title: James Beckwourth

text: Beckwourth narrated his life story to Thomas D. Bonner, who was described as "an itinerant justice of the peace", but was also a temperance speaker and journalist, who, according to his preface, by chance was present in Beckwourth's rustic California hotel when he decided to dictate his memoirs. The book was published in New York City and London in 1856 as "The Life and Adventures of James P. Beckwourth: Mountaineer, Scout and Pioneer, and Chief of the Crow Nation of Indians". A translation appeared in France in 1860.


title: James Beckwourth

text: The reliability of Beckworth's autobiography was called into question from the beginning; an editor of it quoted the observation "that some one said of him that some men are rarely worthy of belief, but that Jim was always Beckwourthy of un-belief." "I knew Jim intimately and he was the biggest liar that ever lived." A review when it appeared called it "half fiction":


title: James Beckwourth

text: Elinor Wilson has defended Beckwourth's narration as a valuable source of social history, especially for life among the Crow, although not all its details are reliable or accurate. The civil rights movement of the 1960s celebrated Beckwourth as an early African-American pioneer. He has since been featured as a role model in children's literature and textbooks.


title: James Beckwourth

text: 1800 into slavery in Frederick County, Virginia. Of mixed race, he had an enslaved, African-American mother. His white father was their owner, Sir Jennings Beckwith, a descendant of English nobility. Little is known about Beckwourth's mother, but James was said to be third of her thirteen children.


title: James Beckwourth

text: Jennings Beckwith moved to Missouri around 1809, when James was young, taking his mother and all their children with him. Although Beckwith acknowledged and raised his mixed-race children as his own, he legally held them as owner. His father arranged to apprentice him to a blacksmith so that he could learn a good trade. At age 19, he was fired by the artisan after getting into an argument with him. His father freed Beckworth by manumission, by deed of emancipation in court in 1824, 1825, and 1826.


title: James Beckwourth

text: In 1824 as a young man, Beckwourth joined General William Ashley's Rocky Mountain Fur Company. He worked as a wrangler during Ashley's expedition to explore the Rocky Mountains. In the following years, Beckwourth became known as a prominent trapper and mountain man. In July 1825, rendezvous, trapper and colleague Caleb Greenwood told the campfire story of Beckwourth's being the child of a Crow chief. He claimed Beckwourth had been stolen as a baby by raiding Cheyenne and sold to whites. This lore was widely believed, as Beckwourth had adopted Native American dress and was taken by some people as an Indian.


title: James Beckwourth

text: Later that year, Beckwourth claimed to have been captured by Crow while trapping in the border county between the territories of Crow, Cheyenne, and Blackfoot. According to his account, he was mistaken for the lost son of a Crow chief, so they admitted him to the nation. Independent accounts suggest his stay with the Crow was planned by the Rocky Mountain Fur Company to advance its trade with the tribe. Beckwourth married the daughter of a chief. (Marriages between Native Americans and fur trappers and traders were common for the valuable alliances they provided both parties.)


title: James Beckwourth

text: For the next eight to nine years, Beckwourth lived with a Crow band. He rose in their society from warrior to chief (a respected man) and leader of the "Dog Clan". According to his book, he eventually ascended to the highest-ranking war chieftaincy of the Crow Nation. He still trapped but did not sell his or Crow furs to his former partners of the Rocky Mountain Fur Company. Instead, he sold to John Jacob Astor's competing American Fur Company. Beckwourth participated in raids by the Crow on neighboring nations and the occasional white party. Sometimes such raids escalated to warfare, most often against bands of their traditional Blackfoot enemy.


title: James Beckwourth

text: In 1837, when the American Fur Company did not renew his contract, Beckwourth returned to St. Louis. He volunteered with the United States Army to fight in the Second Seminole War in Florida. In his book, he claims to have been a soldier and courier. According to historical records, he was a civilian wagon master in the baggage division.


title: James Beckwourth

text: During one trade exhange Beckwourth may have helped to spread smallpox to an Indian tribe. When Little Robe had complained to fur trapper Jim Bridger that "white men" were responsible for destroying his people, Bridger replied that Whites didn't do that, "he told Little Robe how Jim Beckwourth a Mulatto...had done this evil thing," by trading infected blankets with the Indians, and pointing out that "Beckwourth...was a Negro, and therefore not a white man."


title: James Beckwourth

text: From 1838 to 1840, Beckwourth was an Indian trader to the Cheyenne, on the Arkansas River, working out of Fort Vasquez, Colorado, near Platteville. In 1840, he moved to Bent, St. Vrain & Company. Later that same year, Beckwourth became an independent trader. In 1842, Beckwourth moved to new settlement at Pueblo, Colorado with a wife (or consort), Maria Luisa Sandoval and a child Matilda. In 1843, he departed for California and when he returned to Pueblo in 1846 Luisa was married (in the informal style of the mountains) to John Brown.


title: James Beckwourth

text: In 1844, Beckwourth traded on the Old Spanish Trail between the Arkansas River and California, then controlled by Mexico. When the Mexican–American War began in 1846, Beckwourth returned to the United States. He brought along nearly 1,800 stolen Mexican horses as spoils of war. In the war, he served as a courier with the U.S. Army and helped suppress the Taos Revolt. His former employer, Charles Bent, then interim governor of New Mexico, was slain in that revolt.


title: James Beckwourth

text: By 1848 and the start of the Gold Rush, Beckwourth went to California. He first opened a store at Sonoma. He soon sold and went to Sacramento, then a boomtown close to the mines, to live as a professional card player.


title: James Beckwourth

text: In 1850, Beckwourth was credited with discovering what came to be called Beckwourth Pass, a low-elevation pass through the Sierra Nevada mountain chain. In 1851, he improved what became the Beckwourth Trail, originally a Native American path through the mountains. It began near Pyramid Lake and the Truckee Meadows east of the mountains, climbed to the pass named for him, and went along a ridge, between two forks of Feather River, before passing down through the gold fields of northern California, and on to Marysville. The trail spared the settlers and gold seekers about and several steep grades and dangerous passes, such as Donner Pass.


title: James Beckwourth

text: By his account, the business communities of the gold towns in California were supposed to fund the making of the trail. However, when Beckwourth tried to collect his payment in 1851 after leading a party through, Marysville had suffered from two huge fires and town leaders were unable to pay. (In 1996, in recognition of his contribution to the city's development and of the outstanding debt to him, the City of Marysville officially renamed the town's largest park as Beckwourth Riverfront Park.)


title: James Beckwourth

text: Beckwourth began ranching in the Sierra. His ranch, trading post and hotel, in today's Sierra Valley, were the starting of the settlement of Beckwourth, California. In the winter of 1854/55, the itinerant judge Thomas D. Bonner stayed in the hotel, and on winter nights Beckwourth told him his life story. Bonner wrote it down, edited the material the following year, and offered the book to Harper & Brothers in New York. "The Life and Adventures of James P. Beckwourth" was published in 1856. According to the contract, Beckwourth was entitled to one half of the proceeds, but he never received any income from Bonner. The book provides historical information on how U.S. government officials used alcohol; how occupations affect those who work in the field; the historical relationship among diseases, wildlife, and the environment; as well as reports dealing with massacres and war.


title: James Beckwourth

text: In 1859, Beckwourth returned to Missouri briefly but settled later that year in Denver, Colorado Territory. He was a storekeeper working again for Louis Vasquez and was appointed as a local Indian agent. In 1864, Beckwourth was hired as a scout by Colonel John M. Chivington, commander of the 3rd Colorado Cavalry Regiment. He was to serve in a campaign against the Cheyenne and Apache, leading a frontier paramilitary volunteer militia formed to annihilate indigenous inhabitants in the territory for the American settlers. The Colorado Territory campaign resulted in the Sand Creek massacre, in which the hostile militia killed an estimated 70-163 friendly Cheyenne men, women and children, who had camped in an area suggested by the previous commander of Fort Lyon as a safe place and were flying an American flag to show their peaceful intentions. Outraged by his association with the massacre, the Cheyenne banned Beckwourth from trading with them.


title: James Beckwourth

text: Well into his 60s by then, Beckwourth returned to trapping. In 1866, during Red Cloud's War, the U.S. Army employed him as a scout at Fort Laramie and Fort Phil Kearny.


title: James Beckwourth

text: While guiding a military column to a Crow band in Montana, Beckwourth complained of severe headaches and suffered nosebleeds, most probably the result of a severe case of hypertension, but Jim Bridger heard that the Crows had poisoned him. He returned to the Crow village, where he died in 1867. William Byers, a personal friend and the founder of the "Rocky Mountain News", claimed the Crow had poisoned Beckwourth. He said the tribe felt they could no longer trust him. Beckwourth's body was placed on an elevated platform in the traditional funerary custom of the Crow Tribe at the Crow Indian Settlement Burial Ground, Laramie, Albany County, Wyoming.


title: Gregory Jarvis

text: Gregory Bruce Jarvis (August 24, 1944 – January 28, 1986) was an American engineer and astronaut who died during the destruction of the Space Shuttle "Challenger" on mission STS-51-L, where he was serving as payload specialist for Hughes Aircraft.


title: Gregory Jarvis

text: Jarvis graduated from Mohawk Central High School (later renamed to Gregory B. Jarvis High School, which eventually became the Gregory B. Jarvis Middle School in his honor), in Mohawk, New York, in 1962. He received a Bachelor of Science degree in electrical engineering from the State University of New York at Buffalo in 1967, and a Master of Science degree in the same discipline from Northeastern University in 1969. Jarvis joined the United States Air Force the same year and served until 1973, when he was honorably discharged as a Captain. Thereafter he worked for Hughes Aircraft.


title: Gregory Jarvis

text: In June 1984, Jarvis was one of two Hughes Aircraft employees selected as candidates for the Space Shuttle program. He planned to conduct experiments regarding the effects of weightlessness on fluids. Jarvis was originally scheduled to make his shuttle flight in April 1985, but his spot on that flight was replaced by U.S. senator Jake Garn. His flight was rescheduled for early January 1986, but he was again replaced – this time by U.S. representative Bill Nelson.


title: Gregory Jarvis

text: Jarvis was Payload Specialist 2 on STS-51-L which was launched from the Kennedy Space Center, Florida, at 11:38:00 EST on January 28, 1986. The crew on board the Orbiter "Challenger" included Commander Dick Scobee, pilot Michael J. Smith (USN), mission specialists Dr. Ronald McNair, Lt. Col. Ellison Onizuka (USAF), Dr. Judith Resnik, and fellow civilian payload specialist Christa McAuliffe. The entire STS-51-L crew died on January 28, 1986, when "Challenger" broke up during launch.


title: Gregory Jarvis

text: The remains of all seven astronauts from the "Challenger" disaster were discovered in the crew decks on the ocean floor. Jarvis' body was discovered in the lower mid-deck along with McNair and McAuliffe. During salvage operations to raise the crew deck from the ocean floor, his body escaped from the wreckage, floated to the surface, and disappeared back into the sea. On April 15, 1986, on the last scheduled attempt to recover wreckage, it was rediscovered and returned to shore. Jarvis was cremated and his ashes scattered in the Pacific Ocean.


title: Gregory Jarvis

text: The East Engineering building on University at Buffalo (SUNY) north campus was renamed Jarvis Hall after Gregory Jarvis' death. In Spring of 1986, when the university had not yet named the building in his memory, four students scaled the building and nailed a sign with the name "Jarvis Hall" onto the side of the building as a show of support for the deceased astronaut. In 1987, the name was made official with a dedication ceremony. Jarvis Hall is devoted largely to Aerospace Engineering and engineering support services.


title: Gregory Jarvis

text: Mohawk Central High School in Mohawk, NY was renamed Gregory B. Jarvis Jr/Sr High School. It is now the Gregory B. Jarvis Middle School of the Central Valley Central School District.


title: Gregory Jarvis

text: The hydropower producing dam on Hinckley Lake, NY, operated by the New York Power Authority, is named the Gregory B. Jarvis Dam.


title: Legend of Fuyao

text: Legend of Fuyao () is a 2018 Chinese television series based on the novel "Empress Fuyao" () by Tianxia Guiyuan. It stars Yang Mi and Ethan Juan. The series aired on Zhejiang TV from June 18 to August 13, 2018.


title: Legend of Fuyao

text: The story takes place in the universe of Five Kingdoms that is led by the Imperial City of Tianquan. Fuyao was formed from a lotus borne by the Ancient firmament. Adopted as an orphan, she served as a slave for the Xuanyuan sect from the Taiyuan Kingdom. A series of tragedies resulted in a journey across the land to gather the magical artifacts that could lift the curse that blighted her life. Along the way, she met the Crown Prince of Tianquan who was conducting secret missions to quell unrest in the Five Kingdoms. The pair fell in love as they battled the complicated politics and power plays between the different forces. With the help of her loyal companions, Fuyao set out to unravel the heinous plot of the ancient firmament. She discovered her real identity as the "Lotus Princess" and succeeded in destroying the evil forces, bringing peace to the land of Five Kingdoms.


title: Legend of Fuyao

text: During Linmon Picture's annual television production showcase in February 2017, Yang Mi was announced to be the female lead for upcoming project "Legend of Fuyao". "Fuyao" was said to contain eastern elements of fantasy, with its plot containing exciting political maneuvers and modern values of relationship.


title: Legend of Fuyao

text: In June 2017, Ethan Juan was announced to play the male lead. Both Juan and Yang announced their roles through their respective Weibo account. Major supporting cast members were unveiled through picture stills in July 2017.


title: Legend of Fuyao

text: The series began filming on 27 June 2017 in Hengdian World Studios, and wrapped up on November 24, 2017.


title: Legend of Fuyao

text: The series is produced by Linmon Pictures and directed by Magnolia Award-winner Yang Wenjun ("Divorce Lawyers"). Other notable cast members include martial arts choreographer Li Cai ("Hero", "House of Flying Daggers"), art director Shao Changyong ("Nirvana in Fire", "The Disguiser") and two-time Golden Horse Award winner Stanley Cheung as its costume designer.


title: Legend of Fuyao

text: The series is primarily filmed in Hengdian World Studios as well as Yinchuan. Numerous sets were built in a piece of barren land of up to 60,000 square meters.


title: Legend of Fuyao

text: "Fuyao" was praised by CCTV media for transmitting positive values and messages such as persistence, independence and magnanimity; as well as encouraging people to chase after their dreams. However, audience response has not been positive; the series was criticized for having cliché plots and a "Mary Sue" protagonist; as well as very similar storylines to "Harry Potter and the Goblet of Fire".


title: Legend of Fuyao

text: Despite divided reviews, the series' popularity remains high domestically with high online views; as well as acclaim from overseas fans. In particular, the series was highly praised in the Daily Pakistan newspaper, with the media outlet calling the show "a wonderful presentation of Chinese characteristics" and praising its cinematography. It gained 14 billion views in 50 days, becoming the most viewed online drama of the summer season.


title: Legend of Fuyao

text: Note: Part of the series is broadcast online on Tencent Video before airing on Zhejiang TV. VIP members of Tencent are four episodes ahead of non-VIP members and regular television broadcast.


title: Danny Baker

text: Danny Baker (born 22 June 1957) is an English comedy writer, journalist, radio DJ and screenwriter. Throughout his career he has largely presented for London's regional radio and television.


title: Danny Baker

text: Baker was born in Deptford to a working-class family and raised in Bermondsey. From 1977, he wrote for the punk zine "Sniffin' Glue", and from there was hired by the "New Musical Express", where he worked as a writer, reviewer, and interviewer. Moving into television in 1980, he began presenting London Weekend Television's "Twentieth Century Box" and reporting for "The Six O'Clock Show". In 1989 he began radio presenting for BBC Radio London and in 1990 joined the newly established BBC Radio 5. In 1997 he was dismissed from the latter, accused of inciting threatening behaviour toward a football referee. That decade, he also began writing for television.


title: Danny Baker

text: From 2002 to 2012 Baker presented the daily morning radio show on BBC Radio London and in 2007 also presented the channel's all-day podcast, the "All Day Breakfast Show". Between 2012 and 2017 he published a three-volume autobiography, which was used as the basis for the 2015 BBC sitcom "Cradle to Grave". In 2019, the BBC dismissed Baker after he posted a Tweet that was widely regarded as racist.


title: Danny Baker

text: Baker was born in Deptford in south east London to Fred "Spud" Baker, a dockworker, and Betty, a factory worker. He grew up in Bermondsey and attended Rotherhithe Primary School and then, instead of taking up a grammar school place, went to the nearby West Greenwich Secondary Boys' School, Deptford. He played truant from the age of 14 to the age of 16 when he could legally leave school. He initially worked in One Stop Records, a small but fashionable record shop in South Molton Street in the West End of London. The youngest of three children, he has an older sister, Sharon, and had an older brother, Michael, who died aged 29 when Danny was 24.


title: Danny Baker

text: In 1977, Baker started writing for the punk fanzine "Sniffin' Glue" which was founded by his old schoolfriend Mark Perry which in turn led to an offer from the "New Musical Express", then edited by Nick Logan. Baker began working as the office receptionist, but was soon contributing regular articles and reviews before progressing to interviews. He often refers to these times during his radio shows, regularly citing examples of the ridiculous behaviour exhibited by his rock star interviewees.


title: Danny Baker

text: In the later 1990s, Baker wrote a weekly sports column for "The Times" and was briefly a columnist for early issues of film magazine "Empire".


title: Danny Baker

text: Baker started his TV career in 1980 at London Weekend Television (LWT), as the presenter of "Twentieth Century Box" – a series of regional documentaries on elements of youth culture in London, produced by Janet Street Porter. One edition in the first series documented the burgeoning new wave of British heavy metal (NWOBHM) scene, including an early TV appearance of Iron Maiden performing at The Marquee Club and interviews with "air guitarists". Other editions also featured early appearances from the likes of Spandau Ballet and Depeche Mode.


title: Danny Baker

text: Baker's first mainstream break was as roving reporter-presenter on the Michael Aspel LWT regional magazine "The Six O'Clock Show" alongside former "Mastermind" winner and former London black cab driver Fred Housego. Paul Ross (brother of Jonathan Ross whom Baker had as his best man) was his researcher. During his stint on "The Six O'Clock Show", Baker was filmed having an altercation with a British Rail press officer. This clip is often resurrected for clip shows and can be seen on YouTube.


title: Danny Baker

text: Baker appeared regularly on LWT's regional output during the 1980s and early 1990s - working on such programmes as "Six O'Clock Live", "Danny Baker's Londoners", and in 1991, "The Game" - a six-part series which featured coverage of teams involved in the fourth division of the East London Sunday Football League. The series was later released on DVD.


title: Danny Baker

text: Baker began writing for television programmes in 1992 after being asked to prepare a piece for one of the first archive clip shows: "TV Hell", which was a collection of the worst TV programmes ever. Since then he has presented television shows such as "Win, Lose or Draw", "Pets Win Prizes" and "TV Heroes", which was a series of 10-minute homages to some of Baker's entertainment idols including Fanny Cradock, Peter Glaze (from "Crackerjack") and the "Top of the Pops" audience. The episode on the "Top of the Pops" audience includes a clip of Baker leaping around to a performance of "Ooh What A Life" by the Gibson Brothers in 1979, captioned as "Danny Baker's first TV appearance".


title: Danny Baker

text: Baker also began a BBC Saturday night chat show, called "Danny Baker After All" which borrowed its style from "Late Night with David Letterman", but his style and guests (Rick Wakeman of prog rock band Yes was a regular) did not attract the mainstream audience the slot demanded. Film critic Mark Kermode's band The Railtown Bottlers were the show's house band.


title: Danny Baker

text: Later he fronted television adverts for Daz washing powder and Mars bar confectionery. Baker parodied his Daz ads by appearing as himself on the sitcom "Me, You and Him".


title: Danny Baker

text: During this period, Baker began presenting on BBC Radio 5's "606" football-related phone-in programme as well as the job of presenting "Match of the Eighties", a six-part BBC series of football during the 1980/81 and 1985/86 seasons.


title: Danny Baker

text: Baker was a writer on Chris Evans' "TFI Friday" show, as well as contributing material for presenters such as Angus Deayton and Jonathan Ross.


title: Danny Baker

text: During the late 1990s he made guest appearances on comedy shows including "Have I Got News for You", "Shooting Stars" and "Room 101". During this period he appeared in the press as a result of nights out with friends Chris Evans and England footballer Paul Gascoigne. Gascoigne was under media scrutiny for drinking and socialising while preparing for tournaments. After Gascoigne was left out of the 1998 World Cup squad, Baker went on "Have I Got News For You" to defend his friend and criticise the omission.


title: Danny Baker

text: He also appeared on "The Terry and Gaby Show" from 2003 to 2004 (where he burnt his hand trying to perform a trick with a microwave and a piece of soap) and has appeared on BBC Two quiz show "QI", becoming the show's first ever winner. Baker worked again with Charles Shaar Murray on the Ramones documentary "End of the Century: The Story of the Ramones", providing an audio commentary.


title: Danny Baker

text: More recent TV projects include "The Sitcom Showdown" which began on UKTV Gold in April 2006, a 2014 show featuring archived television footage for BBC4 named "Brushing Up On..." and a music discussion show for BBC4 named "Danny Baker's Rockin' Decades". He also did "Comic Relief Does The Apprentice" in 2007 for Comic Relief. He also performed in "The Rocky Horror Show", as the narrator, at the Churchill Theatre in Bromley and the New Wimbledon Theatre.


title: Danny Baker

text: Baker was announced as part of BT Sport's football coverage in 2013, hosting a Friday evening show with Danny Kelly. In 2016, Chris Evans hired Baker to work as a writer on the 2016 series of "Top Gear". In November 2016, he entered as a latecomer in reality television show, "I'm a Celebrity...Get Me Out Of Here". Baker was the first person to be voted off in the series.


title: Danny Baker

text: Baker began his radio career on BBC Radio London in 1989, presenting "Weekend Breakfast" from 6 to 9am on Saturdays and Sundays. The show was produced by Chris Evans, who became a good friend to Baker. With GLR eventually opting for a more orthodox breakfast show at weekends, Baker moved to the 10am to 1pm slot on Sundays.


title: Danny Baker

text: In 1990, Baker joined the newly launched BBC Radio 5, presenting "Sportscall", a phone-in sports quiz broadcast every Saturday lunchtime.


title: Danny Baker

text: From October 1991 to October 1992 he presented "606" and, from February 1992 until October 1993, he presented "Morning Edition" every weekday morning. The show blended Baker's love of unusual trivia with 'grown-up' music. This was where Baker first teamed up with Danny Kelly and Allis Moss. Mark Kermode added weekly film reviews, and would later appear with his band 'The Railtown Bottlers' every week on the first series of Baker's TV show.


title: Danny Baker

text: Baker joined BBC Radio 1 in October 1993, taking over the weekend mid-morning show from 10am to 1pm from Dave Lee Travis who had resigned on air following the sackings instigated by Matthew Bannister and Trevor Dann during the early 1990s. However, due to poor ratings, from November 1994 he was heard on Saturdays only from 10am to 12 noon. Simon Mayo took over Sunday mornings.


title: Danny Baker

text: Baker's style led to a fall in listeners at Radio 1 but despite his tendering his resignation on at least two occasions, management added extensions to his contract. From October 1995, his Saturday show went out from 12:30 to 2:30pm. He left the station in September 1996. His co-hosts during this period included BBC continuity announcer Danny Kelly.


title: Danny Baker

text: While continuing with his Saturday morning show on BBC Radio 1, in 1996 Baker joined BBC Radio 5 Live to present a Sunday lunchtime show with Danny Kelly, "Baker & Kelly Upfront".


title: Danny Baker

text: On leaving BBC Radio 1, Baker returned to BBC Radio London to present a three-hour Sunday show from 10am to 1pm. 'Baker and Kelly Upfront' also returned, now at Saturday lunchtime, while Baker also took on a new show, 'The Baker Line', a Wednesday evening version of the "606" phone-in show.


title: Danny Baker

text: While 'Baker and Kelly Upfront' was light-hearted, 'The Baker Line' was darker and emotionally charged. Baker was at his most outspoken, and in early 1997, he was dismissed from BBC Radio 5 Live when station bosses alleged that he had incited threatening behaviour during an angry outburst about a referee.


title: Danny Baker

text: Baker joined Talk Radio to present a similar football phone-in with Kelly each Saturday from 5:30 to 7:30pm. A pre-match show was added from 11:30am to 1pm. After moving to the Saturday breakfast slot (8am to 12 noon), he engineered his own dismissal after a matter of weeks by refusing to centre the show on football, preferring to intersperse chat with his own music selections.


title: Danny Baker

text: After leaving Talk Radio, he joined Virgin Radio in early 1999, taking over from Jonathan Ross on Sundays from 10am to 1pm.


title: Danny Baker

text: Not long after, Baker was approached by the BBC and was asked whether he wanted to present a Saturday morning show on BBC Radio 2, which at the time was being hosted by Steve Wright. (Wright was being promoted to the station's Weekday Afternoon slot). Baker turned down the offer by saying "the time wasn't right", and the show was given to Jonathan Ross. Baker also deputised on Virgin's Saturday lunchtime football show from 12 noon to 2pm for a handful of shows, alongside Danny Kelly until he left the station in 2000.


title: Danny Baker

text: In September 2001, Baker joined BBC London 94.9 presenting a Saturday morning show from 8 to 11am. Just 6 months later, in March 2002, and with a new co-presenting team which included Amy Lamé, Mark O'Donnell and David Kuo, he took over the breakfast show from 6 to 9am, with a new theme tune in the form of the Anthony Newley song "The Candy Man".


title: Danny Baker

text: Although not drawing a large listenership, Baker won "Sony Radio DJ of the year" for the show. However, the day after winning the award, he announced his intention to leave the show at the end of the month. The last show was on Friday 27 May 2005. On Monday 17 October 2005, after a sabbatical at home, Baker rejoined BBC London 94.9 where he took over the weekday 3 to 5pm show from Jono Coleman, who had moved to co-present the breakfast show with former actress JoAnne Good.


title: Danny Baker

text: His BBC London 94.9 shows tended to feature off-the-wall phone-ins and discussions with his on-air team, Amy Lamé and Baylen Leonard, often regarding music and entertainment nostalgia of the 1960s and 1970s. His interviews focused on off-beat trivia rather than the guests' latest or most famous work, and shows would be interspersed with relatively obscure rock tracks from bands such as Yes, Todd Rundgren, Steely Dan, Frank Zappa and Captain Beefheart.


title: Danny Baker

text: The programme was axed in November 2012 as part of a programme of cuts at the station. Although due to continue its run until the end of the year, Baker announced on air on the day of the announcement that that day's show would be his last, branding his BBC London employers as "pinheaded weasels" for the way in which they cancelled the programme.


title: Danny Baker

text: On 15 March 2007 until September the same year, Baker hosted the "All Day Breakfast Show", a podcast to reach listeners beyond BBC London's FM radio reach. Regulars Amy Lamé, Baylen Leonard and David Kuo all contributed and the first show featured an appearance by comedian and actor Peter Kay.


title: Danny Baker

text: Created by and starring Danny Baker, the show also featured Amy Lamé, Baylen Leonard and David Kuo. It followed a similar format to Baker's radio show on BBC London 94.9, where the listeners and presenters share humorous anecdotes, interspersed with obscure recordings.


title: Danny Baker

text: Originally launched in March 2007, the "All Day Breakfast Show" was rebranded in September that year as The "All Day Breakfast Show In Color", and a weekly download fee of £2 was applied to the podcast. The full length podcast was made available solely through Wippit and edited highlights were made available as a teaser through iTunes.


title: Danny Baker

text: The podcast went into hiatus after one week, numerous downloaders from Wippit being unable to access the material due to restrictions on available bandwidth. No official announcement was made for the cause of the hiatus, or whether the podcast would return. However, after several weeks of silence, the All Day Breakfast Show officially announced its return to the air on the 19 October 2007. No announcement on the main website was given, but in a five-minute mini-show downloadable initially only to paid subscribers, Danny Baker and Baylen Leonard announced the return of the show. They confirmed that from "next week" they would be broadcasting three times a week. They also suggested (possibly only partially in jest) that due to BBC cuts announced the previous day, that they may be planning to end their official BBC London show and move to being an "internet only" show. The mini-show also introduced a new recording of the Candyman theme tune.


title: Danny Baker

text: On Saturday 15 December 2007 Danny posted an open letter on both the ADBS and Baker and Kelly sites, saying that "there will be no more All Day Breakfast Shows nor Baker & Kelly's. There has now been an irreversible and utter breakdown between the on-air team and the company who have, with varying degrees of success, provided it to you online."


title: Danny Baker

text: Wippit responded on 17 December 2007 saying that the show's cancellation was due to "a breakdown in contract negotiations between our company and Danny Baker", alleging that Baker "did not wish to meet his agreed obligations regarding exclusivity", and Wippit rejected the terms proposed by his agent. Wippit offered Baker 100% of the programme's revenues and declared no further interest in the podcast, but this offer was rejected by Baker's agent.


title: Danny Baker

text: Having announced on his BBC London radio show on 21 May 2008 that he would be returning to present BBC Radio 5 Live's "606" football phone-in for a limited period that summer, Baker hosted six shows during Euro 2008. He made a long-term return to "606" in September 2008, hosting a Tuesday night show for the duration of the 200809 football season. He also had a short stint with Zoe Ball on Radio 2 on Saturday mornings after Jonathan Ross had been suspended for three months by the BBC. At the end of the 200809 season, Baker's "606" Tuesday night show that he co-hosted with Issy Clarke shifted to an expanded Saturday morning slot, starting in September 2009 on BBC 5 Live. The show returned in September 2010 after the summer break with Lynsey Hipgrave replacing Clarke as co-host. The Saturday Morning show gained critical acclaim, winning the Gold Sony Radio Award in the Speech Radio Personality of the Year award for the 2011, 2012 and 2014, and the Gold Award for the Entertainment Show of the Year in 2013.


title: Danny Baker

text: Between November 2018 and March 2020 Baker co-hosted 35 episodes of a podcast titled "Lineker & Baker: Behind Closed Doors" with Gary Lineker and described as "a regular show full of the intimate details of life in and around the game".


title: Danny Baker

text: In May 2019, Baker posted an image on Twitter of a couple holding hands with a chimpanzee dressed in clothes. He had added the caption: "Royal Baby leaves hospital," referring to the recent birth of Archie Mountbatten-Windsor, son of Prince Harry, Duke of Sussex and Meghan, Duchess of Sussex. Baker was subject to a backlash on social media, accused of mocking the Duchess of Sussex's African-American heritage with the tweet. Baker deleted the tweet and apologised, stating that he had made a "naive and catastrophic mistake" with his choice of image, but denied racist intent. He stated that the choice of a chimpanzee "dressed as a Lord" had been made "to lampoon privilege". The BBC sacked Baker, maintaining that he had made a "serious error in judgement" that went against the values of the station. Baker expressed disagreement with the BBC's decision to fire him, receiving support from several media figures.


title: Danny Baker

text: In November 2019 Baker launched a twice-weekly podcast entitled "The Treehouse" co-hosted by Louise Pepper. The format is a continuation of previous non-football radio shows being based upon humorous stories from listeners, often relating to pop culture. From August 2020, the podcast moved to a paid-only subscription model on Patreon.


title: Danny Baker

text: Baker has presented a number of popular football videos and DVDs including "Own Goals and Gaffs" (1992), "Right Hammerings", "Whose Season Was It Anyway?" (both 1993), "Own Goals and Gaffs 2", "Best Short Corners" (both 1994), "Fabulous World Of Freak Football" (1995) and "The Glorious Return Of Own Goals And Gaffs" (2009).


title: Danny Baker

text: "The Game" (1990), a television show presented by Baker, following bottom-division East London Sunday League football teams, was released on DVD through Revelation Films on 24 May 2010.


title: Danny Baker

text: In 2009, he released a book co-written with Danny Kelly entitled "Classic Football Debates Settled Once and for All, Vol. 1". Despite the title, the book itself makes clear that a sequel is not planned, though some extra material was written for the paperback edition, released to coincide with the 2010 World Cup.


title: Danny Baker

text: In 2019, he released a book co-written with Gary Lineker based on their podcast "Lineker & Baker: Behind Closed Doors".


title: Danny Baker

text: On 6 November 2012, Baker released an autobiography, "Going to Sea in a Sieve". which was first published by Weidenfeld & Nicolson. A second volume entitled "Going Off Alarming" was published on 25 September 2014. A third volume entitled "Going on the Turn" was published on 5 October 2017.


title: Danny Baker

text: The sitcom "Cradle to Grave" was based on "Going to Sea in a Sieve", and was released in September 2015.


title: Danny Baker

text: Baker is married to Wendy (born 7 March 1955) They have three children: Bonnie, Sonny and Mancie. They live in Blackheath, south east London.


title: Danny Baker

text: On 1 November 2010, Baker announced that he had been diagnosed with cancer and would start chemotherapy instantly and radiotherapy in January. On 14 June 2011 he announced that he had been given the all clear.


title: Danny Baker

text: Janet Street-Porter described Baker as "over-hasty, excitable, [and] a blabbermouth," whose "motor mouth was legendary, even back in the 1980s." She noted that his "pet obsessions" were "working class humour" and football.


title: Danny Baker

text: Baker has been a lifelong Labour Party activist. In May 2017, Baker endorsed Labour Party leader Jeremy Corbyn in the 2017 UK general election.


title: Danny Baker

text: In 2019 after the BBC dismissed Baker, the Corporation issued a statement describing him as "a brilliant broadcaster". "The Guardian" noted that he was a "pioneer of the inclusive, personable, and at times eccentric, broadcasting style that has since become the norm," and that he "has the knack of effortlessly making both the phone-in caller and the listener feel as if they are in his studio."


title: Danny Baker

text: Janet Street-Porter stated that Baker's pride in his working-class London identity proved popular among a "large section of the population who feel they don't get a voice on 'posh' channels". She added that he stood out while working for the BBC, a corporation where "the over-educated and middle class dominates" and where, despite attempts to increase ethnic minority and LGBT representation, "white working class people" remained "conspicuously absent".


title: Rohan Gavaskar

text: He played in 11 One Day Internationals. He was a middle-order left-handed batsman and an occasional slow left arm orthodox bowler.


title: Rohan Gavaskar

text: Gavaskar batted left-handed, and bowled a slow, gentle left-arm spin that picked up crucial wickets at times for Bengal. He spent many years in the shadow of his more illustrious father, Sunil.


title: Rohan Gavaskar

text: In Indian domestic cricket, he represented Bengal in the Ranji Trophy, and East Zone in the Duleep Trophy. Since Mumbai had great batting line-up at that time and he wouldn't have got the opportunity to play first-class cricket for Mumbai immediately. He would have to wait for another one or two years, which he didn't want to. Bengal gave him that opportunity and he grabbed it.


title: Rohan Gavaskar

text: His first-class average keeps him forever on the fringes of higher honours, and he was a serious contender for a national one-day slot for quite a while before he finally got his chance, against Australia in the 2003–04 VB Series.


title: Rohan Gavaskar

text: He was dropped for the subsequent tour to Pakistan, he was again tried at the start of the 2004–05 season. Appointed captain of Bengal in 2001–02 but the two seasons as leader were poor. He was having regret for not winning the Ranji Trophy for Bengal. They were twice in the finals in consecutive years, but couldn't win it.


title: Rohan Gavaskar

text: In 2007, Gavaskar signed a contract with Indian Cricket League, playing for the Kolkata Tigers which was declared unauthorised by BCCI.


title: Rohan Gavaskar

text: After breaking his links with the league, and returning to mainstream Indian domestic cricket, he was selected to play in the third season of the Indian Premier League for the Kolkata Knight Riders. He played in his last first class match in 2009 and retired in 2012.


title: Rohan Gavaskar

text: He was one among the 71 players granted amnesty by the BCCI in June 2009, marking his return to the official fold.


title: Rohan Gavaskar

text: Gavaskar announced his retirement from first-class cricket on 9 February 2012. Rohan, who played his first-class cricket for Bengal, scored 5073 runs in 75 matches at 51.24.


title: Rohan Gavaskar

text: Gavaskar was selected for the Indian cricket team to tour Australia in 2004, and made his ODI debut after Mohammad Kaif was forced out of the team due to injury. He did not make a lasting impression on the international game, and his last ODI came during the 2004 ICC Champions Trophy.


title: Rohan Gavaskar

text: Like his father, Rohan followed commentating career post-retirement. He has been seen on doing commentary in IPL 2013 and shows on Star Sports' Star Power and NDTV's sports show.


title: Rohan Gavaskar

text: He was given the names Rohan Jaivishwa by his father as a tribute to his 3 favourite cricketers – "Rohan" Kanhai; M. L. "Jai"simha; and Rohan's uncle, Gundappa "Vishwa"nath –


title: Rohan Gavaskar

text: although his name is usually recorded as Rohan Sunil Gavaskar. He studied at St. Xaviers Collegiate School, Kolkata, Bombay Scottish School, and then Ramniranjan Anandilal Podar College of Commerce and Economics.


title: Dronabinol

text: The International Nonproprietary Name Dronabinol, also known as delta-9-tetrahydrocannabinol, or under the trade names Marinol, Syndros, Reduvo and Adversa, is a generic name for the molecule of delta-9-tetrahydrocannabinol in the pharmaceutical context. It has indications as an appetite stimulant, antiemetic, and sleep apnea reliever and is approved by the FDA as safe and effective for HIV/AIDS-induced anorexia and chemotherapy-induced nausea and vomiting only.


title: Dronabinol

text: Dronabinol is the principal psychoactive constituent enantiomer form, (−)-"trans"-Δ-tetrahydrocannabinol, found in cannabis. Dronabinol does not include any other tetrahydrocannabinol (THC) isomers or any cannabidiol.


title: Dronabinol

text: Dronabinol is used to stimulate appetite and therefore weight gain in patients with HIV/AIDS and cancer. It is also used to treat chemotherapy-induced nausea and vomiting.


title: Dronabinol

text: Dronabinol demonstrated analgesic efficacy in a majority of studies in chronic pain, the data in acute pain is less conclusive.


title: Dronabinol

text: Dronabinol may be useful in treating cannabis addiction as it has been shown to reduce cannabis withdrawal symptoms and the subjective effects of marijuana.


title: Dronabinol

text: Dronabinol demonstrates significant improvement in sleep apnea scores. Phase 2B clinical trials were completed in 2017 for FDA approval for this indication.


title: Dronabinol

text: A mild overdose of dronabinol presents drowsiness, dry-mouth, euphoria, and tachycardia; whereas a severe overdose presents lethargy, slurred speech, decreased motor coordination, and postural hypotension.


title: Dronabinol

text: While dronabinol was initially approved by the United States Food and Drug Administration on May 31, 1985, it was not until May 13, 1986, the Drug Enforcement Administration (DEA) issued a Final Rule and Statement of Policy authorizing the "rescheduling of synthetic dronabinol in sesame oil and encapsulated in soft gelatin capsules from Schedule I to Schedule II" (DEA 51 FR 17476-78). This permitted medical use of Marinol, albeit with the severe restrictions associated with Schedule II status. For instance, refills of Marinol prescriptions were not permitted.


title: Dronabinol

text: On April 29, 1991, the Commission on Narcotic Drugs, in accordance with article 2, paragraphs 5 and 6, of the Convention on Psychotropic Substances of 1971, decided that Δ-tetrahydrocannabinol (also referred to as Δ-THC) and its stereochemical variants should be transferred from Schedule I to Schedule II of that Convention. This released Δ-THC from many of the restrictions imposed by the Convention, facilitating its marketing as medication.


title: Dronabinol

text: An article published in the April–June 1998 issue of the Journal of Psychoactive Drugs found that "Healthcare professionals have detected no indication of scrip-chasing or doctor-shopping among the patients for whom they have prescribed dronabinol". The authors state that Marinol has a low potential for abuse.


title: Dronabinol

text: In 1999, in the United States, Marinol was rescheduled from Schedule II to III of the Controlled Substances Act, reflecting a finding that THC had a potential for abuse less than that of cocaine and heroin. This rescheduling constituted part of the argument for a 2002 petition for removal of cannabis from Schedule I of the Controlled Substances Act, in which petitioner Jon Gettman noted, "Cannabis is a natural source of dronabinol (THC), the ingredient of Marinol, a Schedule III drug. There are no grounds to schedule cannabis in a more restrictive schedule than Marinol".


title: Dronabinol

text: In 2003, the World Health Organization Expert Committee on Drug Dependence recommended transferring THC to Schedule IV of the Convention, citing its medical uses and low abuse potential. In 2019, the Committee recommended transferring Δ-THC to Schedule I of the Single Convention on Narcotic Drugs of 1961, but its recommendations were rejected by the United Nations Commission on Narcotic Drugs.


title: Dronabinol

text: Dronabinol is marketed as Marinol and Syndros, a registered trademark of Solvay Pharmaceuticals. Dronabinol is also marketed, sold, and distributed by PAR Pharmaceutical Companies under the terms of a license and distribution agreement with SVC pharma LP, an affiliate of Rhodes Technologies for Marinol and Insys Pharmaceuticals for Syndros. Dronabinol is available as a prescription drug (under Marinol and Syndros ) in several countries including the United States, Germany, South Africa and Australia. In Canada, Tetra Bio-Pharma filed a New Drug Submission (NDS) with Health Canada for its Dronabinol Soft Gel capsules to be marketed as REDUVO™. Tetra has two other dronabinol drugs with new routes of administration which limit first-pass metabolism; an inhaled THC-based dronabinol drug and their mucoadhesive-delivery dronabinol drug Adversa®, which are both in the accelerated 505(b)(2) New Drug Application (NDA) pathway for the U.S. and Canadian markets. <br>


title: Dronabinol

text: In the United States, Marinol is a Schedule III drug, available by prescription, considered to be non-narcotic and to have a low risk of physical or mental dependence. Efforts to get cannabis rescheduled as analogous to Marinol have not succeeded thus far, though a 2002 petition has been accepted by the DEA. As a result of the rescheduling of Marinol from Schedule II to Schedule III, refills are now permitted for this substance. Marinol's U.S. Food and Drug Administration (FDA) approval for medical use has raised much controversy as to why cannabis is still illegal at the federal level.


title: Dronabinol

text: Female cannabis plants not only contain dronabinol but at least 113 other cannabinoids, including cannabidiol (CBD), thought to be the major anticonvulsant that helps people with multiple sclerosis; and cannabichromene (CBC), an anti-inflammatory which may contribute to the pain-killing effect of cannabis.


title: Dronabinol

text: It takes over one hour for Marinol to reach full systemic effect, compared to seconds or minutes for smoked or vaporized cannabis. Mark Kleiman, director of the Drug Policy Analysis Program at UCLA's School of Public Affairs said of Marinol, "It wasn't any fun and made the user feel bad, so it could be approved without any fear that it would penetrate the recreational market, and then used as a club with which to beat back the advocates of whole cannabis as a medicine."


title: Dronabinol

text: Clinical trials comparing the use of cannabis extracts with Marinol in the treatment of cancer cachexia have demonstrated equal efficacy and well-being among subjects in the two treatment arms. United States federal law currently registers dronabinol as a Schedule III controlled substance, but all other cannabinoids remain Schedule I, except synthetics like nabilone and HU-308.


title: Michael Ende

text: Michael Andreas Helmuth Ende (12 November 1929 – 28 August 1995) was a German writer of fantasy and children's fiction. He is known for his epic fantasy "The Neverending Story" (with its 1980s film adaptation and a 1995 animated television adaptation); other well-known works include "Momo" and "Jim Button and Luke the Engine Driver". His works have been translated into more than 40 languages, sold more than 35 million copies.


title: Michael Ende

text: Ende was born 12 November 1929 in Garmisch, Bavaria, the only child of the surrealist painter Edgar Ende and Luise Bartholomä Ende, a physiotherapist. In 1935, when Michael was six, the Ende family moved to the "artists' quarter of Schwabing" in Munich (Haase). Growing up in this rich artistic and literary environment influenced Ende's later writing.


title: Michael Ende

text: In 1936, his father's work was declared "degenerate art" and banned by the Nazi Party, so Edgar Ende was forced to draw and paint in secret.


title: Michael Ende

text: The horrors of World War II heavily influenced Ende's childhood. He was twelve years old when he witnessed the first Allied bombing raid on Munich. He reflected:


title: Michael Ende

text: Our street was consumed by flames. The fire didn't crackle; it roared. The flames were roaring. I remember singing and careering through the blaze like a drunkard. I was in the grip of a kind of euphoria. I still don't truly understand it, but I was almost tempted to cast myself into the fire like a moth into the light.


title: Michael Ende

text: He was horrified, however, by the 1943 Hamburg bombing, which he experienced while visiting his paternal uncle. At the first available opportunity his uncle put him on a train back to Munich. There, Ende attended the Maximillians Gymnasium in Munich until schools were closed as the air raids intensified and pupils were evacuated. Ende returned to Garmisch-Partenkirchen, where he was billeted in a boarding-house, Haus Kramerhof and later in Haus Roseneck. It was there that his interest in German poetry was awakened. As well as writing his own poetry, he began to study various literary movements and styles. As most recent German poetry was banned as part of censorship in Nazi Germany, he instead studied the German Romantic poet Novalis, whose "Hymns to the Night" made a great impression on him.


title: Michael Ende

text: In 1944, Edgar Ende's studio at no. 90 Kaulbachstraße, Munich went up in flames and over two hundred and fifty paintings and sketches were destroyed, as well as all his prints and etchings. , Director of Public Art for Bavaria, was still in possession of a number of Ende's paintings, which survived the raids. After the bombing, Luise Ende was relocated to the Munich district of Solln. In 1945, Edgar Ende was taken as a prisoner of war by American GIs, but was released soon after the end of the war.


title: Michael Ende

text: In 1945, German youths as young as fourteen were drafted into the "Volkssturm" and sent to war against the advancing Allied armies. Three of Michael Ende's classmates were killed on their first day of combat. Ende was also drafted, but tore up his call-up papers and joined a secret German resistance group founded to sabotage the SS's declared intention to defend Munich until the "bitter end". Ende served the group as a courier for the remainder of the war.


title: Michael Ende

text: In 1946, Michael Ende's grammar school re-opened, and he attended classes for a year, following which the financial support of family friends allowed him to complete his high-school education at a Waldorf School in Stuttgart. This seemingly charitable gesture was motivated by more self-interest: Ende had fallen in love with a girl three years his senior, and her parents funded his two-year stay in Stuttgart to keep the pair apart. It was at this time that he first began to write stories ("Michael," par. 3). He aspired to be a "dramatist," but wrote mostly short stories and poetry (Haase).


title: Michael Ende

text: During his time in Stuttgart, Ende first encountered Expressionist and Dadaist writing and began schooling himself in literature. He studied Theodor Däubler, Yvan Goll, Else Lasker-Schüler and Alfred Mombert, but his real love was the poetry of Rainer Maria Rilke, Stefan George and Georg Trakl. He also made his first attempts at acting, performing with friends in Stuttgart's America House. He was involved in productions of Chekhov's one-act comedy "The Bear", in which he played the principal role, and in the German premiere of Jean Cocteau's "Orpheus". Ende's first play "Denn die Stunde drängt (As Time is Running Out)" dates to this period. It was dedicated to Hiroshima, and was never performed.


title: Michael Ende

text: Ende decided that he wanted to be a playwright, but financial considerations ruled out a university degree, so in 1948 he auditioned for the Otto Falckenberg School of the Performing Arts in Munich and was granted a two-year scholarship (Haase).


title: Michael Ende

text: On leaving drama school, his first job as an actor took him to a provincial theatre company in Schleswig-Holstein. The troupe travelled from town to town by bus, usually performing on makeshift stages, surrounded by beer, smoke and the clatter of skittles from nearby bowling alleys. The acting was a disappointment, he usually had to play old men and malicious schemers, and had barely enough time to memorize his lines. Despite the frustrations and disappointments of his early acting career, Ende came to value his time in the provinces as a valuable learning experience that endowed him with a practical, down-to-earth approach to his work: "It was a good experience, a healthy experience. Anyone interested in writing should be made to do that sort of thing. It doesn't have to be restricted to acting. It could be any kind of practical activity like cabinet making—learning how to construct a cabinet in which the doors fit properly." In Ende's view, practical training had the potential to be more useful than a literary degree.


title: Michael Ende

text: Thanks to the numerous contacts of his girlfriend Ingeborg Hoffmann, Michael Ende was introduced to a variety of cabaret groups. In 1955, , head of (the 'Little Fish' cabaret), commissioned Ende to write a piece in commemoration of the 150th anniversary of Friedrich Schiller's death. Ende produced a sketch in which a statue of Schiller was interviewed about newsworthy issues, and replied with quotes from Schiller's work. "There was rapturous applause, and commissions arrived from other cabarets too." Michael Ende began to compose sketches, chansons and monologues. He also worked as a film critic during the 1950s.


title: Michael Ende

text: Michael Ende always said that ideas only came to him when the logic of the story required them. On some occasions he waited a long time for inspiration to arrive.


title: Michael Ende

text: At one point during the writing of "Jim Button" the plot reached a dead end. Jim and Luke were stuck among black rocks and their tank engine couldn't go any further. Ende was at a loss to think of a way out of the adventure, but cutting the episode struck him as disingenuous. Three weeks later he was about to shelve the novel when suddenly he had an idea—the steam from the tank engine could freeze and cover the rocks in snow, thus saving his characters from their scrape. "In my case, writing is primarily a question of patience," he once commented.


title: Michael Ende

text: Over the next eighteen months he sent the manuscript to ten different publishers, but they all responded that it was "Unsuitable for our list" or "Too long for children". In the end he began to lose hope and toyed with the idea of throwing away the script. He eventually tried it at a small family publishing-house, K. in Stuttgart. Michael Ende's manuscript was accepted by company director Lotte Weitbrecht who liked the story. Her only stipulation was that the manuscript had to be published as two separate books.


title: Michael Ende

text: The first of the "Jim Button" novels was published in 1960. About a year later, on the morning of the announcement that his novel, "Jim Button and Luke the Engine Driver", had won the German Prize for Children's Fiction, Ende was being sued by his landlady for seven months' rent backpayment. With the prize money of five thousand marks, Michael Ende's financial situation improved substantially and his writing career began in earnest. After the awards ceremony, he embarked on his first reading tour, and within a year, the first "Jim Knopf" book was also nominated for the Hans Christian Andersen Award and received the Berlin Literary Prize for Youth Fiction.


title: Michael Ende

text: The second "Jim Knopf" novel, "Jim Button and the Wild Thirteen", was published in 1962. Both books were serialized on radio and TV, and the Augsburger Puppenkiste famously adapted the novels in a version filmed by Hesse's broadcasting corporation. The print-runs sold out so rapidly that K. Thienemanns could barely keep up. Translations into numerous foreign languages soon followed.


title: Michael Ende

text: Ende claimed, "It is for this child in me, and in all of us, that I tell my stories", and that "[my books are] for any child between 80 and 8 years" (qtd. Senick 95, 97). He often expressed frustration over being perceived as a children's writer exclusively, considering that his purpose was to speak of cultural problems and spiritual wisdom to people of all ages. Especially in Germany, Ende was accused by some critics of escapism. He wrote in 1985:


title: Michael Ende

text: One may enter the literary parlor via just about any door, be it the prison door, the madhouse door, or the brothel door. There is but one door one may not enter it through, which is the nursery door. The critics will never forgive you such. The great Rudyard Kipling is one to have suffered this. I keep wondering to myself what this peculiar contempt towards anything related to childhood is all about.


title: Michael Ende

text: Ende's writing could be described as a surreal mixture of reality and fantasy. The reader is often invited to take a more interactive role in the story, and the worlds in his books often mirror our reality, using fantasy to bring light to the problems of an increasingly technological modern society. His writings were influenced by Rudolf Steiner and his anthroposophy. Ende was also known as a proponent of economic reform, and claimed to have had the concept of aging money, or demurrage, in mind when writing "Momo". A theme of his work was the loss of fantasy and magic in the modern world.


title: Michael Ende

text: Michael Ende had been fascinated by Japan since his childhood. He loved Lafcadio Hearn's Japanese legends and ghost stories, and in 1959 he wrote a play inspired by Hearn's material. "Die Päonienlaterne" (The Peony Lantern) was written for radio, but never broadcast. Ende was primarily interested in Japan because of its radical otherness. The Japanese language and script were so different from Ende's native German that it seemed they were grounded in a different kind of consciousness—an alternative way of seeing the world. He was particularly intrigued by the way in which everyday circumstances were shaped into intricate rituals, such as the tea ceremony. There was, he realized, a sharp contrast between the traditions of ancient Japan and its industry-oriented modern-day society.


title: Michael Ende

text: Ende won a devoted following in Japan, and by 1993 over two million copies of "Momo" and "The Neverending Story" had been sold in Japan.


title: Michael Ende

text: In 1986 Michael Ende was invited to attend the annual congress of the JBBY (Japanese Committee for International Children's Literature) in Tokyo. He gave a lecture on "Eternal Child-likeness"—the first detailed explanation of his artistic vision.


title: Michael Ende

text: 1989 marked the opening of the exhibition "Michael and Edgar Ende" in Tokyo. The exhibition was subsequently shown in Otsu, Miyazaki, Nagasaki, Osaka, Nagoya and Fukuyama. At the invitation of "Shimbun", a Japanese newspaper, Michael Ende attended the opening and spent two months touring Japan. It was his third trip accompanied by the Japanese-born Mariko Sato, whom he married in September 1989. The following year an archive devoted to Michael Ende was established at Kurohime Dowakan, a museum in the Japanese city of Shinano-machi. Ende donated letters and other personal items to the collection. On 23 October 1992 Michael Ende made his final trip to Japan. In the course of their three-week visit Michael Ende and Mariko Sato-Ende visited the Dowakan museum, joined Ende's Japanese publishers, Iwanami, in celebrating the millionth sale of Momo, and travelled to Kanazawa and Hamamatsu and a number of other cities that were new to Ende.


title: Michael Ende

text: On New Year's Eve 1952, Michael Ende met the actress Ingeborg Hoffmann during a party with friends. According to Ende, he was standing at an ivy-covered counter serving as barman, when Hoffmann strode towards him, looking "flame-haired, fiery and chic". She declaimed: "Leaning up against the ivy-covered wall / Of this old terrace"; "Mörike", Ende said instantly, recognizing the quote. Hoffmann, eight years his senior, made a big impression on Ende. She in turn was intrigued by his literary cultivation and artistic inclinations. They began a relationship that led to their marriage in 1964 in Rome, Italy, and ended with Ingeborg Hoffmann's sudden and unexpected death in 1985 from a pulmonary embolism; she was 63 years old.


title: Michael Ende

text: Hoffmann influenced Ende profoundly. In addition to assisting with getting his first major manuscript published, Hoffmann worked with him on his others, reading them and discussing them with him. Hoffman also influenced Ende's life in other ways. She encouraged Ende to join the Humanist Union, an organization committed to furthering humanist values. Together they campaigned for human rights, protested against West German rearmament, and worked towards peace. Thanks to Ingeborg Hoffmann's numerous contacts, Michael Ende was introduced to a variety of cabaret groups. In 1955, Therese Angeloff, head of "Die kleinen Fische" (the 'Little Fish' cabaret), commissioned Ende to write a piece in commemoration of the 150th anniversary of Friedrich Schiller's death. Ende produced a sketch in which a statue of Schiller is being interviewed about current events, and replies with quotes from Schiller's writings. "There was rapturous applause, and commissions arrived from other cabarets too." Michael Ende began to compose sketches, chansons and monologues.


title: Michael Ende

text: For fourteen years, Ende and Hoffmann, who were both Italophiles, lived just outside Rome in Genzano, in a house they called Casa Liocorno ("The Unicorn"). It was there that Ende wrote most of the novel "Momo". Following the death of his wife, Ende sold the home in Genzano and returned to Munich.


title: Michael Ende

text: He married a second time in 1989, to Japanese woman Mariko Sato, and they remained married until his death. He first met Mariko Sato in 1976. Sato had emigrated from Japan to West Germany in 1974 and was working at the time for the International Youth Library in Munich. After their first meeting at the Bologna Children's Book Fair, Sato translated some of Ende's books into Japanese and helped answer his questions about Japanese culture. From 1977 to 1980 Michael Ende and Mariko Sato worked together to produce a translation into German of ten fairy tales by Japanese writer Kenji Miyazawa. The German text was never published, but their working partnership turned into a friendship. Mariko Sato accompanied him on a number of trips to Japan. The first trip took place in 1977 and included visits to Tokyo and Kyoto. For the first time Ende was able to experience Kabuki and Noh theatre, and was greatly impressed by traditional Japanese drama. Michael Ende had no children.


title: Michael Ende

text: In June 1994, Ende was diagnosed with stomach cancer. Over the next few months he underwent various treatments, but the disease progressed. He ultimately succumbed to the disease in Filderstadt, Germany, on 28 August 1995.


title: Lucia Aniello

text: Lucia Aniello (born 1983) is an Italian-born American director, writer, and producer best known for her work on "Hacks", for which she won multiple Emmy Awards, and "Broad City." She has directed and written episodes of both shows, as well as the miniseries "Time Traveling Bong" and the 2017 film "Rough Night".


title: Lucia Aniello

text: Aniello was born in Italy and grew up in Hadley, Massachusetts, where her parents owned Italian restaurants, before moving to New York City. In 2004, she graduated from Columbia University, where she was a film and media studies major and studied with film critic Andrew Sarris. She was in Sigma Delta Tau sorority. She also played varsity tennis for Columbia.


title: Lucia Aniello

text: Aniello is an alumna of the Upright Citizens Brigade, an improvisational and sketch comedy group founded in 1990 by a group of comedians including Amy Poehler who is an executive producer of "Broad City".


title: Lucia Aniello

text: Aniello and Paul W. Downs met at a Upright Citizens Brigade Level One improvisational comedy class. Aniello and Downs began working together on a series of digital shorts and improv. They started their own website and comedy production company called Paulilu Productions. Together they have been writing, directing and acting in digital shorts since 2007. Some of their most well-known web series include "The Diary of Zac Efron" and "The Real Housewives of South Boston". She also co-wrote and directed the first commercial for "Dollar Shave Club".


title: Lucia Aniello

text: Aniello also met Ilana Glazer of "Broad City" through the same Upright Citizens Brigade class where she met Downs. Aniello and Glazer were dressed nearly identically at the time of their first meeting, which they now think was a sign for their future work together. As Aniello and Downs began to make digital shorts and build the foundations of Paulilu, Glazer and Abbi Jacobson worked on the prototype of "Broad City". The two comedic duos supported each other's work, occasionally acting in each other's shorts or directing them.


title: Lucia Aniello

text: When "Broad City" moved to television Glazer and Jacobson asked Aniello to direct the pilot and cast Downs as Trey, the trainer and boss of Jacobson's character on the show. After the pilot did well and the show was picked up by Comedy Central, they asked both Aniello and Downs to join the group of writers for the show. While collectively, the group was relatively inexperienced and self-taught, they shared a passion for a feminist perspective on comedy and attribute their success to their collective vision. "Broad City" is widely known for its social commentary. The show is groundbreaking in how it breaks gender roles, positively portrays female sexuality and polyamory in hookup culture.


title: Lucia Aniello

text: Aniello also co-created "Time Traveling Bong". Her interest in the subject began in college when she wrote a thesis on time-travel movies at Columbia University. The movie is a stoner film comedy about two cousins who acquire a bong that acts as a time traveling device. While the comedy is rather goofy, there is also a lot of underlying social commentary about how tough it was to be a minority throughout American history.


title: Lucia Aniello

text: Aniello directed and, with Downs, co-wrote the comedy "Rough Night", which was released in June 2017. It stars Scarlett Johansson, Zoe Kravitz, Kate McKinnon, Jillian Bell, Ilana Glazer, Demi Moore, Ty Burrell and Colton Haynes. During the time of the film's release, Aniello was the first woman to direct an R-rated comedy in nearly 20 years.


title: Lucia Aniello

text: In 2020, she directed and executive produced the Comedy Central series "Awkwafina Is Nora from Queens" as well as Netflix's "Baby-Sitters Club".


title: Lucia Aniello

text: She is currently co-showrunning and directing HBO Max’s "Hacks". More recently, Aniello and Paul W. Downs signed a deal with Warner Bros. Television.


title: Lucia Aniello

text: Aniello has received recognition for her work, including “Best of NY Sketch,” in the 2010 New York Comedy Festival and a TONY's “Critic’s Pick.” Her work has been featured in the 2011 Just for Laughs Comedy Festival in Montreal.


title: Lucia Aniello

text: Aniello resides in Los Angeles with her husband and comedic partner Paul W. Downs, with whom she co-wrote "Rough Night". They have a son, born in 2022.


title: Divya Pillai

text: Divya Pillai is an Indian actress who appears in Malayalam films. She debuted in the 2015 film "Ayal Njanalla", it was followed by "Oozham" in 2016.


title: Divya Pillai

text: Divya was born to a Malayali family. Born and brought up in Dubai, UAE, she began her career as an airline staff member before entering the cinema world.


title: Divya Pillai

text: She made her film debut in 2015 with the romantic-comedy "Ayal Njanalla" opposite Fahadh Faasil, in the directorial debut of actor Vineeth Kumar. Her second project was under the direction of Jeethu Joseph in "Oozham" (2016), a revenge-drama starring Prithviraj Sukumaran. The film was a box office success. In 2019 she had a guest role as Jancy in the television serial "Uppum Mulakum".


title: Copy editing

text: Copy editing (also known as copyediting and manuscript editing) is the process of revising written material (copy) to improve readability and fitness, as well as ensuring that text is free of grammatical and factual errors. "The Chicago Manual of Style" states that manuscript editing encompasses "simple mechanical corrections (mechanical editing) through sentence-level interventions (line, or stylistic, editing) to substantial remedial work on literary style and clarity, disorganized passages, baggy prose, muddled tables and figures, and the like (substantive editing)". In the context of print publication, copy editing is done before typesetting and again before proofreading. Outside traditional book and journal publishing, the term "copy editing" is used more broadly, and is sometimes referred to as proofreading, or the term "copy editing" sometimes includes additional tasks.


title: Copy editing

text: Although copy editors are generally expected to make simple revisions to smooth awkward passages, they do not have a license to rewrite a text line by line, nor do they prepare material on an author's behalf. Creating original content to be published under another person's name is called "ghostwriting". Furthermore, copy editors are expected to query structural and organizational problems, but they are not expected to fix these problems. In addition, copy editors do not normally engage in "developmental editing", which includes helping an author develop an idea into a publishable manuscript, overhauling a rough draft, identifying gaps in subject coverage, devising strategies for more-effective communication of content, and creating features to enhance the final product and make it more competitive in the marketplace.


title: Copy editing

text: In the United States and Canada, an editor who does this work is called a "copy editor". An organization's highest-ranking copy editor, or the supervising editor of a group of copy editors, may be known as the "copy chief", "copy desk chief", or "news editor". In the United Kingdom, the term "copy editor" is used, but in newspaper and magazine publishing, the term is "subeditor" (or "sub-editor"), commonly shortened to "sub". In the context of the Internet, online "copy" refers to the textual content of web pages. Similar to print, online copy editing is the process of revising and preparing the raw or draft text of web pages for publication.


title: Copy editing

text: Copy editing has three levels: light, medium, and heavy. Depending on the budget and scheduling of the publication, the publisher will let the copy editor know what level of editing to employ. The chosen type of editing will help the copy editor prioritize their efforts.


title: Copy editing

text: Within copy editing, there is "mechanical editing" and "substantive editing". Mechanical editing is the process of aligning a document with editorial or house style, keeping the preferred style and grammar rules of publication consistent across all content. Content editing, also known as substantive editing, is the editing of the material, including its structure and organization, to ensure internal consistency.


title: Copy editing

text: Mechanical editing is the process of proofreading a piece of writing for consistency, either internally or in accordance with the publisher's house style. According to Einsohn, mechanical editors work with such things as the following:


title: Copy editing

text: Proper spelling and punctuation are subjective in some cases, where they must be left to the discretion of the copy editor or the publisher. Most publishing firms use a widely recognized style guide such as "The Chicago Manual of Style" or "The Associated Press Stylebook". Companies that produce documents and reports but do not consider themselves publishers in the usual sense tend to rely on in-house style guides or on the judgment of the copyeditor.


title: Copy editing

text: The goal of the copy editor is to enforce inviolable rules while respecting personal stylistic preferences. This can be difficult, as some writers view grammatical corrections as a challenge to their intellectual ability or professional identity. Therefore, copy editors are encouraged to respect the author's preference if it is acceptable. This practice is complicated further by volatile language conventions as recorded by books on grammar and usage, the authors of which often disagree.


title: Copy editing

text: Content editing consists of reorganizing or restructuring a document. This involves any inconsistent parts of the content as well as any variances. Content editors can fix the content by either rewriting it or heavily editing it. However, the copy editor will often point out any difficult passages for the author to resolve on his or her own time.


title: Copy editing

text: Although copy editors are not responsible for factual correctness of the document, they can provide comments for the author on any information that they know to be untrue, such as year discrepancies or misleading ideas. Such fact-checking is acceptable for copy editors who know the document's subject matter.


title: Copy editing

text: The copy editor must also point out any biased language without infringing on the author's meaning. This includes material "that might form the basis for a lawsuit alleging libel, invasion of privacy, or obscenity". Some see censoring biased language as political correctness, so it is important that the copy editor distinguish between the two. To do this, the copy editor will permit intentional "politically incorrect" views and censor only marginalized, offensive, or exclusive language.


title: Copy editing

text: Most manuscripts will require the copy editor to correlate the parts within it. Copy editors must carry out the following tasks in this process:


title: Copy editing

text: Some manuscripts may require special cross-checking. For example, in a how-to text, a copy editor might need to verify that the list of equipment or parts matches the instructions given within the text.


title: Copy editing

text: Typecoding is the process of identifying which sections of the manuscript are not regular running text. These portions of text, known as elements, include the following:


title: Copy editing

text: It is the copy editor's job to typecode (or make note of) all manuscript elements for the publication designer. Hard-copy copy editors are usually asked to pencil in the typecodes in the left margin of the manuscript. On-screen copy editors may be asked to insert typecodes at the beginning and end of each element.


title: Copy editing

text: Finally, if the manuscript contains long quotations from a published work that is still under copyright, the copy editor should remind the author to acquire permission to reprint those quotations. The same goes for the reprinting of tables, charts, graphs, and illustrations that have appeared in print. Rules vary for the reproduction of unpublished materials (letters, diaries, etc.)


title: Copy editing

text: There are basic procedures that every copy editor must follow: copy editors need a system for marking changes to the author's text (marking), a process for querying the author and the editorial coordinator (querying), a method for keeping track of editorial decisions (recordkeeping), and procedures for incorporating the author's review of the copyediting into a final document (cleanup). These systems were originally developed in an era before that of the computer, but over time these procedures were adapted for a digital on-screen space.


title: Copy editing

text: Each medium (in print and on screen) has its own affordances, and although a copy editor may prefer one editing process over the other, copy editors are practically required to use both techniques.


title: Copy editing

text: Traditional markup copyediting, or hard-copy editing, is still important because screening tests for employment may be administered in hard copy. Also, the author whose text the copy editor is editing may prefer hard-copy markup, and copy editors need to know traditional markup in case documents and materials cannot be exchanged electronically. When editing in hard copy, all participating parties (the editor, author, typesetter, and proofreader) must understand the marks the copy editor makes, and therefore a universal marking system that signifies these changes exists. This is also why the copy editor should write legibly and neatly. Copy editors working hard copy write their corrections in the text directly, leaving the margins for querying. Usually, the copy editor is asked to write in a bright color so that the author and other parties can easily recognize the editor's changes.


title: Copy editing

text: Every year, more editing projects are being done on computers and fewer in print. Also, if there is a digital version of a text the copy editor is editing, they can more easily search words, run spell checkers, and generate clean copies of messy pages. The first thing copy editors must do when editing on screen is to copy the author's files, as the original document must be preserved. Each word-processing program provides various options for how an editor's markups are shown on screen and on the printout. On-screen editing mainly differs from hard-copy editing in the fact that the copy editor should edit more cleanly on screen, refraining from saving parts of words, and be careful in maintaining proper line spacing.


title: Copy editing

text: Copy editors often need to query their authors in order to address questions, comments, or explanations: most of these can be done in the margins of the text, or the comment section when on screen. The copy editor must consider when to query and the length and tone of their queries, as querying too often or seldom, cryptically, or sarcastically can result in a negative relationship between the copy editor and the author.


title: Copy editing

text: A copy editor's goals may change depending on the publication for which they work; however, there are a few constituencies which must always be served – the author (the person who wrote or compiled the manuscript), the publisher (the person or company which pays for production), and the readers (the audience for whom the material is being produced). These parties (together with the copy editor) work to achieve the same goal, which is to produce an error-free publication and improve the reader experience, by reducing extraneous cognitive load. The copy editor strives to improve clarity, coherence, consistency, and correctness – otherwise known as the "4 Cs", each of which serves the copy editor's "cardinal C", which is communication.


title: Copy editing

text: The biggest difference between monastic copyists and copyeditors is that copyeditors leave edits as suggestions that can be rejected by the writer. These printing houses established procedures for editing, preparing the text, and proofreading. Specialist correctors ensured that texts followed the standards of the time.


title: Copy editing

text: Before the printing press, monastic copyists altered words or phrases they thought were odd, under the assumption that the copyist before them had made a mistake. This is what led to so much variety in standard texts like the Bible.


title: Copy editing

text: After the globalization of the book from 1800 to 1970 came the rise of American writers and editors. One editor in particular, Maxwell Perkins, was sought out by writers such as Fitzgerald, Hemingway, and Wolfe because he greatly improved the work of these prominent authors with his editorial eye. Perkins was known for editing, guiding, and befriending his writers – but the times were changing.


title: Copy editing

text: In the late 19th century, the role of an editor was to decide if a manuscript was good enough to be published. As time passed, the role of an editor and publisher became more distant. Although there was a newfound relationship between editors and authors, thoughtful editing did not end.


title: Copy editing

text: Copyeditors were employed at various publishing houses, magazines, journals, and by private authors seeking revisions to their work. Some copyeditors were even employed by public relations and advertising firms who valued strong editing practices in their business.


title: Copy editing

text: The symbols used by copyeditors today are based on those that have been used by proofreaders since the beginnings of publishing, though they have undergone some changes over time. However, the exact beginnings of the copyediting language used today are unclear. Despite its long history, copyediting as a practice has not experienced any extreme upheaval other than the desktop publishing revolution of the 1980s. This phenomenon began as the result of a series of inventions that were released during the middle of this decade, and refers to the growth of technology usage in the field of copyediting. Namely, the development of the Macintosh computer, the desktop laser printer by Hewlett-Packard, and software for desktop publishing called PageMaker allowed the revolution to begin. By allowing both individuals and publishing agencies alike to cheaply and effectively begin to edit compositions entirely on-screen rather than by hand, desktop publishing revolution morphed copyediting into the practice it is today. Most copyeditors today rely on more modern WYSIWYG (what you see is what you get) text processors such as Microsoft Word that are based on the original PageMaker to do their work.


title: Copy editing

text: There were a few events that led to changes within copyediting as a career. One of these, the successful strike of the editorial department of the "Newark Ledger" from November 17, 1934, to March 28, 1935, was "the first major action of its kind by any local guild ... [it] both confirmed the irreversibility of the guilds' movement away from the professional association idea and greatly accelerated that process". Paired with another string of strikes led by The New York Newspaper Guild against a number of smaller newspapers in the summer of 1934, these actions served to shift the image of the editorial worker as a "professional" to one as an average citizen. Another strike from the year 1934 was the strike at the Macaulay Company, reportedly the first-ever strike to occur at a publishing firm. At the conclusion of the second Macaulay strike, which occurred three months after the first, the nationwide drive towards unionization had entered the publishing industry and was "sweeping through all the major publishing houses". As these events seemed to have the secondary result of lowering the status of editors across the various publishing fields, it could be said that they sparked the decline of copyeditors, which can be seen across the publishing fields today.


title: Copy editing

text: Owing to the rise of the Digital Age, the roles and responsibilities of a copyeditor have changed. For instance, beginning in 1990, copyeditors learned pagination electronically. They could now look at different pages of a text on multiple screens and easily edit on there, as opposed to pasting them by hand onto a board. This technological advance also required that copyeditors learn new software such as Pagemaker, Quark Xpress, and now Adobe InDesign.


title: Copy editing

text: Modern copyeditors are often required to edit for digital as well as print versions of the text. Digital copyediting requires copyeditors to understand RSS feeds, social media such as Twitter and Facebook, and HyperText Markup Language. What should be accounted for is that in this digital age, information is constantly being released, which leads to the decline in the editing of the online versions. Editors of the website BuzzFeed commented that sometimes they "simply can't get every post before it's published".


title: Copy editing

text: While copyeditors still do traditional tasks such as checking for facts, grammar, style, and writing headlines, some of their duties have been pushed aside to make way for technology. Some copyeditors now have to design page layouts and some even edit video content. Copyeditors are now sometimes referred to as "copy/layout editors" or "producers/designers".


title: Copy editing

text: Traditionally, the copy editor would read a printed or written manuscript, manually marking it with editor's "correction marks". At sizable newspapers, the main copy desk was often U-shaped; the copy desk chief sat in the "slot" (the center space of the U) and was known as the "slot man", while copy editors were arrayed around him or her on the outside of the U, known as the "rim". In the past, copy editors were sometimes known humorously as "rim rats". Chief copy editors are still sometimes called "the slot". But nowadays, the manuscript is more often read on a computer display and text corrections are entered directly.


title: Copy editing

text: The nearly universal adoption of computerized systems for editing and layout in newspapers and magazines has also led copy editors to become more involved in the design and the technicalities of production. Technical knowledge is therefore sometimes considered as important as writing ability, though this is truer in journalism than it is in book publishing. Hank Glamann, the co-founder of the American Copy Editors Society, made the following observation about ads for copy editor positions at American newspapers:


title: Copy editing

text: We want them to be skilled grammarians and wordsmiths and write bright and engaging headlines and must know Quark. But, often, when push comes to shove, we will let every single one of those requirements slide except the last one because you have to know that in order to push the button at the appointed time.


title: Copy editing

text: Besides an outstanding command of the language, copy editors need broad general knowledge for spotting factual errors; good critical thinking skills in order to recognize inconsistencies or vagueness; interpersonal skills for dealing with writers, other editors, and designers; attention to detail; and a sense of style. They must also set priorities and balance a desire for perfection with the need to meet deadlines.


title: Copy editing

text: Many copy editors have a college degree, often in journalism, communications, or the language of the writing that they edit. In the United States, copy editing is often taught as a college journalism course, though its name varies. The courses often include news design and pagination.


title: Copy editing

text: In the United States, The Dow Jones Newspaper Fund sponsors internships that include two weeks of training. Also, the American Press Institute, the Poynter Institute, the University of North Carolina at Chapel Hill, UC San Diego Extension, and conferences of the American Copy Editors Society offer midcareer training for newspaper copy editors and news editors (news copy desk supervisors).


title: Copy editing

text: Most US newspapers and publishers give copy-editing job candidates an editing test or a tryout. These vary widely and can include general items such as acronyms, current events, math, punctuation, and skills such as the use of Associated Press style, headline writing, infographics editing, and journalism ethics.


title: Copy editing

text: There are no official bodies offering a recognized proof-reading qualification in either the US or the UK. In the UK, the National Council for the Training of Journalists also has a qualification for subeditors.


title: Copy editing

text: Before the digital era, copy editors would mark errors and inconsistencies with a red pen, using a markup language of symbols which were universally known. The traditional copy editor was once defined as editing for grammar, spelling, punctuation, and other mechanics of style.


title: Copy editing

text: Copy-editing symbols cannot be used in digital editing because they are not supported on digital platforms such as track changes. With more posting online and less printing on paper, hard-copy can no longer keep pace with digital publishing. For a publisher to hire copy editors to print a hard copy, make edits, and then make changes is no longer the most efficient process. The position of copy editors is at risk because time demands quicker results which can be automated by software that catches grammatical errors. Transferring the responsibility from human copy editors to digital software has been adopted by some publishing companies because it is available free of cost.


title: Copy editing

text: Professionals feared that the introduction of digital editing software would end copyediting careers. Copy editors are still employed and needed for heavy edits, such as fact-checking and content organization, which are beyond the abilities of the software. With grammar software and journalists who can edit, copy editors are seen as a luxury in publishing. The potential for a company to use editing software may also require the copy editor to only perform heavy editing and querying. Though the steps for copyediting are the same, the execution has been adapted for digital environments.


title: Copy editing

text: The technological development of cloud storage allows contemporary copy editors and writers to upload and share files across multiple devices. Online word processors such as Google Docs, Dropbox, Zoho, OpenGoo and Buzzword allow users to perform a number of tasks. Each processor has its advantages and disadvantages based on the users' preferences, but primarily allows users to share, edit and collaborate on documents. Recently, OpenGoo has been rebranded as Feng Office On Google Docs users can invite others via email to view, comment, and edit any file of their choosing. Those invited can view and edit the document together in real time. Unlike Google Docs whose files can only be shared through the web app, Dropbox shares from a desktop app. Dropbox users can share documents as links or as shared folders. Users can create shared folders and add others to the folder. Files in a shared folder will appear in the other user's Dropbox and all involved users receive notifications when edits are made to a file in the folder. Adobe's Buzzword allows users to share files, with the user's choice from varying levels of editing access and includes a version history feature which tracks changes made to documents and lets users revert to earlier versions.


title: Copy editing

text: Useful in many word processors, a track changes feature allows users to make changes to a document and view them separately from the original document. In Microsoft Word, users can choose whether to show or hide changes by clicking track changes under the Review ribbon. Those editing documents can leave comments by clicking wherever the user desires to leave a comment and clicking New Comment under the review ribbon or by highlighting text and clicking New Comment. Users can apply revisions and choose which level of markups to view under the Show Markup dropdown menu in the Review ribbon. Users can also choose to accept or reject changes by clicking either Accept or Reject in the Review Ribbon.


title: Copy editing

text: The field of copy editing is not obsolete. Teresa Schmedding, president of the American Copy Editors Society (ACES) and a deputy managing editor at the "Daily Herald" in Chicago, thinks that copy editors are "a natural fit" for digital journalism and social media because, though publishing has been made available to almost anyone, quality and credibility is brought to content only by copy editors.


title: Copy editing

text: Copy editors must now consider multimedia aspects of the story, such as video, images, audio, and search engine optimization, which may be included in digital publications. Digital editing now requires copy editors to understand SEO, HTML, CSS, and RSS feeds, as well as creative tools like Adobe Illustrator.


title: Copy editing

text: One of the problems with copy-editing is that it may slow the publication of the text. With the digital publishing era came an increased demand for a fast turnover of information. Additional details such as color printing, page size, and layout are determined by the allotted budget. Web-based publications, such as BuzzFeed and "Slate", do not have enough room in their budgets to keep sufficient staff to edit their massive, daily rushes of content. Therefore copy chief Emmy Favila says lower-priority posts are published without copyedits at Buzzfeed. "Slate" does not edit its blog posts before publication, but all of its news articles are copy edited before publication, say "Slate" copy chief Lowen Liu and deputy editor Julia Turner.


title: Copy editing

text: In response to such high demands for fast-produced content, some online publications have started publishing articles first and then editing later, a process known as back-editing. Editors prioritize stories to edit based on traffic and whether the content was originally reported for needing edits.


title: Copy editing

text: Reading material has become increasingly accessible to users with a wide range of disabilities. Carolyn Rude exemplifies such cases in alternatively replacing illustrations with text and audio translations for the visually impaired. Rude also suggests that web developers attempt to stick to print guidelines, such as "clear and simple language and consistent terms and navigation devices", especially when readers are looking at text in a second language.


title: Copy editing

text: As online resources rise in popularity, copy editors endeavor to meet the increase of digital consumerism to the best of their abilities, and such high competition has resulted in a gradually "declining of quality in editing", such as copy editing or fact-checking. However, this doesn't mean that the Internet has limited the scope of a copy editor's responsibilities or job opportunities. One of the most important advancements of the digital age is the advent of pagination, which gives copy editors more control over the construction and revisions of their content. Pagination is a convenient feature in programs such as "Pagemaker, the Quark Xpress, and AdobeIndesign". Despite the increasing number of programs, however, some copy editors believe their basic functions and duties haven't changed much. Other copy editors think that the Internet has simplified fact-checking and that websites such as Facebook or Twitter have aided information-gathering. Other digital skills, such as image selection and search engine optimization, increase the visibility of search results, especially when searching for keywords in headlines.


title: Copy editing

text: In all likelihood, the Internet will continue to evolve, but this shouldn't hamper the overall importance of copy editing. Although it may be tempting to neglect proper revisions in favor of convenience, the credibility and quality of an editor's work should still be maintained, as there will always be updates in software and technology. As formats evolve, so too will the opportunities for journalists and other writers.


title: Lydia Night

text: Lydia Victoria Night (born October 13, 2000) is an American musician primarily known for her work as the lead vocalist and rhythm guitarist of California rock band The Regrettes. She was also the lead vocalist and guitarist of pop rock bands Pretty Little Demons and LILA as well as a frequent collaborator with rock duo Dead Man's Bones. Robben Barquist of Collide Culture referred to Night as the new face of feminist punk. She is the daughter of Morgan Higby Night.


title: Lydia Night

text: Night began performing live as young as two years old, singing the Ramones song "Beat on the Brat" for the soundcheck at her father's nightclub in New Orleans, where she was born. A few years later, she and her family relocated to Santa Monica, California, and soon after Los Angeles. When she was seven years old, she formed her first band LILA (which stood for Little Independent Loving Artists), who performed at school events and McCabe's guitar shop in Santa Monica.


title: Lydia Night

text: In 2012, she formed the pop rock group Pretty Little Demons with drummer Marlhy Murphy. In 2013, the duo played South by Southwest, becoming the youngest performers to play at the festival. This caught the attention of Ryan Gosling, who asked her to join his band Dead Man's Bones.