text: T. F. Green was again visited by Air Force One, a Boeing 747, on October 25, 2010, a Concorde operated by British Airways on June 13, 1988, and an Airbus A340 flown by Iberia Airlines on June 1, 2011, which transported the Men's Spanish national soccer team for their match against the U.S. National Team on June 4, 2011, at Gillette Stadium in Foxborough, Massachusetts. T. F. Green was visited by Air Force One again on October 31, 2014, carrying President Barack Obama.


title: Rhode Island T. F. Green International Airport

text: From 1998 until 2013, T. F. Green had regular service to Toronto Pearson International Airport first via Air Jazz and then by Air Georgian after 9/11, both did business as express carriers for Air Canada. In the early 1990s Leisure Air provided twice weekly seasonal service to Bermuda. Charters such as North American Air and Buffalo Air handled scheduled charter service to the Azores from the mid-'80s to the early '90s. SATA International, now known as Azores Airlines, has recently resumed seasonal service to the Azores, having previously offered service until 2010. In 2015, service was announced to Frankfurt, Germany by Condor and Praia, in the Cape Verde islands, by TACV. The Condor service to Frankfurt marked the first non-stop route to mainland Europe from Providence; however, the flight was later suspended for unspecified reasons. February 6, 2017, "USA Today" announced that Norwegian Air had selected Providence's T. F. Green Airport as its base for flights to Europe. Norwegian Air Shuttle operated from Providence using new Boeing 737 MAX planes for its service to cities in Western Europe, however as of now the service is cut due to the groundings of the aircraft related to its MCAS system. The official announcements were made February 23, 2017, with flights starting to Belfast, Cork, Dublin, Edinburgh and Shannon. These routes were gradually dropped due to poor load factors, and the Boeing 737 MAX grounding. Norwegian's last flight from Providence operated on September 15, 2019.


text: On October 1, 2017, T. F. Green's runway 5/23 was officially opened for use at its new expanded length of 8,700 feet. Planning on the project began in the 1990s, and work on the expansion began in 2013. The project included building additional safety measures in the event of airplane overruns, removal of nearby utility poles and trees to clear approach lanes, and moving an entire city park from one side of the airport to the other. Officials are hopeful that the longer runway will attract more longer-range nonstop flights, such as the international routes that Norwegian Air began flying in 2017, as well as enhance safety for short-distance flights, giving pilots more runway to use in the case of poor weather conditions. The runway expansion was desired because, as the Rhode Island Airport Corporation (RIAC) wrote in 2001, the master plan completed in 1997 failed to envision the "tremendous growth" that T. F. Green experienced. The report identified the lack of runway length as a hindrance to "range and diversity of service", in particular emphasizing ability to reach non-hub cities, the west coast, and international locations. Challenges for T. F. Green in expanding the runway were the residential and commercial developments around it. Many residents opposed the expansion.


text: In February 2018, the Rhode Island Airport Corporation (RIAC) formally petitioned the state legislature to change the name of the airport to "Rhode Island International Airport". RIAC believed the name change would both reflect the airport's international flight presence and better describe the location it serves. A bill introduced that month, H7673A, was not adopted.


text: In 2021, revised proposal H6051, which would change the airport's name to "Rhode Island T.F. Green International Airport", was passed by the Rhode Island House of Representatives on May 11. The proposal was approved by the Rhode Island Senate the following month. In June 2021, the airport's name was officially changed.


text: The airport's terminal, named for former Rhode Island governor Bruce Sundlun, has two concourses, North and South. The South Concourse has eight gates and the North Concourse has 14 gates. Seven and Eight are designed for international arrivals and are directly connected to customs, which is on the lower level of the concourse. The terminal contains stores, restaurants, and a central food court.


text: The airport is located directly adjacent to the Northeast Corridor, and includes a station served by the MBTA commuter rail on the Providence/Stoughton Line. The station was constructed in October 2010 and opened in November 2011, and includes an elevated walkway to the terminal, a rental car garage, and a large parking area. Upon opening in December 2010, the line initially only operated between Providence and Boston, but it has been expanded twice, first to T.F. Green in November 2011 and then to Wickford Junction in April 2012. Travel time to South Station in Boston is about 85 minutes, while the travel times to both Providence and to Wickford Junction are about 15 minutes. Amtrak does not stop at the station; however, a long-term proposal to reroute and modernize Amtrak's Northeast Corridor service would include a stop at the station.


text: T. F. Green Airport has direct access to I-95 via the T. F. Green Airport Connector Road, a freeway. The airport is served by major car rental companies as well as by local taxi and limousine services.


text: The Rhode Island Public Transit Authority (RIPTA) offers public bus transportation to and from the cities of Providence (Kennedy Plaza in downtown Providence) and Newport. Plymouth and Brockton Bus offers bus transportation to Fall River, New Bedford, Sagamore, Barnstable, and Hyannis.


text: On December 6, 1999, at approximately , a runway incursion occurred involving United Airlines Flight 1448 (a Boeing 757) and FedEx Express Flight 1662 (a Boeing 727) on Runway 5R/23L. Shortly after landing on Runway 5R, United 1448 was instructed by the air traffic control tower to taxi to the gate, part of the instructions including crossing Runway 16. Due to the low-visibility conditions that night, the pilots became disoriented and turned down the wrong taxiway, which led them back towards the active runway they had just arrived on. The tower controller, unaware of United's mistake, cleared FedEx 1662 for takeoff on Runway 5R. United 1448 then confirmed with the controller that they should cross the runway in front of them (neither party aware that they were in fact not near Runway 16) and the aircraft continued moving towards Runway 5R/23L.


text: United 1448, sounding confused, then radioed that they were near taxiway Kilo, and as they re-entered Runway 5R/23L, reported that "somebody just took off" overhead, referring to FedEx 1662 that had indeed just become airborne in very close proximity to the United aircraft. However, the controller appeared not to take this seriously, stating, "you shouldn't be anywhere near Kilo", and advised the United 1448 crew to hold position. United 1448 informed the tower that they were now on an active runway, which they mistakenly believed to be 23R/5L (inactive at the time). A moment later the pilot corrected himself, stating that they were on 5R/23L. United 1448's crew was told again to stand by, so the aircraft remained idle at the intersection of the active runway, while the controller cleared MetroJet 2998 for takeoff on the same runway. The United 1448 pilot immediately interjected to insist that the plane was on the active runway, which the controller denied, saying it was not an active runway. Meanwhile, the MetroJet pilot, having heard the exchange, realized there was confusion over the whereabouts of United 1448 and refused the takeoff clearance, stating, "We're staying clear of all runways until we figure this out."


text: Despite all this confusion, the controller again cleared MetroJet 2998 for takeoff on Runway 5R. They again refused to accept the clearance for take-off until the United 1448 was confirmed to have arrived at the gate. Once United 1448 was confirmed to be at the gate, MetroJet 2998 finally departed on Runway 5R.


text: The US Airways crew operating MetroJet Flight 2998 were praised by a US Air spokesperson for their actions of avoiding a disaster. An investigation by the National Transportation Safety Board followed and while no fault was assigned to the controller, she was required to undergo retraining before returning to service. The pilots were debriefed by United, received additional training and were returned to service.


text: Part of the confusion was due to United 1448's inability to correctly identify the runway they were on. During the radio exchanges, United 1448 refers to 23L/5R as 23R/5L and vice versa. Runway 23R/5L has been closed since this incident and is now taxiway Victor.


text: On December 16, 2007, Air Wisconsin (US Airways Express) flight 3758, a CRJ-200 arriving from Philadelphia, departed the left side of runway 5 after a hard landing by an unstabilized approach. Although the aircraft sustained substantial damage, none of the 31 passengers and crew aboard were injured.


title: Vowel harmony

text: In phonology, vowel harmony is an assimilatory process in which the vowels of a given domain – typically a phonological word – have to be members of the same natural class (thus "in harmony"). Vowel harmony is typically long distance, meaning that the affected vowels do not need to be immediately adjacent, and there can be intervening segments between the affected vowels. Generally one vowel will trigger a shift in other vowels, either progressively or regressively, within the domain, such that the affected vowels match the relevant feature of the trigger vowel. Common phonological features that define the natural classes of vowels involved in vowel harmony include vowel backness, vowel height, nasalization, roundedness, and advanced and retracted tongue root.


title: Vowel harmony

text: Vowel harmony is found in many agglutinative languages. The given domain of vowel harmony taking effect often spans across morpheme boundaries, and suffixes and prefixes will usually follow vowel harmony rules.


title: Vowel harmony

text: In the first sense, it refers to any type of long distance assimilatory process of vowels, either "progressive" or "regressive". When used in this sense, the term "vowel harmony" is synonymous with the term "metaphony".


title: Vowel harmony

text: In the second sense, "vowel harmony" refers only to "progressive" vowel harmony (beginning-to-end). For "regressive" harmony, the term "umlaut" is used. In this sense, "metaphony" is the general term while "vowel harmony" and "umlaut" are both sub-types of metaphony. The term "umlaut" is also used in a different sense to refer to a type of vowel gradation. This article will use "vowel harmony" for both progressive and regressive harmony.


title: Vowel harmony

text: Harmony processes are "long-distance" in the sense that the assimilation involves sounds that are separated by intervening segments (usually consonant segments). In other words, "harmony" refers to the assimilation of sounds that are "not" adjacent to each other. For example, a vowel at the beginning of a word can trigger assimilation in a vowel at the end of a word. The assimilation occurs across the entire word in many languages. This is represented schematically in the following diagram:


title: Vowel harmony

text: In the diagram above, the V (type-a vowel) causes the following V (type-b vowel) to assimilate and become the same type of vowel (and thus they become, metaphorically, "in harmony").


title: Vowel harmony

text: The vowel that causes the vowel assimilation is frequently termed the "trigger" while the vowels that assimilate (or "harmonize") are termed "targets". When the vowel triggers lie within the root or stem of a word and the affixes contain the targets, this is called "stem-controlled" vowel harmony (the opposite situation is called "dominant"). This is fairly common among languages with vowel harmony and may be seen in the Hungarian dative suffix:


title: Vowel harmony

text: The dative suffix has two different forms . The form appears after the root with back vowels ( and are back vowels). The form appears after the root with front vowels ( and are front vowels).


title: Vowel harmony

text: In many languages, vowels can be said to belong to particular sets or classes, such as back vowels or rounded vowels. Some languages have more than one system of harmony. For instance, Altaic languages are proposed to have a rounding harmony superimposed over a backness harmony.


title: Vowel harmony

text: Even among languages with vowel harmony, not all vowels need to participate in the vowel conversions; these vowels are termed "neutral". Neutral vowels may be "opaque" and block harmonic processes or they may be "transparent" and not affect them. Intervening consonants are also often transparent.


title: Vowel harmony

text: Finally, languages that do have vowel harmony often allow for lexical "disharmony", or words with mixed sets of vowels even when an opaque neutral vowel is not involved. Van der Hulst & van de Weijer (1995) point to two such situations: polysyllabic trigger morphemes may contain non-neutral vowels from opposite harmonic sets and certain target morphemes simply fail to harmonize. Many loanwords exhibit disharmony. For example, Turkish , ('time' [from Arabic ]); * would have been expected.


title: Vowel harmony

text: There are three classes of vowels in Korean: positive, negative, and neutral. These categories loosely follow the front (positive) and mid (negative) vowels. Middle Korean had strong vowel harmony; however, this rule is no longer observed strictly in modern Korean. In modern Korean, it is only applied in certain cases such as onomatopoeia, adjectives, adverbs, conjugation, and interjections. The vowel () is considered a partially neutral and a partially negative vowel. There are other traces of vowel harmony in modern Korean: many native Korean words tend to follow vowel harmony such as (, 'person'), and (, 'kitchen').


title: Vowel harmony

text: Mongolian exhibits both a tongue root harmony and a rounding harmony. In particular, the tongue root harmony involves the vowels: (+RTR) and (-RTR). The vowel is phonetically similar to the -RTR vowels. However, it is largely transparent to vowel harmony. Rounding harmony only affects the open vowels, . Some sources refer to the primary harmonization dimension as pharyngealization or patalalness (among others), but neither of these is technically correct. Likewise, referring to ±RTR as the sole defining feature of vowel categories in Mongolian is not fully accurate either. In any case, the two vowel categories differ primarily with regards to tongue root position, and ±RTR is a convenient and fairly accurate descriptor for the articulatory parameters involved.


title: Vowel harmony

text: Turkic languages inherit their systems of vowel harmony from Proto-Turkic, which already had a fully developed system. The one exception is Uzbek, which has lost its vowel harmony due to extensive Persian influence; however, its closest relative, Uyghur, has retained Turkic vowel harmony.


title: Vowel harmony

text: Tatar has no neutral vowels. The vowel é is found only in loanwords. Other vowels also could be found in loanwords, but they are seen as Back vowels. Tatar language also has a rounding harmony, but it is not represented in writing. O and ö could be written only in the first syllable, but vowels they mark could be pronounced in the place where ı and e are written.


title: Vowel harmony

text: Kazakh's system of vowel harmony is primarily a front/back system, but there is also a system of rounding harmony that is not represented by the orthography.


title: Vowel harmony

text: Kyrgyz's system of vowel harmony is primarily a front/back system, but there is also a system of rounding harmony, which strongly resembles that of Kazakh.


title: Vowel harmony

text: Turkish has a 2-dimensional vowel harmony system, where vowels are characterised by two features: [±front] and [±rounded]. There are two sets of vocal harmony systems: a simple one and a complex one. The simple one is concerned with the low vowels e, a and has only the [±front] feature ("e" front vs "a" back). The complex one is concerned with the high vowels i, ü, ı, u and has both [±front] and [±rounded] features ("i" front unrounded vs "ü" front rounded and "ı" back unrounded vs "u" back rounded). The close-mid vowels "ö, o" are not involved in vowel harmony processes.


title: Vowel harmony

text: Turkish has two classes of vowels"front" and "back". Vowel harmony states that words may not contain both front and back vowels. Therefore, most grammatical suffixes come in front and back forms, e.g. "Türkiye'de "in Turkey" but "Almanya'da "in Germany".


title: Vowel harmony

text: In addition, there is a secondary rule that "i" and "ı" in suffixes tend to become "ü" and "u" respectively after rounded vowels, so certain suffixes have additional forms. This gives constructions such as "Türkiye'dir "it is Turkey", "kapıdır "it is the door", but "gündür "it is day", "paltodur "it is the coat".


title: Vowel harmony

text: In the suffix "-(i)yor", the "o" is invariant, while the "i" changes according to the preceding vowel; for example "sönüyor" – "he/she/it fades". Likewise, in the suffix "-(y)ken", the "e" is invariant: "Roma'dayken" – "When in Rome"; and so is the "i" in the suffix "-(y)ebil": "inanılabilir" – "credible". The suffix "-ki" exhibits partial harmony, never taking a back vowel but allowing only the front-voweled variant "-kü": "dünkü – "belonging to yesterday"; "yarınki – "belonging to tomorrow".


title: Vowel harmony

text: Most Turkish words do not only have vowel harmony for suffixes, but also internally. However, there are many exceptions.


title: Vowel harmony

text: Compound words are considered separate words with respect to vowel harmony: vowels do not have to harmonize between members of the compound (thus forms like |"gün" "this|day" = "today" are permissible). Vowel harmony does not apply for loanwords, as in "otobüs" – from French "autobus". There are also a few native modern Turkish words that do not follow the rule (such as "anne" "mother" or "kardeş" "sibling" which used to obey vowel harmony in their older forms, "ana" and "karındaş", respectively). However, in such words, suffixes nevertheless harmonize with the final vowel; thus "annesi – "his/her mother", and "voleybolcu – "volleyball player".


title: Vowel harmony

text: In some loanwords the final vowel is an "a", "o" or "u" and thus looks like a back vowel, but is phonetically actually a front vowel, and governs vowel harmony accordingly. An example is the word "saat", meaning "hour" or "clock", a loanword from Arabic. Its plural is "saatler". This is not truly an exception to vowel harmony itself; rather, it is an exception to the rule that "a" denotes a front vowel.


title: Vowel harmony

text: Disharmony tends to disappear through analogy, especially within loanwords; e.g. "Hüsnü" (a man's name) < earlier "Hüsni", from Arabic "husnî"; "Müslüman" "Moslem, Muslim (adj. and n.)" < Ottoman Turkish "müslimân", from Persian "mosalmân").


title: Vowel harmony

text: Many, though not all, Uralic languages show vowel harmony between front and back vowels. Vowel harmony is often hypothesized to have existed in Proto-Uralic, though its original scope remains a matter of discussion.


title: Vowel harmony

text: Hungarian, like its distant relative Finnish, has the same system of "front", "back", and "intermediate" (neutral) vowels but is more complex than the one in Finnish, and some vowel harmony processes. The basic rule is that words including at least one back vowel get back vowel suffixes ("karba – in(to) the arm), while words excluding back vowels get front vowel suffixes ("kézbe – in(to) the hand). Single-vowel words which have only the neutral vowels ("i", "í" or "é") are unpredictable, but "e" takes a front-vowel suffix.


title: Vowel harmony

text: One essential difference in classification between Hungarian and Finnish is that standard Hungarian (along with 3 out of 10 local dialects) does not observe the difference between Finnish 'ä' and 'e' the Hungarian front vowel 'e' is closely pronounced as the Finnish front vowel 'ä' . 7 out of the 10 local dialects have the vowel ë which has never been part of the Hungarian alphabet, and thus is not used in writing.


title: Vowel harmony

text: "Unrounded front vowels" (or "Intermediate" or "neutral" vowels) can occur together with either "back vowels" (e.g. "répa carrot, "kocsi car) or "rounded front vowels" (e.g. "tető", "tündér"), but "rounded front vowels" and "back vowels" can occur together only in words of foreign origins (e.g. "sofőr" = chauffeur, French word for driver). The basic rule is that words including at least one back vowel take back vowel suffixes (e.g. "répá|ban" in a carrot, "kocsi|ban" in a car), while words excluding back vowels usually take front vowel suffixes (except for words including only the vowels "i" or "í", for which there is no general rule, e.g. "liszt|et", "hid|at").


title: Vowel harmony

text: In the Khanty language, vowel harmony occurs in the Eastern dialects, and affects both inflectional and derivational suffixes. The Vakh-Vasyugan dialect has a particularly extensive system of vowel harmony, with seven different front-back pairs:


title: Vowel harmony

text: The vowels , (front) and (back) can only occur in the first syllable of a word, and do not actively participate in vowel harmony, but they do trigger it.


title: Vowel harmony

text: Vowel harmony is lost in the Northern and Southern dialects, as well as in the Surgut dialect of Eastern Khanty.


title: Vowel harmony

text: The Erzya language has a limited system of vowel harmony, involving only two vowel phonemes: (front) versus (back).


title: Vowel harmony

text: Moksha, the closest relative of Erzya, has no phonemic vowel harmony, though has front and back allophones in a distribution similar to the vowel harmony in Erzya.


title: Vowel harmony

text: Vowel harmony is found in most of the Finnic languages. It has been lost in Livonian and in Standard Estonian, where the front vowels "ü" "ä" "ö" occur only in the first (stressed) syllable. South Estonian Võro (and Seto) language as well as some [North] Estonian dialects, however, retain vowel harmony.


title: Vowel harmony

text: In the Finnish language, there are three classes of vowels"front", "back", and "neutral", where each front vowel has a back vowel pairing. Grammatical endings such as case and derivational endingsbut not encliticshave only archiphonemic vowels U, O, A, which are realized as either back or front inside a single word. From vowel harmony it follows that the initial syllable of each single (non-compound) word controls the frontness or backness of the entire word. Non-initially, the neutral vowels are transparent to and unaffected by vowel harmony. In the initial syllable:


title: Vowel harmony

text: Some dialects that have a sound change opening diphthong codas also permit archiphonemic vowels in the initial syllable. For example, standard 'ie' is reflected as 'ia' or 'iä', controlled by noninitial syllables, in the Tampere dialect, e.g. "tiä" ← "tie" but "miakka" ← "miekka".


title: Vowel harmony

text: ... as evidenced by "tuotteessa" (not *"tuotteessä"). Even if phonologically front vowels precede the suffix "-nsa", grammatically it is preceded by a word controlled by a back vowel. As shown in the examples, neutral vowels make the system unsymmetrical, as they are front vowels phonologically, but leave the front/back control to any grammatical front or back vowels. There is little or no change in the actual vowel quality of the neutral vowels.


title: Vowel harmony

text: As a consequence, Finnish speakers often have problems with pronouncing foreign words which do not obey vowel harmony. For example, "olympia" is often pronounced "olumpia". The position of some loans is unstandardized (e.g. "chattailla"/"chättäillä") or ill-standardized (e.g. "polymeeri", sometimes pronounced "polumeeri", and "autoritäärinen", which violate vowel harmony). Where a foreign word violates vowel harmony by not using front vowels because it begins with a neutral vowel, then last syllable generally counts, although this rule is irregularly followed. Experiments indicate that e.g. "miljonääri" always becomes (front) "miljonääriä", but "marttyyri" becomes equally frequently both "marttyyria" (back) and "marttyyriä" (front), even by the same speaker.


title: Vowel harmony

text: With respect to vowel harmony, compound words can be considered separate words. For example, "syyskuu" ("autumn month" i.e. September) has both "u" and "y", but it consists of two words "syys" and "kuu", and declines "syys·kuu·ta" (not *"syyskuutä"). The same goes for enclitics, e.g. "taaksepäin" "backwards" consists of the word "taakse" "to back" and "-päin" "-wards", which gives e.g. "taaksepäinkään" (not *"taaksepäinkaan" or *"taaksepainkaan"). If fusion takes place, the vowel is harmonized by some speakers, e.g. "tälläinen" pro "tällainen" ← "tämän lainen".


title: Vowel harmony

text: Some Finnish words whose stems contain only neutral vowels exhibit an alternating pattern in terms of vowel harmony when inflected or forming new words through derivation. Examples include "meri" "sea", "meressä" "in the sea" (inessive), but "merta" (partitive), not *"mertä"; "veri" "blood", "verestä" "from the blood" (elative), but "verta" (partitive), not *"vertä"; "pelätä" "to be afraid", but "pelko" "fear", not *"pelkö"; "kipu" "pain", but "kipeä" "sore", not *"kipea".


title: Vowel harmony

text: Helsinki slang has slang words that have roots violating vowel harmony, e.g. "Sörkka". This can be interpreted as Swedish influence.


title: Vowel harmony

text: Vowel harmony is present in all Yokutsan languages and dialects. For instance, Yawelmani has 4 vowels (which additionally may be either long or short). These can be grouped as in the table below.


title: Vowel harmony

text: Vowels in suffixes must harmonize with either or its non- counterparts or with or non- counterparts. For example, the vowel in the aorist suffix appears as when it follows a in the root, but when it follows all other vowels it appears as . Similarly, the vowel in the nondirective gerundial suffix appears as when it follows a in the root; otherwise it appears as .


title: Vowel harmony

text: In addition to the harmony found in suffixes, there is a harmony restriction on word stems where in stems with more than one syllable all vowels are required to be of the same lip rounding and tongue height dimensions. For example, a stem must contain all high rounded vowels or all low rounded vowels, etc. This restriction is further complicated by (i) long high vowels being lowered and (ii) an epenthetic vowel which does not harmonize with stem vowels.


title: Vowel harmony

text: There is some evidence for vowel harmony according to vowel height or ATR in the prefix i/e- in inscriptions from pre-Sargonic Lagash (the specifics of the pattern have led a handful of scholars to postulate not only an phoneme, but even an and, most recently, an ) Many cases of partial or complete assimilation of the vowel of certain prefixes and suffixes to one in the adjacent syllable are reflected in writing in some of the later periods, and there is a noticeable though not absolute tendency for disyllabic stems to have the same vowel in both syllables. What appears to be vowel contraction in hiatus (*/aa/, */ia/, */ua/ > a, */ae/ > a, */ue/ > u, etc.) is also very common.


title: Vowel harmony

text: Although vowel harmony is the most well-known harmony, not all types of harmony that occur in the world's languages involve only vowels. Other types of harmony involve consonants (and is known as consonant harmony). Rarer types of harmony are those that involve tone or both vowels and consonants (e.g. "postvelar harmony").


title: Vowel harmony

text: Some languages have harmony processes that involve an interaction between vowels and consonants. For example, Chilcotin has a phonological process known as "vowel flattening" (i.e. post-velar harmony) where vowels must harmonize with uvular and pharyngealized consonants.


title: Vowel harmony

text: Additionally, Chilcotin has a class of pharyngealized "flat" consonants . Whenever a consonant of this class occurs in a word, all preceding vowels must be flat vowels.


title: Vowel harmony

text: Other languages of this region of North America (the Plateau culture area), such as St'át'imcets, have similar vowel–consonant harmonic processes.


title: Vowel harmony

text: Syllabic synharmony was a process in the Proto-Slavic language ancestral to all modern Slavic languages. It refers to the tendency of frontness (palatality) to be generalised across an entire syllable. It was therefore a form of consonant–vowel harmony in which the property 'palatal' or 'non-palatal' applied to an entire syllable at once rather than to each sound individually.


title: Vowel harmony

text: The result was that back vowels were fronted after "j" or a palatal consonant, and consonants were palatalised before "j" or a front vowel. Diphthongs were harmonized as well, although they were soon monophthongized because of a tendency to end syllables with a vowel (syllables were or became open). This rule remained in place for a long time, and ensured that a syllable containing a front vowel always began with a palatal consonant, and a syllable containing "j" was always preceded by a palatal consonant and followed by a front vowel.


title: Vowel harmony

text: A similar process occurs in Skolt Sami, where palatalization of consonants and fronting of vowels is a suprasegmental process applying to a whole syllable. Suprasegmental palatalization is marked with the letter "ʹ", which is a Modifier letter prime, for example in the word "vääʹrr" 'mountain, hill'.


title: Johan Renck

text: Bo Johan Renck (born 5 December 1966) is a Swedish director of music videos, TV and film. He was originally a singer-songwriter from 1991 to 2001, using the moniker Stakka Bo, and had an international hit with his single "Here We Go" in 1993. Renck later became a music-video and television director, winning an Emmy Award in 2019 for his work on the mini-series "Chernobyl".


title: Johan Renck

text: Renck was born on 5 December 1966 in Uppsala, Sweden, the son of medical doctor and professor Hans Renck and nurse Marina Kylberg. Hans taught at several universities around the world, so the Renck family moved around and lived in Miami, Uppsala, Malmö, Tromsø and Kuwait. He graduated from Stockholm School of Economics with a degree in business.


title: Johan Renck

text: While at university, he dated singer and ex-model Camilla Henemark of Army of Lovers, who introduced him to the Swedish music business. He started out as one half of Eurodance duo E-Type + Stakka B, but went solo after two singles, continuing to release music as Stakka Bo.


title: Johan Renck

text: Stakka Bo had a hit single in 1993 with the song "Here We Go", which peaked at No. 13 in the UK Singles Chart. Heavily influenced by the Stereo MCs, who were popular at the time, "Here We Go" appeared in an episode of the animated television series "Beavis and Butt-Head" and sitcom "Derry Girls", in the films "Prêt-à-porter", "Never Been Kissed" and "Alien Autopsy" and in the video game "UEFA Euro 2004".


title: Johan Renck

text: Due to a very tight budget, he ended up directing the first video for his solo project, and continued making his own videos, eventually directing videos of other Swedish artists such as Titiyo and The Cardigans.


title: Johan Renck

text: He has directed music videos for a number of artists including Madonna's "Nothing Really Matters" and "Hung Up", Kylie Minogue's "Love at First Sight", All Saints' "Black Coffee", Robyn's "Handle Me", Robbie Williams's "Tripping" and "She's Madonna", The Libertines' "What Became of the Likely Lads", Suede's "She's in Fashion", New Order's "Crystal" and "Krafty", Beyoncé's "Me, Myself and I", Chris Cornell's "Can't Change Me", The Knife's "Pass This On", Fever Ray's "Seven" and Bat for Lashes' "Daniel". In 2012 he directed the music video "Blue Velvet" for Lana Del Rey which was also used for the commercial campaign by H&M, as well as the music video for "Wild" by Beach House. In 2015 he directed the ten-minute video for David Bowie's "Blackstar", and "Lazarus" that appeared in January 2016. In 2005, he and his brother Martin directed two videos from Swedish band The Cardigans: "I Need Some Fine Wine and You, You Need to Be Nicer" and "Don't Blame Your Daughter (Diamonds)". He has been associated with Swedish artists like Karin Dreijer and Kent.


title: Johan Renck

text: Renck's first film, "Downloading Nancy", 2008 premiered at the Sundance Film Festival on 21 January 2008 in Park City, Utah. While the movie didn't receive very strong reviews, it generated a call from "Breaking Bad" creator Vince Gilligan. He directed three episodes of AMC television drama "Breaking Bad", and moved on to work on one episode of "The Walking Dead", "Halt and Catch Fire", and "Bates Motel".


title: Johan Renck

text: In addition, Renck directed a fashion art film called "Decadent Control" for Imagine Fashion that premiered in March 2011. It starred Roberto Cavalli, Eva Herzigová, Kirsty Hume and Brad Kroenig and used fashion from Agent Provocateur and H&M.


title: Johan Renck

text: He told Swedish magazine "Cafe" in 2017 that for a while he preferred to direct pilots ("Vikings", "Bloodline"), but now rather works on mini-series, where one can direct all episodes, such as with "The Last Panthers". He says he turned down "Better Call Saul", "Game of Thrones" and "Homeland". He told the magazine: "And as the director of a TV-episode, you only have around 25 percent of input. There are two kinds of TV projects that I still agree to do, one is television series where each episode is a separate "entity", like "Black Mirror", and the other is miniseries where you can do all the episodes, as I did with "The Last Panthers". But of course I am very happy that "Breaking Bad" happened, it was very educational and exciting and fresh. Plus, it is hugely prestigious – people still call me because of it."


title: Johan Renck

text: In 2019, Renck directed the mini-series "Chernobyl", a dramatization of the 1986 Chernobyl disaster, for SKY and HBO, featuring among others Stellan Skarsgård, Jared Harris and Emily Watson. Renck won the Primetime Emmy Award for Outstanding Directing for a Limited Series, Movie, or Dramatic Special in 2019 for his work on "Chernobyl". In January 2020, Renck won the Directors Guild of America Award for Movies for Television and Limited Series.


title: Johan Renck

text: In the fall of 2019 it was announced that he was attached to the feature film "Spaceman of Bohemia" an adaptation to the book by U.S. based, Czech born writer Jaroslav Kalfař, with a screenplay written by Colby Day. The film is set up under Channing Tatum's company, Free Association.


title: Johan Renck

text: In May 2020 Variety reported he was in negotiations to direct and executive produce the limited series "Girl A" for producer Elizabeth Gabler (former president of Fox 2000) and Sony Pictures Entertainment. The series is adapted from the novel by debut author Abigail Dean.


title: Johan Renck

text: In June 2020, Renck was revealed as executive producer and director of the pilot episode of HBO's television adaptation of "The Last of Us" with "Chernobyl" collaborator Craig Mazin; in January 2021, he was forced to drop out of the project due to scheduling conflicts, replaced as the pilot's director by Kantemir Balagov.


title: Space Age

text: The Space Age is a period encompassing the activities related to the Space Race, space exploration, space technology, and the cultural developments influenced by these events, beginning with the launch of Sputnik 1 during 1957, and continuing to the present.


title: Space Age

text: The Space Age was an era of new military, political, technological, and scientific developments which began with the Soviet Union's October 4, 1957 launch of Earth's first artificial satellite Sputnik 1. Weighing and orbiting the Earth once every 98 minutes. The Space Race between the United States and the Soviet Union began in 1957 with the launching of the first artificial satellite Sputnik 1. The race resulted in rapid advances in rocketry, materials science, and other areas. Much of the technology developed for space applications has been spun off and found additional uses, such as memory foam. In 1958 the United States launched its first satellite, Explorer 1. The same year President Dwight D. Eisenhower created the National Aeronautics and Space Administration, commonly known as NASA.


title: Space Age

text: Prior to the first attempted human spaceflight, various animals were flown into outer space to identify potential detrimental effects of high g-forces in takeoff and landing, microgravity, and radiation exposure at high altitudes.


title: Space Age

text: The Space Race reached its peak with the Apollo program that captured the imagination of much of the world's population. From 1961 to 1964, NASA’s budget was increased almost 500 percent, and the lunar landing program eventually involved some 34,000 NASA employees and 375,000 employees of industrial and university contractors. The Soviet Union proceeded tentatively with its own lunar landing program which it did not publicly acknowledge, partly due to internal debate over its necessity and the untimely death (in January 1966) of Sergey Korolev, chief engineer of the Soviet space program.


title: Space Age

text: The landing of Apollo 11 was watched by over 500 million people around the world and is widely recognized as one of the defining moments of the 20th century. Since then, public attention has largely moved to other areas.


title: Space Age

text: The last major leap of the Space Age was the Skylab and Salyute programs, which established the first space stations for the U.S. and USSR in Earth Orbit following termination of both country's moon programs.


title: Space Age

text: At this point, the space age had largely declined and was for the most part over, as public attention was no longer focused on this area. In the 1970s, there was a very large decline in manned space flights in the U.S. as the shuttle program was getting ready to kick into gear, and the space race had been over since the Apollo-Soyuz test project of 1975.


title: Space Age

text: The shuttle program restored spaceflight to the U.S. following the Skylab program, but the Space Shuttle "Challenger" disaster in 1986 marked a significant decline in crewed Shuttle launches. Following the disaster, NASA grounded all Shuttles for safety concerns until 1988. During the 1990s funding for space-related programs fell sharply as the remaining structures of the now-dissolved Soviet Union disintegrated and NASA no longer had any direct competition.


title: Space Age

text: Since then, participation in space launches has increasingly widened to include more governments and commercial interests. Since the 1990s, the public perception of space exploration and space-related technologies has been that such endeavors are increasingly commonplace.


title: Space Age

text: NASA permanently grounded all U.S. Space Shuttles in 2011. NASA has since relied on Russia and SpaceX to take American astronauts to and from the International Space Station.


title: Space Age

text: In the early 21st century, the Ansari X Prize competition was set up to help jump-start private spaceflight. The winner, Space Ship One in 2004, became the first spaceship not funded by a government agency.


title: Space Age

text: Several countries now have space programs; from related technology ventures to full-fledged space programs with launch facilities. There are many scientific and commercial satellites in use today, with thousands of satellites in orbit, and several countries have plans to send humans into space. Some of the countries joining this new race are France, India, China, Israel and the United Kingdom, all of which have employed surveillance satellites. There are several other countries with less extensive space programs, including Brazil, Germany, Ukraine, and Spain.


title: Space Age

text: As for the United States space program, NASA is currently constructing a deep-space crew capsule named the Orion. NASA's goal with this new space capsule is to carry humans to Mars. The Orion spacecraft is due to be completed in the early 2020s. NASA is hoping that this mission will “usher in a new era of space exploration.”


title: Space Age

text: Another major factor affecting the current Space Age is the privatization of space flight. A significant private spaceflight company is SpaceX which became the proprietor of one of world's most capable operational launch vehicle when they launched their current largest rocket, the Falcon Heavy in 2018. Elon Musk, the founder and CEO of SpaceX, has put forward the goal of establishing a colony of one million people on Mars and the company is developing its Starship launch vehicle to facilitate this. Since the Demo-2 mission for NASA in 2020 in which SpaceX launched astronauts for the first time to the International Space Station, the company has maintained an orbital human spaceflight capability. Blue Origin, a private company founded by Amazon.com founder Jeff Bezos, is developing rockets for use in space tourism, commercial satellite launches, and eventual missions to the Moon and beyond. Richard Branson's company Virgin Galactic is concentrating on launch vehicles for space tourism. A spinoff company, Virgin Orbit, air-launches small satellites with their LauncherOne rocket. Another small-satellite launcher, Rocket Lab, has developed the Electron rocket and the Photon satellite bus for sending spacecraft further into the Solar System.


title: Space Age

text: The Space Age marked a major comeback and return with the launch of NASA's Space Launch system during the Artemis 1 mission on November 16th, 2022; it marked the first time a human rated spacecraft had been to the Moon in nearly 50 years, as well as the return of United States capability to get astronauts to the Moon with the Space Launch System and Orion.


title: Space Age

text: The Space Age might also be considered to have begun much earlier than October 4, 1957, because in June 1944, a German V-2 rocket became the first manmade object to enter space, albeit only briefly. Some even consider March 1926 as the beginning of the Space Age, when American rocket pioneer Robert H. Goddard launched the world's first liquid fuel rocket, though his rocket did not reach outer space. Also already in the 1920s the world's first large-scale experimental rocket program, Opel-RAK, was initiated under the leadership of Fritz von Opel and Max Valier. Speed records for ground and rail vehicles were achieved in 1928 and von Opel piloted the world's first public flight of a rocket plane, Opel RAK.1. The Great Depression put an end to the Opel-RAK program but it nevertheless had a strong and long-lasting impact on later spaceflight pioneers, in particular on Wernher von Braun who would eventually head the Nazi era V2 program.


title: Space Age

text: Since the V-2 rocket flight was undertaken in secrecy, it was not public knowledge for many years afterward. Further, the German launches, as well as the subsequent sounding rocket tests performed in both the United States and the Soviet Union during the late 1940s and early 1950s, were not considered significant enough to start a new age because they did not reach orbit. Having a rocket powerful enough to reach orbit meant that a nation could place a payload anywhere on the planet, or to use another term, possessed an intercontinental ballistic missile. The fact that after such a development nowhere on Earth was safe from a nuclear warhead is why the orbital standard is commonly used to define when the space age began.


title: Navy SEALs (film)

text: Navy SEALS is a 1990 American military action film, directed by Lewis Teague, written by Chuck Pfarrer and Gary Goldman, and produced by Brenda Feigen and Bernard Williams with consultant William Bradley. The film stars Charlie Sheen, Michael Biehn, Joanne Whalley-Kilmer, Rick Rossovich, Cyril O'Reilly, Bill Paxton, and Dennis Haysbert.


title: Navy SEALs (film)

text: The , an aircraft carrier on station in the eastern Mediterranean Sea, receives a mayday from a civilian cargo ship named "Kuwaiti Star". The ship reports that they have been attacked, are on fire and adrift. A deployed Navy SH-3 helicopter attempts to rescue the crew, but is downed by a gunboat and the aircrew is captured.


title: Navy SEALs (film)

text: Meanwhile, United States Navy SEALs Dale Hawkins (Charlie Sheen), James Curran (Michael Biehn), William "Billy" Graham (Dennis Haysbert), James Leary (Rick Rossovich), Homer Rexer (Cyril O'Reilly), Floyd "God" Dane (Bill Paxton), and Ramos (Paul Sanchez) are recovering from a bachelor party. Graham is to be married, but the wedding is canceled at the last minute when the whole team is paged to rescue the captured aircrew.


title: Navy SEALs (film)

text: In the Mediterranean, the leader of the terrorists that shot at the Navy helicopter, Ben Shaheed (Nicholas Kadi), orders the killing of the hostages. One crewmember is killed on the spot and another is beaten up, but the SEAL team arrives just in time to prevent any further kills. Reacting to a suspicious noise, Hawkins breaks silence when he encounters Shaheed in an adjoining room, inadvertently alerting the terrorists.


title: Navy SEALs (film)

text: Shaheed claims to be an Egyptian sailor also being held by the terrorists, and is left by the SEALs. As the SEALs evacuate the hostages from the area, Hawkins and Graham stumble across a warehouse containing Stinger missiles. Hawkins attempts to return to the warehouse to destroy the missiles, only to be ordered by Curran to proceed with extraction.


title: Navy SEALs (film)

text: On board an aircraft carrier later that night, the individual team members are debriefed by Naval Intelligence. Curran's decision to leave the Stinger missiles behind is questioned, but Curran retorts that his primary mission was to rescue the aircrew and that Naval Intelligence did not do their job properly. Meanwhile, Hawkins is highly agitated by the mission and has trouble dealing with the emotional upheaval the mission provided. Curran tries to calm him down but is rebuffed by Hawkins.


title: Navy SEALs (film)

text: At the Pentagon, Shaheed is seen in a video interview. The Joint Chiefs of Staff identify Shaheed and his organization, "Al Shuhadah". They also identify the interviewer as Claire Varrens (Joanne Whalley-Kilmer), a journalist and author who is half Lebanese. Her questioning of Shaheed yields an admission that he and his group participated in the bombing of the Marine barracks in Lebanon in 1983. Shaheed admits the complicity freely, saying they only sought revenge for the bombing of their homes by Navy ships and warplanes.


title: Navy SEALs (film)

text: The Joint Chiefs are briefed on the recent mission and Curran requests permission to destroy the Stingers, but Navy Intelligence has learned they have already been relocated. The SEALs are ordered on R&R and enjoy a game of golf. Curran, brooding over the previous mission, reads a book authored by Varrens. During the golf outing, Graham convinces his fiancée (S. Epatha Merkerson) to try to finish the wedding, regardless of the hazards of Graham's job.


title: Navy SEALs (film)

text: The team receives their orders for the next mission. Naval Intelligence has heard that the Stinger missiles are on board a merchant ship, the "Latanya", off the coast of Syria. The SEALs deploy from a submerged submarine, the USS "Nyack", and successfully board the ship, neutralizing two disguised gunmen, only to find out from an EOD team that the missiles are not on board after all.


title: Navy SEALs (film)

text: Frustrated by the recent unreliable intelligence, Curran solicits Varrens's cooperation. Curran takes Claire on a tour of a SEAL training facility and attempts to woo her over an elegant dinner. Claire is initially wary but opens up to Curran after learning that a Stinger has been used to shoot down a peace delegation in Lebanon. Claire provides pictures of men she has encountered who may possibly provide information that may lead the SEALs to the location of the missiles.


title: Navy SEALs (film)

text: While trying to identify possible contacts, Claire tells Curran and Hawkins that one of her contacts is missing, most likely having been kidnapped by the Israelis. Inspired by this, and an outburst by Hawkins, Curran presents the idea of kidnapping a potential informant to his superiors who subsequently recommend the proposal at a National Security Council meeting. A CIA executive at the meeting identifies one of the targets as a known CIA informant who could be co-opted if taken into custody. On that basis, the SEALs are authorized to bring him in.


title: Navy SEALs (film)

text: The SEALs infiltrate the area by performing a HALO jump and swimming to shore. Curran leads several of the team inside a house to secure the informant while Hawkins, Ramos, and Graham remain outside. When Ramos is pinned down by patrolling militia, Hawkins disobeys Curran's order to stay quiet and instigates a firefight. Although Hawkins finally succeeds in killing the militiamen, Graham is killed during the firefight.


title: Navy SEALs (film)

text: Curran informs Graham's fiancée of his death, and a funeral with full military honors is held. After the wake, the men drown their sorrows at a local bar. Hawkins gives a toast to Graham for being the best friend a guy could have. Curran scolds Hawkins for his carelessness that caused Graham's death. Later, Claire arrives at Curran's houseboat to find a still grieving Curran, leading to a night of intimacy. Curran quietly leaves the next morning with Claire in bed.


title: Navy SEALs (film)

text: Disguised as Lebanese militiamen, the SEALs are deployed by submarine to Beirut, coming ashore at its seafront on Zodiac rubber inflatable boats, this time to meet a local resistance fighter from the AMAL militia who will guide them to the building containing the Stingers. Although Dane is killed while attempting to set up a sniping overwatch position, the SEALs locate the Stingers in an old school building in a heavily-bombed area of the city. Curran leads Leary and Rexer inside the building to destroy the missiles while Hawkins and Ramos maintain overwatch outside. Hawkins shoots a local gunman questioning him, alerting the terrorists.


title: Navy SEALs (film)

text: Leaving the building, Curran gets shot in the abdomen and thigh. Curran is pinned down near the building door and orders Hawkins to destroy the building regardless of Curran's being in the blast radius. Hawkins disobeys the order and rescues Curran while the other SEALs provide suppressing fire before the building is finally destroyed.


title: Navy SEALs (film)

text: The SEALs commandeer a civilian Mercedes-Benz W123 car and attempt to exfiltrate from the city while evading pursuit by an enemy BTR-152 Armoured Personnel Carrier (APC) armed with a twin Browning M1919A4 .30 Cal machine gun mount. The car is eventually hit by machine gunfire and Rexer killed by a stray bullet to the head. Leary, using a recovered Stinger missile launcher, manages to destroy the APC, and the four remaining SEALs escape to the beach.


title: Navy SEALs (film)

text: Shaheed steals a boat from a pier-side fisherman and follows the SEALs across the water. He spots Curran's body floating in the sea. As he attempts to pull the body from the water he is attacked by the SEALs and, in an underwater fight, Hawkins kills Shaheed. The other SEALs take out the remaining topside terrorists and destroy the small boat. With the mission finally accomplished, the designated exfiltration submarine surfaces, recovering the SEALs.


title: Navy SEALs (film)

text: In the winter of 1986 Brenda Feigen, then an agent at the William Morris Agency, was introduced to Chuck Pfarrer through one of her clients. Pfarrer, an active duty navy SEAL who wrote screenplays in his spare time, had just sold "The Crook Factory," a script about Ernest Hemingway's life. Feigen encouraged him to write a script based on his experiences. After retiring from the SEALs, Pfarrer wrote the script, which Feigen shopped to Orion Pictures, Warner Brothers, and United Artists, hoping to create a bidding war. Orion ultimately purchased the script, with Feigen acting as producer.


title: Navy SEALs (film)

text: Feigen wanted Ridley Scott to direct, but negotiations fell through. Producers met with Roger Donaldson, but he didn’t like the script, Richard Marquand was then hired, but his death in 1987 stopped pre-production until Lewis Teague was brought in as a replacement.


title: Navy SEALs (film)

text: Several screenwriters were brought on to do rewrites. Gary Goldman wrote a new draft with Pfarrer, taking influence from the 1961 film "The Guns of Navarone", and the 1982 film "An Officer and a Gentleman". Kevin Jarre was approached to do a rewrite, but initially declined due to the 1988 Writer's Strike. Once the strike ended in August 1988, Jarre turned in his draft, which was considered stronger, but the producers had concerns about the script, mainly a line of dialogue that was deemed sexist, and lacking in character depth. Angelo Pizzo was then brought on to flesh out and develop the main characters. Rewrites continued well into production, with uncredited script doctors and even actors Charlie Sheen and Michael Biehn reportedly rewriting scenes Ultimately, only Pfarrer and Goldman received credit on the final film.


title: Navy SEALs (film)

text: The actors underwent a two-week training course in Northern Virginia, taking part in field maneuvers and weapons training. Eight former Navy SEALs were hired as technical advisors to train the actors and occasionally perform stunts.


title: Navy SEALs (film)

text: Principal Photography began in the fall of 1989 in Virginia Beach and near Naval Station Norfolk, in Norfolk, Virginia. In November 1989, filming moved to Southern Spain, utilizing the Mediterranean ports of Tarifa, Cádiz, and Cartagena. The Spanish Navy provided submarines, battleships and helicopters, whereas the Spanish Army provided tanks, APCs and background actors. Chosen because of its Moorish Revival architecture, Cartagena's old inner city stood in for Beirut, Lebanon. Teague used up to seven camera crews filming simultaneously in several action scenes.


title: Navy SEALs (film)

text: The movie was not a box office success, debuting at No. 4 and grossing $6.5 million the first week, eventually grossing $25 million domestically, just barely above its reported budget of $21 million.


title: Navy SEALs (film)

text: The movie received negative reviews from critics. At the review aggregator website Rotten Tomatoes, the film holds an 18% "Rotten" rating, based on 33 critics' reviews, which are summarized thus: "a non-winning military recruitment propaganda movie that happens to star Charlie Sheen and Michael Biehn." Some reviews have been more positive: "Allmovie" notes that "Viewers seeking rapidly paced action sequences will not be disappointed" The film received three out of four stars on UK Virgin Television.


title: Navy SEALs (film)

text: The film was more successful on home video with a VHS released on January 31, 1991. A Blu-ray was released in 2009 in United States.


title: Navy SEALs (film)

text: Michael Biehn expressed his dislike of the film in a 2012 interview: "We wanted to make a really good movie, and it really turned out to be kind of a mish-mash and not a very good movie at all. So it’s really kind of... yeah, it’s probably the worst experience of my life, working on that movie... The script could've been shaped to be much better, and you just hate to see all that talent and passion go to waste."


title: Navy SEALs (film)

text: The movie is lampooned in "Clerks", when the character Randall complains about video store customers who "always pick the most intellectually devoid movies on the racks" and one is shown reacting excitedly to a tape of Navy Seals.


title: Navy SEALs (film)

text: Former Navy SEAL Operator Andy Stumpf, in a review of the movie, points out that, after the opening scene, when Charlie Sheen's character "Hawkins" awakes still drunk and hungover on a beach that this is the only realistic part of the movie which portrays life in the Teams.


title: Navy SEALs (film)

text: A shoot 'em up platform video game developed and published by Ocean Software was released in the United Kingdom for the Amstrad CPC, Amstrad GX4000 and Commodore 64 in 1990. It was later re-released in the rest of Europe for the ZX Spectrum, Atari ST and Amiga home computers in the following year. It was then ported to the Game Boy on 1 September 1991 in the United States. The game is based on the film and follows the protagonist, Lieutenant Dale Hawkins, progressing through five side-scrolling levels.


title: Damaris Lewis

text: Damaris Lewis (born October 10, 1990) is an American model and actress. During her modeling career, she appeared in the "Sports Illustrated Swimsuit Issues" from 2009 to 2011. As an actress, she portrayed Blackfire on the DC Universe / HBO Max superhero series "Titans" (2019–present).


title: Damaris Lewis

text: Lewis was born and raised in Brooklyn, New York. Her parents are West Indian from the island of St. Kitts. She studied with a conservatory-style arts concentration in dance at Fiorello H. LaGuardia High School of Music & Art and Performing Arts.


title: Damaris Lewis

text: Lewis was discovered while performing with her childhood dance company, Restoration Dance Theater at Chelsea Piers. She waited until her second year of high school to sign a contract with Elite Model Management.


title: Damaris Lewis

text: Lewis has appeared in campaigns for Black/Up, Clarins, MAC Cosmetics, L'Oréal, and Yves Saint Laurent. She has done editorial shoots for "Sports Illustrated Swimsuit" 2009, 2010, 2011; "Essence", French "Marie Claire", "Self", "Cosmopolitan", and "GQ".


title: Damaris Lewis

text: Nick Jonas and Modelinia selected her to do a three-day, feature-style interview video set. This platform exposed her to a wider audience.


title: Damaris Lewis

text: Lewis appeared briefly in the 2011 movie "Limitless", dancing in a club scene with Bradley Cooper. She also appeared in Spike Lee's 2018 film "BlacKkKlansman" as Odetta.


title: Damaris Lewis

text: She hosted a special presentation for The Africa Channel titled "Prince! Behind The Symbol: Music Special", during his "Welcome 2 America - 21 Night Stand" at the Los Angeles Forum.


title: Damaris Lewis

text: Lewis starred in the promo video that kicked off the 2013 NBA All-Star Game played in Houston, Texas. She went on to co-host NBA Style for TNT and NBA TV with Turner Broadcasting for three years. In 2016, Lewis co-hosted ESPN's City Slam Dunk Competition.


title: Damaris Lewis

text: In 2018, Lewis played Jazmine Wintour, a member of the House of Wintour, on the "FX channel" series "Pose". The same year she played the character Blackfire in season two of the DC Universe series "Titans", and was later promoted to series regular for season three.


title: Damaris Lewis

text: Musician Prince hired her as a dancer for his "Welcome 2 Australia Tour 2012" with The New Power Generation. Lewis continuing touring with Prince & NPG for his 2012 "Welcome to Chicago Tour", appeared with the band on "Jimmy Kimmel Live!", and served as his muse for his closing show at SXSW 2013 in Austin, Texas. In the summer of 2013, Lewis traveled to Switzerland to perform with Prince's band at the Montreux Jazz Festival. She remained in his employ as a dancer until his passing in April 2016.


title: Damaris Lewis

text: Starting in 2009, Lewis has volunteered with organizations such as Project Sunshine and The Garden of Dreams, a nonprofit organization associated with Madison Square Garden, and Boys & Girls Clubs of America. Starting in 2014, Lewis began a three year run as chairwoman for The Garden of Dreams Foundation's annual prom, organizing proms for a select number of children in the New York tri-state area, who otherwise would not experience prom.


title: SpaceShipOne

text: SpaceShipOne is an experimental air-launched rocket-powered aircraft with sub-orbital spaceflight capability at speeds of up to 3,000 ft/s (900 m/s, 3240 km/h), using a hybrid rocket motor. The design features a unique "feathering" atmospheric reentry system where the rear half of the wing and the twin tail booms folds 70 degrees upward along a hinge running the length of the wing; this increases drag while retaining stability. SpaceShipOne completed the first crewed private spaceflight in 2004. That same year, it won the US$10 million Ansari X Prize and was immediately retired from active service. Its mother ship was named "White Knight". Both craft were developed and flown by Mojave Aerospace Ventures, which was a joint venture between Paul Allen and Scaled Composites, Burt Rutan's aviation company. Allen provided the funding of approximately US$25 million.


title: SpaceShipOne

text: Rutan has indicated that ideas about the project began as early as 1994 and the full-time development cycle time to the 2004 accomplishments was about three years. The vehicle first achieved supersonic flight on December 17, 2003, which was also the one-hundredth anniversary of the Wright Brothers' historic first powered flight. SpaceShipOne's first official spaceflight, known as flight 15P, was piloted by Mike Melvill. A few days before that flight, the Mojave Air and Space Port was the first commercial spaceport licensed in the United States. A few hours after that flight, Melvill became the first licensed U.S. commercial astronaut. The overall project name was "Tier One" which has evolved into Tier 1b with a goal of taking a successor ship's first passengers into space.


title: SpaceShipOne

text: The achievements of SpaceShipOne are more comparable to those of the X-15 than to those of orbiting spacecraft like the Space Shuttle. Accelerating a spacecraft to orbital speed requires more than 60 times as much energy as accelerating it to Mach 3. It would also require an elaborate heat shield to safely dissipate that energy during re-entry.


title: SpaceShipOne

text: The fuselage is cigar-shaped, with an overall diameter of about . The main structure is of a graphite/epoxy composite material. From front to back, it contains the crew cabin, oxidizer tank, fuel casing, and rocket nozzle. The craft has short, wide wings, with a span of and a chord of . There are large vertical tailbooms mounted on the end of each wing, with horizontal stabilizers protruding from the tailbooms. It has gear for horizontal landings.


title: SpaceShipOne

text: The overall mass of the fully fueled craft is , of which is taken by the fully loaded rocket motor. Empty mass of the spacecraft is , including the empty motor casing.


title: SpaceShipOne

text: Originally the nozzle protruded from the back, but this turned out to be aerodynamically disadvantageous. In June 2004, between flights 14P and 15P, a fairing was added, smoothly extending the fuselage shape to meet the flared end of the nozzle. On flight 15P the new fairing overheated, due to being black on the inside and facing a hot, black nozzle. The fairing softened, and the lower part crumpled inwards during boost. Following that flight the interior of the fairing was painted white, and some small stiffening ribs were added.


title: SpaceShipOne

text: The craft has a single unsteerable and unthrottleable hybrid rocket motor, a cold gas reaction control system, and aerodynamic control surfaces. All can be controlled manually. See the separate section below concerning the rocket engine.


title: SpaceShipOne

text: The reaction control system is the only way to control spacecraft attitude outside the atmosphere. It consists of three sets of thrusters: there are thrusters at each wingtip to control roll, at the top and bottom of the nose to control pitch, and at the sides of the fuselage to control yaw. All thrusters have redundant backups, so there are twelve thrusters in all.


title: SpaceShipOne

text: The aerodynamic control surfaces of SpaceShipOne are designed to operate in two distinct flight regimes, subsonic and supersonic. The supersonic flight regime is of primary interest during the boost phase of a flight, and the subsonic mode when gliding. There are separate upper and lower rudders, and elevons. These are controlled using aviation-style stick and pedals. In supersonic mode the trim tabs are controlled electrically, whereas the subsonic mode uses mechanical cable-and-rod linkage.


title: SpaceShipOne

text: The wings of SpaceShipOne can be pneumatically tilted forwards into an aerodynamically stable high-drag "feathered" shape. This removes most of the need to actively control attitude during the early part of reentry: Scaled Composites refer to this as "care-free reentry". One of the early test flights actually performed re-entry inverted, demonstrating the flexibility and inherent stability of Burt Rutan's "shuttlecock" design. This feathered reentry mode is claimed to be inherently safer than the behavior at similar speeds of the Space Shuttle. The Shuttle undergoes enormous aerodynamic stresses and must be precisely steered in order to remain in a stable glide. (Although this is an interesting comparison of behavior, it is not an entirely fair comparison of design concepts: the Shuttle starts reentry at much higher speed than SpaceShipOne, and so has some very different requirements. SpaceShipOne is more similar to the X-15 vehicle.)


title: SpaceShipOne

text: An early design called for a permanently shuttlecock-like shape, with a ring of feather-like stabilising fins. This would have made the spacecraft incapable of landing independently, requiring mid-air retrieval. This was deemed too risky, and the hybrid final design manages to incorporate the feathering capability into a craft that can land in a conventional manner. The tiltable rear sections of the wings and the tailbooms are collectively referred to as "the feather".


title: SpaceShipOne

text: The landing gear consists of two widely separated main wheels and a nose skid. These are deployed using springs, assisted by gravity. Once deployed, they cannot be retracted inflight.


title: SpaceShipOne

text: The spacecraft is incapable of independent takeoff from the ground. It requires a launch aircraft to carry it to launch altitude for an air launch.


title: SpaceShipOne

text: The parts of the craft that experience the greatest heating, such as the leading edges of the wings, have about of ablative thermal protection material applied. The main ingredient of this material was accidentally leaked to "Air and Space". If it flew with no thermal protection, the spacecraft would survive reentry but would be damaged.


title: SpaceShipOne

text: There is an acknowledged "known deficiency" with the spacecraft's aerodynamic design that makes it susceptible to roll excursions. This has been seen on SpaceShipOne flight 15P where wind shear caused a large roll immediately after ignition, and SpaceShipOne flight 16P where circumstances not yet fully understood caused multiple rapid rolls. This flaw is not considered dangerous, but in both of these flights led to the achievement of a much lower altitude than expected. The details of the flaw are not public.


title: SpaceShipOne

text: The spacecraft cabin, designed to hold three humans, is shaped as a short cylinder, diameter , with a pointed forward end. The pilot sits towards the front, and two passengers can be seated behind.


title: SpaceShipOne

text: The cabin is pressurized, maintaining a sea level breathable atmosphere. Oxygen is introduced to the cabin from a bottle, and carbon dioxide and water vapor are removed by absorbers. The occupants do not wear spacesuits or breathing masks, because the cabin has been designed to maintain pressure in the face of faults: all windows and seals are doubled.


title: SpaceShipOne

text: The cabin has sixteen round double-pane windows, positioned to provide a view of the horizon at all stages of flight. The windows are small compared to the gaps between them, but there are sufficiently many for human occupants to patch together a moderately good view.


title: SpaceShipOne

text: The nose section can be removed, and there is also a hatch below the rear windows on the left side. Crew ingress and egress is possible by either route.


title: SpaceShipOne

text: The core of the spacecraft avionics is the System Navigation Unit (SNU). Together with the Flight Director Display (FDD), it comprises the Flight Navigation Unit. The unit was developed jointly by Fundamental Technology Systems and Scaled Composites.


title: SpaceShipOne

text: The SNU is a GPS-based inertial navigation system, which processes spacecraft sensor data and subsystem health data. It downlinks telemetry data by radio to mission control.


title: SpaceShipOne

text: The FDD displays data from the SNU on a color LCD. It has several distinct display modes for different phases of flight, including the boost phase, coast, reentry, and gliding. The FDD is particularly important to the pilot during the boost and coast phase in order to "turn the corner" and null rates caused by asymmetric thrust. A mix of commercial and bespoke software is used in the FDD.


title: SpaceShipOne

text: Tier One uses a hybrid rocket engine supplied by SpaceDev, with solid hydroxyl-terminated polybutadiene (HTPB, or rubber) fuel and liquid nitrous oxide oxidizer. It generates of thrust, and can burn for about .


title: SpaceShipOne

text: The physical layout of the engine is novel. The oxidizer tank is a primary structural component, and is the only part of the engine that is structurally connected to the spacecraft: the tank is in fact an integral part of the spacecraft fuselage. The tank is a short cylinder of diameter approximately , with domed ends, and is the forwardmost part of the engine. The fuel casing is a narrow cylinder cantilevered to the tank, pointing backwards. The cantilevered design means that a variety of motor sizes can be accommodated without changing the interface or other components. The nozzle is a simple extension of the fuel casing; the casing and nozzle are actually a single component, referred to as the CTN (case, throat, and nozzle). Burt Rutan has applied for a patent on this engine configuration.


title: SpaceShipOne

text: There is considerable use of composite materials in the engine design. The oxidizer tank consists of a composite liner with graphite/epoxy over-wrap and titanium interface flanges. The CTN uses a high-temperature composite insulator with a graphite/epoxy structure. Incorporating the solid fuel (and hence the main part of the engine) and the ablative nozzle into this single bonded component minimizes the possible leak paths.


title: SpaceShipOne

text: The oxidizer tank and CTN are bolted together at the main valve bulkhead, which is integrated into the tank. There are O-rings at the interface to prevent leakage; this is the main potential leak path in the engine. The ignition system, main control valve, and injector are mounted on the valve bulkhead, inside the tank. Slosh baffles are also mounted on this bulkhead. Because the oxidizer is stored under pressure, no pump is required.


title: SpaceShipOne

text: The tank liner and the fuel casing are built in-house by Scaled Composites. The tank over-wrap is supplied by Thiokol. The ablative nozzle is supplied by AAE Aerospace. The oxidizer fill, vent, and dump system is supplied by Environmental Aeroscience Corporation. The remaining components—the ignition system, main control valve, injector, tank bulkheads, electronic controls, and solid fuel casting—are supplied by SpaceDev.


title: SpaceShipOne

text: The CTN must be replaced between firings. This is the only part of the craft, other than the fuel and oxidizer themselves, that must be replaced.


title: SpaceShipOne

text: The solid fuel is cast with four holes. This has the disadvantage that it is possible for chunks of fuel between the holes to become detached during a burn and obstruct the flow of oxidizer and exhaust. Such situations tend to rapidly self-correct.


title: SpaceShipOne

text: The oxidizer tank is filled and vented through its forward bulkhead, on the opposite side of the tank from the fuel and the rest of the engine. This improves safety. It is filled to a pressure of at room temperature.


title: SpaceShipOne

text: The nozzle has an expansion ratio of 25:1, which is optimized for the upper part of the atmosphere. A different nozzle, with an expansion ratio of 10:1, is used for test firing on the ground. The nozzles are black on the outside, but for aerodynamic testing, red dummy nozzles are used instead.


title: SpaceShipOne

text: The rocket is not throttleable. Once lit, the burn can be aborted, but the power output cannot otherwise be controlled. The thrust in fact varies, for two reasons. Firstly, as the pressure in the oxidizer tank decreases, the flow rate reduces, reducing thrust. Secondly, in the late stages of a burn the oxidizer tank contains a mixture of liquid and gaseous oxidizer, and the power output of the engine varies greatly depending on whether it is using liquid or gaseous oxidizer at a particular moment. (The liquid, being far denser, allows a greater burn rate.)


title: SpaceShipOne

text: Both the fuel and oxidizer can be stored without special precautions, and they do not burn when brought together without a significant source of heat. This makes the rocket far safer than conventional liquid or solid rockets. It is also relatively non-polluting: the combustion products are water vapor, carbon dioxide, hydrogen, nitrogen, and some carbon monoxide.


title: SpaceShipOne

text: The engine was upgraded in September 2004, between flights 15P and 16P. The upgrade increased the oxidizer tank size, to provide greater thrust in the early part of the burn, allow a longer burn, and delay the onset of the variable thrust phase at the end of the burn. Prior to the upgrade the engine generated of thrust and could burn for . After the upgrade it was capable of thrust and an burn.


title: SpaceShipOne

text: Tier One's launch aircraft, Scaled Composites Model 318, known as White Knight, is designed to take off and land horizontally and attain an altitude of about , all while carrying the Tier One spacecraft in a parasite aircraft configuration. Its propulsion is by twin turbojets: afterburning J-85-GE-5 engines, rated at of thrust each.


title: SpaceShipOne

text: It has the same cabin, avionics, and trim system as SpaceShipOne. This means it can flight-qualify almost all components of SpaceShipOne. It also has a high thrust-to-weight ratio and large speed brakes. These features combined allow it to be used as a high-fidelity moving platform flight simulator for SpaceShipOne. White Knight is also equipped with a trim system which (when activated) causes it to have the same glide profile as SpaceShipOne; this allows the pilots to practice for landing SpaceShipOne. The same pilots fly White Knight as fly SpaceShipOne.


title: SpaceShipOne

text: The aircraft's distinctive shape features long, thin wings, in a flattened "W" shape, with a wingspan of , dual tailplanes, and four wheels (front and rear at each side). The rear wheels retract, but the front ones, which are steerable, are permanently deployed, with small fairings, referred to as "spats", in front. Another way to look at the overall shape is as two conventional planes, with very thin fuselages, side by side and joined at their wingtips, with the cockpit and engines mounted at the point of joining.


title: SpaceShipOne

text: Although White Knight was developed for certain roles in the Tier One program, it is a very capable aircraft in its own right. Scaled Composites describe it as a "high-altitude research aircraft".


title: SpaceShipOne

text: SpaceShipOne takes off from the ground, attached to White Knight in a parasite configuration, and under White Knight's power. The combination of SpaceShipOne and White Knight can take off, land, and fly under jet power to high altitude. A captive carry flight is one where the two craft land together without launching SpaceShipOne; this is one of the main abort modes available.


title: SpaceShipOne

text: For launch, the combined craft flies to an altitude of around , which takes about an hour. SpaceShipOne is then drop-released, and briefly glides unpowered. Rocket ignition may take place immediately, or may be delayed. If the rocket is never lit then SpaceShipOne can glide down to the ground. This is another major abort mode, in addition to being flown deliberately in glide tests.


title: SpaceShipOne

text: The rocket engine is ignited while the spacecraft is gliding. Once under power, it is raised into a 65° climb, which is further steepened in the higher part of the trajectory. The maximum acceleration during ascent was recorded at 1.70G.


title: SpaceShipOne

text: By the end of the burn the craft is flying upwards at some multiple of the speed of sound, up to about and Mach 3.5, and it continues to coast upwards unpowered (i.e. ballistically). If the burn was long enough then it will exceed an altitude of , at which height the atmosphere presents no appreciable resistance, and the craft experiences free fall for a few minutes.


title: SpaceShipOne

text: While at apogee the wings are reconfigured into high-drag mode. As the craft falls back it achieves high speeds comparable to those achieved on the way up; when it subsequently reenters the atmosphere it decelerates violently, up to 5.75G. At some altitude between and it reconfigures into low-drag glider mode, and glides down to a landing in about 20 minutes.


title: SpaceShipOne

text: SpaceShipOne was developed by Mojave Aerospace Ventures (a joint venture between Paul Allen and Scaled Composites, Burt Rutan's aviation company, in their Tier One program), without government funding. On June 21, 2004, it made the first privately funded human spaceflight. On October 4, it won the US$10 million Ansari X Prize, by reaching 100 kilometers in altitude twice in a two-week period with the equivalent of three people on board and with no more than ten percent of the non-fuel weight of the spacecraft replaced between flights. Development costs were estimated to be , funded completely by Paul Allen.


title: SpaceShipOne

text: During its test program, SpaceShipOne set a number of important "firsts", including first privately funded aircraft to exceed Mach 2 and Mach 3, first privately funded crewed spacecraft to exceed 100km altitude, and first privately funded reusable crewed spacecraft.


title: SpaceShipOne

text: SpaceShipOne was registered with the FAA as "N" is the prefix for US-registered aircraft; "328KF" was chosen by Scaled Composites to stand for 328 kilofeet (about 100 kilometers), the officially designated edge of space. The original choice of registry number, , was already taken. N328KF is registered as a glider, reflecting the fact that most of its independent flight is unpowered.


title: SpaceShipOne

text: SpaceShipOne's first flight, 01C, was an uncrewed captive flight test on May 20, 2003. Glide tests followed, starting with flight 03G on August 7, 2003. Its first powered flight, flight 11P, was made on December 17, 2003, the 100th anniversary of the first powered flight.


title: SpaceShipOne

text: On April 1, 2004, Scaled Composites received the first license for suborbital rocket flights to be issued by the US Office of Commercial Space Transportation. This license permitted the company to conduct powered test flights over the course of one year. On June 17, 2004, under the leadership of airport CEO Stuart O. Witt, Mojave Airport reclassified itself as the Mojave Air and Space Port.


title: SpaceShipOne

text: Flight 15P on June 21, 2004, was SpaceShipOne's first spaceflight, and the first privately funded human spaceflight. There were a few control problems, but these were resolved prior to the Ansari X PRIZE flights that followed, with flight 17P to 112 km on October 4, 2004, winning the prize.


title: SpaceShipOne

text: On 17 December 2003—on the 100th anniversary of the Wright brothers first powered flight of an aircraft—"SpaceShipOne", piloted by Brian Binnie on Flight 11P, made its first rocket-powered flight and became the first privately built craft to achieve supersonic flight.


title: SpaceShipOne

text: All of the flights of SpaceShipOne were from the Mojave Airport Civilian Flight Test Center. Flights were numbered, starting with flight 01 on May 20, 2003. One or two letters are appended to the number to indicate the type of mission. An appended C indicates that the flight was a captive carry, G indicates an unpowered glide, and P indicates a powered flight. If the actual flight differs in category from the intended flight, two letters are appended: the first indicating the intended mission and the second the mission actually performed.


title: SpaceShipOne

text: The flights were accompanied by two chase planes—an Extra 300 owned and flown by Chuck Coleman, and a Beechcraft Starship.


title: SpaceShipOne

text: The SpaceShipOne pilots came from a variety of aerospace backgrounds. Mike Melvill is a test pilot, Brian Binnie is a former Navy pilot, and Peter Siebold is an engineer at Scaled Composites. They qualified to fly SpaceShipOne by training on the Tier One flight simulator and in White Knight and other Scaled Composites aircraft.


title: SpaceShipOne

text: SpaceShipOne's spaceflights were watched by large crowds at Mojave Spaceport. A fourth suborbital flight, Flight 18P, was originally scheduled for October 13, 2004. However, Burt Rutan decided not to risk damage to the historic craft, and cancelled it and all future flights.


title: SpaceShipOne

text: On July 25, 2005, SpaceShipOne was taken to the Oshkosh Airshow in Oshkosh, Wisconsin. After the airshow, Mike Melvill and crew flew the White Knight, carrying SpaceShipOne, to Wright-Patterson Air Force Base in Dayton, Ohio, where Melvill spoke to a group of about 300 military and civilian personnel. Later in the evening, Melvill gave a presentation at the Dayton Engineers Club, entitled "Some Experiments in Space Flight", in honor of Wilbur Wright's now-famous presentation to the American Society of Mechanical Engineers in 1901 entitled "Some Experiments in Flight." The White Knight then transported SpaceShipOne to the Smithsonian Institution's National Air and Space Museum to be put on display. It was unveiled on Wednesday October 5, 2005 in the Milestones of Flight gallery and is now on display to the public in the main atrium with the "Spirit of St. Louis", the Bell X-1, and the Apollo 11 command module "Columbia".


title: SpaceShipOne

text: Commander Brian Binnie donated the flight suit and checklist used during his Ansari X Prize-winning flight to an auction benefitting Seattle's Museum of Flight. Entertainer and fundraising auctioneer Fred Northup Jr. purchased the flight suit and checklist book, and the flight suit is on display at the museum's Charles Simonyi Space Gallery.


title: SpaceShipOne

text: A piece of SpaceShipOne's carbon fiber material was launched aboard the "New Horizons" mission to Pluto in 2006.


title: SpaceShipOne

text: A year after its appearance in the Oshkosh Airventure airshow, the Experimental Aircraft Association featured a full-scale replica of the spacecraft in a wing of its museum which housed other creations of Burt Rutan. Using the same fiberglass molds as the original, it was so exact in its replication—despite not having any doors or interior—that it was dubbed "Serial 2 Scaled" by Scaled Composites. Each detail in its appearance was matched, down to the N328KF registration number on its fuselage. It is so precise that, during a 7-minute video presentation held every hour on the half hour in the museum, it can display the two different modes of its 'feathering' ability, albeit through the aid of pulleys and wires (there is no machinery in the replica).


title: SpaceShipOne

text: Other full-scale replicas are at the William Thomas Terminal at Meadows Field Airport in Bakersfield the Mojave Spaceport's Legacy Park alongside the original Roton Atmospheric Test Vehicle, the Flying Heritage Collection at Paine Field in Everett, and Google's Mountain View Campus.


title: SpaceShipOne

text: With the success of Tier One meeting its project goals, a successor project started in 2004 was Tier 1b. The successor ships are named SpaceShipTwo and White Knight Two. The name of the joint venture between Virgin Group and Scaled Composites is called The Spaceship Company, with a goal of carrying passengers under the name Virgin Galactic, a spaceliner with an initial target of a commercial fleet of five spacecraft.


title: SpaceShipOne

text: In August 2005, Virgin Galactic stated that if the upcoming suborbital service with SpaceShipTwo is successful, the follow-up will be known as SpaceShipThree.


title: SpaceShipOne

text: On 13 December 2018, VSS "Unity" achieved the SpaceShipTwo project's first suborbital space flight, VSS Unity VP-03, with two pilots, reaching an altitude of , and officially entering outer space by US standards.


title: Cavatappi

text: Cavatappi is macaroni formed in a helical tube shape. "Cavatappi" is the Italian word for corkscrews. It is known by other names, including cellentani, amori, serpentini, spirali, or tortiglione. It is not to be confused with a different pasta shape that is often called "corkscrew pasta" and that also goes by several names, that other shape being fusilli, also known as rotini, eliche, girandole, tortiglioni, or spirali, which is distinguished by fusilli being a twisted flat pasta rather than cavatappi's hollow tube shape. Cavatappi is usually scored with lines or ridges ("rigati" in Italian) on the surface. Cavatappi is a type of macaroni, or thick, hollow pasta that is made without using eggs. It may be yellow in color, like most pastas, or have vegetables or a food coloring added to make it green or red. It can be used in a variety of dishes including salads, soups, and casseroles.


title: Cavatappi

text: Cavatappi is an Italian word created by compounding "cava" and "tappi", which literally means "stopper (or top or cap) extractor" (a corkscrew). It is known by many other names.


title: Cavatappi

text: "Cavatappi" is a generic name adopted by other brands that imitated Barilla's "cellentani". This particular shape was born in the 1970s at Barilla in Parma when a set of pasta dies had been mistakenly made with a spiral (instead of straight) set of lines. These produced pasta in a spiral or spring ("molla" in Italian) shape. Barilla decided to name it after one of the most famous showpeople of the time, Adriano Celentano, who was nicknamed “il molleggiato”. As this name was trademarked by Barilla, other pasta producers had to use a less pop and evocative name like "cavatappi" (corkscrews).


title: Cavatappi

text: The cavatappi shape is perhaps best described as a ridged tube extruded into a helix shape though a small number of rotations. The number of turns is commonly in the range of one to three (with less than one full turn, the shape degenerates into a twisted version of elbow macaroni).


title: Cavatappi

text: Cavatappi is used with Italian-style foods such as cavatappi Amatriciana, and cavatappi pomodoro. It is mostly found in tomato-based pasta sauces and is associated closely with different types of cheeses such as mozzarella, Parmesan, and provolone. It is a common choice for macaroni and cheese.


title: Kylemore Abbey

text: Kylemore Abbey () is a Benedictine monastery founded in 1920 on the grounds of Kylemore Castle, in Connemara, County Galway, Ireland. The abbey was founded for Benedictine Nuns who fled Belgium in World War I and since 2022 belongs to the English Benedictine Congregation. The current Mother Abbess of the Benedictine Community is Máire Hickey.


title: Kylemore Abbey

text: Kylemore Castle was built in 1868 as a private home for the family of Mitchell Henry, a wealthy doctor from London whose family was involved in textile manufacturing in Manchester, England. He moved to Ireland when he and his wife Margaret purchased the land around the Abbey, after having travelled there on their honeymoon in the mid 1840s. He became a politician, becoming an MP for County Galway from 1871 to 1885. The castle was designed by James Franklin Fuller, aided by Samuel Ussher Roberts. The construction of the castle began in 1867, and took the total of one hundred men and four years to complete. The castle covered approximately and had over seventy rooms with a principal wall that was two to three feet thick. The facade measures in width and is made of granite brought from Dalkey by sea to Letterfrack, and of limestone brought from Ballinasloe. There were 33 bedrooms, 4 bathrooms, 4 sitting rooms, a ballroom, billiard room, library, study, school room, smoking room, gun room and various offices and domestic staff residences for the butler, cook, housekeeper and other servants. Other buildings include a Gothic church and family mausoleum containing the bodies of Margaret Henry, Mitchell Henry and a great grand-nephew.


title: Kylemore Abbey

text: The Abbey remained in Henry's estate after he returned to England. The castle was sold to the Duke and Duchess of Manchester in 1903, who resided there for several years before being forced to sell the house and grounds because of gambling debts. In 1920, the Irish Benedictine Nuns purchased the Abbey castle and lands after they were forced to flee Ypres during World War I. The nuns, who had been based in Ypres for several hundred years, had been bombed out of their Abbey during World War I. They were rescued by men of the 8th Battalion of the Royal Munster Fusiliers, a scene that was later reproduced in the Freeman's Journal. After they left Ypres they were evacuated to England where they remained until 1920. The nuns continued to offer education to Catholic girls, opening an international boarding school and establishing a day school for girls from the locality. The school was the main educational establishment for most girls from Renvyle, Letterfrack and further afield for almost a century but it was forced to close in 2010. The nuns have since been developing new education and retreat activities.


title: Kylemore Abbey

text: At the General Chapter, that was held in July 2022 at the Buckfast Abbey, the Kylemore Abbey was accepted to the English Benedictine Congregation along with two other new communities of nuns: Mariavall Abbey from Sweden and Jamberoo Abbey from Australia.


title: Kylemore Abbey

text: Since 2015, the Abbey has a partnership with the University of Notre Dame of the US. The abbey hosts academic programmes for Notre Dame students, and the university renovated spaces in the abbey. The programmes started in 2016 with about 100 students moving to Kylemore, a dedication ceremony was attended by Fr. Timothy Scully, Justice Peter Kelly(President of the High Court of Ireland) and Mother Abbess Máire Hickey OSB of Kylemore, as well as the US and Canadian ambassadors. Notre Dame's Mendoza College of Business, some of its executive business programme, such as the Inspirational Leadership course at kylemore. The art "en plein air" class and flute master class by Sir James Galway were also hosted in Kylemore.


title: Kylemore Abbey

text: "The Kylemore Abbey Biodiversity Stewardship Programme" commenced in 2021 in partnership with the School of Natural Sciences, NUI Galway, to document and allow students to research the biodiversity of the Kylemore estate.


title: Kylemore Abbey

text: The Estate includes large walled Victorian Gardens. Since the 1970s these have been open for public tours and nature walks. The Benedictine community has restored the Abbey's gardens and church with donations and local artisans in order to be a self-sustaining estate. The gardens include a Kitchen Garden and a flower garden, the original walled garden was laid out by head gardener, James Garnier in 1870. A complete restoration commenced in 1995.


title: Kylemore Abbey

text: Kylemore Abbey was featured in the UK cooking show Two Fat Ladies, Series 3 Episode 1 "Benedictine Nuns" (1998). The host cooks Jennifer Paterson & Clarissa Dickson-Wright, cooked dinner for the Benedictine nuns that live, work and worship at the abbey. Kylemore Abbey and the nuns featured on RTE's Nationwide TV programme in 2020, to celebrate 100 years of the Benedictine order at the abbey. Kylemore also featured in "Heaven Made", which follows nuns and monks making traditional gifts for Christmas.


title: Non-ionizing radiation

text: Non-ionizing (or non-ionising) radiation refers to any type of electromagnetic radiation that does not carry enough energy per quantum (photon energy) to ionize atoms or molecules—that is, to completely remove an electron from an atom or molecule. Instead of producing charged ions when passing through matter, non-ionizing electromagnetic radiation has sufficient energy only for excitation (the movement of an electron to a higher energy state). Non-ionizing radiation is not a significant health risk. In contrast, ionizing radiation has a higher frequency and shorter wavelength than non-ionizing radiation, and can be a serious health hazard: exposure to it can cause burns, radiation sickness, many kinds of cancer, and genetic damage. Using ionizing radiation requires elaborate radiological protection measures, which in general are not required with non-ionizing radiation.


title: Non-ionizing radiation

text: The region at which radiation is considered "ionizing" is not well defined, since different molecules and atoms ionize at different energies. The usual definitions have suggested that radiation with particle or photon energies less than 10 electronvolts (eV) be considered non-ionizing. Another suggested threshold is 33 electronvolts, which is the energy needed to ionize water molecules. The light from the Sun that reaches the earth is largely composed of non-ionizing radiation, since the ionizing far-ultraviolet rays have been filtered out by the gases in the atmosphere, particularly oxygen. The remaining ultraviolet radiation from the Sun causes molecular damage (for example, sunburn) by photochemical and free-radical-producing means.


title: Non-ionizing radiation

text: Near ultraviolet, visible light, infrared, microwave, radio waves, and low-frequency radio frequency (longwave) are all examples of non-ionizing radiation. By contrast, far ultraviolet light, X-rays, gamma-rays, and all particle radiation from radioactive decay are ionizing. Visible and near ultraviolet electromagnetic radiation may induce photochemical reactions, or accelerate radical reactions, such as photochemical aging of varnishes or the breakdown of flavoring compounds in beer to produce the "lightstruck flavor". Near ultraviolet radiation, although technically non-ionizing, may still excite and cause photochemical reactions in some molecules. This happens because at ultraviolet photon energies, molecules may become electronically excited or promoted to free-radical form, even without ionization taking place.


title: Non-ionizing radiation

text: The occurrence of ionization depends on the energy of the individual particles or waves, and not on their number. An intense flood of particles or waves will not cause ionization if these particles or waves do not carry enough energy to be ionizing, unless they raise the temperature of a body to a point high enough to ionize small fractions of atoms or molecules by the process of thermal-ionization. In such cases, even "non-ionizing radiation" is capable of causing thermal-ionization if it deposits enough heat to raise temperatures to ionization energies. These reactions occur at far higher energies than with ionizing radiation, which requires only a single particle to ionize. A familiar example of thermal ionization is the flame-ionization of a common fire, and the browning reactions in common food items induced by infrared radiation, during broiling-type cooking.


title: Non-ionizing radiation

text: The energy of particles of non-ionizing radiation is low, and instead of producing charged ions when passing through matter, non-ionizing electromagnetic radiation has only sufficient energy to change the rotational, vibrational or electronic valence configurations of molecules and atoms. This produces thermal effects. The possible non-thermal effects of non-ionizing forms of radiation on living tissue have only recently been studied. Much of the current debate is about relatively low levels of exposure to radio frequency (RF) radiation from mobile phones and base stations producing "non-thermal" effects. Some experiments have suggested that there may be biological effects at non-thermal exposure levels, but the evidence for production of health hazard is contradictory and unproven. The scientific community and international bodies acknowledge that further research is needed to improve our understanding in some areas. Meanwhile, the consensus is that there is no consistent and convincing scientific evidence of adverse health effects caused by RF radiation at powers sufficiently low that no thermal health effects are produced.


title: Non-ionizing radiation

text: Different biological effects are observed for different types of non-ionizing radiation. The upper frequencies of non-ionizing radiation near these energies (much of the spectrum of UV light and some visible light) are capable of non-thermal biological damage, similar to ionizing radiation. The damage done by upper frequencies is an accepted fact. The only remaining area of debate centers on whether the non-thermal effects of radiation of much lower frequencies (microwave, millimetre and radiowave radiation) entails health risks.


title: Non-ionizing radiation

text: Exposure to non-ionizing ultraviolet light is a risk factor for developing skin cancer (especially non-melanoma skin cancers), sunburn, premature aging of skin, and other effects.


title: Non-ionizing radiation

text: Despite the possible hazards it is beneficial to humans in the right dosage, since Vitamin D is produced due to the biochemical effects of ultraviolet light. Vitamin D plays many roles in the body with the most well known being in bone mineralisation.