could be over a province or territory. Individuals given such power were referred to as curule magistrates or promagistrates. These included the curule aedile, the praetor, the consul, the magister equitum, and the dictator. In a general sense, "imperium" was the scope of someone's power, and could include anything, such as public office, commerce, political influence, or wealth.


title: Imperium

text: "Imperium" originally meant absolute or kingly power—the word being derived from the Latin verb "imperare" (to command)—which became somewhat limited under the Republic by the collegiality of the republican magistrates and the right of appeal, or "provocatio", on the part of citizens. "Imperium" remained absolute in the army, and the power of the "imperator" (army commander) to punish remained uncurtailed. The title "imperator" later was exclusively held by the emperor, as the commander of the armed forces. In fact, the Latin word "imperator" is the root of the English word "emperor".


title: Imperium

text: In ancient Rome, "imperium" could be used as a term indicating a characteristic of people, their wealth in property, or the measure of formal power they had. This qualification could be used in a rather loose context (for example, poets used it, not necessarily writing about state officials). However, in Roman society, it was also a more formal concept of legal authority. A man with "imperium" (an "imperator") had, in principle, absolute authority to apply the law within the scope of his magistracy or promagistracy. He could be vetoed or overruled either by a magistrate or promagistrate who was a colleague with equal power (e.g., a fellow consul), by one whose "imperium" outranked his – that is, one of "imperium maius" (greater "imperium"), or by a tribune of the plebs.


title: Imperium

text: Some modern scholars such as A. H. M. Jones have defined "imperium" as "the power vested by the state in a person to do what he considers to be in the best interests of the state".


title: Imperium

text: "Imperium" was indicated in two prominent ways: a "curule" magistrate or promagistrate carried an ivory baton surmounted by an eagle as his personal symbol of office (compare the field marshal's baton); any such magistrate was also escorted by "lictors" bearing the "fasces" (traditional symbols of "imperium" and authority), when outside the "pomerium", axes being added to the "fasces" to indicate an imperial magistrate's power to inflict capital punishment outside Rome (the axes being removed within the "pomerium"). The number of lictors in attendance upon a magistrate was an overt indication of the degree of "imperium". When in the field, a "curule" magistrate possessing an "imperium" greater or equal to that of a praetor wore a sash ritually knotted on the front of his cuirass. Furthermore, any man executing "imperium" within his sphere of influence was entitled to the curule chair.


title: Imperium

text: As can be seen, dictatorial "imperium" was superior to consular, consular to praetorian, and praetorian to aedilician; there is some historical dispute as to whether or not praetorian "imperium" was superior to "equine-magisterial" "imperium". A promagistrate, or a man executing a "curule" office without actually holding that office, also possessed "imperium" in the same degree as the actual incumbents (i.e., proconsular "imperium" being more or less equal to consular "imperium", propraetorian "imperium" to praetorian) and was attended by an equal number of "lictors".


title: Imperium

text: Certain extraordinary commissions, such as Pompey's famous command against the pirates, were invested with "imperium maius", meaning they outranked all other holders of "imperium" of the same type or rank (in Pompey's case, even the consuls) within their sphere of command (his being "ultimate on the seas, and within 50 miles inland"). "Imperium maius" later became a hallmark of the Roman emperor.


title: Imperium

text: Another technical use of the term in Roman law was for the power to extend the law beyond its mere interpretation, extending "imperium" from formal legislators under the ever-republican constitution: popular assemblies, senate, magistrates, emperor and their delegates to the jurisprudence of jurisconsults.


title: Imperium

text: While the Byzantine Eastern Roman Emperors retained full Roman "imperium" and made the episcopate subservient, in the feudal West a long rivalry would oppose the claims to supremacy within post-Roman Christianity between "sacerdotium" in the person of the Pope and the secular "imperium" of the Holy Roman Emperor, beginning with Charlemagne, whose title was claimed to have "restored" the office of Western Roman Emperor among the new kingdoms of Western Europe. Both would refer to the heritage of Roman law by their titular link with the very city of Rome: the Pope, Bishop "of Rome", versus the Holy "Roman" Emperor (even though his seat of power was north of the Alps).


title: Imperium

text: The "Donatio Constantini", by which the Papacy had allegedly been granted the territorial Patrimonium Petri in Central Italy, became a weapon against the Emperor. The first pope who used it in an official act and relied upon it, Leo IX, cites the "Donatio" in a letter of 1054 to Michael Cærularius, Patriarch of Constantinople, to show that the Holy See possessed both an earthly and a heavenly "imperium", the royal priesthood. Thenceforth, the "Donatio" acquires more importance and is more frequently used as evidence in the ecclesiastical and political conflicts between the papacy and the secular power: Anselm of Lucca and Cardinal Deusdedit inserted it in their collections of canons; Gratian excluded it from his "Decretum", but it was soon added to it as "Palea"; the ecclesiastical writers in defence of the papacy during the conflicts of the early part of the 12th century quoted it as authoritative.


title: Imperium

text: In one bitter episode, Pope Gregory IX, who had several times mediated between the Lombards and the Holy Roman Emperor Frederick II, reasserted his right to arbitrate between the contending parties. In the numerous manifestos of the Pope and the Emperor the antagonism between Church and State became more evident: the Pope claimed for himself the "imperium animarum" ("command of the souls", i.e. voicing God's will to the faithful) and the "principatus rerum et corporum in universo mundo" ("primacy over all things and bodies in the whole world"), while the Emperor wished to restore the "imperium mundi", "imperium" (as under Roman Law) over the (now Christian) world. Rome was again to be the capital of the world and Frederick was to become the real emperor of the Romans, so he energetically protested against the authority of the Pope. The emperor's successes, especially his victory over the Lombards at the battle of Cortenuova (1237), only aggravated tensions between Church and State. The pope again excommunicated the "self-confessed heretic", the "blasphemous beast of the Apocalypse" (20 March 1239) who now attempted to conquer the rest of Italy (i.e., the papal states, et cetera).


title: Imperium

text: In some monotheistic religions such as Christianity (the Catholic Church where the official language, Latin, used terms as "Imperium Dei/Domini") the Divine is held to have a superior "imperium", as ultimate King of Kings, above all earthly powers. Whenever a society accepts this Divine will to be expressed on earth, as by a religious authority, this can lead to theocratic legitimation. However, the Catholic Church and most other Christian groups acknowledge the authority of secular governments. If, however, a secular ruler controls the religious hierarchy, he can use it to legitimize his own authority.


title: Imperium

text: Thus absolute, universal power was vested under early Islam in the original Caliphate, and later again claimed by Mahdi.


title: Imperium

text: The chief minister of Henry VIII, the Archbishop of Canterbury Thomas Cranmer, suggested removal of the Roman Catholic papacy's "imperium in imperio" (Latin for 'state within a state') by requesting that Parliament pass the Act in Restraint of Appeals (1533) specifying that England was an empire and that The Crown was imperial, and a year later the Act of Supremacy proclaiming the Imperial Crown Protector and Supreme Head of the Church of England.


title: Imperium

text: In Orthodox Russia, too, when Peter I the Great assumed the Byzantine imperial titles "Imperator" and "Autokrator", instead of the royal Tsar, the idea in founding the Russian Holy Synod was to put an end to the old "imperium in imperio" of the free Church, by substituting the synod for the all too independent Patriarch of Moscow, which had become almost a rival of the Tsars – Peter meant to unite all authority in himself, over Church as well as State: through his Ober-Procurator and synod, the Emperor ruled his Church as absolutely as the military through their respective ministries; he appointed its members just as he did generals; and the Russian Government continued his policy until the end of the empire in 1917.


title: North Side Gang

text: The North Side Gang, also known as the North Side Mob, was an Irish-Polish-American criminal organization within Chicago during the Prohibition era from the early 1920s to the mid-1930s. It was the principal rival of the South Side Gang, also known as the Chicago Outfit, the crime syndicate of Italian-Americans Johnny Torrio and Al Capone.


title: North Side Gang

text: Like many other Chicago-based Prohibition gangs, the North Side Gang originated from the Market Street Gang, one of many street gangs in Chicago at the turn of the 20th century. The Market Street Gang was made up of pickpockets, sneak thieves and labor sluggers working in the 42nd and 43rd Wards. The gang especially distinguished itself during the newspaper "Circulation Wars" of the early 1910s between the "Chicago Examiner" and the "Chicago Tribune".


title: North Side Gang

text: It was during the Circulation Wars that future North Side leader Dean O'Banion, then a member of the juvenile satellite "Little Hellions", would develop valuable contacts with politicians and journalists. O'Banion and other members of the North Siders would be mentored by safecracker Charlie "The Ox" Reiser. O'Banion was one of the many Market Streeters to become a bootlegger.


title: North Side Gang

text: With the start of Prohibition, the North Siders quickly took control of the existing breweries and distilleries in the North Side of Chicago. This gave them a near monopoly on the local supply of real beer and high quality whiskey; their rivals only had supplies of rotgut liquor and moonshine. Based on the North Clark Street restaurant McGovern's Saloon and Café, the North Side Gang would soon control the working-class neighborhoods of the 42nd and 43rd Wards within months. In addition to bootlegging, the gang continued to burglarize local stores and warehouses and run illegal gambling operations. Unlike the rival Chicago Outfit, however, they refused to traffic in prostitution.


title: North Side Gang

text: O'Banion strengthened his political protection by assisting his politician friends in committing election fraud. He also ran a publicity campaign in the North Side, with large-scale donations to orphanages and charities as well as food and loans to the poor and unemployed.


title: North Side Gang

text: The old hostility between Irish and Italian gangs, combined with O'Banion's refusal to sell portions of North Side distilleries to the South Siders, raised tension between the North and South Siders. During several meetings arranged by Torrio, O'Banion would often insult the Italians. O'Banion also secretly hijacked South Side beer shipments and sold them back to their owners. However, the North Side Gang also ran into trouble with other ethnic gangs; in 1921, O'Banion shot Ragen's Colts member Davy "Yiddles" Miller after he insulted a North Sider at a local opera.


title: North Side Gang

text: Although O'Banion was arrested and charged with burglary in 1922, the North Side Gang enjoyed considerable protection from the Chicago police department. At one point, O'Banion threw a lavish banquet for Chicago politicians and police officials. Attendees included Chief Detective Michael Hughes, Police Lieutenant Charles Evans, County Clerk Robert Sweitzer, Public Works commissioner Colonel Albert A. Sprague, and a host of both Democratic and Republican politicians. Dubbed the "Balshazzar Feast" by the press, it was later investigated by reform Mayor William E. Dever.


title: North Side Gang

text: In 1924, Chicago police assisted the North Side Gang in robbing the Sibly Distillery, which had been under federal guard since the beginning of Prohibition. Escorted by Police Lieutenant Michael Grady and four detective sergeants, North Siders looted the distillery in broad daylight, taking 1,750 barrels of bonded whiskey worth approximately $100,000. Although Grady and the other police officers were later indicted for this crime, they were quickly dismissed.


title: North Side Gang

text: Relations between the North and South Side gangs continued to fester. In early 1924, O'Banion agreed to an alliance with Torrio and Capone that was brokered by Mike Merlo. However, the alliance began to flounder when O'Banion demanded that Angelo Genna pay a $30,000 gambling debt from losses at the co-owned gambling casino "The Ship". This demand contravened an agreement allowing Angelo and other gang members to run up debts there. In the interest of maintaining harmony, Torrio persuaded Genna to pay his gambling debt.


title: North Side Gang

text: However, Torrio himself would lose patience when O'Banion offered to sell him the valuable Sieben Brewery. On May 19, 1924, while Torrio was inspecting the property, O'Banion arranged for the police to raid the place and arrest Torrio. After his release from custody, Torrio acceded to demands from the Genna crime family, allies of Chicago Outfit, to kill O'Banion.


title: North Side Gang

text: On November 10, shortly after the death of Merlo, Frankie Yale, John Scalise, and Albert Anselmi reportedly entered the Schofield Flower Shop owned by O'Banion and shot him dead. This was to be the beginning of a five-year gang war between the North Side Gang against Johnny Torrio's Chicago Outfit that would climax with the St. Valentine's Day Massacre in 1929.


title: North Side Gang

text: After the death of O'Banion, Hymie Weiss assumed leadership of the North Side Gang and immediately struck back at his rivals. On January 12, 1925, Weiss, Bugs Moran, and Vincent Drucci attempted to kill Torrio's lieutenant, Al Capone, at a Chicago South Side restaurant. Firing at Capone's car, the men wounded chauffeur Sylvester Barton, but missed Capone entirely. Capone, unnerved by the shooting, ordered his famous armored car to be created. Moran then decided to kidnap one of Capone's trusted bodyguards, torturing him for information before finally executing him and dumping the body.


title: North Side Gang

text: On January 24, shortly after the assassination attempt on Capone had taken place, Weiss, Moran, and Drucci ambushed Torrio as he returned from shopping with his wife. Both Torrio and his chauffeur Robert Barton were wounded several times. As Moran was about to kill Torrio, the gun misfired; the gang members were forced to flee the scene as the police arrived. After narrowly surviving this attack, Torrio decided he wanted out. After serving time on bootlegging charges Torrio retired to Italy, passing leadership of the Chicago Outfit to Capone.


title: North Side Gang

text: Weiss and the North Siders then went after the Genna brothers, leaders of the Genna crime family. First, "Bloody" Angelo Genna was shot to death by Moran after a car chase. Next, Mike "The Devil" Genna was shot down by police when he turned his gun on them after a shootout with the North siders. Then Drucci killed Samuzzo "Samoots" Amatuna, a Genna family backer. Finally, Antonio "The Gentleman" Genna was murdered (although it was rumored that Capone, not Weiss, ordered this). At this point, the remaining Genna brothers fled Chicago. The North Siders and Capone took the spoils.


title: North Side Gang

text: Soon after Dean O'Banion's death, the North Siders had formed a "governing council" with Hymie Weiss emerging as leader. Although the loss of O'Banion was a shock to them, the gang was at the height of its power. The Genna family was gone, Torrio had been scared out of the rackets, and Capone was on the defensive. The North Siders expanded their business and strength and plotted another attack on Capone.


title: North Side Gang

text: In the second North Side attack on Capone, a fleet of North Side cars, with Moran in the lead car, drove to Capone's hotel in Cicero. While Capone and his bodyguard were drinking downstairs, the North Siders drove by the lobby and opened fire with their Thompson submachine guns. Capone and his bodyguard were forced to take cover on the floor. Once the attack was over, Capone sent word to the North Siders that he wanted a truce. A truce was made, which inevitably began to come apart.


title: North Side Gang

text: Some time later, Capone struck back at the North Siders by gunning down Hymie Weiss and several of his associates. Drucci and Moran now assumed joint leadership of the North Side Gang. The two gangs traded killings and bombings for several more months until a peace conference was held.


title: North Side Gang

text: Moran and Capone both appeared at the meeting along with many other mob bosses. During the conference, Capone complained that "they were making a shooting gallery of a great business." He also stated that "Chicago should be seen as a pie and each gang gets a slice of the pie." The two gangs agreed to make peace. This peace would last for a while, during which no killings occurred as a result of gang war. Drucci was killed during this time, but it resulted from a brawl with police. Moran now became the sole boss of the North Side Gang.


title: North Side Gang

text: However, conflict eventually started again. Moran would regularly hijack Capone's beer shipments, aggravating Capone. Capone retaliated by burning down Moran's dog track. A few days later, Capone's own dog track went up in smoke. Moran was the prime suspect.


title: North Side Gang

text: Open warfare started again between the two gangs. Moran ordered the execution of two union leaders who were powerful allies and personal friends of Capone. This act prompted Capone to order the St. Valentine's Day Massacre.


title: North Side Gang

text: On February 14, 1929, four unidentified men, two of them dressed as Chicago police officers, entered a North Side Street garage and ordered six members of the North Side Gang and a friend of a gang member to stand against a wall. The gunmen then pulled out machine guns and gunned them all down. The only survivor, Frank "Tight Lips" Gusenberg, died hours later at a nearby Chicago hospital refusing to name his attackers. However, the primary target of the gunmen, Bugs Moran, leader of the North Side Gang, was not at the garage and escaped harm. Strong circumstantial cases can be made for almost a dozen individuals as being one of the gunmen, but it remains unknown to this day exactly who those four gunmen were.


title: North Side Gang

text: Known as the St. Valentine's Day Massacre, the attack effectively left the five-year gang war between Al Capone and Bugs Moran in a stalemate. The brazenness of this crime resulted in a Federal crackdown on all gang activity in Chicago that eventually led to the downfall of both Moran and Capone.


title: North Side Gang

text: Although Bugs Moran survived the St. Valentine's Day Massacre, several experienced North Side gunmen had been lost. The North Side Gang continued to control the 42nd and 43rd Wards and managed to thwart a takeover attempt by Frank McErlane in 1930. As the decade progressed, the power of the North Side Gang slowly declined. In 1936, Jack "Machine Gun" McGurn, alleged mastermind of the massacre, was killed and Moran was one of the prime suspects, along with Frank Nitti of the South Side mob, as McGurn had become more trouble for the South Side Gang than he was worth to protect.


title: North Side Gang

text: Moran and the North Side Gang eventually lost control of their gambling operations to the new National Crime Syndicate. Since the repeal of Prohibition, gambling had been the main source of North Side income. Bugs Moran eventually left the gang by 1935, after which it quickly dissolved.


title: Teenage Bounty Hunters

text: Teenage Bounty Hunters is an American teen comedy-drama streaming television series created by Kathleen Jordan for Netflix which was released on August 14, 2020. In October 2020, the series was canceled after one season. Blake McCormick and Jenji Kohan are executive producers, along with Tara Herrmann and Robert Sudduth serving as showrunner.


title: Teenage Bounty Hunters

text: After denting their father's pickup truck, high school students and fraternal twins Sterling and Blair Wesley fall into bounty hunting for grizzled bounty hunter Bowser Simmons in order to pay for the truck's repair, and without their parents' knowledge.


title: Teenage Bounty Hunters

text: The series was originally titled as "Slutty Teenage Bounty Hunters", created by Kathleen Jordan, and executive produced by Robert Sudduth, Jenji Kohan, Tara Herrmann, and Blake McCormick. The pilot is directed by Jesse Peretz. On July 22, 2020, upon series premiere date announcement, the series was retitled as "Teenage Bounty Hunters", dropping the word "slutty". The series premiered on August 14, 2020. The official trailer for the series was released on July 30, 2020. On October 5, 2020, Netflix canceled the series after one season.


title: Teenage Bounty Hunters

text: On June 28, 2019, Maddie Phillips, Anjelica Bette Fellini, Kadeem Hardison, and Virginia Williams had been cast in starring roles. Upon the official trailer announcement, Mackenzie Astin, Method Man, Myles Evans, Spencer House, Devon Hales, Shirley Rumierk were cast in undisclosed capacities.


title: Teenage Bounty Hunters

text: Kristen Baldwin of "Entertainment Weekly" gave the series a B+ and wrote a review saying, "Brisk and funny, warm and wonderfully oddball, "Teenage Bounty Hunters" is a binge everyone— except maybe Old Testament God—can get behind." Reviewing the series for "The Hollywood Reporter", Inkoo Kang described the series as "winsome and well-crafted" and said, ""Teenage Bounty Hunters" is propelled by excellent comic performances by Phillips and Fellini, who don't look all that similar but do share a fizzy chemistry, especially in their crackerjack-timed quips and clairvoyant communications."


title: Teenage Bounty Hunters

text: Review aggregator Rotten Tomatoes reported an approval rating of 93% based on 28 reviews, with an average rating of 7.23/10. The website's critics consensus reads, ""Teenage Bounty Hunters" has snappy one-liners and style to spare, and though its peculiar premise at times fizzles, it's held together by Maddie Phillips and Anjelica Bette Fellini's killer chemistry." Metacritic gave the series a weighted average score of 72 out of 100 based on 7 reviews, indicating "generally favorable reviews".


title: Teenage Bounty Hunters

text: The series has been included on many best of 2020 television show lists by critics' including ones published on "The New Yorker," "The New York Times", and "Vulture".


title: Teenage Bounty Hunters

text: Vulture included "Teenage Bounty Hunters" on its list on "The Best Overlooked 2020 TV Series". Kathryn VanArendonk praised the show, writing, "It’s snappy and smart, full of sharp twists and emotional revelations but always true to its primary duo, twin sisters Sterling (Maddie Phillips) and Blair (Anjelica Bette Fellini), and their long-suffering bounty-hunter mentor, Bowser (Kadeem Hardison). It has an immediately distinctive voice that supports rather than distracts from the twisty plotting, something mystery shows always aim for and so, so rarely achieve. It’s "so" funny, and so legitimately fantastic."


title: Timeline of computer viruses and worms

text: This timeline of computer viruses and worms presents a chronological timeline of noteworthy computer viruses, computer worms, Trojan horses, similar malware, related research and events.


title: Quake II

text: Quake II is a 1997 first-person shooter video game developed by id Software and published by Activision. It is the second installment of the "Quake" series, but not a direct sequel to "Quake". The game's storyline is continued in its expansions and "Quake 4".


title: Quake II

text: The soundtrack for "Quake II" was mainly provided by Sonic Mayhem, with some additional tracks by Bill Brown; the main theme was also composed by Bill Brown and Rob Zombie, and one track by Jer Sypult. The soundtrack for the Nintendo 64 version of the game was composed by Aubrey Hodges, credited as Ken "Razor" Richmond.


title: Quake II

text: "Quake II" is a first-person shooter, in which the player shoots enemies from the perspective of the main character. The gameplay is very similar to that featured in "Quake", in terms of movement and controls, although the player's movement speed has been slowed down, and the player now has the ability to crouch. The game retains four of the eight weapons from "Quake" (the Shotgun, Super Shotgun, Grenade Launcher, and Rocket Launcher), although they have been redesigned visually and made to function in slightly different ways. The remainder of "Quake"s eight weapons (the Axe, Nailgun, Super Nailgun, and Thunderbolt) are not present in "Quake II". The six newly introduced weapons are the Blaster, Machine Gun, Chain Gun, Hyperblaster, Railgun, and BFG10K. The Quad Damage power up from "Quake" is present in "Quake II", and new power-ups include the Ammo Pack, Invulnerability, Bandolier, Enviro-Suit, Rebreather, and Silencer.


title: Quake II

text: The single player game features a number of changes from "Quake". First, the player is given mission-based objectives that correspond to the storyline, including stealing a Tank Commander's head to open a door and calling down an air-strike on a bunker. CGI cutscenes are used to illustrate the player's progress through the main objectives, although they are all essentially the same short piece of video, showing a computerized image of the player character as he moves through game's levels. Another addition is the inclusion of a non-hostile character type: the player character's captured comrades. It is not possible to interact with these characters, however, as they have all been driven insane by their Strogg captors.


title: Quake II

text: The game features much larger levels than "Quake", with many more wide open areas. There is also a hub system that allows the player to travel back and forth between levels, which is necessary to complete certain objectives. Some of the textures and symbols that appear in the game are very similar to some of those found in "Quake". Enemies demonstrate visible wounds after they have taken damage.


title: Quake II

text: The multiplayer portion is similar to that of "Quake". It can be played as a free-for-all deathmatch game mode, a cooperative version of the single-player game, or as a 1 vs 1 match that is used in official tournaments, like the Cyberathlete Professional League. It can also be played in Capture the Flag mode (CTF).


title: Quake II

text: The deathmatch game benefited from the release of eight specifically designed levels that id Software added after the game's initial release. They were introduced to the game via one of the early patches, that were released free of charge. Prior to the release of these maps, players were limited to playing multiplayer games on the single-player levels, which, while functional as multiplayer levels, were not designed with deathmatch gameplay specifically in mind.


title: Quake II

text: As in "Quake", it is possible to customize the way in which the player appears to other people in multiplayer games. However, whereas in "Quake", the only option was to change the color of the player's uniform unless third party modifications were used, now the game comes with a selection of three different player models: a male marine, a female marine, and a male cyborg; choice of player model also affects the speech effects the player's character will make, such as exhaling in effort while jumping or groaning when injured. Each model can be customized from in the in-game menu via the selection of pre-drawn skins, which differ in many ways; for example, skin color, camouflage style, and application of facepaint.


title: Quake II

text: "Quake II" takes place in a science fiction environment. In the single-player game, the player assumes the role of a Marine named Bitterman taking part in "Operation Alien Overlord", a desperate attempt to prevent an alien invasion of Earth by launching a pre-emptive attack against the home planet of the hostile Strogg civilization. Most of the other soldiers are captured or killed as soon as they approach the planned landing zone. Bitterman survives because another Marine's personal capsule collided with his upon launch, causing him to crash far short of the landing zone. Bitterman fights his way through the Strogg city, destroying strategic objectives along the way, and finally kills the Strogg leader, the Makron in his orbital asteroid base.


title: Quake II

text: Originally, "Quake II" was supposed to be an entirely new game and IP; titles like "Strogg", "Lock and Load", and even just "Load" were toyed with in the early days of development. But after numerous failed attempts, the team at id decided to stick with 'Quake II' and forgo the Gothic Lovecraftian horror theme from the original in favor of a more sci-fi aesthetic.


title: Quake II

text: The game was developed with 13 person team. Activision obtained the worldwide distribution rights to the game in May 1997. Artist and co-owner Adrian Carmack had said that "Quake II" is his favorite game in the series because "it was different and a cohesive project". This is also the last id Software game to feature American McGee before he was fired shortly after its release.


title: Quake II

text: Unlike "Quake", where hardware-accelerated graphics controllers were supported only with later patches, "Quake II" came with OpenGL support out of the box. Later downloads from id Software added support for AMD's 3DNow! instruction set for improved performance on their K6-2 processors, and Rendition released a native renderer for their V1000 graphics chip. The latest version is 3.21. This update includes numerous bug fixes and new levels designed for multiplayer deathmatch. Version 3.21, available as source code on id Software's FTP server, has no improved functionality over version 3.20 and is simply a slight modification to make compiling for Linux easier.


title: Quake II

text: "Quake II" uses an improved client–server model introduced in "Quake". The game code of "Quake II", which defines all the functionality for weapons, entities, and game mechanics, can be changed in any way because id Software published the source code of their own implementation that shipped with the game. "Quake II" uses the shared library functionality of the operating system to load the game library at run-time—this is how mod authors are able to alter the game and provide different gameplay mechanics, new weapons, and much more. The full source code to "Quake II" version 3.19 was released under the terms of the GNU GPL-2.0-or-later on December 22, 2001. Version 3.21 followed later. An LCC-friendly version was released on January 1, 2002, by a modder going by the name of Major Bitch.