title: M. S. Viswanathan

text: Viswanathan composed film music together with composer and violinist T. K. Ramamoorthy from the 1950s to 1965, as Viswanathan–Ramamoorthy for 100 Films. He independently composed for 700 films from 1965 to 2015.


title: M. S. Viswanathan

text: M S Viswanathan hailing from a Malayali family was born on 24 June 1928 to Manayangath Subramanian and Narayaniammal in Elappully village in Palakkad, Kerala, India (Then in Malabar district, Madras province, British India). His father died when Viswanathan was four years old, and his mother decided to kill him, his sister and herself as an escape from abject poverty and lack of support. He was saved at the last minute by his grandfather. His grandfather Krishnan Nair was a warden at the central jail of Kannur. After death of his father, his family moved from Palakkad to Kannur to stay with his jailor uncle. As a child, he sold refreshments in a movie theatre without any pay, so he could listen to the music in the films. He had a part in the film "Kannagi" produced by Jupiter Pictures.


title: M. S. Viswanathan

text: His primary education was at Pallikunnu, Kannur. He would often play truant from school and stand outside the house of Neelakanta Bhagavathar, a local music teacher, and listen to his teaching other students. He learnt to play the harmonium, and Neelakanta Bhagavathar, who heard him play and sing on a Vijayadasami Day, was impressed and organised a three-hour concert at the Kannur town hall. He later gave his first stage performance in Trivandrum at the age of 13. He worked as an office boy for Jupiter Pictures in the 1940s, earning Rs 3 per month.


title: M. S. Viswanathan

text: Viswanathan was married to Janaki and they have four sons and three daughters. His wife, Janaki, died on 14 May 2012. She was 77 when she died.


title: M. S. Viswanathan

text: He is known to have looked after his original Guru, S. M. Subbaiah Naidu, when the latter fell into financial difficulties and then continued to look after his wife until her death.As a rare human approach, M. S. Viswanathan, looked after his friend J. P. Chandrababu, the great Comedian and Singer of Tamil films, when the latter fell into financial ruins. Chandrababu stayed the last few years of his life in the house of M. S. Viswanathan, and as per the request of Chandrababu, MSV arranged his last rites when he died in March 1974.


title: M. S. Viswanathan

text: Viswanathan had always wanted to be an actor and singer, but was not successful. He had a few small roles in stage dramas in the 1940s. The composer and violinist T. R. Papa met Viswanathan, took a liking to him and arranged a job for him as an errand boy for S. V. Venkatraman's musical troupe in 1942. In that company of musicians, Viswanathan realised that he had the inclination and the potential for composing music. He thereafter joined S. M. Subbaiah Naidu and at times assisted him. He then joined C. R. Subburaman's musical troupe as a harmonium player. Here, he met T. K. Ramamoorthy and T. G. Lingappa, the two leading violinists at that time. T. G. Lingappa also became a renowned music composer on his own in the 1950s.


title: M. S. Viswanathan

text: In 1952, C. R. Subburaman died unexpectedly. Ramamoorthy and Viswanathan joined and completed the background music for the films Subburaman was working on, including "Devadas", "Chandirani" and "Marumagal". N. S. Krishnan knew them both fairly intimately and also their respective talents by then because of his close relationship with C.R.Subburaman, with whom he had worked earlier in several films. Meanwhile, Viswanathan also worked as the third composer for the film "Genova" where the other composers were M.S Gnanamani and T.K.Kalyanam. M.G.Ramachandran, the hero of the film Genova, had reservations about the 'raw, young music director' but the reservations lasted only until he listened to the songs. M.G.Ramachandran instantly recognised the arrival of a genius and the relationship lasted until the end of his career as a hero in 1977. Viswanathan and Ramamoorthy were asked to write the music for "Panam", a 1952 film produced by "A. L. Seenivasan" and directed by N. S. Krishnan. Later the duo was asked to do the background score for the film "Ratha Kanneer" by its music composer C. S. Jayaraman.


title: M. S. Viswanathan

text: On 16 June 1963 at a special function M. S. Viswanathan and T. K. Ramamoorthy were each given the title of "Mellisai Mannar"(Kings of the Light Music). It was granted by Sivaji Ganesan at the Madras Triplicane Cultural Academy. The function was supported and facilitated by the Hindu Group of Publications, especially Mr. T. M. Ramachandran, Director C. V. Sridhar and Chitralaya Gopu.


title: M. S. Viswanathan

text: The duo parted in 1965 after release of "Ayirathil Oruvan" and since then they composed for films individually. After 29 years, they rejoined in 1995 for the Tamil film "Engirundho Vanthan" starring Sathyaraj.


title: M. S. Viswanathan

text: P. Susheela received her first National Award as Best Singer in 1969 for the song "Paal Polave" composed by MSV in the film Uyarndha Manidhan. Immediately after recording the song, MSV was so happy, he said to P. Susheela that she would be acclaimed as the Best Singer for the National Award for this song.


title: M. S. Viswanathan

text: The duo Viswanathan Ramamoorthy were awarded an honorary doctorate by the Sathyabama Deemed University in September 2006.


title: M. S. Viswanathan

text: J. Jayalalithaa, the Chief Minister of Tamil Nadu, conferred the title "Thirai Isai Chakravarthy" (Emperors of the Cine Music) on Viswanathan and Ramamoorthy in August 2012 and presented them with 60 gold coins and a new car.


title: M. S. Viswanathan

text: Viswanathan Ramamoorthy duo were the first musicians to arrange a stage performance of the film singers and live orchestra in India. Until then only traditional Carnatic music and Hindustani classical music was performed live in any function. This became a trend setter and paved the way not only for the birth of many musical troops, but also for knowing, understanding and learning about the western instruments among millions of Indians.


title: M. S. Viswanathan

text: M. S. Viswanathan began his solo career in 1965. Viswanathan is known for having incorporated various genres of world music into Indian cinema music. He used elements such as humming and whistling in his songs, and blended new trends such as western music and disco with Indian classical tunes. Some of his films as solo music composer include "Idhayakani", "Gallatta Kalyanam", "Chandrodhyam", "Kannan En Kadhalan", "Dheiva Magan", "Nimrundhu Nil", "Rickshakaran", "Ulagam Sutrum Vaaliban", and "Urumai Kural". M. S. Viswanathan also scored music for many non-film albums and for political campaigns.


title: M. S. Viswanathan

text: He also did playback singing, including 500 songs composed by himself and over 200 songs composed by music directors. He performed songs such as Sollathan Ninaikiren, Inbathilum Thunbathilun Sirithidu Magaley, Yenakkoru Kaathalai Irukindral, Sangamam and Vidaikodu Engal Nadey.


title: M. S. Viswanathan

text: Viswanathan worked with many different film directors, including B. R. Panthulu, S. S. Vasan, B. S. Ranga, and Krishnan–Panju in the 1950s, and in later decades with C. V. Sridhar, A. Bhimsingh, Madhavan, T. R. Ramanna, A. C. Trilogchander, K. Shankar, K. Balachander, Muktha Srinivasan, Chitralaya Gopu, Cho Ramaswamy, and K. S. Gopalakrishnan from the 1960s. From the 1970s directors such as S. P. Muthuraman, Major Sundarrajan, Bhagyaraj, D. Yoganand, C. V. Rajendran, P. Madhavan, K. S. Prakash Rao, Vietnam Veedu Sundaram, N. T. Rama Rao, and I. V. Sasi frequently worked with Viswanathan; later, in the 1980s and 1990s, new directors such as Visu, Mouli, Komal Swaminathan, and K. Raghunath collaborated with Viswanathan regularly.


title: M. S. Viswanathan

text: He worked with a number of singers, both younger artists and more established ones, including P Leela, P. Susheela, L. R. Eswari, T. M. Soundararajan, and the Malayalam singer Jayachandran. He is also considered responsible for making singers like S. P. Balasubrahmanyam and Vani Jairam, R. Balasaraswathi, S. Janaki, A. L. Raghavan, Sirkazhi Govindarajan and K. J. Yesudas popular names. He gave Swarnalatha her first job as a playback singer when she was 14 years old. MSV has given great life by giving opportunity and support for many musicians, lyricists, singers etc. Lyricist Vaali quoted in 1984, "Until I met Viswanathan Sir, I had no money to have any food. But from the moment I met Viswanathan Sir I had no time to have food".


title: M. S. Viswanathan

text: His notable musical works from 1980s to 1990s included - Polladhavan, Avan Aval Adhu, Billa, Mazhalai Pattalam, Varumayin Niram Sigappu (1980), Antha Ezhu Natkal (1981), Kizhvanam Sivakkam (1981), Thaneer Thaneer (1981), Thillu Mullu (1981), Sathyam Sundaram (1981), Simla Special (1982), Pokkiri Raja (1982), Saranalayam (1983), Mridanga Chakravarthi (1983), Puyalkadantha Boomi (1984),Idanilangal (1985), Sugamana Ragangal, Vasantha Ragam (1986), Sattam Oru Vilayattu (1987),Samrat Ashok (1992),Manikantana Mahime (1993), Vetri Vinayagar (1996), Amma Ammayiamma (1998)


title: M. S. Viswanathan

text: M. S. Viswanathan went on to act in Tamil feature films after 1995, notably appearing in Kaadhal Mannan after being convinced to do so by actor Vivek and Director Saran while he also starred in Kamal Haasan's "Kaathala Kaathala" and Karthik's "Rojavanam". He also made appearances in other films and television series like Kalki, since 1995.


title: M. S. Viswanathan

text: Since 1996, Viswanathan focused on composing devotional music and serving as a judge in Malayalam and Tamil TV reality shows. He collaborated with Ilaiyaraaja in 'Mella Thiranthathu Kathathavu', 'Senthamizh Paatu' 'Vishwa Thulsi' and 'Senthamizh Selvan' starring Prashanth. He sang the song "Vidai Kodu Engal Naadae" for 2002 Tamil film "Kannathil Muthamittal" composed by A.R.Rahman. Then in 2013 he sang for the film Neelam – the song called 'Alayae o Alayae' and it was recorded in the supervision of music composer Satish Chakravarthy. According to director Kumar G. Venkatesh, this was the last song sung by M S V. He in 2013 composed music for the film "Thillu Mullu", with Yuvan Shankar Raja While M. S. Viswanathan composed the tunes in the 2013 Thillu Mullu film, Yuvan Shankar Raja orchestrated and recorded them. He sang the song 'Saami Namba saami' penned by Snehan for the film "Mannar Valaikuda", composed by S.Siva Pragasam.


title: M. S. Viswanathan

text: Rajnikanth said in an interview about M. S. Viswanathan, "You will rarely find someone like MSV in any industry. He lived life like a selfless saint, free from jealousy and lies. He was behind the success of legends like MGR and Sivaji. If not for MSV, the careers of filmmaker Balachander, lyricists Vaali and Kannadasan wouldn't have tasted huge success."


title: M. S. Viswanathan

text: On 27 June 2015, Viswanathan was admitted to Fortis Malar hospital in Chennai with breathing difficulties. He had been undergoing a treatment at the hospital for some time. He died at on 14 July 2015 due to age-related ailments, three weeks after he had turned 87. He was cremated with full state honours at Besant Nagar Electric Crematorium.


title: Atri

text: Atri () or Attri is a Vedic sage, who is credited with composing numerous hymns to Agni, Indra, and other Vedic deities of Hinduism. Atri is one of the Saptarishi (seven great Vedic sages) in the Hindu tradition, and the one most mentioned in its scripture Rigveda.


title: Atri

text: The fifth Mandala (Book 5) of the Rigveda is called the Atri Mandala in his honour, and the eighty seven hymns in it are attributed to him and his descendants.


title: Atri

text: Atri is one of the seven great Rishi or Saptarshi along with Marichi, Angiras, Pulaha, Kratu, Pulastya and Vashistha. According to the legends of the Vedic era, sage Atri was married to Anasuya Devi. They had three sons, Dattatreya, Durvasa and Chandra. As per divine account, he is the last among the seven saptharishis and is believed to have originated from the tongue. The wife of Atri was Anasuya, who is considered one of the seven female pativratas. When instructed by divine voice to do penance, Atri readily agreed and did severe penance. Pleased by his devotion and prayers, the Hindu trinity, namely, Brahma, Vishnu and Shiva appeared before him and offered him boons. He sought all the three to be born to him. Another version of the legend states that Anasuya, by the powers of her chastity, rescued the three gods and in return, they were born as children to her. Brahma was born to her as Chandra, Vishnu as Dattatreya and Shiva in some part as Durvasa. The mention about Atri is found in various scriptures, with the notable being in "Rig Veda". He is also associated with various ages, the notable being in Treta Yuga during "Ramayana", when he and Anasuya advised Rama and his wife Sita. The pair is also attributed to bringing river Ganga down to earth, the mention of which is found in "Shiva Purana".


title: Atri

text: He is said to be a resident of the south in Valmiki Ramayana. The same is supported by Puranic tradition.


title: Atri

text: He is the seer of the fifth Mandala (Book 5) of the Rigveda. Atri had many sons and disciples who have also contributed in the compilation of the Rig Veda and other Vedic texts. Mandala 5 comprises 87 hymns, mainly to Agni and Indra, but also to the Visvedevas ("all the gods'), the Maruts, the twin-deity Mitra-Varuna and the Asvins. Two hymns each are dedicated to Ushas (the dawn) and to Savitr. Most hymns in this book are attributed to the Atri clan composers, called the "Atreyas".


title: Atri

text: The Atri hymns of the Rigveda are significant for their melodic structure as well as for featuring spiritual ideas in the form of riddles. These hymns include lexical, syntactic, morphological and verb play utilizing the flexibility of the Sanskrit language. The hymn 5.44 of the Rigveda in Atri Mandala is considered by scholars such as Geldner to be the most difficult riddle hymn in all of the Rigveda. The verses are also known for their elegant presentation of natural phenomenon through metaphors, such as poetically presenting dawn as a cheerful woman in hymn 5.80.


title: Atri

text: While the fifth mandala is attributed to Atri and his associates, sage Atri is mentioned or credited with numerous other verses of the Rigveda in other Mandalas, such as 10.137.4.


title: Atri

text: In the Ramayana, Rama, Sita and Lakshmana visit Atri and Anasuya in their hermitage. Atri's hut is described to be in Chitrakuta, near a lake with divine music and songs, the water loaded with flowers, green water leaves, with many "cranes, fisherbirds, floating tortoises, swans, frogs and pink geese".


title: Atri

text: A number of sages named Atri are mentioned in the various medieval era Puranas. The legends therein about Atri are diverse and inconsistent. It is unclear if these refer to the same person, or to different Rishis who had the same name.


title: Atri

text: The Vaikhanasas sub-tradition within Vaishnavism found in South India near Tirupati, credit their theology to four Rishis (sages), namely Atri, Marichi, Bhrigu and Kashyapa. One of the ancient texts of this tradition is "Atri Samhita", which survives in highly inconsistent fragments of manuscripts. The text are rules of conduct aimed at Brahmins of the "Vaikhanasas" tradition. The surviving parts of the "Atri Samhita" suggest that the text discussed, among other things, yoga, and ethics of living, with precepts such as:


title: Atri

text: The Vaikhanasas continue to be a significant community in South India, and they adhere to their Vedic heritage.


title: The Children's Hour (film)

text: The Children's Hour (released as The Loudest Whisper in the United Kingdom) is a 1961 American drama film directed by William Wyler. The screenplay by John Michael Hayes is based on the 1934 play of the same title by Lillian Hellman. The film stars Audrey Hepburn, Shirley MacLaine, James Garner and Fay Bainter (in her final film role).


title: The Children's Hour (film)

text: In the early 1960s, former college classmates Martha Dobie and Karen Wright open a private boarding school for girls. After an engagement of two years to the doctor Joe Cardin, Karen finally agrees to set a wedding date. Joe is related to the influential Amelia Tilford, whose granddaughter Mary is a student at the school. Mary is a spoiled, conniving child who bullies her classmates.


title: The Children's Hour (film)

text: Whilst being punished for a lie Mary had told, one of her roommates overhears an argument between Martha and her Aunt Lily. Lily accuses Martha of being jealous and having an unnatural relationship with Karen. On hearing this Mary spreads this gossip to her grandmother and Amelia spreads it around the parents of the school.


title: The Children's Hour (film)

text: Karen learns of this and confronts Amelia about Mary accusing Martha and Karen of being lovers. Mary is foiled at convincing others that she personally saw the interactions between Martha and Karen. Using her knowledge that her roommate, Rosalie, has stolen jewelry and other personal items from a number of people, Mary forces Rosalie to corroborate her story.


title: The Children's Hour (film)

text: The two women file a suit of libel and slander against Mrs. Tilford. A few months later, Martha and Karen are isolated at the school, having lost all of their students and ruined their reputations after losing the lawsuit. Karen calls off her engagement with Joe when he asks her if what was said about Martha and her was true. When she finds out, Martha points out that other female couples have persevered after being found out, because of the strength of their love, then admits that she has been in love with Karen for years. Karen says that Martha is just confused about her feelings, but Martha insists it is love, breaking down in tears.


title: The Children's Hour (film)

text: Rosalie‘s mother finds the collection of stolen items her daughter has kept, leading to the revelation of Mary’s lie about Martha and Karen. Mrs. Tilford tells the judge, who will overturn the outcome of the lawsuit, publish the results in the newspaper, and a full financial settlement will be paid to the teachers. Karen tells Martha that they are still friends, and can open a new school.


title: The Children's Hour (film)

text: Aunt Lily asks Karen about the whereabouts of Martha as her door is locked. Karen breaks loose the door's slide lock with a candleholder and discovers Martha has hanged herself in her room.


title: The Children's Hour (film)

text: Hellman's play was inspired by the 1810 true story of two Scottish school teachers, Miss Marianne Woods and Miss Jane Pirie, whose lives were destroyed when one of their students accused them of engaging in a sexual relationship, but in the Scottish case, they eventually won their suit, although that did not change the devastation wrought on their lives. At the time of the play's premiere (1934) the mention of homosexuality on stage was illegal in New York State, but authorities chose to overlook its subject matter when the Broadway production was acclaimed by the critics.


title: The Children's Hour (film)

text: The first film adaptation of the play was "These Three" directed by Wyler and released in 1936. Because the Hays Code, in effect at the time of the original film's production (1936), would never permit a film to focus on or even hint at lesbianism, Samuel Goldwyn was the only producer interested in purchasing the rights. He signed Hellman to adapt her play for the screen, and the playwright changed the lie about the two school teachers being lovers into a rumor that one of them had slept with the other's fiancé. Because the Production Code refused to allow Goldwyn to use the play's original title, it was changed to "The Lie", and then "These Three".


title: The Children's Hour (film)

text: By the time Wyler was ready to film the remake in 1961, the Hays Code had been liberalized to allow screenwriter John Michael Hayes to restore the original nature of the lie. Aside from having Martha hang rather than shoot herself as she had in the play, he remained faithful to Hellman's work, retaining substantial portions of her dialogue.


title: The Children's Hour (film)

text: In the 1995 documentary film "The Celluloid Closet", Shirley MacLaine said she and Audrey Hepburn never talked about their characters' alleged homosexuality. She also claimed Wyler cut some scenes hinting at Martha's love for Karen because of concerns about critical reaction to the film.


title: The Children's Hour (film)

text: The film was James Garner's first after suing Warner Bros. to win his release from the television series "Maverick". Wyler broke an unofficial blacklist of the actor by casting him, and Garner steadily appeared in films and television shows over the following decades, including immediately playing leading roles in four different major movies released in 1963: "The Great Escape" with Steve McQueen, "The Thrill of It All" with Doris Day, "The Wheeler Dealers" with Lee Remick, and "Move Over, Darling" again with box office queen Doris Day.


title: The Children's Hour (film)

text: The film's location shooting was done at the historic Shadow Ranch, in present-day West Hills of the western San Fernando Valley.


title: The Children's Hour (film)

text: "Variety" said, "Audrey Hepburn and Shirley MacLaine ... beautifully complement each other. Hepburn's soft sensitivity, marvelous projection and emotional understatement result in a memorable portrayal. MacLaine's enactment is almost equally rich in depth and substance." "TV Guide" rated the film 3½ out of four stars, adding "The performances range from adequate (Balkin's) to exquisite (MacLaine's)."


title: Glycosaminoglycan

text: Glycosaminoglycans (GAGs) or mucopolysaccharides are long, linear polysaccharides consisting of repeating disaccharide units (i.e. two-sugar units). The repeating two-sugar unit consists of a uronic sugar and an amino sugar, except in the case of the sulfated glycosaminoglycan keratan, where, in place of the uronic sugar there is a galactose unit. GAGs are found in vertebrates, invertebrates and bacteria.


title: Glycosaminoglycan

text: Because GAGs are highly polar molecules and attract water; the body uses them as lubricants or shock absorbers.


title: Glycosaminoglycan

text: Mucopolysaccharidoses are a group of metabolic disorders in which abnormal accumulations of glycosaminoglycans occur due to enzyme deficiencies.


title: Glycosaminoglycan

text: Glycosaminoglycans vary greatly in molecular mass, disaccharide structure, and sulfation. This is because GAG synthesis is not template driven, as are proteins or nucleic acids, but constantly altered by processing enzymes.


title: Glycosaminoglycan

text: GAGs are classified into four groups, based on their core disaccharide structures. Heparin/heparan sulfate (HSGAGs) and chondroitin sulfate/dermatan sulfate (CSGAGs) are synthesized in the Golgi apparatus, where protein cores made in the rough endoplasmic reticulum are post-translationally modified via O-linked glycosylation by glycosyltransferases ,forming proteoglycans. Keratan sulfate may modify core proteins through N-linked glycosylation or O-linked glycosylation of the proteoglycan. The fourth class of GAG, hyaluronic acid, is synthesized by integral membrane synthases, which immediately secrete the dynamically elongated disaccharide chain.


title: Glycosaminoglycan

text: HSGAG and CSGAG modified proteoglycans first begin with a consensus Ser-Gly/Ala-X-Gly motif in the core protein. Construction of a tetrasaccharide linker that consists of -GlcAβ1–3Galβ1–3Galβ1–4Xylβ1-O-(Ser)-, where xylosyltransferase, β4-galactosyl transferase (GalTI),β3-galactosyl transferase (GalT-II), and β3-GlcA transferase (GlcAT-I) transfer the four monosaccharides, begins synthesis of the GAG modified protein. The first modification of the tetrasaccharide linker determines whether the HSGAGs or CSGAGs will be added. Addition of a GlcNAc promotes the addition of HSGAGs while addition of GalNAc to the tetrasaccharide linker promotes CSGAG development. GlcNAcT-I transfers GlcNAc to the tetrasaccahride linker, which is distinct from glycosyltransferase GlcNAcT-II, the enzyme that is utilized to build HSGAGs. EXTL2 and EXTL3, two genes in the EXT tumor suppressor family, have been shown to have GlcNAcT-I activity. Conversely, GalNAc is transferred to the linker by the enzyme GalNAcT to initiate synthesis of CSGAGs, an enzyme which may or may not have distinct activity compared to the GalNAc transferase activity of chondroitin synthase.


title: Glycosaminoglycan

text: With regard to HSGAGs, a multimeric enzyme encoded by EXT1 and EXT2 of the EXT family of genes, transfers both GlcNAc and GlcA for HSGAG chain elongation. While elongating, the HSGAG is dynamically modified, first by N-deacetylase, N-sulfotransferase (NDST1), which is a bifunctional enzyme that cleaves the N-acetyl group from GlcNAc and subsequently sulfates the N-position. Next, C-5 uronyl epimerase coverts d-GlcA to l-IdoA followed by 2-"O" sulfation of the uronic acid sugar by 2-"O" sulfotransferase (Heparan sulfate 2-O-sulfotransferase). Finally, the 6-"O" and 3-"O" positions of GlcNAc moities are sulfated by 6-"O" (Heparan sulfate 6-O-sulfotransferase) and 3-O (3-OST) sulfotransferases.


title: Glycosaminoglycan

text: Chondroitin sulfate and dermatan sulfate, which comprise CSGAGs, are differentiated from each other by the presence of GlcA and IdoA epimers respectively. Similar to the production of HSGAGs, C-5 uronyl epimerase converts d-GlcA to l-IdoA to synthesize dermatan sulfate. Three sulfation events of the CSGAG chains occur: 4-"O" and/or 6-"O" sulfation of GalNAc and 2-"O" sulfation of uronic acid. Four isoforms of the 4-"O" GalNAc sulfotransferases (C4ST-1, C4ST-2, C4ST-3, and D4ST-1) and three isoforms of the GalNAc 6-"O" sulfotransferases (C6ST, C6ST-2, and GalNAc4S-6ST) are responsible for the sulfation of GalNAc.


title: Glycosaminoglycan

text: Unlike HSGAGs and CSGAGs, the third class of GAGs, those belonging to keratan sulfate types, are driven towards biosynthesis through particular protein sequence motifs. For example, in the cornea and cartilage, the keratan sulfate domain of aggrecan consists of a series of tandemly repeated hexapeptides with a consensus sequence of E(E/L)PFPS. Additionally, for three other keratan sulfated proteoglycans, lumican, keratocan, and mimecan (OGN), the consensus sequence NX(T/S) along with protein secondary structure was determined to be involved in "N"-linked oligosaccharide extension with keratan sulfate. Keratan sulfate elongation begins at the nonreducing ends of three linkage oligosaccharides, which define the three classes of keratan sulfate. Keratan sulfate I (KSI) is "N" -linked via a high mannose type precursor oligosaccharide. Keratan sulfate II (KSII) and keratan sulfate III (KSIII) are "O"-linked, with KSII linkages identical to that of mucin core structure, and KSIII linked to a 2-"O" mannose. Elongation of the keratan sulfate polymer occurs through the glycosyltransferase addition of Gal and GlcNAc. Galactose addition occurs primarily through the β-1,4-galactosyltransferase enzyme (β4Gal-T1) while the enzymes responsible for β-3-Nacetylglucosamine have not been clearly identified. Finally, sulfation of the polymer occurs at the 6-position of both sugar residues. The enzyme KS-Gal6ST (CHST1) transfers sulfate groups to galactose while N-acetylglucosaminyl-6-sulfotransferase (GlcNAc6ST) (CHST2) transfers sulfate groups to terminal GlcNAc in keratan sulfate.


title: Glycosaminoglycan

text: The fourth class of GAG, hyaluronic acid (HA), is not sulfated and is synthesized by three transmembrane synthase proteins HAS1, HAS2, and HAS3. HA, a linear polysaccharide, is composed of repeating disaccharide units of →4)GlcAβ(1→3)GlcNAcβ(1→ and has a very high molecular mass, ranging from 10 to 10 Da. Each HAS enzyme is capable of transglycosylation when supplied with UDP-GlcA and UDP-GlcNAc. HAS2 is responsible for very large hyaluronic acid polymers, while smaller sizes of HA are synthesized by HAS1 and HAS3. While each HAS isoform catalyzes the same biosynthetic reaction, each HAS isoform is independently active. HAS isoforms have also been shown to have differing "K" values for UDP-GlcA and UDPGlcNAc. It is believed that through differences in enzyme activity and expression, the wide spectrum of biological functions mediated by HA can be regulated, such as its involvement with neural stem cell regulation in the subgranular zone of the brain.


title: Glycosaminoglycan

text: CSGAGs interact with heparin binding proteins, specifically dermatan sulfate interactions with fibroblast growth factor FGF-2 and FGF-7 have been implicated in cellular proliferation and wound repair while interactions with hepatic growth factor/scatter factor (HGF/SF) activate the HGF/SF signaling pathway (c-Met) through its receptor. CASGAGs are important in providing support and adhesiveness in bone, skin, and cartilage. Other biological functions for which CSGAGs are known to play critical functions in include inhibition of axonal growth and regeneration in CNS development, roles in brain development, neuritogenic activity, and pathogen infection.


title: Glycosaminoglycan

text: Members of the glycosaminoglycan family vary in the type of hexosamine, hexose or hexuronic acid unit they contain (e.g. glucuronic acid, iduronic acid, galactose, galactosamine, glucosamine).


title: Predestination in Islam

text: Qadar (, transliterated "qadar", meaning literally "power", but translated variously as: "Fate", "Divine Fore-ordainment", "Predestination," "Divine Decree", "Decree" of Allah", "Preordainment") is the concept of Divine Destiny in Islam. As God is all-knowing and all-powerful, everything that has happened and will happen in the universe—including sinful human behavior—is not only known but commanded by him. At the same time, human beings are responsible for their actions, and will be rewarded or punished accordingly on Judgement Day.


title: Predestination in Islam

text: Predestination/Divine Destiny is one of Sunni Islam's six articles of faith, (along with belief in the Oneness of Allah, the Revealed Books, the Prophets of Islam, the Day of Resurrection and Angels).


title: Predestination in Islam

text: Since many things that happen on earth as a part of Allah's decree are bad/evil, "the will of Allah" can be divided into two sorts—the "universal will" (everything that happens, the subject of this article); and the "legislative will", what Allah commands human beings to do that they sometimes do not (obey sharia).


title: Predestination in Islam

text: Some early Islamic schools (Qadariyah and Muʿtazila) did not accept the doctrine of predestination; Muʿtazila argued that it was "unthinkable" that God "would punish man for what He himself had commanded". Predestination is not included in the Five Articles of Faith of Shi'i Islam. At least a few sources describe Shi'i Muslims as denying predestination, and at least one Shi'i scholar (Naser Makarem Shirazi) argues "belief in predestination is a denial of justice".


title: Predestination in Islam

text: In Islam, "predestination" is the usual English language rendering of a belief that Muslims call "" ( ). As per the Sunni understanding, the phrase means "the divine decree and the predestination"; "al-qadr" more closely means "(divine) power", deriving from the root ق د ر ("q-d-r"), which denotes concepts related to "measuring out, aiming, calculating, preparing, being able, and having power".


title: Predestination in Islam

text: Maria De Cillis also states the two words have "Semitic roots originating from Babylonian and Israelite religious traditions that considered the world" to be "a replica of what had already been recorded in celestial books or charts."


title: Predestination in Islam

text: While the Quran is "not consistent" on whether human beings have control over their life or whether their destiny is preordained, verses supporting the latter predominate.


title: Predestination in Islam

text: A reflection of belief in the power of divine will is found in the phrase "Insha'Allah", Arabic for "if God willed [it]", which is frequently used by Muslims when referring to the future, to qualify any predictions of what will come to pass. The phrase obeys the verse:


title: Predestination in Islam

text: According to one source (Alfred Guillaume), the "books of canonical traditions" do "not contain a single saying of Muhammad's which leaves freedom of action to man" (although he thinks "there are good reasons for believing that these traditions are forged at a time when the controversy was at its height ...").


title: Predestination in Islam

text: One of the hadith where Muhammad tells Jibreel about the articles of faith, including "divine decree" is


title: Predestination in Islam

text: A hadith quotes Abd Allah ibn Umar ibn al-Khattab as narrating the hadith above along with the saying that:


title: Predestination in Islam

text: Another hadith encourages Muslims to "carry on doing good deeds", though it will not affect their place in the Afterlife, as they have already been assigned to either the Fire or in Paradise and that can't be changed:


title: Predestination in Islam

text: In orthodox Islam, almighty and all knowing God's control over what happens in his creation is absolute. "Allah has decreed all things from eternity". He knows that they will happen, when they will happen, how they will happen, and "He has written that and willed it". This includes "the pettiest of human or other, affairs", not withstanding "the grandeur of God's cosmic role", (in the words of scholar Michael Cook).


title: Predestination in Islam

text: But at the same time, human beings in their life on earth have the choice to do good or evil, are responsible for their actions, and will be rewarded or punished according in an eternal afterlife.


title: Predestination in Islam

text: This poses the question, (raised by the early Islamic rationalist Muʿtazila school of thought), if everything that has happened and will happen, including all acts of good and evil, has already been determined by God, doesn't that mean that everything a human being does during their life is only following God's decree? How can human beings be responsible for this, and even punished with eternal torment in hell for it?


title: Predestination in Islam

text: The question was/is not unique to Islam, and the debate over whether free will exists is not even limited to religion. According to Justin Parrott of the Islamic Yaqeen Institute, "it has been an important issue throughout history", addressed by the ancient Greek philosopher Aristotle over 2000 years ago. Orientalist Alfred Guillaume points out the dilemma "has exercised the minds" of theologians of all religions "which claim to present" a god that is both almighty and moral.


title: Predestination in Islam

text: Moses Maimonides formulated an argument regarding a person's free will, in traditional terms of good and evil actions, as follows:


title: Predestination in Islam

text: They say, “Does God know that so and so at such and such an hour on such and such a day will kill someone or will drink an alcoholic beverage?”


title: Predestination in Islam

text: If we say, “He does not know,” we have denied God’s knowledge. And if we say, “Yes, that person must do this, otherwise God’s knowledge will be imperfect,” then, in order to preserve God’s knowledge, a person is obliged to sin and obey God!


title: Predestination in Islam

text: According to Maria De Cillis, "the apparently unsolvable conflict between the concepts of free will and determinism (or divine predetermination)" has not only been "a matter of great interest" but also of "heated controversy", extending beyond academia and the ulama and into politics "by virtue of the repercussions that this debate has in a social context"; (for example, when tyrannical and corrupt authorities encourage fatalism towards tyranny and corruption by pointing out that these maladies are "divinely willed and preordained"). According to Justin Parrott, "the idea ... that everything has already been decreed by the Creator from eternity— has troubled theologians and philosophers for centuries." And not only have members of those two professions taxed their brains about the conflict, but the "myriad of philosophical conundrums that arise" from the issue has caused some Muslims to experience doubts of faith. "Are we forced to do what we do, or are our choices meaningful?"


title: Predestination in Islam

text: Prophet allegedly taught believers to abstain from considerations about destiny ("qadar"), calling it a deep sea, a dark path and God’s secret. One of the most authoritative Sunni intellectuals, the theologian and Sufi master, Abū Hāmid al-Ghazālī (d. 1111), reports in his masterpiece "The Revival of the Religious Sciences", the tradition according to which Muhammad ... proclaimed: “Refrain from speaking about "qadar".”


title: Predestination in Islam

text: As a result, the scholars emphasized that providence is a secret of Allah and that "going too deeply into it philosophically" will lead to "misguidance".


title: Predestination in Islam

text: The creed of Al-Tahawi warns "that providence" (the seeming conflict of divine decree with human free will) is such a secret that even God's most obedient and holy creatures were not let in on the mystery.


title: Predestination in Islam

text: The principle of providence is the secret of Allah Almighty in His creation that has not been given to an angel near Him, nor to a prophet or messenger. Exaggeration ("al-ta’ammuq") and debate regarding it leads to failure, progressive denial, and a degree of transgression. Take every precaution against that kind of debate, thinking, and insinuation.


title: Predestination in Islam

text: At the same time, incompatibility between predestination and free will is not an issue in many popular Islamic sources.


title: Predestination in Islam

text: The 10th century Ash'ari school of theology, (which is still one of the main Sunni schools of Islamic theology), reconciles punishment in hell with the doctrine of total divine power over everything, with their own doctrine of "kasb" (acquisition). According to it, while any and all acts, including human acts of evil, are "created" by God, the human being who performs the act is "responsible" for it, because they have "acquired" the act. Humans only have the power to decide between the given possibilities God has created.


title: Predestination in Islam

text: In his attempt to illustrate the meaning of the verb “to acquire” (a word that is typical of Ash‘arite theology), [Ash‘arite theologian] al-Bāqillānī, in specifying the difference between a forced act and an acquired act, stated: “To acquire means that [man] freely performs his own acts by virtue of a [generated] power joined to such acts that makes them 'acquire' a qualification other than any compelled action … Such qualification of the action is, precisely, what we name acquisition.” It was in relation to this specific state that the action led to reward or punishment. More specifically, although he did not credit human beings with the power to make the action good or wicked, al-Bāqillānī recognised that they had the capacity to act in such a way as to make their actions coincide with what God wanted or rejected, thereby conferring moral connotations upon actions.


title: Predestination in Islam

text: The scholars of inter-islam.org explain that while Allah has "full knowledge of the individual’s actions; past, present and future", this world is a test for humans to determine whether they go to paradise or hellfire. "The notion that this world is a test warrants that the subjects being tested possess free-will or else there would be no meaning to such a test." Since that test does have meaning, this proves the individual does have free-will.


title: Predestination in Islam

text: Naser Makarem Shirazi response to those asking why God allows acts of evil that He, being all-knowing, knows will happen (see above), accusing them of asking the question in order to fabricate an excuse for committing sins. Shirazi maintains "our will or choice [are] also part of God’s knowledge", and compares God to a teacher who "knows that a lazy student will fail at the end of the year and the teacher is one hundred percent sure of this fact because of years of experience as a teacher", and who cannot be held responsible for student's failure.


title: Predestination in Islam

text: Justin Parrott explains that "from a purely rational standpoint", it may seem impossible for God to have absolute knowledge and power over all action in the universe, "and" for humans to be responsible for their actions. Parrott quotes sahih hadith that our "life span, deeds, and ultimate fate" (whether we go to heaven or hell) are determined ("written by the angels") before we are born; yet "after" we are born we have the opportunity "to secure a good fate" by appealing "to Allah through worship, prayer, and good deeds". Parrott explains that while statements like these may seem "contradictory on their face" to us, that is only because "of the human mind’s limited frame of reference". "We have to remember that Allah" and predestination "exists outside of time and space, beyond the cosmic veil in the Unseen," so that "we are simply incapable of conceiving it with our limited rational faculties".


title: Predestination in Islam

text: Skeptics have dismissed Qadar as unjust and non-sensical -- inherently contradictory. Critic of Islam Ibn Warraq complains that the "system of predestination" turns men into "automata", undermining "the notion of moral responsibility" and the justification for the harsh punishment of hellfire.


title: Predestination in Islam

text: Other critics of the compatibility of divine destiny and free-will (Abdullah Sameer and Hanney Selim) argue that the feelings of confusion by Muslims over the issue and the discouragement by religious leaders of attempts to understand the paradox (that they experienced as Muslims), are simply because divine destiny and free-will are "not" compatible. Attempts by theologians to make them so are logically incoherent, not unlike the doctrine of the Trinity in Christianity.


title: Predestination in Islam

text: Based on what has been preserved of the poetry of pre-Islamic Arabs, it is thought that they believed that the date of the person's death ("ajal"), was predetermined "no matter what he or she did". A person's "provision" or "sustenance" ("rizq"), essentially food, was also pre-determined.


title: Predestination in Islam

text: The concept of "ajal" is also found in the Quran in several verses, especially one revealed in reply to criticism of Muḥammad's military strategy (go out to Mount Uhud to fight when Muslims were attacked in Medina by the Meccans) that some Muslims complained led to unnecessary loss of life:


title: Predestination in Islam

text: (The verse expresses a different point of view—that acts are not predetermined, but their outcome is—than the later theological position that God knows/determines everything that happens.)


title: Predestination in Islam

text: The question of how to reconcile God's absolute power with human responsibility for their actions, led to "one of the earliest sectarian schisms" in Islam, between the Qadarites (aka Qadariyah), who believed in total free will of humans (and who appeared in Damascus around the end of the seventh century CE); and the Jabarites, who believed in "absolute" divine "determinism and fatalism".


title: Predestination in Islam

text: One statement of the Qadarite school doctrine ("Kitābu-l Milal wal Niḥal" by Al Mahdi lidin Allah Ahmad b. Yaḥyā b. Al Murtaḍā (a.h. 764-840)) arguing against determinism stated:


title: Predestination in Islam

text: Ma'bad al-Juhani (d.699 CE), was crucified by the orders of the Caliph Abd al-Malik in Damascus. He was said to be the first man to discuss the Qadr (Divine Decree).


title: Predestination in Islam

text: The Umayyad, during their reign, took the theological position that God had bestowed the caliphate on them, just as the Qurʾān described the bestowing of a caliphate on Adam (Q.2:30). Among their opponents were Qādarī who asserted "human free will in some form", such as that the good acts of any person come from God, but their bad acts (including those of God's caliph) come from themselves.


title: Predestination in Islam

text: After the unfortunate dispute between the Qadarites and Jabarites, Islam followed the middle path dictated by the Quran and Sunnah, "between the two extremes".


title: Predestination in Islam

text: Following the overthrow of the Umayyad dynasty by the Abbasid in 750 CE, the Qādarī movement "either faded out or was absorbed into the rationalist Muʿtazila movement".


title: Predestination in Islam

text: The next two schools that felt the need to reconcile the idea of an omnipotent God (creating everything including human actions) with a just God (who does not hold human beings responsible for acts God, not they, willed), were the Muʿtazila and the Ashʿaris.


title: Predestination in Islam

text: The Mu‘tazili school argued that since justice ("‘adl") is "the true essence" of divinity, "God can only do and only wishes what is salutary for human beings". (Based on verses Q.3:104, Q.22:10, Q.4:81.) He not only orders people to do that which is good and forbids them to do that which is reprehensible, he abstains from doing evil Himself. The evil in the world comes instead from Man's/human beings' free will. Man (the human race), therefore, is "the genuine “creator” (khāliq) of his actions".


title: Predestination in Islam

text: The Ash‘ari school, named after for Abū al-Hasan al-Ash‘arī (d. 935), argued that since God is all-powerful, "he is the sole, true author of every action, good or bad", including, of course, human actions. Humans are "limited to taking possession (by way of acquisition – "kasb") of the actions created for him by God". Having acquired these actions they are responsible for them on Judgement Day. Sunni Islam supported the Ash‘ari school (though not exclusively) and opposed the Mu‘tazili.


title: Predestination in Islam

text: Exponents of Islamic modernism, such as Muḥammad ʿAbduh (d. 1905), and Fazlur Rahman (d. 1988), follow the standard doctrine that God "has foreknowledge of human actions", but the fact that the future has been determined and includes evil acts, "does not compel humans to commit sin".


title: Predestination in Islam

text: Sunnis enumerate Qadar as one aspect of their creed (). They believe that the divine destiny is when God wrote down in the Preserved Tablet ("al-Lawhu 'l-Mahfuz") all that has happened and will happen, which will come to pass as written.


title: Predestination in Islam

text: According to Maturidi belief, all active possibilities are created by God and humans act in accordance with their free intention to choose which action they follow. In this way, the intention precedes the created action and capacity by which actions are acquired ("kasb" in Arabic).


title: Predestination in Islam

text: According to two conservative sources (islamqa.info and Allah Knowing) belief in al-Qadar is based on four things, components aspects:


title: Predestination in Islam

text: An example of how these categorizations help clear the idea of destiny is as follows: It is possible that Allah sends a daily/yearly decree dictating that a person will make a profit. However, due to that person's good deeds (for instance, fulfilling the ties of kinship [being good to your relatives and maintaining the relationship]), Allah sends another decree increasing that person's profit. The reversal of the two decrees is all within Allah's knowledge and is recorded in the Preserved Tablet. The person himself knows nothing of his own destiny or of Allah's decrees, but what he does know is that if he performs certain good deeds, then He will increase his profit (as in the example above) more than if he does not do that deed.


title: Predestination in Islam

text: Shi'i Twelvers, along with other Shia sects, such as the Zaydis, reject predestination. This belief is further emphasized by the Shia concept of Bada', which states that God has not set a definite course for human history. Instead, God may alter the course of human history as God sees fit.


title: Predestination in Islam

text: However, according to Encyclopedia.com (drawing from W. Montgomery Watt and Asma Afsaruddin), contemporary Imāmīs, aka Twelver Shi'a, "in general, subscribe to the doctrine of divine determination with a nod in the direction of free will; Ismāʿīlī views are not dissimilar. The Zaydī Shīʿī are closer to the Muʿtazilah in their views".


title: Predestination in Islam

text: The idea of "a tablet" with the future written on it is not unique to Sunni Islam as one Twelver Shi'i scholar (Al-Shaykh Al-Mufid d.1022), claiming that "the Tablet is the Book of Almighty Allah in which He has written all that will be till the Day of Resurrection".


title: Predestination in Islam

text: To show that there is no contradiction between being predestined, and free will, Shiites state that matters relating to human destiny are of two kinds: definite and indefinite. To explain the definitive one, Shiites argue that God has definite power over the whole of existence, however, so whenever He wills, He can replace a given destiny with another one; and that is what is called indefinite destiny. Some of these changes of destiny, thus, are brought about by man himself, who can through his free will, his decisions, and his way of life lay the groundwork for a change in his destiny as has been pointed out in the verse:


title: Predestination in Islam

text: Both types of destinies, however, are contained within God's foreknowledge, Shiites argue, so that there could be no sort of change ("badaʾ" lit. "mutability") concerning His knowledge. So the first type of destiny does not mean a limitation of God's power; since God, in contrast to the belief of Jews who said "the hand of God is tied’" asserts: "Nay, His hands are spread out wide ...". So God has the power to change everything he wills and God's creativity is continuous. Accordingly, as Sobhani puts it, "all groups in Islam regard "bada" as a tenet of the faith, even if not all actually use the term."


title: Predestination in Islam

text: Iranian scholar Naser Makarem Shirazi asserts that "belief in predestination is a denial of justice", and that there is free will in Islam, but at the same time (according to him) God has foreknowledge of everything in the future. He tackles the paradox of God knowing man will commit a certain sin, and man's free will to commit it by postulating the existence of a machine so advanced that it can predict the occurrence of an event some hours in advance. Yet one would not say the machine compelled that event to occur; likewise, God's perfect knowledge doesn't compel man to commit sins.


title: Predestination in Islam

text: Ismaili thinkers such as Abū Hātim al-Rāzī (d. 934), Muhammad Ibn Ahmad al-Nasafī (d. 942), Abū Ya‘qūb Ishāq Ibn Ahmad al-Sijistānī (d. around 971), the Fatimid jurist al-Qādī al-Nu‘mān (d. 974) and the missionary” (dā‘ī) Hamīd al-Dīn al-Kirmānī (d. around 1021-22), "all contributed" to defining the terms "qadā’" and "qadar" used in the Quran. Ismaili thinkers wrote that humans were not able to fully grasp the Qur’anic truths in their exoteric and esoteric essence. Human knowledge, therefore required "guidance of a hierarchy of divinely designated masters", including "the whole chain of Ismaili religious dignitaries and officials."


title: Right Here Waiting

text: "Right Here Waiting" is a song by American singer and songwriter Richard Marx. It was released on June 29, 1989, as the second single from his second album, "Repeat Offender". The song was a global hit, topping charts in many countries around the world, including the U.S. where it reached number one on the "Billboard" Hot 100. It reached number two on the UK Singles Chart. It was certified platinum by the Recording Industry Association of America. It was the UK's most streamed love song on Spotify ahead of Valentine's Day in 2013.


title: Right Here Waiting

text: The song was originally created to be sung by Barbra Streisand but she later refused to sing it. Marx was an aspiring singer/songwriter when Streisand reached out and asked him to write her a hit. Marx sent Streisand "Right Here Waiting", but she turned down the chance to record it.


title: Right Here Waiting

text: He said in an interview, “I had just recently written "Right Here Waiting" and it was such a personal song to me at the time that I had no intention of recording it,” he told CBS’s The Talk. “I was like, ‘I’ll give Barbra Streisand "Right Here Waiting"; I’m not gonna do anything with it’. “I had to messenger the cassette tape of it to her. The next day she called me – I still have this voicemail… – and it says, ‘Richard, I heard the song; it’s a beautiful song, but I’m gonna need you to rewrite the lyrics because I’m not gonna be right here waiting for anyone. She actually did me a solid, because had she not rejected it I probably would never have recorded it and every once in a while I put my arm around her and I say, ‘Thank you so much for rejecting my song!'”


title: Right Here Waiting

text: "Right Here Waiting", once it was recorded by Marx, reached number one on the "Billboard" Hot 100 in the summer of 1989.


title: Right Here Waiting

text: "Right Here Waiting" was the second single from "Repeat Offender", after "Satisfied". Marx wrote the song on the road as a love letter to his wife, the actress Cynthia Rhodes, who was in South Africa shooting a film. The track was arranged by Marx with Jeffery (C.J.) Vanston to feature none of the heavy drums and synthesizers popular at the time, with Marx's vocal accompanied only by classical guitar (by Bruce Gaitsch) and keyboards (by Vanston). It is one of Marx's most frequently covered compositions.


title: Right Here Waiting

text: "Right Here Waiting" entered the "Billboard" Hot 100 singles chart at No. 44 in the week of July 8, 1989, and became Marx's third consecutive number-one single on August 12, 1989. The record spent three consecutive weeks at number one. The song was Marx's first of several to go to number one on the Adult Contemporary chart. Certified platinum on October 16, 1989, "Right Here Waiting" is Marx's best-selling single. The song also reached number one on the "Radio & Records" CHR/Pop Airplay chart on August 4, 1989, remaining on the top of the chart for three weeks.


title: Right Here Waiting

text: In the United Kingdom, the song was released in August 1989 and peaked at No. 2, behind the Italian house song "Ride on Time" by Black Box.


title: Right Here Waiting

text: The video for this song was directed by Jim Yukich, and produced by Paul Flattery. It appears to be filmed on the road during Marx's 1989 Repeat Offender Tour, but was all shot in Los Angeles. It features various black-and-white tour footage interspersed with color scenes of Marx playing the song to an empty auditorium with a grand piano at a (staged) soundcheck. Due to Marx's hectic touring schedule, very little time was available to produce a video for this single, so other tour footage was compiled to make an official video for the track.


title: Right Here Waiting

text: "Right Here Waiting" was covered by American R&B singer Monica. It was released only in the United States in December 1999 as the seventh and final single from her second studio album, "The Boy Is Mine", and features the R&B group 112. No music video was made for the song.


title: Oneiros

text: In Greek mythology, dreams were sometimes personified as Oneiros () or Oneiroi (). In the "Iliad" of Homer, Zeus sends an Oneiros to appear to Agamemnon in a dream, while in Hesiod's "Theogony", the Oneiroi are the sons of Nyx (Night), and brothers of Hypnos (Sleep).


title: Oneiros

text: For the ancient Greeks, dreams were not generally personified. However, a few instances of the personification of dreams, some perhaps solely poetic, can be found in ancient Greek sources.


title: Oneiros

text: In Homer's "Iliad", Zeus decides to send a "baleful dream" to Agamemnon, the commander of the Greek army during the Trojan War. An Oneiros is summoned by Zeus, and ordered to go to the camp of the Greeks at Troy and deliver a message from Zeus urging him to battle. The Oneiros goes quickly to Agamemnon's tent, and finding him asleep, stands above Agamemnon's head, and taking the shape of Nestor, a trusted counselor to Agamemnon, The Oneiros speaks to Agamenon, as Zeus had instructed him.


title: Oneiros

text: The "Odyssey" locates a "land of dreams" past the streams of Oceanus, close to Asphodel Meadows, where the spirits of the dead reside. In another passage of the "Odyssey", truthful dreams are said to come through a gate made of horn, while deceitful dreams come through a gate made of ivory (see Gates of horn and ivory).


title: Oneiros

text: Hesiod in his genealogical poem the "Theogony", makes the "tribe of Dreams" ("φῦλον Ὀνείρων"), among the many offspring of Nyx (Night), without a father. Their siblings include: Moros (Doom), Ker (Destiny), Thanatos (Death), Hypnos (Sleep), Momus (Blame), Oizys (Pain), Keres (Destinies), Nemesis (Retribution), Eris (Discord), and other abstract personifications.


title: Oneiros

text: Euripides, in his play "Hecuba" has Hecuba call "lady Earth" the "mother of black-winged dreams". The second-century AD geographer Pausanias mentions seeing statues of an Oneiros and Hypnos lulling a lion to sleep. He writes that the statue was surnamed Epidotes.


title: Oneiros

text: Related figures are the "Somnia" (Dreams), the thousand sons that the Latin poet Ovid gave to Somnus (Sleep), who appear in dreams. Ovid named three of the sons of Somnus: Morpheus, who appears in human guise, Icelos (was called like this by the gods)/ Phobetor (was called like this by the mortals), who appears as beasts, and Phantasos, who appears as inanimate objects.


title: Oneiros

text: Oneiros was also, according to some myths, the name of one of the sons of Achilles with Deidamia. His brother was Neoptolemus. He was killed by Orestes, who didn't recognize him, while fighting with him in Phocis for a place to pitch a tent.


title: Pentathlon

text: A pentathlon is a contest featuring five events. The name is derived from Greek: combining the words "pente" (five) and -"athlon" (competition) (). The first pentathlon was documented in Ancient Greece and was part of the Ancient Olympic Games. Five events were contested over one day for the Ancient Olympic pentathlon, starting with the long jump, javelin throwing, and discus throwing, followed by the "stadion" (a short foot race) and wrestling. Pentathletes were considered to be among the most skilled athletes, and their training was often part of military service—each of the five events in the pentathlon was thought to be useful in war or battle.


title: Pentathlon

text: With the revival of the Olympic Games in the modern era, the pentathlon returned in two formats. The athletics pentathlon was a modern variation on the original events, with a competition over five track and field events. The modern pentathlon, invented by Pierre de Coubertin (father of the Modern Olympics), was a variation on the military aspect of the Ancient pentathlon. It focused on the skills required by a late-19th-century soldier, with competitions in shooting, swimming, fencing, equestrianism, and cross country running. A prominent aspect of modern pentathlons is the point system, whereby each competitor is awarded a certain number of points based on their performance in each specific event. The overall winner is the competitor with the highest point total at the end of the five pentathlon events.


title: Pentathlon

text: The first documented pentathlon occurred in 708 BC in Ancient Greece at the Ancient Olympic Games, and was also held at the other Panhellenic Games. The name derives from Greek words for "five competitions". The event proved popular and lent itself to illustrations on ancient Greek pottery. It also featured in Greek mythology; the mythical hero Perseus fulfilled an oracle's prophecy by accidentally killing Acrisius with a discus while competing in the pentathlon. In mythology, Jason is credited with inventing the pentathlon, and he declared his friend Peleus the first winner of the event, after his victory in the wrestling. The wide variety of skills needed to compete meant that pentathletes were held in high esteem as physical specimens: in "Rhetoric", Aristotle remarked "a body capable of enduring all efforts, either of the racecourse or of bodily strength...This is why the athletes in the pentathlon are most beautiful". 1912 Olympic gold medal winner Ferdinand Bie referenced that story after completing the events.


title: Pentathlon

text: By the 77th Olympics, the athletic event was usually ordered into the "triagmos" (long jump, javelin throw, and discus throw), followed by the "stadion" foot race, and wrestling as the final event. Unlike modern athletics, the first three events did not appear as individual events outside of the pentathlon format. Other variations on the format included boxing or pankration instead of the stadion race.


title: Pentathlon

text: The pentathlon made its return as an Olympic event at the 1906 Games in Athens, consisting of a standing long jump, discus throw (ancient style), javelin throw, 192-metre run, and a Greco-Roman wrestling match.


title: Pentathlon

text: The 1912 Summer Olympics saw the introduction of two new types of the pentathlon. The first was the classic pentathlon, an athletics competition which was a variation on the Ancient Olympic pentathlon, comprising the long jump, javelin throw, 200 metres, discus throw, and a 1500 metres race. The competition featured at the 1920 and 1924 Summer Olympics but was discontinued thereafter.


title: Pentathlon

text: The second type of pentathlon introduced at the 1912 Olympics was the modern pentathlon, a sport invented by Pierre de Coubertin and modeled on the Ancient Olympic ideal of testing skills required by a soldier. Working from the template of a 19th-century soldier fighting behind enemy lines, the contest comprises épée fencing, pistol shooting, freestyle swimming, show jumping on the back of an unfamiliar horse allocated in a draw, and a cross country run. Competitors score points based on their performance in each event and the winner is the one with the highest total points at the end of the fifth competition. The men's individual competition has been held at every Olympic Games since 1912, and a women's competition was introduced in the 2000 Summer Olympics. Also, a men's team event was held between 1952 and 1992.


title: Pentathlon

text: An athletics pentathlon event for women was introduced at the 1964 Summer Olympics in Tokyo, featuring the 80 metres hurdles, shot put and high jump on the first day, with long jump, and 200 metres on the second day. The 1976 and 1980 Summer Olympics versions changed the format from 80 to 100 metres hurdles, and 200 to 800 metres. The event was discontinued in 1984, when it was replaced by the heptathlon.


title: Pentathlon

text: The format for the Ancient Olympic pentathlon varied in schedule and events. The "stadion" event was occasionally replaced by boxing or pankration. The discus throw was competed in the Greek style—the athletes would throw the discus from a raised platform. The long jump was aided by the use of "halteres"; stone weights which athletes would hold and swing to help propel themselves further. The "stadion" race was generally around 190 metres long, the length of the Stadium at Olympia.


title: Pentathlon

text: The sport is governed by the International Modern Pentathlon Union (UIPM) and, in addition to the contests held at the Olympics, a world championships is held in non-Olympic years.


title: Pentathlon

text: For much of its history, the modern pentathlon remained largely unchanged from the original events featured at the 1912 Olympics. However, in the 2000 Summer Olympics the 300 m freestyle swimming race was reduced to 200 m, and the 4000 m cross country race was reduced to 3000 m.


title: Pentathlon

text: The fencing (épée) event is the only one in which competitors face off directly against each other, with each competitor having to fence each of the opponents once. The épée duel lasts up to one minute; the winner is the first to land a hit, but the bout is drawn if the minute elapses with both opponents unscathed. The riding discipline involves show jumping over a 350–450 m course with 12 to 15 obstacles. Competitors are paired with horses in a draw 20 minutes before the start of the event. The shooting discipline involves using a 4.5 mm air pistol in the standing position from 10 metres distance at a stationary target.


title: Pentathlon

text: However, in 2009 the UIPM proposed that the running and shooting events should be combined into a single event, similar to the biathlon. Some commentators have suggested that the sport should be renamed as a "tetrathlon", given the number of competitions, but the sporting body emphasizes that five distinct skills are still applied in the course of the competition. The 'combined' event is the last event of the pentathlon program, and consists of a continuous shoot-run race. Competitors are ordered at the start line by their cumulative point standing from the three previous event, making the race a chase event for overall placing. As of 2012, the format of the combined event is a 4x800 run loop, with a 10m air pistol component at the beginning of each loop. Competitors have to hit the target 5 times before continuing on to the next run loop. In 2011, the UIPM introduced laser shooting in the combined event to replace traditional pellets.


title: Pentathlon

text: Given that there are a large number of track and field events, there have been numerous pentathlons featuring a variety of events.


title: Pentathlon

text: The Classic pentathlon was contested in Olympic Games from 1906 through 1924. In the 1912 Olympic Games, Jim Thorpe won both the pentathlon and decathlon titles, only to have them later taken away for professionalism. His titles were restored some 70 years later by the International Olympic Committee.


title: Pentathlon

text: In the United States, this version of the pentathlon was contested as an Amateur Athletic Union (AAU) championship event until 1978. With the breakup of the AAU, as a result of the Amateur Sports Act of 1978, track and field came under separate leadership. The Athletics Congress (TAC) (now USA Track & Field), chose to drop the pentathlon, as well as several other multi-event contests, as national championship events at the senior level, although it is recognised at the 11-12 and 13-14 age groups as national championship events. The last National AAU Pentathlon Championships was held in Honolulu, Hawaii in 1978.


title: Pentathlon

text: Pentathlons are used at high school athletics and in other one-day meetings for time constraints. The events are separated by age and sex, but the five events are the same for both -- sprint hurdles, long jump, shot put, high jump, and middle distance run. At the U12 level, the sprint hurdles are 80 metres (30"), the shot put weighs six pounds, and the middle-distance run being 1500 metres for boys and 800 metres for girls. At the U14 level, the sprint hurdles are 100 metres (33" for boys, 30" for girls), and the shot put is 4kg (about three pounds heavier) for boys.


title: Pentathlon

text: For each event, points are given based on a standard. These points can be calculated at the USATF website. The indoor pentathlon is held over a one-day period. Each athlete completes one event at the same time, then there is a 30-minute break until the next event.


title: Pentathlon

text: The International Association of Athletics Federations (IAAF), the world governing body for athletics, has a women's pentathlon contest at the World Indoor Championships in Athletics. The athletes competing in the format are usually heptathlon specialists, as the events are very similar to that combined event. Until 2000, men also contested the indoor pentathlon.


title: Pentathlon

text: The men's pentathlon was added to the IAAF list of indoor world records in 1990, at the same time as the men's heptathlon.


title: Pentathlon

text: The events contested at the Summer Paralympics varied according to whether the athletes were visually impaired, amputees or spinal disorders. The events shown on the right are taken from the schedule for the 2004 Summer Paralympics. No pentathlon events were held in the 2012 Summer Paralympics.


title: Pentathlon

text: By the middle of the 20th century, many of the skills in the modern pentathlon were becoming less relevant to the modern soldier (such as fencing and horse riding). A French army officer, Captain Henri Debrus, adapted a military training method into a five event competition. The five events are: shooting, obstacle running, obstacle swimming, throwing, and cross country running.


title: Pentathlon

text: The sport is governed by the International Military Sports Council (CISM) and an annual world championships has been held since 1950.


title: Pentathlon

text: Aeronautical pentathlon is a sporting event at some multi-sport events, such as the Military World Games. Despite the name, the sport has six events: shooting, fencing, orienteering, basketball skills, obstacle course, and swimming. The idea is to prepare athletes for evading enemy soldiers. It is generally only participated by military Air Forces, and its first appearance at the Military World Games was in 2010.


title: Weegee

text: Arthur (Usher) Fellig (June 12, 1899 – December 26, 1968), known by his pseudonym Weegee, was a photographer and photojournalist, known for his stark black and white street photography in New York City.


title: Weegee

text: Weegee worked in Manhattan's Lower East Side as a press photographer during the 1930s and 1940s and developed his signature style by following the city's emergency services and documenting their activity. Much of his work depicted unflinchingly realistic scenes of urban life, crime, injury and death. Weegee published photographic books and also worked in cinema, initially making his own short films and later collaborating with film directors such as Jack Donohue and Stanley Kubrick.


title: Weegee

text: Weegee was born Ascher (later modified to Usher) Fellig in Złoczów (now Zolochiv, Ukraine), near Lemberg in Austrian Galicia. His given name was changed to Arthur after he emigrated with his family to New York in 1909. The father of the family, Bernard Fellig, emigrated in 1908, followed in 1909 by his wife and their four children, including "Usher Felik", as his name was spelled on the steerage passenger list of the steamship, "Kaiserin Auguste Victoria". In Brooklyn, where they settled, he took numerous odd jobs, including working as a street photographer of children on his pony and as an assistant to a commercial photographer. In 1924 he was hired as a darkroom technician by Acme Newspictures (later United Press International Photos). He left Acme in 1935 to become a freelance photographer. Describing his beginnings, Weegee stated:


title: Weegee

text: In my particular case I didn't wait 'til somebody gave me a job or something, I went and created a job for myself—freelance photographer. And what I did, anybody else can do. What I did simply was this: I went down to Manhattan Police Headquarters and for two years I worked without a police card or any kind of credentials. When a story came over a police teletype, I would go to it. The idea was I sold the pictures to the newspapers. And naturally, I picked a story that meant something.


title: Weegee

text: He worked at night and competed with the police to be first at the scene of a crime, selling his photographs to tabloids and photographic agencies. His photographs, centered around Manhattan police headquarters, were soon published by the "Daily News" and other tabloids, as well as more upscale publication such as "Life" magazine.


title: Weegee

text: In 1957, after developing diabetes, he moved in with Wilma Wilcox, a Quaker social worker whom he had known since the 1940s, and who cared for him and then cared for his work. He traveled extensively in Europe until 1964, working for the London "Daily Mirror" and on a variety of photography, film, lecture, and book projects. On December 26, 1968, Weegee died in New York at the age of 69.


title: Weegee

text: The origin of Fellig's pseudonym is uncertain. One of his earliest jobs was in the photo lab of "The New York Times", where (in a reference to the tool used to wipe down prints) he was nicknamed "squeegee boy". Later, during his employment with Acme Newspictures, his skill and ingenuity in developing prints on the run (e.g., in a subway car) earned him the name "Mr. Squeegee". He may subsequently have been dubbed "Weegee"—a phonetic rendering of Ouija—because his instant and seemingly prescient arrivals at scenes of crimes or other emergencies seemed as magical as a Ouija board.


title: Weegee

text: Most of his notable photographs were taken with very basic press photographer equipment and methods of the era, a 4×5 Speed Graphic camera preset at f/16 at 1/200 of a second, with flashbulbs and a set focus distance of ten feet. He was a self-taught photographer with no formal training. He is often said—incorrectly—to have developed his photographs in a makeshift darkroom in the trunk of his car. While Fellig would shoot a variety of subjects and individuals, he also had a sense of what sold best:


title: Weegee

text: Names make news. There's a fight between a drunken couple on Third Avenue or Ninth Avenue in Hell's Kitchen, nobody cares. It's just a barroom brawl. But if society has a fight in a Cadillac on Park Avenue and their names are in the Social Register, this makes news and the papers are interested in that.


title: Weegee

text: Weegee is spuriously credited for answering "f/8 and be there" when asked about his photographic technique.


title: Weegee

text: Whether or not he actually said it, the saying has become so widespread in photographic circles as to have become a cliché.


title: Weegee

text: Yet other sources, in mentioning his standard technique (f/16, Pressbulb25, focus at 10'), illustrate the probable fiction behind the mention of 'f/8'. A book written about Weegee, "Weegee's Secrets" published in 1953, says:


title: Weegee

text: For the record, Weegee shot the majority of his photos from 6-feet at f/22 and 10-feet at f16. These smaller f/stops provided excellent depth of field. When hunting for photos, Weegee would stalk the streets with his camera set to 10-feet and f/16. This distance was useful for shooting people full-length. He also carried a flashlight for adjusting his camera settings in the dark.


title: Weegee

text: Some of Weegee's photos, like the juxtaposition of society "grandes dames" in ermines and tiaras and a glowering street woman at the Metropolitan Opera ("The Critic", 1943), were later revealed to have been staged.


title: Weegee

text: In 1938, Fellig became the only New York freelance newspaper photographer with a permit to have a portable police-band shortwave radio. Weegee worked mostly at night; he listened closely to broadcasts and often beat authorities to the scene.


title: Weegee

text: Five of his photographs were acquired by the Museum of Modern Art (MoMA) in 1943. These works were included in its exhibition "Action Photography". He was later included in "50 Photographs by 50 Photographers", another MoMA show organized by photographer Edward Steichen, and he lectured at the New School for Social Research. Advertising and editorial assignments for magazines followed, including "Life" and beginning in 1945, "Vogue".


title: Weegee

text: "Naked City" (1945) was his first book of photographs. Film producer Mark Hellinger bought the rights to the title from Weegee. In 1948, Weegee's aesthetic formed the foundation for Hellinger's film "The Naked City". It was based on a gritty 1948 story written by Malvin Wald about the investigation into a model's murder in New York. Wald was nominated for an Academy Award for his screenplay, co-written with screenwriter Albert Maltz, who would later be blacklisted in the McCarthy era. Later the title was used again for a naturalistic television police drama series, and in the 1980s, it was adopted by a band, Naked City, led by the New York experimental musician John Zorn.


title: Weegee

text: According to the commentary by director Robert Wise, Weegee appeared in the 1949 film "The Set-Up", ringing the bell at the boxing match.


title: Weegee

text: Weegee experimented with 16mm filmmaking himself beginning in 1941 and worked in the Hollywood industry from 1946 to the early 1960s, as an actor and a consultant. He was an uncredited special effects consultant and credited stills photographer for Stanley Kubrick's 1964 film "". His accent was one of the influences for the accent of the title character in the film, played by Peter Sellers.


title: Weegee

text: In the 1950s and 1960s, Weegee experimented with panoramic photographs, photo distortions and photography through prisms. Using a plastic lens, he made a famous photograph of Marilyn Monroe in which her face is grotesquely distorted yet still recognizable. For the 1950 movie "The Yellow Cab Man", Weegee contributed a sequence in which automobile traffic is wildly distorted. He is credited for this as "Luigi" in the film's opening titles. He also traveled widely in Europe in the 1960s, where he photographed nude subjects. In London he befriended pornographer Harrison Marks and the model Pamela Green, whom he photographed.


title: Weegee

text: In 1962, Weegee starred as himself in a "Nudie Cutie" exploitation film, intended to be a pseudo-documentary of his life. Called "The 'Imp'probable Mr. Wee Gee", it saw Fellig apparently falling in love with a shop-window dummy that he follows to Paris, all the while pursuing or photographing various women.


title: Weegee

text: Weegee can be seen as the American counterpart to Brassaï, who photographed Paris street scenes at night. Weegee's themes of nudists, circus performers, freaks and street people were later taken up and developed by Diane Arbus in the early 1960s.


title: Weegee

text: In 1980, Weegee's companion Wilma Wilcox, along with Sidney Kaplan, Aaron Rose and Larry Silver, formed The Weegee Portfolio Incorporated to create an exclusive collection of photographic prints made from Weegee's original negatives. As a bequest, Wilma Wilcox donated the entire Weegee archive – 16,000 photographs and 7,000 negatives – to the International Center of Photography in New York. This 1993 gift and transfer of copyright became the source for several exhibitions and books including "Weegee's World", edited by Miles Barth (1997), and "Unknown Weegee", edited by Cynthia Young (2006). The first and largest exhibition was the 329-image "Weegee's World: Life, Death and the Human Drama", mounted in 1997. It was followed in 2002 by "Weegee's Trick Photography", a show of distorted or otherwise caricatured images, and four years later by "Unknown Weegee", a survey that emphasized his less violent, post-tabloid photographs.


title: Weegee

text: In 2009, the Kunsthalle Vienna held an exhibition called "Elevator to the Gallows". The exhibition combined modern installations by Banks Violette with Weegee's nocturnal photography.


title: Weegee

text: In 2012 ICP opened another Weegee exhibition titled, "Murder Is My Business". Also in 2012, an exhibition called "Weegee: The Naked City", opened at Multimedia Art Museum, Moscow. Weegee's autobiography, originally published in 1961 as "Weegee by Weegee" and long out of print, was retitled as "Weegee: The Autobiography" and republished in 2013.


title: Weegee

text: From April 2013 through July 2014, the Flatz Museum in Dornbirn, Austria presented "Weegee. How to photograph a corpse", based on relevant photographs from Weegee's portfolio, including many vintage prints. Original newspapers and magazines, dating back to the time where the photos were taken, accompanied the photographs.


title: Madden NFL 22

text: Madden NFL 22 is an American football video game based on the National Football League (NFL), developed by EA Tiburon and published by Electronic Arts. It is an installment of the long-running "Madden NFL" series, and was released for Microsoft Windows, PlayStation 4, PlayStation 5, Xbox One, Xbox Series X/S, and Stadia. NFL quarterbacks Patrick Mahomes of the Kansas City Chiefs and Tom Brady of the Tampa Bay Buccaneers, who played against each other the previous season in Super Bowl LV, were both featured on the cover of the game, the first joint cover since "Madden NFL 10". Like recent previous installments of the series, the game received mixed reviews from critics, with praise for the attempts to improve Franchise mode but criticism at glitches and the lack of innovation elsewhere. This was the last "Madden" game released before the death of John Madden, the franchise's namesake.


title: Madden NFL 22

text: Both Tom Brady ("Madden NFL 18") and Patrick Mahomes ("Madden NFL 20"), who both participated in Super Bowl LV, were announced as co-cover athletes in June 2021, the second time for both players. Considered to be the "greatest Madden cover of all time", since both players had the GOAT (Greatest of All Time) status, with Brady as the all-time "GOAT" and Mahomes as the "Kid" or "Baby GOAT", "Madden 22" is the second time in the franchise's history two NFL players shared the cover of the game, after Troy Polamalu and Larry Fitzgerald were on the cover of "Madden NFL 10".


title: Madden NFL 22

text: In previous years, the series had received specific criticism towards the lack of features and updates to the franchise mode, especially when compared to the likes of previous installments from older generations of consoles like "Madden NFL 2005". EA released a statement saying "Madden 22" would feature "more detailed staff management and skill tree progression systems, with a comprehensive weekly game strategy that integrates into [player's] gameplan" and will have various other updates added throughout the NFL season. Brandon Gaudin and Charles Davis return as the game's commentators as has been the case since Madden NFL 17. The game will also feature a "home field advantage" system, with each stadium giving the home team a certain ability once enough momentum credit is built up, such as opposing teams' stamina being drained faster at Empower Field at Mile High or offensive audibles possibly not going through at Arrowhead Stadium. In Face of the Franchise The Rich Eisen Show was added. In Season 1 of post-launch content, Superstar KO added college football rules, with players choosing a team and offensive and defensive playbooks on top of the traditional Superstar KO rules and teams from the mode at launch. On January 14, 2022, the second Nickelodeon cross-promotion content, as a tie-in to the January 16, 2022 broadcast, included content from "SpongeBob SquarePants", "Rugrats" and "Teenage Mutant Ninja Turtles". Alan Roach, who has been the PA announcer for the Super Bowl, the Pro Bowl and the NFL International Series, as well as the Minnesota Vikings, will be once again serving as the announcer.


title: Madden NFL 22

text: "Madden NFL 22" received "mixed or average" reviews from critics, according to Metacritic. However, the game was review bombed with negative reviews, as all the game's versions have a user score of 1.1 (Stadia) or lower (0.3 on the Xbox One).


title: Madden NFL 22

text: "GameSpot" gave the game 7.0/10, writing: "When everything's working as intended, "Madden 22" marks a recent high point for the series. The gameplay doesn't move the needle much mechanically, but changes to the AI make for a more interesting and varied challenge, while Gameday Atmosphere and Momentum bring every team's fans to life to palpable effect. With Franchise making the moments between these games more engaging, it's relatively easy to sink hours into building a team to challenge for the Super Bowl. It's just unfortunate that this comes with the caveat that technical problems might prove to be the biggest obstacle standing in your way."


title: Madden NFL 22

text: In its 6.0/10 review, "IGN" wrote: ""Madden NFL 22" is a grab bag of decent – if frequently underwhelming – ideas hurt by poor execution. Face of the Franchise, to put it mildly, is a mess. Homefield advantage is a solid addition, but it doesn't quite capture the true extent of real on-field momentum swings… In short, if you're hoping for a massive leap forward for the series on the new generation of consoles (or on the old ones), you're apt to be disappointed."


title: Pantograph

text: A pantograph (, from their original use for copying writing) is a mechanical linkage connected in a manner based on parallelograms so that the movement of one pen, in tracing an image, produces identical movements in a second pen. If a line drawing is traced by the first point, an identical, enlarged, or miniaturized copy will be drawn by a pen fixed to the other. Using the same principle, different kinds of pantographs are used for other forms of duplication in areas such as sculpting, minting, engraving, and milling.


title: Pantograph

text: Because of the shape of the original device, a pantograph also refers to a kind of structure that can compress or extend like an accordion, forming a characteristic rhomboidal pattern. This can be found in extension arms for wall-mounted mirrors, temporary fences, pantographic knives, scissor lifts, and other scissor mechanisms such as the pantograph used on electric locomotives and trams.


title: Pantograph

text: In 1603, Christoph Scheiner used a pantograph to copy and scale diagrams, and wrote about the invention over 27 years later, in ""Pantographice"" (Rome 1631).


title: Pantograph

text: One arm of the pantograph contained a small pointer, while the other held a drawing implement, and by moving the pointer over a diagram, a copy of the diagram was drawn on another piece of paper. By changing the positions of the arms in the linkage between the pointer arm and drawing arm, the scale of the image produced can be changed.


title: Pantograph

text: The original use of the pantograph was for copying and scaling line drawings. Modern versions are sold as technical toys.


title: Pantograph

text: Sculptors use a three-dimensional version of the pantograph, usually a large boom connected to a fixed point at one end, bearing two rotating pointing needles at arbitrary points along this boom. By adjusting the needles different enlargement or reduction ratios can be achieved. This device, now largely overtaken by computer guided router systems that scan a model and can produce it in a variety of materials and in any desired size, was invented by inventor and steam pioneer James Watt (1736–1819) and perfected by Benjamin Cheverton (27.09.1796 – 01.02.1876) in 1836. Cheverton's machine was fitted with a rotating cutting bit to carve reduced versions of well-known sculptures. A three-dimensional pantograph can also be used to enlarge sculpture by interchanging the position of the model and the copy.


title: Pantograph

text: Another version is still very much in use to reduce the size of large relief designs for coins down to the required size of the coin.


title: Pantograph

text: One advantage of phonograph and gramophone discs over cylinders in the 1890s—before electronic amplification was available—was that large numbers of discs could be stamped quickly and cheaply. In 1890, the only ways of manufacturing copies of a master cylinder were to mold the cylinders (which was slow and, early on, produced very poor copies), or to acoustically copy the sound by placing the horns of two phonographs together or to hook the two together with a rubber tube (one phonograph recording and the other playing the cylinder back). Instead of copying a master cylinder, the other alternative was to record a performance to multiple gramophones simultaneously, over and over again, making each cylinder a master copy. Edison, Bettini, Leon Douglass and others solved this problem (partly) by mechanically linking a cutting stylus and a playback stylus together and copying the "hill-and-dale" grooves of the cylinder mechanically. When molding improved somewhat, molded cylinders were used as pantograph masters. This was employed by Edison and Columbia in 1898, and was used until about January 1902 (Columbia brown waxes after this were molded). Some companies like the United States Phonograph Company of Newark, New Jersey, supplied cylinder masters for smaller companies so that they could duplicate them, sometimes pantographically. Pantographs could turn out about 30 records per day and produce up to about 150 records per master. In theory, pantograph masters could be used for 200 or 300 duplicates if the master and the duplicate were running in reverse and the record would be duplicated in reverse. This, in theory, could extend the usability of a pantograph master by using the unworn/lesser worn part of the recording for duplication. Pathé employed this system with mastering their vertically-cut records until 1923; a , master cylinder, rotating at a high speed, would be recorded on. This was done as the resulting cylinder was considerably loud and of very high fidelity. Then, the cylinder would be placed on the mandrel of a duplicating pantograph that would be played with a stylus on the end of a lever, which would transfer the sound to a wax disc master, which would be electroplated and be used to stamp copies out. This system resulted in some fidelity reduction and rumble, but relatively high quality sound. Edison Diamond Disc Records were made by recording "directly" onto the wax master disc.


title: Pantograph

text: Before the advent of control technologies such as numerical control (NC and CNC) and programmable logic control (PLC), duplicate parts being milled on a milling machine could not have their contours mapped out by moving the milling cutter in a "connect-the-dots" ("by-the-numbers") fashion. The only ways to control the movement of the cutting tool were to dial the positions by hand using dexterous skill (with natural limits on a human's accuracy and precision) or to trace a cam, template, or model in some way, and have the cutter mimic the movement of the tracing stylus. If the milling head was mounted on a pantograph, a duplicate part could be cut (and at various scales of magnification besides 1:1) simply by tracing a template. (The template itself was usually made by a tool and die maker using toolroom methods, including milling via dialing followed by hand sculpting with files and/or die grinder points.) This was essentially the same concept as reproducing documents with a pen-equipped pantograph, but applied to the machining of hard materials such as metal, wood, or plastic. Pantograph routing, which is conceptually identical to pantograph milling, also exists (as does CNC routing). The Blanchard lathe, a copying lathe developed by Thomas Blanchard, used the same essential concept.


title: Pantograph

text: The development and dissemination throughout industry of NC, CNC, PLC, and other control technologies provided a new way to control the movement of the milling cutter: via feeding information from a program to actuators (servos, selsyns, leadscrews, machine slides, spindles, and so on) that would move the cutter as the information directed. Today most commercial machining is done via such programmable, computerized methods. Home machinists are likely to work via manual control, but computerized control has reached the home-shop level as well (it's just not yet as pervasive as its commercial counterparts). Thus pantograph milling machines are largely a thing of the past. They are still in commercial use, but at a greatly reduced and ever-dwindling level. They are no longer built new by machine tool builders, but a small market for used machines still exists. As for the magnification-and-reduction feature of a pantograph (with the scale determined by the adjustable arm lengths), it is achieved in CNC via mathematic calculations that the computer applies to the program information practically instantaneously. Scaling functions (as well as mirroring functions) are built into languages such as G-code.


title: Pantograph

text: Perhaps the pantograph that is most familiar to the general public is the extension arm of an adjustable wall-mounted mirror.


title: Pantograph

text: In another application similar to drafting, the pantograph is incorporated into a pantograph engraving machine with a revolving cutter instead of a pen, and a tray at the pointer end to fix precut lettered plates (referred to as 'copy'), which the pointer follows and thus the cutter, via the pantograph, reproduces the 'copy' at a ratio to which the pantograph arms have been set. The typical range of ratio is Maximum 1:1 Minimum 50:1 (reduction) In this way machinists can neatly and accurately engrave numbers and letters onto a part. Pantographs are no longer commonly used in modern engraving, with computerized laser and rotary engraving taking favor.


title: Pantograph

text: The device which maintains electrical contact with the contact wire and transfers power from the wire to the traction unit, used in electric locomotives and trams, is also called a "pantograph".


title: Pantograph

text: Some types of trains on the New York City Subway use end pantograph gates (which, to avoid interference, compress under spring pressure around curves while the train is en route) to prevent passengers on station platforms from falling into or riding in the gaps between the cars.


title: Pantograph

text: Some commercial vehicles have windscreen wipers on pantographs to allow the blade to cover more of the windscreen on each wipe.


title: Pantograph

text: Old-style 'baby gates' used a 2-dimensional pantograph mechanism (in a similar style to pantograph gates on subway cars) as a means of keeping toddlers away from stairways. The openings in these gates are too large to meet modern baby gate safety standards.


title: Pantograph

text: Herman Hollerith's "Keyboard punch" used for the 1890 U.S. Census was a pantograph design and sometimes referred to as "The Pantograph Punch".


title: Pantograph

text: An early 19th-century device employing this mechanism is the polygraph, which produces a duplicate of a letter as the original is written.


title: Pantograph

text: In churches in many countries (generally before modern animal welfare), dog whippers used 'dog tongs' with a pantograph mechanism to control dogs at a distance.


title: Pantograph

text: Fools in German carnivals use "stretching shears" ("Streckschere"), a.k.a. "Nürnberger Scissors" () as "hat snatchers" to entertain the crowds.


title: Pantograph

text: The fencing and swordsmanship manual "Ms.Thott.290.2º" written in 1459 by Hans Talhoffer includes what appears to be an extending blade working on the same principle.


title: Pantograph

text: In 1886, Eduard Selling patented a prize-winning calculating machine based on the pantograph, although it was not commercially successful.


title: Pantograph

text: In many cartoons, the bird in a cuckoo clock is depicted as extending on a pantograph mechanism, although this is seldom the case in actual clocks.


title: Pantograph

text: Longarm quilting machine operators may trace a pantograph, paper pattern, with a laser pointer to stitch a custom pattern onto the quilt. Digitized pantographs are followed by computerized machines.


title: Pantograph

text: Linn Boyd Benton invented a pantographic engraving machine for type design, which was capable not only of scaling a single font design pattern to a variety of sizes, but could also condense, extend, and slant the design (mathematically, these are cases of affine transformation, which is the fundamental geometric operation of most systems of digital typography today, including PostScript).


title: Pantograph

text: Pantographs are also used as guide frames in heavy-duty applications including scissor lifts, material handling equipment, stage lifts and specialty hinges (such as for panel doors on boats and airplanes).


title: Pantograph

text: Richard Feynman used the analogy of a pantograph as a way of scaling down tools to the nanometer scale in his talk There's Plenty of Room at the Bottom.


title: Pantograph

text: Numerous trade-show displays use 3-dimensional pantograph mechanisms to support backdrops for exhibit booths. The framework expands in 2 directions (vertical and horizontal) from a bundle of connected rods into a self-supporting structure on which a fabric backdrop is hung.


title: Shelley Plimpton

text: Shelley Plimpton (born February 27, 1947) is an American former actress and Broadway performer. She is perhaps best known for originating the role of Crissy in the off-Broadway production of "Hair", a role she resumed when the production moved to Broadway in 1968. She is the mother of actress Martha Plimpton.


title: Shelley Plimpton

text: Plimpton was born and raised in Roseburg, Oregon, to an Episcopalian family. Her father, William Sherman Plimpton, a native of Portland and graduate of the University of Washington, operated an auto parts store in Roseburg, while her mother worked as a medical researcher. She had one brother, Sherman Jr. She is a "very distant" cousin of writer George Plimpton. Her parents divorced when she was five years old, and her father died of cancer, aged 50, when Plimpton was twelve years old.


title: Shelley Plimpton

text: When Plimpton was fourteen, she relocated with her mother from Roseburg to New York City, where her mother took a job working as a researcher for a Manhattan fertility doctor. She and her mother moved into an apartment in Greenwich Village, and Plimpton attended Washington Irving High School in Gramercy Park, Manhattan. After graduating, she worked as a cashier in a nightclub.